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.

Dick Whittington and his Cat (Hackney Empire) - Review

When Is It On?

This production of Dick Whittington and his Cat is running at the Hackney Empire until January 5th

Who Made It?

This production was written and directed by Susie McKenna, who has been behind every Hackney Empire pantomime since 1998. She is assisted by several regular collaborators, including songwriter Steven Edis, musical director Mark Dickman and designer Lotte Collett.

What’s it About?

In the aftermath of World War 2, the Empire Windrush arrives in London full of immigrants seeking a new life in the city. One of these is Dick Whittington (played by Tarinn Callender). He reunited with his mother, Dame Sarah (played by Clive Rowe) and finds a job in a shop ran by Alderman Firzwarren (played by Tony Whittle) and his feisty daughter Alice (played by Christina Tedders). Our hero is aided by the Fairy Bowbells (played by Sue Kelvin), who supports in in various ways, including turning his pet cat into an energetic half-human, half-feline called Uncle Vincent (played by Kat B).Unfortunately for Dick, he also attracts the unwanted attention of the villainous Queen Rat (played by Annette McLaughlin), who cooks up several schemes to ensure Dick won’t foil her plans to take over London.

Review

(Note: This review contains spoilers. The formulaic nature of pantomimes (or pantos for short)  is part of their appeal, but the reveal of key comedy and action scenes could be seen as spoilerific for those who want to see these fresh)

Since 1998, the Hackney Empire pantomime has become a major Christmas event in London’s East End. The prolific writer/director Susie McKenna has consistently produced pantomimes which combine the traditional wacky formula of songs and slapstick with creative updates and strong messages. Her latest production is a new take on the classic British panto Dick Whittington, which turns the real life story of a medieval London mayor into a fairytale about a young man who finds fame, fortune and love in the city. McKenna puts a unique spin on the familiar story, following most of the traditional beats whilst keeping things fresh, engaging and comedic. The 2019 production of Dick Whittington and his Cat represents another excellent pantomime from McKenna and her team.

No-one goes to a panto for the story, but there is just enough to provide focus and coherence here. The big selling point of this production is the Post-War setting, with Dick being one of the Carribean immigrants who arrived in Britain on the Windrush after the war. According to the programs, this twist was inspired by the story of Sam King, a Windrush immigrant who eventually became Lord Mayor Of Southwark. However, anyone who wants a detailed exploration should expect disappointment, as the history of the era is handled in a simplistic fashion. The broad basics of Post-War life are acknowledged, such as the rationing, the racial prejudice against black and Irish people, and the need to rebuild after the war, but otherwise there is little for historians. That said, this is not the production for these people. Covering the history in too much detail would case the production to become a play rather than a pantomime, and where's the fun in that? There are also some amusing allusions to the real Whittington and even a reference to the hospital in Highgate named after him. No-one goes to a pantomime to learn, but if any children are inspired to examine the history of Hackney, Dick Whittington and the Windrush immigrants, that will always be a good thing.

However, pantos are always about style over substance, with music, comedy and action allowing the Hackney pantomime team to turn a 20 minute story into a 2 hours plus extravaganza. As usual, the panto is crammed with familiar songs (old and new) which are somewhat connected to the story. Dame Sarah belts out "And I’m Telling You I’m Not Going" and "Good as Hell", Fairy Bowbells sings classic Motown songs, whilst Queen Rat has a villain song which mashes up elements of "7 Rings" and "Bad Guy", and also covers "Sweet but Psycho". Some of the musical choices are genuinely inspired. An early song is based on "London Is The Place To Be", the calypso anthem featured in the Paddington films (another brightly coloured celebration of immigrants in Britain). Meanwhile, the use of "Rewrite the Stars" as Dick and Alice's love song highlights the parallels between their experience and Phillip and Anne's star-crossed romance in that film. These numbers provide a bit more depth and substance than you would expect in the pantomime genre, whilst keeping the basic sense of fun created by talented actors singing familiar songs.

