Frozen Closes on Broadway – What Next for Disney Theatrical?

The COVID-19 Pandemic has caused the worlds of film and theatre to grind to a near-total standstill. Of the various fairy-tale related entertainments mentioned in the Fairy Tale Fanboy 2020 preview, several have been delayed to later in the year (the live-action Mulan) moved to 2021 (Raya and The Last Dragon) or cancelled entirely (The UK Premiere of Rogers & Hammerstein’s Cinderella in Manchester). Out of all the sectors of the arts and entertainment, theatre is probably the worst affected by the COVID-19 Crisis for a variety of reasons. Major theatres have a reputation for being cramped and crowded, the high running costs of plays and musicals mean it is financially impossible to perform to a reduced capacity, and actors are arguably in even greater danger of contracting the disease than audience members. With Broadway theatres left closed for months as a result, several major productions were bound to shut down permanently and yesterday, Disney Theatrical head producer Thomas Schumacher announced that the Broadway production of Frozen would not return when Broadway reopened. The production, based on Disney’s 2013 hit of the same name, had been playing at the St James Theatre for two years, completing 825 performances and 26 previews by the time it closed. Frozen adapted the story of Anna and Elsa for the stage, with the classic songs from the film (Including 'For The First Time In Forever' and 'Let It Go') joined by new songs such as 'Monster' and 'What Do You Know About Love?'. Though it was probably not Disney Theatrical’s strongest production, the news that Frozen was closing still feels like a devastating blow. It is the first major Broadway musical to close permanently because of the COVID-19 pandemic (Beetlejuice was forced to shut three months earlier than planned, but its closure had been announced months before lockdown) highlighting how precarious the theatre industry truly is. With all theatre producers having to tighten their belts, Schumacher has decided to focus on preserving the long-running Broadway adaptations of The Lion King and Aladdin, ensuring that those two will be able to survive months (and possibly years) of instability for New York’s major theatres.

From a financial perspective, the decision to close Frozen is probably the correct one. To tell the truth, Frozen would have probably announced its closure by the end of the year, even if Broadway was operating normally. Of the three Disney productions on Broadway, it was the lowest earner by some distance, and its long-term prospects were looking fragile for months. Despite being a big hit in its first year, the mixed reviews and underwhelming performance during the 2018 awards season (it only received three Tony nominations in a very weak year) took their toll on Frozen, and it was falling to earnings as low as $800,000 – a huge problem for a family blockbuster based on a relatively recent hit movie. The production recently made several updates (including more colourful staging and a new song called “I Can’t Lose You”) to bring it in line with the better-received touring adaptation, but it is unlikely those would have raised interest enough to draw casual audiences. The musical relied heavily on the summer tourism to generate most of its profits, but the recent confirmation that Broadway theatres would be closed until at least September (and probably later) meant that this major period was lost. Ultimately, Broadway is a business, and decisions are governed by what will make the most money and lose the least. In this context, it is no surprise that Schumacher chose to cancel Frozen, which was unlikely to recover from the losses caused by lockdown.

However, it still feels crushingly unfair. The new cast (including Ciara Renee as Elsa and McKenzie Kurtz as Anna) had been in their roles for only three weeks when lockdown begun, and they have been told that they are unable to return to their roles because of a disaster entirely outside their control. Ryan McCarthan, who had just taken over in the thankless role of Prince Hans, recently hosted the online screening of last year’s Disney On Broadway concert, and dismissing him after his hard work there feels like an extra cruel insult. In addition, Frozen’s status as the only female-led Disney adaptation on Broadway (in contrast to the very masculine worlds of The Lion King and Aladdin) means that cutting it so quickly feels a little regressive in an age where theatre is striving for greater diversity and representation. The closure also feels insulting for the Frozen fandom, which is famously passionate and loyal. Elsa and Anna are icons for many (such as those struggling with mental health issues) and these fans deserve respect and recognition. It would be good if Disney Theatrical and the Frozen Broadway team provided these fans with a parting gift, such as a reunion concert for the lost cast or a filmed version of the production for streaming.

Cancelling its run on Broadway does not mean the end for Frozen on stage.  The touring production may be currently suspended, but it will certainly resume when things get better for theatres. No longer having to compete with the Broadway version gives the touring production to enjoy the advantage of being the “definitive” version of the Frozen musical, and we should not rule out the possibility that the newer Frozen Broadway cast members will join it on future stops. International productions in Germany, Australia and Japan are opening in the next year, but the main attraction for Frozen fans will probably be the West End production, which will open in the prestigious Theatre Royal Drury Lane. In fact, it is likely that Schumacher closed Frozen on Broadway in order to focus on these productions, as he announced that the early closure would allow the sets and costumes to be used elsewhere. In the longer term, the closure of Frozen means that it could be opened up for regional and amateur productions, joining the abridged versions Frozen Jr and Frozen Kids in the MTI Shows stable. The Little Mermaid and Tarzan were even less successful than Frozen but have proven popular in licensing. Combined, the touring, international and licensed versions of Frozen will make more money for Disney Theatrical than the Broadway production ever could.

With Frozen’s run on Broadway now over, discussions will turn to which productions come next for Disney. The St James Theatre is not owned by Disney, so the owners will not necessarily replace Frozen with a Disney production. However, Schumacher has revealed that several other Disney Theatrical projects are in the pipeline. At the moment, we aren’t sure which of these (If any) will make it all the way to New York, but they will certainly provide more entertainment for Disney fans.


Hercules

During summer 2019, Disney teamed up with Public Works NY to stage an adaptation of their 1997 animated film Hercules at the open-air Delacorte Theatre in Central Park. The production blended Disney pizazz with community theatre charm, with several Broadway big names in the lead roles (Jelani Aladdin as Hercules, Roger Bart as Hades, James Monroe Iglehart as Phil) and dozens of ordinary New Yorkers in the supporting cast. The production proved a huge success and was one of Disney Theatrical’s most acclaimed musicals in years. It is therefore no surprise that Disney Theatrical have confirmed plans for an expanded two-act version.

Alan Menken and David Zippel are returning to write for this production – having added five extra songs for the Delacorte Theatre production, they could expand the soundtrack further and make it even stronger. Robert Horn, who wrote the Tony-Award winning book to the musical Tootsie, has been added to the writing team. This is a good appointment – Horn’s witty script was one of the most acclaimed aspects of Tootsie (“I live in an apartment so small I count the litter box as a guest bathroom. My phone no longer recognizes my face ID unless I’m crying.”) and he is perfectly suited to the task of bringing one of Disney’s most comedic films to a wider audience. Lear DeBessonet, who directed the original production, will return to direct the new one, hopefully allowing Disney to maintain the balance between professional spectacle and amateur charm which made the Delacorte Theatre run so successful.


Beauty and the Beast

Opening on Broadway in 1994, Beauty and the Beast was the first Disney Theatrical production and ran for an impressive 13 years. The 2017 live-action adaptation renewed interest in the story, and it will now become the second Disney Theatrical musical (after Mary Poppins) to enjoy a major revival production. The original creative team (screenwriter Linda Woolverton, composers Alan Menken and Tim Rice) will return, but we don’t know whether they will make any changes. Will they stick to the romantic approach of the original Broadway production, adopt the more lavish style of the live-action version, or do something different with the “Tale as old as Time”?. The production will premiere at a major “overseas” venue before returning to America, and it could demonstrate that the stage version of Beauty and the Beast can be considered an iconic musical in its own right.


Aida

Something of a cult favourite, Aida is the only major Disney theatrical musical not based on a pre-existing Disney film. Adapted from the Verdi opera of the same name, it allowed Disney Theatrical to take a darker and more dramatic approach, winning four Tony Awards and running for a solid four years. After several touring and regional productions, it is no surprise that Disney Theatrical want to create a major new take on Aida. David Henry Hwang, who co-wrote the original book, has revised the script to consider new research about the lives of ancient Egyptian rulers. The original plan was that this version would premiere in New Jersey’s Paper Mill Theatre in January 2021 and tour the USA, but Disney Theatrical have postponed it, and are instead planning to stage the production in Germany.


The Princess Bride

An adaptation of this classic 1987 film has been in development for a while, but it is closer to Broadway than ever, with David Yazbeck (Dirty Rotten Scoundrels, Tootsie) writing the songs and Bob Martin (The Prom) co-writing the script. A workshop for The Princess Bride was due to take place this spring but has presumably been delayed. However, we can still expect it to reach the stage soon – iconic characters like Princess Buttercup, Inigo Montoya and Vizzini are perfectly suited to the world of theatre…


The Jungle Book

Given the enduring popularity of the 1967 animated film and the Rudyard Kipling novel it is based on, it is no surprise Disney are interested in bringing The Jungle Book to the stage. They sponsored a 2013 stage adaptation in Chicago, directed by Mary Zimmerman and choreographed by Christopher Gatelli (Newsies)  With Hadestown legend Andre De Shields in the cast, the production was well-received and played in Boston, but did not go any further. However, after the 2016 live-action adaptation proved a success, Disney are going to take a second shot at bringing The Jungle Book to the stage. Gatelli is returning to direct this new version, with Rajiv Joseph writing the script. The iconic Sherman Brothers songs (Including “The Bear Necessities”) will remain, with Richard Sherman adding new ones.


Bedknobs and Broomsticks

Disney's 1971 film Bedknobs and Broomsticks followed the same winning formula as Mary Poppins seven years earlier (right down to the Sherman Brothers songs and featuring David Tomlinson as one of the main protagonists) but has a family-friendly charm of its own and deserves to find a wider audience. Blending magic, fantasy and wartime adventure, it can easily be updated for modern sensibilities without losing its classic feel.  A musical adaptation of Bedknobs and Broomsticks was meant to premiere in Chicago in 2019, but the production was cancelled after director Rachel Rockwell suddenly died. However, the project will now premiere in Britain, with Candice Edmunds and Jamie Harrison directing it.


Night At The Museum

Acquired by Disney in their purchase of 20^th Century Fox, 2006 family film Night At The Museum is an odd choice for a theatrical production, but could work pretty well. With an all-star cast headed by Ben Stiller, Night At The Museum did not quite live up to the promise of its fascinating concept (Items in a museum come to life when the doors are closed) but it spawned two sequels and retains a fanbase. Disney legend Alan Menken (also working on Beauty and the Beast, Hercules and the live-action The Little Mermaid) announced this project a few months ago, but no other members of the creative team have been revealed. This project is still pretty far away, but the idea of bringing a museum to life on stage is full of promise, and it would be great if Disney Theatrical go through with this adaptation.

2020 Fairy Tales - A Preview (Part Two)

(Read Part One Of This Article Here)

As 2020 starts, it's time to look at the culture and entertainment ahead of us in the next 52 weeks, and a lot of this will be from or inspired by classic fairy tales, myths and legends, and children's stories. There are so many interesting things for fairytale fans to enjoy this year that this article is being split into two parts. The first part focused on movies and TV. The second part of this article will focus on theatre, literature and the arts. YA books, musicals and even art exhibitions are among the attractions which will entertain fairy tale fans in 2020…

Art and Literature

All The Stars and Teeth (published February 4^th)

Every year, authors and publishers provide plenty of fantasy epics aimed at the Young Adult audiences. With their grand worlds and distinctive characters, they are incredibly popular with their fandoms, and several go on to become major franchsies. One which could enjoy major success in 2020 is All The Stars and Teeth, by newcomer Adalyn Grace. She began her writing career working in the story team for the epic animated series The Legend of Korra, and the lessons she learned there are in full evidence in All The Stars And Teeth. The novel tells the story of a princess named Amora Montara, who needs to master an especially dangerous form of “soul magic” if she wants to become heir to the throne of her kingdom. When she loses control of this magic, she has to go on an epic sea quest with a pirate in order to prove she is worthy of being a future ruler. Amora has to deal with a variety of obstacles, including a stowaway, scary and vengeful mermaids and a mysterious Dark Magic which is endangering her kingdom.  All The Stars and Teeth is one of the most anticipated YA books of 2020, as it has received endorsements from popular YA fantasy icons like Tomi Adeyemi (the woman behind the Children of Blood and Bone series) and Hafsah Faizal. Grace is apparently starting work on a sequel, and we can expect plenty of epic novels from her in the future. 

Girl, Serpent, Thorn (Published May 12th)

With her 2017 novel Girls of Snow and Glass, Melissa Bashardoust put an eerie and imaginative feminist spin on Snow White, which gained considerable attention from fairytale and YA fans. Second novels are always a challenge, but Bashardoust is using her second novel, Girl, Serpent, Thorn, to cement her position as a major new talent. The story is set in a Persian-inspired Kingdom, and concerns a princess named Soraya. Since birth, Soraya has been afflicted by a curse which renders her poisionous to the touch. As a result, she has been unable to leave her palace, but when her twin brother gets married, Soraya finds the lack of freedom unbearable, and seeks out a demon who could allow her to venture into the wider world. Needless to say, this decision generates a variety of problems for Soraya, who soon finds herself wrestling with the destructive consequences of her powers. The premise has echoes of Nathaniel Hawthorne’s short story Rappaccini's Daughter and the Indian myths which inspired it, but promises to provide something original by telling the story from the perspective of the female lead, and making her attempts at coming to terms with the curse into the focal point of the story. It seems like Girl, Serpent, Thorn will further demonstrate that Bashardoust is one of the biggest  rising stars in the YA genre. 

Ray Harryhausen: Titan of Cinema (Runs May 23rd – October 25th)

Ray Harryhausen was the special effects guru who worked on a variety of epic fantasy and adventure films between the late 1940s and early 1980s. He specialised in stop motion animation, using it to create a variety of memorable monsters in blockbusters like Jason & The Argonauts, The Adventures of Sinbad and Clash of the Titans. Harryhausen became a formidable influence on all the filmmakers who watched his movies as children, including Tim Burton, Steven Spielberg and Peter Jackson. In order to mark 100 years since his birth, the National Galleries Scotland will be holding a retrospective of his work. The exhibition in Edinburgh's Scottish National Gallery of Modern Art will be dominated by Harryhausen’s creations, with impressive work from conservation teams keeping these rubber models in good condition decades after their creation. Harryhausen’s drawings and artwork will also be showcased prominently, demonstrating the extent of his talent and vision. In addition, Harryhausen’s collection of books and tools will be showcased, revealing the amount of research and effort which went into creating his creatures. The  National Galleries Scotland also promise to provide insights into Harryhausen’s life and the artists who inspired his unique approach. The artistic skills of special effects experts are often overlooked, so the Scottish National Gallery of Modern Art exhibition makes a valuable case for recognising the creatives who bring fantasy worlds and characters to life on the big screen. 


Alice: Curiouser and Curiouser (Runs June 27th – January 10th 2021)

In recent years, London's prestigious V&A Museum have provided exhibitions on major topics ranging from ranging from Opera and Winnie the Pooh to David Bowie and video games, but their examination of Alice In Wonderland promises to provide audiences with an entirely new and unique experience. Veteran stage designer Tom Piper is designing the Alice: Curiouser and Curiouser exhibition, taking advantage of the underground exhibition space to really give audiences a trip down the rabbit hole into an exciting and mysterious immersive world. The exhibition will contain an incredible 300 items, showing how Lewis Caroll created Alice In Wonderland and exploring its impact on films, theatre, art and other aspects of popular culture. With illustrations for the original tale and costumes from theatrical versions sitting alongside paintings by the likes of Salvador Dali and Peter Blake, it promises to provide a fascinating insight into how Alice In Wonderland has inspired artists and creatives over the decades.

Cinderella Liberator & 3 New Fairytale Books (published in the UK in October) 

Last year, the feminist commentator Rebecca Solnit moved into children’s fiction with her feminist fairytale Cinderella Liberator. She created a modern update of the age-old Cinderella story, maintaining the theme of a girl escaping her miserable existence, but updating it for an audience sick and tired of traditional romantic clichés. The story starts in the traditional way, with Cinderella going to the ball and losing her glass slipper, but instead of becoming a princess, Cinderella does something different and far more impressive with her life. Solnit honours the roots of her story by illustrating it with silhouettes created by the legendary fairy tale illustrator Arthur Rackham. This combination of old and new has unsurprisingly proved popular with fairy tale fans, so Cinderella Liberator is being published all over the world. However, to mark its arrival in Britain, publishers Vintage Books are providing a truly special treat. In addition to handling the UK publication of Cinderella Liberator, Vintage Books are publishing three more feminist spins on classic fairy tales, each written by an acclaimed British author. Kamila Shamsie is providing her own spin on The Ugly Duckling, and Oranges Are Not The Only Fruit author Jeanette Winterson is adapting Hansel & Gretel Most excitingly, Noughts & Crosses author Malorie Blackman, one of Britain’s best-loved writers, is creating a new take on Bluebeard. All three of these fairy tales are perfectly suited to feminist reinterpretations, and Shamsie, Winterson, and Blackman will all bring something unique and interesting to the table. Instead of providing one modern fairytale, Vintage Books will be providing four, and Cinderella Liberator and the three (currently unnamed) new books will really liven up autumn for British fairy tale fans. 

Theatre

Formulae and Fairy Tales American Tour (performances begin February 5th)

Established in 2007, Invertigo Dance Company have become one of America’s most interesting dance companies, with their creative approach and focus on making dance accessible and modern. Their fascinating new production, Formulae and Fairy Tales, is going on tour in 2020 after an acclaimed world premiere in LA last year. The first performances of the tour will be at the Phillips Center in the University of Florida Performing Arts, and more will be announced soon. Formulae and Fairy Tales is based on the tragic story of the legendary code breaker Alan Turing, who was gay at a time when homosexuality was illegal. After being imprisoned and forced into chemical castration, he committed with a poison apple, a method of death which fairy tale fans will instantly recognise from Snow White. The question of why a man whose life was based on codes and numbers would be so obsessed with the Snow White story is at the centre of this production, which highlights the contrast between Turing’s technical world and the fantastical, sinister world of fairy tales. Director Laura Karllin makes innovative use of projections to represent the AI and computer technology which Turing pioneered, and highlights the power of symbols in both technology and stories, with the forbidden apple unsurprisingly taking centre stage. Formulae and Fairy Tales represents proof that American ballet can tackle big ideas and topics in creative and original ways, and we can expect it to gain further accolades throughout 2020 – it wouldn’t be a surprise if the ballet also makes it beyond America…

The Prince of Egypt in the West End (Runs February 5th - September 12th)

Released in 1998, The Prince of Egypt is one of the finest Dreamwork's animated films. A take on the legendary Biblical story of Moses, it highlighted the epic nature of the story whilst developing the individuals who are at the centre of the events. With incredible images, fully formed characters and a strong soundtrack (including the Oscar-winning “When You Believe”), it proved that Disney were not the only studio who could create great animated musicals. Given the success of Disney’s theatrical musicals, it is not a surprise that Dreamworks are trying to break into the same market, and The Prince of Egypt is their second stage production after Shrek: The Musical. The Prince of Egypt shows how Moses, a Jewish child raised in the Pharaoh’s palace, must go up against his adoptive brother Rameses in order to rescue the Jewish people from slavery in Egypt. The musical premiered in California in 2017, and has enjoyed two productions at Denmark, but the London production (taking place at the massive Dominion Theatre) will be the biggest outing yet for the musical. There will be new sets and costumes, and iconic composer Stephen Schwartz (Pippin, Wicked, The Hunchback of Notre Dame) has added ten extra songs, including one for Moses called “Footprints in the Sand”, which is making its debut in this production. The Prince of Egypt is only having a limited 32-week run, so fans need to book tickets quickly if they want to see it in London. However, if it does well, we can expect further major productions all over the world, plus touring and amateur licensing, which could make The Prince of Egypt into a major money-spinner for Dreamworks…

A Monster Calls and The Lion The Witch and the Wardrobe tour the UK (At various UK theatres throughout 2020)

With her acclaimed versions of stories like Jane Eyre and Peter Pan, Sally Cookson established herself as an expert in adapting classic literature and children’s stories for British theatre, and her status has grown even more in recent years. In 2018, her adaptation of Patrick Ness’ heartbreaking novel A Monster Calls premiered at the Old Vic, receiving critical acclaim and winning an Olivier Award. Cookson applied a minimalistic and imaginative approach to the tearjerking story of a troubled boy visited by a mysterious monster, and it will be great to see her production gain a second life. The tour starts at Chichester's Festival Theatre on February 6th, and will take the production across the UK, concluding on June 13th at the Theatre Royal Plymouth. Cookson is famous for her collaborative approach, so we can expect the new cast and crew to edit the production whilst also staying true to the powerful messages about how stories help us deal with grief, fear, and the uncertainties and contradictions of life. A Monster Calls won’t be the only Sally Cookson play travelling through Britain in 2020. In November, her adaption of The Lion, The Witch and the Wardrobe (currently playing at the Bridge Theatre in London) will also begin a four-month tour at Aylsebury's Waterside Theatre on November 20th, with a high-profile stop in Manchester's Lowry Theatre across the Christmas period. Both tours will provide plenty of entertainment for theatregoers whilst we wait for Cookson’s next innovative productions.

Once Upon A One More Time premieres in Chicago (Runs April 14th – May 17th)

Once Upon A One More Time is a jukebox musical dedicated to millennial guilty pleasure Britney Spears, using the songs of the pop princess to tell a unique story about fairy tale Princesses. It centres on a group of classic fairy tale princesses (Snow White, Cinderella, etc) who are becoming fed up with their lives and a book club where they are only able to read Brothers Grimm fairytales. However, when a fairy godmother introduces our heroines to the classic feminist text The Feminine Mystique, our leads are inspired to shake up their conventional fairytale world. The musical is premiering in April at Chicago’s Nederlander Theatre, which has often hosted trial runs for future Broadway productions. It was meant to premiere there in October 2019 but was delayed for unknown reasons. A possible factor may be the recent opening of the similar West End musical & Juliet, which pays tribute to Britney's regular songwriter/producer Max Martin and features five of her biggest hits on the soundtrack. However, Once Upon A One More Time will probably do something different with the likes of 'Baby One More Time' and 'Stronger' and will also feature eighteen other Britney anthems, ranging from hits such as 'Toxic', 'Lucky' and 'Sometimes' to more obscure songs. Ultimately, this musical will be judged on its own terms, separate from its rival across the Atlantic, although it should successfully tap into the same demand for trashy and colourful, yet strongly progressive, escapism. Once Upon A One More Time does well in its Chicago run, it could make it to Broadway, and provide some feminist fairytale fun for Britney’s fanbase.

Rogers & Hammerstein’s Cinderella has its UK premiere (Runs May 9th – June 6th)

In 1957, a take on Cinderella from the legendary Broadway songwriters Rogers & Hammerstein’s premiered on TV. With a young Julie Andrews in the lead role, and wonderfully romantic songs such as “Ten Minutes Ago”, it proved a major hit, and has been adapted for stage and TV several times since - one notable 1997 TV adaptation featuring Whitney Houston as the Fairy Godmother. The musical was reworked for Broadway in 2013, with Douglas Carter Beane incorporating other Rogers & Hammerstein songs (such as “The Time is Now”), and appealing to modern progressive values by adding a subplot where Cinderella inspires her Prince to bring democracy to their kingdom. This new version received eight Tony Nominations (winning an award for Best Costume Design) and ran on Broadway for almost two years. Last year, a semi-staged version was performed at West London's Cadogan Hall, with Christine Allado, Diane Pilkington and Jac Yarrow in the leading roles. As a result of this increased publicity, the 2013 version of Rogers & Hammerstein’s Cinderella is finally making its full stage debut in May, as it will be performed for four weeks at Manchester’s Hope Mill Theatre, which has become one of Manchester’s most notable independent theatres since it opened in 2015. It's unlikely that any big names will appear in this smaller production, but it will certainly increase the popularity of this musical with UK audiences, and open the door for further adaptations in the future.

What Else Can We Look Forward To?

There are plenty of fairy tale films, TV shows and other that we will learn more about later in the year. Disney’s new streaming service, Disney Plus will provide more fairy tale adventures for Disney fans, including Secret Society of Second Born Royals, which could be fun if it acknowledges the ludicrous nature of its premise (What if the second born children of royals had superpowers?) Other channels are also providing their own spins on the fairy tale genre. Adult Swim, the channel behind anarchic, provocative adult animations such as Rick and Morty and Robot Chicken, are applying their signature approach to fairy tales in a new animated series created by J.J. Villard. Fairy Tales promises to provide plenty of “gross weirdness”, whilst also retaining the “charm and cuteness” of the original fairy tales – can it do both? Meanwhile, British theatres are beginning to announce their plays and pantos for Christmas 2020. Things are still subject to change, but the Lyric Hammersmith will be retelling Aladdin, New Wimbledon Theatre will be adapting Dick Whittington, and Theatre Stratford East will be providing a less conventional choice with a Little Red Riding Hood panto. There are also plenty of treats for fairytale fans outside of the UK and US. In February, Sweden’s Millesgarden museum will open an exhibition about artist Gustaf Tenggren and his work with Disney. Finally, it is necessary to mention Tell A Fairy Tale Day on 26th February, where we are all able to create our own fairy tales and share them with the world. Overall, 2020 promises to be an excellent year for fans of fairy tales, with plenty to inspire and excite them.

2020 Fairy Tales - A Preview (Part One)

As 2020 starts, it's time to look at the culture and entertainment ahead of us in the next 52 weeks, and a lot of this will be adapted from or inspired by classic fairy tales, myths and legends, and children's stories. There are so many interesting things for fairytale fans to enjoy this year that this article is being split into two parts. The first part will feature Disney's biggest 2020 projects, and several films and TV shows from rival studios. The second part of this article will focus on theatre, literature and the arts.

Disney

Rapunzels Tangled Adventure/Tangled:The Series concludes (Sundays from January 12th-March 1st)

Since it premiered in March 2017, Rapunzels Tangled Adventure (Formerly known as Tangled: The Series) - the followup to Disney's 2010 smash Tangled - has established itself as one of the most interesting TV spinoffs of a Disney film. The show has expanded the world of Rapunzel and Flynn Rider Eugene Fitzherbert, giving them several new friends and enemies and a variety of exciting and unusual adventures. Though its additions to the Tangled universe have sometimes been hit and miss, Rapunzels Tangled Adventure has generally been a real treat for Tangled fans. The animation is brilliant, there are plenty of interesting and mature themes, and Alan Menken and Glenn Slater's songs are often superior to the ones featured in the original film. Despite gaining substantial online popularity, Rapunzels Tangled Adventure has often been treated terribly by the Disney Channel, who needlesssly changed the name of the show, put it on long hiatuses several times, and made various schedule changes which often left it stuck in inhospitable time slots.  Rapunzels Tangled Adventure is now nearing the end of its three-season run, with Rapunzel investigating the mysterious black rocks and trying to stop her former friend Cassandra from using the power of the moonstone to devastate the kingdom of Corona. The last set of episodes begin airing in January, resolving the grand arc whilst providing plenty of comedic adventures to lighten the tone. The show will conclude on March 1st with a three-part episode called "Plus Est En Vous" (French for "There's More In You", - a phrase featured in Rapunzel's diaries) and it will hopefully allow Rapunzels Tangled Adventure to gain the incredible finish it deserves.

Onward (Released March 6th) 

A major reason for Pixar’s rise to fame in the late 1990s was their decision to create a unique formula entirely separate from the Disney musicals of the era and their many imitators. Even with the lines between the two studios blurring later on in the Lasseter era, this distinction has generally been maintained, but Pixar dipped their toes into Disney-style classic fantasy with their 2012 film Brave, and Onward represents a far different take on the same subgenre. It is set in an alternate universe where mythical creatures live a mundane suburban life like our own, with unicorns prowling through gardens like foxes, and centaurs and fauns working in the police force. A pair of teenage elf brothers (voiced by the ever-popular Chris Pratt and Tom Holland) are given a magical staff which belonged to their father and contains some of the last magic in the world. They attempt to bring their deceased father back for one last day, but are only able to resurrect his bottom half, and have to go on a quest to find a way of restoring their father for real. The trailers have promised a wacky and comedic tone, but also given hinted that the film will do justice to the poignancy inherent in the premise. The first of two original Pixar films coming out in 2020, Onward promises to cement Pixar’s new direction under Pete Docter, maintaining the humour, heart and creativity of classic Pixar films whilst ensuring that there are enough changes to keep the studio feeling fresh and exciting.

Mulan (Released March 27th) 

Last year, Disney's live-action division broke records as their focus on remaking classic Disney animations resulted in billion-dollar grosses for their takes on Aladdin and The Lion King. However, the excessively faithful approach of these films annoyed many fans and critics, so Disney’s remake of their 1998 animated hit Mulan will represent a change in approach. Director Nikki Caro and screenwriters Rick Jaffa and Amanda Silver are creating a remake which will adopt a new tone and style whilst sticking to the same basic outline. Liu Yifei will play the titular heroine, who disguises herself as a man in order to fight in the Chinese army. The new version of Mulan is primarily targeted at Chinese audiences, so is making a variety of alterations which will make it closer to Chinese Martial Arts epics than traditional Disney musicals. Wisecracking sidekick Mushu has been replaced by a mute Phoenix, the villain will be working with a sinister shapeshifting witch (played by the prolific Gong Li) and there will be a lot less singing. A group of hardcore fans have been dismayed by these changes, and Caro will need to find ways of satisfying them without compromising her vision. There have also been concerns about how the project legitimises the authoritarian Chinese government (Not helped by Yifei's support of the Chinese-backed authorities in the Hong Kong riots). However, the trailers have generally been very well-received, and Mulan’s new approach could allow it to dodge comparisons with the original film. With many of Disney’s biggest hits already adapted by the live-action division, they will need to adopt a new and more innovative approach, and Mulan could lead the way in this regard.

Frozen arrives in the West End (Performances begin October 2020)

With Frozen 2 emulating the success of the first film and generally reviving interest in Anna and Elsa's world, it's a pretty good time to bring the 2018 Broadway adaptation of the original Frozen to the West End. Princess Anna's epic journey to find her older sister Elsa has been expanded into a 2 hour-plus spectacular for the stage, and this production will be reopening London’s massive Theatre Royal Drury Lane after 18 months of renovations. The inescapable songs from the original (including "Let It Go" and "Do You Want to Build A Snowman?") are joined by several new numbers including "Monster" and "What Do You Know About Love?". However, despite the popularity of the Frozen franchaise, this production still has a lot to prove. Whilst it has earned more than enough money to justify its international rollout, it hasn't emulated the success of The Lion King and did badly at the Tony Awards, only receiving three nominations in a very weak year. The new touring version of Frozen premiered in LA last month and made improvements (including brighter lighting and more colourful set designs) which will hopefully be incorporated into the West End version. Director Michael Grandage has promised that the Brits will get their own “bespoke” version, and has acquired an impressively big name to play Elsa, with Les Miserables fan favourite Samantha Barks headlining the cast as the powerful but vulnerable Ice Queen (We will find out who will play Anna in a few weeks, with the rest of the actors being announced later in the year). Grandage has been a West End icon since the late 1990s, so he will hopefully be putting extra effort into giving his home territory a truly special production of Frozen.

Raya and the Last Dragon (Released November 25th)

After two messy but enjoyable sequels in the form of Ralph Breaks the Internet and Frozen 2, Raya and the Last Dragon will be Disney Animation's first original animated movie in four years. Anticipation has been high since it was formally unveiled at the D23 Expo 2019, as it will pay tribute to the culture of East Asian nations such as Vietnam and the Philippines. The film has been written by Crazy Rich Asians screenwriter Adele Lim, who is working with a team of Disney veterans, including storyboard artist and animator Paul Briggs (making his directorial debut) and Moana producer Osnat Shurer. The film is set in a fantasy realm called Kumandra, and centres on a girl searching for a mysterious dragon who has taken on human form, The titular heroine Raya is voiced by half-Filipino, half-Canadian actress Cassie Steele, whilst Crazy Rich Asians breakout star Awkwafina will be voicing Sisu the dragon, who may be able to protect Raya and her kingdom from a mysterious dark force. Raya and the Last Dragon seems like it will be providing an East Asian spin on the formula established by Moana and Frozen 2, but with enough changes to provide it with its own identity. There seem to be no songs, and the tone seems to be inspired by Asian fantasy epics as much as fairy tale classics. If Raya and The Last Dragon sticks to its vision, it could allow Disney Animation’s recent revival to continue into the new decade.

Non-Disney films and TV

Gretel and Hansel (Released 31st January) 

Oz Perkins - The son of horror icon Anthony Perkins (famed for his role in the Hitchcock horror classic Psycho) - has made his name by writing and directing eerie gothic horrors such as The Blackcoats Daughter and I Am The Pretty Thing That Lives In the House, and this take on the age-old story of Hansel and Gretel is his biggest project yet. Whilst other adult-orientated variations on the Brothers Grimm classic have often been lurid and trashy (such as 2013's Hansel and Gretel: Witch Hunters), Gretel and Hansel promises a more restrained approach, whilst remaining scary and sinister. The creepiness implicit in the Brothers Grimm source material is brought to the forefront, with sinister houses, trees covered with children’s shoes, and a gross moment where the Witch pulls a long thread of hair out of her mouth. As the switching of names in the title implies, Gretel’s status as a strong and fearless female lead will also be emphasised, as she is now a teenager looking after her much younger brother – IT star Sophia Lillis will play Gretel, and her performance could mark her out as an actress to watch in the future. January releases are generally not known for their high quality, but Oz Perkins’ distinctive vision could make Gretel and Hansel into a pleasingly creepy standout.

Come Away and Wendy (Screening at the Sundance Film Festival 24th January-2nd Febuary)

The Sundance Film Festival is one of the first major events of the cinematic year, as a variety of independent films make their big screen debuts. This year, audiences will be treated to two unique takes on Peter Pan. One of the biggest films at the festival this year is Come Away, the live-action debut of animation icon Brenda Chapman, who has worked on films ranging from The Lion King to The Prince of Egypt. Come Away is about two children, Alice and Peter (played by Keira Chansa and Jordan Nash), who end up in a fantasy world as they try to deal with a death in the family and find themselves having to choose whether to stay in the real world or go into their imaginary landscape. A prequel to both Alice in Wonderland and Peter Pan, Come Away will explore the classic worlds these two protagonists will go on to inhabit, and the way they impact on their bond. Chapman has gathered a top-notch cast, with Angelina Jolie and David Oyelowo playing the parents, and Michael Caine, Derek Jacobi and Clarke Peters also featuring prominently. Chapman’s first film after being controversially fired from Pixar’s Brave, Come Away could allow Chapman to fully showcase her ability at creating fairytale magic.

In contrast, Wendy is a much smaller production, but one which embodies the Sundance spirit perfectly. It is directed by Benh Zeitlin, whose drama Beasts of the Southern Wild was one of the breakthrough films at the 2012 Sundance Festival. Here, Wendy is a girl from modern America, who lives with her family in a diner. The unusual Peter takes Wendy and her brothers to a Neverland suspended in time by a mysterious pollen, but a series of threats to this world means that Wendy needs to take responsibility and save all the children on the island.  Zetlin announced the project in 2013, just after Beasts of the Southern Wild became an unlikely Oscars contender, but it has taken over six years to bring his idea to life  The winning formula of Beasts of the Southern Wild is being maintained for Wendy, with a cast of newcomers (including Devin France as Wendy and Yashua Mack as Peter) a mysterious and oddly magical tone, and a depiction of a wonderful but endangered natural world. Amusingly, Wendy has been produced by the Disney-owned Fox Searchlight, but it could not be more different from the action-packed approach of Disney blockbusters, making it a great alternative to more mainstream fairytales. Come Away does not have a confirmed release date, but it should come out at some point later in the year. Meanwhile, Wendy will be released in America on 28th Febuary. We can expect both productions to entertain and enchant fairytale fans all over the world during 2020.

The Secret Garden (Released 17th April in UK) 

Since it was first published in 1911, Frances Hodgson Burnett’s novel The Secret Garden has become a staple for many children, Over a century after the first known film adaptation, audiences are getting a new version which will introduce a new generation to this story. The Secret Garden tells the story of Mary, a girl who is sent from India to live in the house where her late aunt lived. Mary initially hates life in Misselthwaite Manor but meeting two other children and discovering an incredible hidden garden allows her to change the lives of the people around her, and become a better person herself. Dixie Egerickx will play Mary, Colin Firth (who had an early role in the 1987 Hallmark version of this tale) plays guardian Archibald Craven, whilst Julie Walters is the authoritarian housekeeper Mrs. Medlock. Screenwriter Jack Thorne was recently behind the TV adaptation of His Dark Materials, so he knows a thing or two about adapting classic children’s stories. This new version has two big changes. Firstly, it will be set in 1947, meaning that the partition of India and the aftermath of World War Two will be major influences on the lives of our characters. Second, it will take advantage of the rise of CGI to bring the titular Garden to life in a new and impressive way. This will not be the only version of The Secret Garden in the UK this Spring. A semi-staged concert version of the 1991 stage musical adaptation will be staged at the London Palladium on April 4th, with Ramin Karmaloo, Lucie Jones and Jac Yarrow amongst the performers. Both the film and the concert will succeed in demonstrating the continued appeal of the timeless source material.

Cursed (released in 2019)

Since Wicked premiered on Broadway, writers have got mileage out of classic fairy tales and legends by shifting their focus to the supporting cast, The Netflix series Cursed promises to refresh the tale of King Arthur by explaining the origins of the mysterious Lady of the Lake. Cursed is based on a recent novel of the same name created by an unlikely writing team: Thomas Wheeler, a screenwriter and producer who has worked on animated films such as Puss in Boots and The Lego Ninjango Movie, and Frank Miller, the legendary illustrator behind violent and gritty graphic novels such as 300, The Dark Knight Returns and Sin City. Both are executive producers on the Netflix adaptation, working with Silenn Thomas and Zetna Fuentes. Cursed tells the story of Nimue, a girl with mysterious powers who ends up in control of a mysterious sword after her family is murdered. She teams up with a mercenary named Arthur to return the sword to Merlin whilst fighting the soldiers responsible for the crime and the tyrannical ruler who enabled them. The cast will be headed by Katherine Longford, who came to prominence in the controversial Netflix series 13 Reasons Why, and she will be joined by rising star Devon Terrell as Arthur. Adaptations of Arthurian legends have flopped in recent years, but Cursed’s more epic approach and contemporary themes (about respecting nature and resisting tyranny) mean it could gain wider appeal. Netflix have recently put a lot of effort into fantasy series in recent years and Cursed could be an interesting companion to the likes of Dark Crystal: Age of Resistance and The Witcher, whilst successfully winning over a different audience.

The Witches (Released October 9th)

Probably the most iconic children's author of the late 20th century, Roald Dahl provided unique stories which drew on classic fairytale tropes and combined the wondrous and the sinister. The influence of Norwegian mythology on his work was most evident in The Witches, one of his scariest stories. This Whitbread prize-winning tale of a boy who tries to stop the titular villains turning children into mice was adapted into a cult favourite film in 1990, but this new version promises to take a different direction. Although it will be closer to the source material than the earlier movie (Dahl famously hated the happier ending) it is relocating the action to 1960s Alabama, which should provide the opportunities to bring the fight for fight for Civil Rights into the story. Newcomer Jahzir Bruno will play the unnamed protagonist, with Octavia Spencer as his supportive, witch-hunting grandma. However, the main draw is Anne Hathaway, playing the monstrous Grand High Witch. The film is being produced by Guilermo Del Toro, king of adult fairy tale films, and Alfonso Cuaron, who came to prominence after successfully adapting A Little Princess and Harry Potter and the Prisoner of Azkaban. Due to their busy schedules, they have given the directorial reins to Robert Zemeckis, (Although Del Toro had a hand in creating the screenplay). Although his status has waned over the last couple of decades, Zemeckis has directed some truly brilliant films in the past (Romancing the Stone, Back to the Future, Who Framed Roger Rabbit, Forrest Gump), and hopefully The Witches will be a deliciously creepy return to form for him.

Part Two is coming soon!

Disney Now Owns These Films

Last Week, Disney completed its high-profile deal with 21^st Century Fox after 15 months of intense meetings and negotiations. For the eye-watering sum of $71.3 billion, it has acquired the 20th Century Fox film studio and its offshoots (including Fox Searchlight and Fox 2000), the FX and National Geographic Channels, and a controlling stake in the streaming service Hulu. Most importantly, it now owns all of the movies and TV shows produced by the studio over the years. These will be added to Disney’s forthcoming streaming service Disney+, demonstrating their focus on providing a rival to Netflix and allowing the company to be stronger and more successful than ever in an era of immense change for the movie industry.

There are numerous reasons to be suspicious about Disney’s big spending. In an age where we are becoming increasingly wary of the excessive power enjoyed by big corporations, seeing one of the most powerful film conglomerates in the world gain acquire even more properties can leave a rather sour taste in the mouth. In the last two decades, Disney’s acquisition of Luscasfilm and Marvel Films allowed them control over two of the most successful movie franchises in the world, and the studio has assets worth almost $100 billion. The purchase of Fox adds an extra $30 billion, and ensures that Disney’s share of the US cinematic market rises from 26% to around 36- 38% . In addition, Disney’s reputation for being safe and bland has generated fears that they will meddle in any film produced by Fox or Fox Searchlight, and rumours that Disney heads Alan Horn and Bob Iger will have plenty of creative control are understandably worrying in this context.

However, the move makes plenty of sense for Disney. For instance, it allows them to enter the adult film market. Touchstone and Hollywood Pictures, which used to be Disney’s divisions for distributing more adult films, both fell into dormancy during the 2000s and Disney can use 20^th Century Fox to replace them and produce blockbusters aimed at an older audience. In addition, its ownership of Fox Searchlight allows Disney to compete in the Oscar race. The studio have done this before (They owned Miramax for 17 years) but their control of Fox Searchlight represents a way of gaining the critical legitimacy and respect they have often lacked. Disney’s reliance on a handful of expensive big name blockbusters has been incredibly limiting from a creative perspective, and the numerous mid-budget and low-budget films from the Fox production arms can allow Disney to diversify their output. Media coverage has focused on the fact that Disney now have ownership of the Marvel heroes not owned by Marvel Studios (X Men, Fantastic Four and Deadpool), The Simpsons and Avatar. However, it also owns a wide range of movies which were produced and distributed by various parts of the 20^th Century Fox Company over the years. As a result, these movies are now technically part of the Disney library. In around 84 years of existence, Fox has been responsible for releasing over 4,000 films. Listed below are 15 Fox films which are now owned by Disney and eligible for a place on Disney+ or Hulu. Some of them fit the studio perfectly, whilst others are ludicrously inappropriate for the House of Mouse…

Fairy Tales

Disney’s reliance on fairy tale films, and their popularity and influence means that they have defined the form during the last century. The acquisition of Fox strengthens Disney’s claim to dominate the American fairy tale genre, as they now own three of the most unique and creative fairy tale films to be released by Hollywood…

The Shape of Water

After the acclaimed Pans Labyrinth and the cult favourite Crimson Peak, Guillermo Del Toro cemented his status as “king of the adult fairy tale” with the Oscar-winning The Shape of Water. Set at an unspecified time in the 1960s, it tells the story of a mute cleaner who works night shifts in a mysterious scientific facility. When she comes across a mysterious fish-like creature being imprisoned there, she begins to form a connection with it, and soon breaks it out of the facility and hides it in her apartment. Del Toro’s film possesses a wonderfully beguiling atmosphere, with the dark blues and greens of the cinematography highlighting the watery feel of the story and adding to the intrigue. Although the protagonist Elisa and her water-dwelling new friend are unable to speak, they are a compelling central couple, and the fairy tale feel of the story gives their relationship additional power. In addition, The Shape of Water makes some effective observations about the prejudice in America at this time. Elisa’s friends include an African-American woman, a closeted gay neighbour and a Russian double agent, whose outcast status plays a key role in their decision to protect the creature. In contrast, the fanatical villain Strickland is the epitome of the American Alpha male. Making progressive political points whilst providing a uniquely escapist work, Del Toro effectively highlighted the power of fairy tales to provide both a release from the world and a greater understanding of it – The Shape of Water definitely deserved its Best Picture win.

In many ways, The Shape of Water is a typical Beauty and the Beast story, but its adult elements are present immediately - Most fairy tale films don’t begin with the protagonist pleasuring themselves in the bath. There are also some pretty disturbing moments of violence, and that’s without mentioning the infamous underwater sex scene. Despite this, The Shape of Water is certainly not an example of cheap sensation, as the more controversial elements advancing the story and developing the characters. When Disney created a special banner to advertise their new acquisitions, they used the poster of this movie to represent the Fox Searchlight production arm. This confirmed its status as one of the most iconic fairy tale films of recent years, but also demonstrates how far removed it is from the traditional Disney formula.

Edward Scissorhands

Before directing Disney’s billion-dollar live-action remake of Alice in Wonderland (and their new version of Dumbo) Tim Burton established himself as one of the quirkiest and most interesting directors in Hollywood, with the 1990 film Edward Scissorhands cementing his status as a major name. The premise is a variation on Pinocchio and Frankenstein, as a mad scientist creates a an extremely lifelike robot from scrap metal, but dies before he can provide it with a proper pair of hands, leaving it with giant scissor blades instead. Edward is discovered by a saleswoman and taken to her home in the suburbs, where his ability to cut hair and create impressive ice sculptures wins the attention of the snobby locals. However, as the dire side effects of having blades for hands become clear, Edward becomes increasingly isolated by the community.

Burton’s followup to his blockbuster adaptation of Batman, Edward Scissorhands is one of the purest expressions of his iconic style. The clash between the gothic and mundane is on show throughout, whilst Burton’s idol Vincent Price has a short but memorable role as Edward’s creator. However, the film has a tragic dimension which most of Burton’s work lacks, as Edward’s deadly hands prevent him expressing his love for (played by Winona Ryder) and lead to him being cast out of his new world. These two paragraphs alone contain more words than Edward speaks in the entire movie, but Johnny Depp does an excellent job of using his unique body language to bring the character to life. Another highlight is Danny Elfman’s enthralling score, which perfectly captures the feel of a fairytale where most of the action takes place around Christmas time. Edward Scissorhands has earned its reputation as one of Burton’s finest films, and it is a worthy addition to the Disney library.

The Princess Bride

With iconic catchphrases such “Inconceivable!” “As You Wish.”  And “My Name is Inigo Montoya. You Killed My Father. Prepare to Die.” The Princess Bride has become one of the most quoted fairy tale films of all time. It’s not hard to see why this movie is now a genre classic. Written by the legendary screenwriter William Goldman and based off his own novel, The Princess Bride tells the story of the relationship between Princess Buttercup and her farmhand Westley. When Westley vanishes, Buttercup is forced into an arranged marriage with the slimy Prince Humperdinck, but Westley soon returns to win her back. The story is framed as a fairy tale being told by a grandfather to his poorly grandson, and the grandson’s growing interest in what he initially dismisses as a “kissing book” reflects the growing engagement of the wider audience.

Except for the first two Shrek movies, few non-Disney fairytales have enjoyed such an impact on popular culture. Whilst Westley and Buttercup are likeable leads, the best characters are in the supporting cast. Inigo Montoya and Fezzik are initially hired by Humperdinck to kidnap Buttercup, but soon befriend Westley and join his mission, proving to be invaluable allies. In addition, Wallace Shawn, Mel Smith, Peter Cook, Peter Falk and Billy Crystal make memorable cameos – who can forget the pompous and hot-tempered Vizzini, or the ancient and talkative Miracle Max and his wife?. Disney have been trying to develop a stage adaptation of The Princess Bride for several years, but the fact that they now own the original is definitive proof of how far it has crossed into the mainstream.

Musicals

Whereas Disney are kings of the animated musical, Fox are the studio most associated with their live-action counterparts. Oklahoma, The King & I, Moulin Rouge, and The Sound of Music are just some of the iconic musicals produced and distributed by the studio, but the three below represent particularly interesting additions to the Disney library…

Anastasia

Disney have acquired ownership of all of Fox’s animated properties, including The Simpsons and the Ice Age franchise. They have also gained this 1997 hit, which once represented a formidable challenger to the Magic Kingdom. This film was based on the premise that Anastasia, the daughter of Tsar Nicholas II, survived the Russian Revolution to end up in Paris with no memory of her past. In real life, she died a horrible death along with the rest of her family, but no-one expects historical accuracy from a film where Rasputin is portrayed as a demon sorcerer responsible for the demise of the monarchy. Anastasia teams up with two conmen to find the last remaining members of her family, but Rasputin is following in a bid to finish off the Romanov dynasty once and for all…

Released as the Disney Renaissance was slowing down, Anastasia had the feisty princesses, nasty villain, colourful sidekicks and memorable music associated with Disney’s recent hits but provided its own unique spin. Animation icon Don Bluth, who had been Disney’s primary challenger in the 1980s (he directed the brilliant An American Tail and The Secret of NIMH) directed and produced this film, providing a more detailed and epic variation on his signature style. A modest hit in its initial release, it appeared to signal Bluth’s return to form after several years of mediocre and childish movies, but the failure of his followup Titan AE and the wider demise of hand-drawn animation led to Bluth fading back into obscurity. The movie has been immensely popular with millennials and was eventually adapted into a stage musical, which eliminated the supernatural elements from the story. It is just about to conclude a 2 year run on Broadway, and has demonstrated that Anastasia has enjoyed the same enduring impact as Disney’s animated hits. Its new status as part of the Disney library allows fans to put Anastasia along with the other Disney princesses, but her movie still remains a unique alternative to the antics of Ariel, Belle and Pocahontas…

The Rocky Horror Picture Show

There are few musicals like 1974’s The Rocky Horror Picture Show. A cinematic adaptation of Richard O’ Brien’s underground stage musical The Rocky Horror Show, it follows the classic B movie storyline of a couple getting lost and ending up in a sinister castle, but with numerous changes to the formula for the era of sexual revolution and liberation. Here, the stereotypically wholesome Brad and Janet end up in a mysterious mansion populated by numerous odd characters, most notably the cross dressing mad scientist Dr Frank N Furter and his blond beefcake creation, the titular Rocky Horror. These eccentric inhabitants leave Brad and Janet questioning the sexual certainties of their suburban world, and in the words of the narrator, they will have “a night to remember for a very long time”.

The Rocky Horror Picture Show introduced the world to the reliably entertaining Tim Curry, who is deliciously camp as Dr Furter, and featured early roles for Susan Sarandon and Meat Loaf. The atmosphere is wonderfully over the top and ridiculous but still faithful to the dark spirit of classic horror, whilst the songs blend lurid and witty lyrics with catchy instrumentals. Unsurprisingly, this genre and gender defying film was not a hit at first, but when New York cinemas began to show it as a “midnight movie”, The Rocky Horror Picture Show became one of the definitive cult classics, amassing a devoted fandom which endures today. Screenings of the movie often utilise audience participation, including ringing bells and throwing toilet paper in the air – it is certainly a long way from the traditional sing-along showings. The Rocky Horror Picture Show has inspired numerous outlandish and subversive musicals in the decades since, but the likes of “Sweet Transvestite” remain as fresh and entertaining today as they were when this film was first released.

 The Greatest Showman

The Greatest Showman is one of the most unlikely hit films of the last decade. A passion project for X Men icon Hugh Jackman, it is based on the life of the infamous circus empresario P.T. Barnum, a tireless self-publicist whose ability at creating and promoting sensationalistic entertainment made him a major figure in 19^th century America. The film depicts Barnum as a family man who establishes an unusual circus show for “human oddities” that catapults him to fame. Historical accuracy is discarded in favour of the Barnum myth, with an all-star cast (including Michelle Williams and Zac Efron) and plenty of flashy cinematography providing the sense that it is more focused on applying Barnum’s showmanship to his life story rather than providing an actual examination of his work and impact.  Initial reviews of The Greatest Showman were rather hostile, with many criticizing it for its attempts to whitewash the story of Barnum and the inherently exploitative nature of the “freak shows” which he pioneered. However, just as Barnum and his stars overcome the snobby critics to win over the general public, the movie did the same in real life. Over Christmas 2017, it became an unexpected sleeper smash. It made $175 million in America (despite the fact it made less than $9 million in its opening weekend) and earned over $400 million worldwide.

There is one major reason for the success of The Greatest Showman - the incredible soundtrack. Blending intense rock and even hip-hop inspired tunes, sombre power ballads and upbeat inspirational anthems, it sounded nothing like the music of Barnum’s day, and was all the better for it. The Greatest Showman soundtrack proved to be that winning blend of modern and timeless, eventually becoming one of the biggest selling compilations ever created. The likes of “This is Me” and “A Million Dreams” have captured the imagination of girls all over the world in the same way as “Let It Go” and “Do You Want To Build A Snowman” did five years ago, and it is likely that they will remain staples of the musical genre for decades to come.  

Strong Women

Disney have spent the last three decades creating a formidable line up of strong and relatable female leads. The addition of the Fox library adds numerous female-centred films to this lineup. These three films contain memorable and compelling female leads who represent excellent sources of inspiration for Disney’s future heroines.

Romancing the Stone

Disney’s recent hits Tangled, Frozen and Moana all follow a similar pattern. They concern a feisty yet naïve young woman who leaves her sheltered world behind to go on an incredible adventure with a grizzled male hero. The heroine becomes stronger, the male becomes kinder and there are plenty of meta jokes and references to familiar adventure tropes. It is not hard to see why this formula works so well, and it has played a huge role in Disney’s recent success. However, before Disney entered their revival, this basic approach was successfully used by the 1984 adventure comedy Romancing the Stone. The film tells the story of Joan Wilder (played by Kathleen Turner), who writes trashy romantic melodramas in her New York apartment. When her sister is kidnapped in Colombia by crooks (one of whom is played by Danny DeVito) seeking a precious diamond, Joan sets off to find her, but gets lost in the South American jungle. In order to rescue her sister and avoid an even more vicious villain also after the gem, Wilder must team up with mercenary Jack T. Colton (played by Michael Douglas). Needless to say, life soon begins to imitate art, and Wilder soon finds herself in the adventure that can only end with her defeating the villains and finding true love…

Although Joan and Jack’s adventures are a bit more violent and raunchy compared to those of Anna and Kristoff or Rapunzel and Flynn Rider, it is pretty clear that Romancing the Stone shares plenty of DNA with Disney’s hits from the last decade. It was somewhat ahead of its time in being a jungle adventure film clearly centred on its female protagonist, with Turner ditching her femme fatale image to play the ordinary but unexpectedly brave heroine. She was aided by a lively script written by waitress Diane Thomas, who famously pitched it to Douglas at a café. The movie had a turbulent journey to the screen, with numerous stars turning down the role of Jack T. Colton and several reshoots and rewrites taking place. However, it was all worth it in the end -The film was a hit, Turner won a Golden Globe for her performance as Wilder, and director Robert Zemeckis gained the credibility needed to make his pet project Back to the Future. The sequel Jewel of the Nile quickly followed but proved to be a critical and commercial disappointment (it didn’t help that the film turned Joan into a more generic love interest), although it did feature the wonderfully entertaining Billy Ocean hit “When the Going Gets Tough” on its soundtrack. There have been numerous attempts to revive Wilder and Colton for sequels and TV series, but these have all fallen through. Hopefully, Disney will be able to bring the two back into the spotlight.

Cleopatra

The last queen of Egypt, Cleopatra is one of history’s most famous and tragic female rulers. This powerful and ambiguous leader is an odd inclusion to the line-up of Disney princesses, but she now qualifies for this group due to Disney’s acquisition of this 1963 epic. Iconic diva Elizabeth Taylor played the ill-fated Egyptian monarch, with Richard Burton as her love interest Mark Anthony (Burton and Taylor’s infamous on-off relationship begun during the making of this film) Rex Harrison as Julius Caesar and Roddy McDowall as Anthony’s enemy Octavian. “Swords and sandals” epics such as Cleopatra were to the 1950s and 1960s what superhero movies and live—action remakes are to the modern cinematic landscape, and this movie is a defining example of this grandiose old genre.  

The making of Cleopatra is even more fascinating and incredible than the film itself. Originally intended to be two three hour movies, Cleopatra was edited into a single epic over four hours long. Shooting was delayed numerous times, and a range of illnesses and scandals forced the filming to be moved from Britain to Italy. Over 79 sets and 26,000 costumes were used, and the sheer scale of the production led to shortages of building materials across Italy. Cleopatra was one of the highest-grossing movies of the 1960s, yet was still considered a colossal flop due to its exorbitant budget – The $44 million spent on making it is worth around $250 million in today’s money. Cleopatra is a useful addition to the Disney library - Its fate at the box office provides the newly inflated studio with a stark warning of what happens if they allow hubris to take over and let their blockbusters to get too big.

The Hate U Give

Among Disney’s acquisitions is Fox 2000, which specializes in mid-budget productions often aimed at a teenage audience. One of most recent and interesting movies from the studio is The Hate U Give, based on Angie Green’s hit YA novel. The book follows Starr, an African-American girl from a deprived Californian neighbourhood who goes to an affluent and predominantly white school. When she witnesses a childhood friend getting shot by a cop, Starr’s life is thrown into chaos, as she tries to work up the courage to speak at the trial whilst coming to terms with the everyday racism around her.

Played by Amandla Stenberg, Starr is a compelling and relatable protagonist, and it is easy to invest in her struggle to balance her black identity with the need to conform to a “white” standard of behaviour at her high school. The hot topics of police brutality, rioting, crime and racial prejudice are handled excellently. The anger at the injustices and dangers which affect young African Americans is clear throughout the story, but the film also includes flashes of hope and humour which make the subject matter palatable. Although its box office earning were unexceptional and it got no awards recognition, The Hate U Give is one of the most interesting films in the YA genre, and is a must-watch for those who want to see films of this kind directly tackle contemporary social issues. Sadly, Fox 2000 is going to be closed down by Disney, but only after completing the films which it has in the pipeline, including an adaptation of Thomas’ follow-up novel On The Come Up and the recent YA phenomenon Children of Blood and Bone. It would be great to see these get released, and hopefully Disney will allow Fox 2000 to do them justice before they retire the studio.

Adults Only

There are numerous films in the Fox Library that Disney would never contemplate producing or distributing. However through the magic of corporate deals, these are now technically Disney films. Whether ultra-gory revenge stories, satanic horrors or tasteless comedies, these are as distant from the world of Micky Mouse and Queen Elsa as it is possible for any film to be…

Titus

Theatre director Julia Taymor became a household name with her innovative stage adaptation of Disney’s classic The Lion King. Over two decades after it premiered, it is still one of the highest-earning productions on Broadway, comfortably out-grossing Disney’s other stage musicals every single week. The success of The Lion King gave Taymor the freedom to do anything she wanted, and she really took advantage of it.  Her first project after The Lion King? A film where the signature scene features a character unknowingly eating a pie containing the remains of her two sons…

Titus is an adaptation of Shakespeare’s early play Titus Andronicus, an immensely violent tale of revenge set in ancient Rome. Though incredibly popular in the 1590s, it has been overshadowed by Shakespeare’s later, more nuanced tragedies such as Hamlet and Macbeth. Anthony Hopkins is the intense and sinister Roman general driven to madness by the death of his children, whilst Jessica Lange plays his nemesis Tamora. However, the highlight of the film is Taymor’s production design, which is full of detailed and impressive symbolism. Harsh colours were used to convey the brutality of the story, and the look of the production combined ancient Rome and modern Italy, with characters driving both cars and chariots, and wearing both business suits and suits of armour. This epitomized both the universal dominance of war throughout the ages and the specific ideas and values which the characters are associated with. Titus will remain an acquired taste compared to other Shakespeare films, but it is an impressively nasty showcase for Taymor’s creative vision, and a strong contrast with her more family-friendly work.

The Omen

Disney owe a lot of their success and popularity to their focus on children, who are often ignored as most film studios chase the fabled 18-35 demographic.  However, the 1976 horror hit The Omen takes the opposite approach, featuring one of the most infamous evil children in cinema history. It follows Robert Thorn, an ambassador who secretly adopts a baby after his son dies in the womb. But a series of suspicious incidents start to happen and Robert begins to realize there is something odd about the new child. The 666 etched on Damien’s scalp and the inability to find his birth mother lead to a startling conclusion – Damien is the son of Satan himself, and Robert will have to kill him in order to prevent him from becoming the Antichrist.

The Omen combines a heavy religious atmosphere (including the eerie Oscar-nominated score) with numerous grisly “accidents” that affect any priest or family member who begins to get suspicious of Damien. The blend of sophisticated and gory meant that the film was more downmarket than predecessors such as The Exorcist, but far superior to the numerous cheap horrors which followed in its wake. The cast is especially impressive for a movie of this genre, with the legendary Gregory Peck playing Robert Thorn and the likes of David Warner, Billie Whitelaw and Patrick Troughton also having key roles in the narrative.  There was plenty of interest in satanic goings-on during the 1970s, and production of The Omen was noted for several misfortunes which allegedly affected the cast and crew of the movie, adding further creepiness to its story-line. The Omen provide to be a box office hit and generated a minor franchise, with three sequels and a remake (released on 6^th June 2006). Despite its status as one of the most notable horror movies of the 1970s, don’t expect Disney to bring Damien back in the near future…

Borat (AKA Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan)

Fox have produced numerous lowbrow comedy hits, including Dodgeball and There’s Something About Mary, but none are as shocking and transgressive as Borat, a politically incorrect comedy centred on the character created by British comedian Sacha Baron Cohen for Da Ali G Show. Borat Sagdiev is a misogynist, anti-Semitic and Anti-Ziganist (yet oddly lovable) reporter from Kazakhstan, who heads on a road trip across America with his sidekick Azmat. In the USA, Borat encounters car salesmen, college kids, humour experts and politicians, before his journey culminates in an attempt to kidnap Pamela Anderson and make her his bride.

Needless to say, Borat (which possesses the unwieldly and poorly translated full title Borat: Cultral Learnings of America for Make Benefit Glorious Nation of Kazakhstan) is not for the easily offended. Highlights include Borat’s overjoyed reaction after hearing about the death of his wife, a sequence where a stay at a bed and breakfast is ruined when Borat realises that the couple running it are Jewish, and a scene where he and Azmat fight in public whilst totally naked. If you prefer child-friendly types of comedy, then you will probably find Borat totally unwatchable. However, there is method behind the madness, as Baron Cohen improvised most of his scenes, interacting with people who had no idea that Borat was a fictional character. Sometimes, their reactions to Borat’s inappropriate behaviour can be amusing, but they can also be disturbing, as they accept or even endorse his awful comments. The social satire can be clever, but there is one thing which really makes Borat stand out - it is as funny as hell. After Borat premiered in 2006, it became a bonafide cultural phenomenon, with viewers dressing in Borat’s Mankini and repeating his “Is Nice” catchphrase. Baron Cohen was never able to emulate its success, but Borat secured his place in comedy history.

Male Stories

Blood, sweat and testosterone are rarely present in the world of Disney, but Fox have made numerous films aimed at male audiences which showcase the masculine imagery and belief systems rarely seen in Princess films. Of the three works listed below, one celebrates macho masculinity, one satirises it and one showcases the violent world where it was necessary for survival. However, all three are far removed from the prettiness and cleanliness one associates with Disney…

Fight Club

David Fincher is one director who is definitely not likely of working with Disney in the future, as his most popular films blend dark moody visuals and frequently sociopathic characters with a pessimistic (and borderline nihilistic) view of the world. Having previously worked with Fox on his ill-fated directorial debut Alien3, Fincher returned to the studio for his 1999 film Fight Club, which became one of his signature hits. It tells the story of an insomniac who attends emotional support meetings for cancer patients in order to find a release from the monotony of his life. He eventually comes across Tyler Durden, a mysterious macho figure who possesses the confidence and charisma our unnamed protagonist lacks. They two create the titular bare knuckle brawling club, and soon find much more extreme ways of venting their frustration at the society surrounding them…

Based on a novel by Chuck Panihuk, Fight Club provides an excellent project for Fincher’s cold but immersive directorial style, with Edward Norton playing the narrator, Helena Bonham Carter as a fellow support-group voyeur and Brad Pitt ruthlessly subverting his pretty-boy image as Durden. Critics were unsure whether the film satirised or celebrated the unsavoury characters at the centre, and it initially flopped at the box office. However, it soon gained a passionate fanbase due to its memorable visuals, big ideas and intricate twists, eventually becoming one of the Top 10 highest rated films on IMDB. Although it was created to react to a specifically late 90’s state of malaise, Fight Club feels uncomfortably timely in an age of incels and political division (in fact, “snowflake” – the disparaging term for those opposed to the offensive worldviews of others - originated from the novel). With brutal violence, soap bars made from human fat and scathing commentary on consumerism and capitalism, it could not be any less appropriate for Disney, which is what makes it such a perfect inclusion here.

The Revenant

18 years after he was first nominated for Best Actor in Titanic, Leonardo Dicaprio finally won the accolade for his role in The Revenant, a brutal drama set in the American West during the 1820s. DiCaprio plays Hugh Glass, a frontiersman who gets badly wounded in a bear attack. When the head of his hunting team abandons him for dead and kills his son, Glass has to use every survival skill he knows to carry out his revenge on the rest of the group.  The Revenant is based on a true story, but is considerably more violent, with a lot more murder than Glass’s real-life odyssey. Through its focus on an inhospitable winter landscape, The Revenant provides the brutality and moral ambiguity associated with revisionist westerns, but its depiction of a man trying to survive in a cold and harsh environment makes it a unique spin on the subgenre.

Director Alexander Gonzalez  Inarritu and cinematographer Emmanuel Lubezki were the duo behind 2014 Best Picture winner Birdman, and The Revenant represented a gruesome and atmospheric follow up that allowed the two to further showcase their skills. Almost all of the movie was shot with completely natural light, and the numerous long takes highlight the brutality of the violence and the desperation which fuels Glass throughout the movie. For the majority of the 156 minute film, he is alone on screen, willing to do anything to survive long enough to carry out his mission, including cauterise his wounds with gunpowder, eat raw meat and hide inside animal carcasses to keep warm. DiCaprio keeps us invested in Glass during this harrowing journey, and his awards recognition was richly deserved. Despite going considerably over budget, the film became a pretty huge box office hit, making over $500 million worldwide.

Commando

Bulging biceps and machine guns are the last things you would expect to see in a Disney movie. However, Fox have produced several lurid action movies, including Arnold Schwarzenegger’s 1985 hit Commando, which embodies the mindless formula which was so dominant in the mid-80’s. There is a story – Arnold plays a former colonel who has to rescue his daughter from hoodlums trying to involve him in an assassination plot – but it is little more than a pretext for all the ridiculous stunts and slaughter, as the professional bodybuilder fights his way through a plane, a shopping mall and a Caribbean island, shooting, punching and impaling any villain foolish enough to stand in his way. Put bluntly, there is no nuance, complexity or character development, but there is plenty of OTT action, and the movie succeeds on its own ludicrous “shoot-em-up” terms.

Arnold was already a star by this point due to the two Conan movies and The Terminator, but Commando was the film which cemented the Arnold Schwarzenegger formula - Lots of guns, lashings of violence and ludicrously terrible one liners.  Over the next 2 decades, Schwarzenegger would star in numerous films of this variety, ranging from the enjoyable to the terrible. As a result, the image of the muscle-bound, superhuman action hero went on to define the genre for much of the 1980s, and the likes of Chuck Norris and Steven Segal tried to cash in on Arnold’s winning formula. However, the “Austrian Oak” surpassed his rivals became one of the biggest names in America. For all the flaws of Arnold and his films, their trashy appeal is pretty obvious, and it is pretty amusing that Disney now has ownership of Commando – it represents quite a counterpoint to the usual singing princesses and cute animal sidekicks…