The best thing about this production is the cast. All the lead stars have extensive stage experience, and it shows throughout. As Dick, Tarinn Callender is a likeable hero, and his recurring cover of "The Impossible Dream" brings heart to the human element of the story. The Irish-accented plays a feisty take on Alice Fitzwarren, a more active character who wants to see the world. Her voice is the weakest of the cast, but her cover of  "Higher Love" late in the first act proves strong. Annette McLaughlin chews the scenery as Queen Rat whilst Sue Kelvin is a pleasingly flamboyant Fairy Bowbells. Both have no trouble speaking their lines in Verse and are really enjoying themselves on stage. Meanwhile, Hackney panto regular Kat B is excellent as Uncle Vincent the Cat, even if the character is a lot less active in the story than cats should be in Dick Whittington retellings, he is a consistently lively and performer. His highlight is an impressive cover of the Disney classic "Everybody Wants to Be A Cat", where he replicates the jazzy growl of original singer Scatman Crothers whilst also providing something unique However, the one actor who truly makes the production worth seeing is resident Dame Clive Rowe, appearing in his 13th Hackney panto. It’s not hard to see why Rowe is one of Britain’s most iconic dames. Outside panto, Rowe often plays imposing characters (he played the sinister Papa Ge in the West End version of Once On This Island and McKenna's 2009 revival), so it’s a real treat to see him go “all buns glazing” into the role of uninhibited baker Dame Sarah, providing sweets to the audience and having a chat with a random theategoer in the stalls. The real test of a Panto is whether it can keep the audience engaged throughout, and the cast all succeed in keeping our attention.

The sets and visuals are strong throughout the production. The first act takes place in London and replicates the drab, bombed out colours of the era whilst keeping the set warm and inviting. For the second half of the show, things take a more fantastical turn as our five leads go under the sea and help a mermaid find an extremely valuable shell. This cause the Post-War theme to be dropped almost entirely (which is a shame), but has positive side effects. Mermaid Maia (played by Jemma Geanaus) is a lively and spirited princess, and a creative update of the Sultan who usually seeks Dick's help in the second half of Dick Whittington pantomimes. She combines a desire to look after her domain with an unlikely romance with Uncle Vincent. The underwater and tropical island imagery used in these scenes is lovely and surprisingly atmospheric.

The show also features some impressive special effects. The quick change used to turn an ordinary but large cat into Uncle Vincent is pretty impressive, and the shipwreck which ends act one adds enough danger to keep us invested in the story (there is never any genuine danger in pantomimes, but there should be just enough to leave audiences wondering how the show will get to its happy ending). The wire work used for Maia the Mermaid and Fairy Bowbells is effectively fluid, and there is a memorable action scene where a cute baby gorilla is turned into a giant monster for Dick and his friends to fight. However, the most memorable is a simple but impressive effect which opens wash act, as the screen turns translucent to reveal the characters behind it. It’s pretty simple, but communicates the fairytale tone with wonderful efficiency - it really creates the sense that this is a fantasy world. The costumes are pretty grand as well, with Dick and Alice getting pleasingly authentic 1940s fashions, whilst Vincent the Cat  has a fishy tie to accompany his cat tail and ears. To the surprise of no one, Dame Sarah has all the grandest costumes, shifting from giant yellow and green dresses to purple outfits, Carmen Miranda-inspired tropical headdresses and a grand wedding dress inspired by the pearly kings and queens of the East End. The fairy tale designs in panto are merely a coat hanger for all the music and comedy, but the are pretty effective in this regard, supporting the tone whilst providing the magic and wonder that could also work in a more serious production.

Despite the old fashioned setting, the humour is often very modern, with intentionally anachronistic jokes about Just Eat adverts, Primark and Fleabag. There is also a healthy streak of political humour, fitting given the fact the show premiered in the midst of the British general election campaign. Queen Rat has a henchman called Boris (played by Tom Lloyd), and this leads to several digs at notoriously self-serving Conservative British prime minister Boris Johnson (As Queen Rat tells him “If you lie often enough, some people will believe anything you say”). Johnson’s recent resounding win in this election will probably lead to this satire gaining a more vicious edge, but it still stays within the gentle and upbeat tone of the show. However, whilst the political jokes are amusing in their way, the most powerful messages come at the end, as the cast instructs the audience to “listen to the children” and improve the world by “speaking out wherever you go”. With its celebration of immigrants, and messages about challenging discrimination and looking after the natural world, Dick Whittington and his Cat communicates a strongly progressive set of politics, but it is never preachy, with things staying broad enough to please audiences regardless of political persuasion.

Aside from the story and messages, there is plenty of silly jokes and broad farce which can appeal to all ages. Sarah and Uncle Vincent throw cream pies at Alderman Fitzwarren, Alice tries disguising herself as a man in order to go sailing, and the characters always remain a few steps behind the audience. There are several lines which adults have heard a few times before, but are still funny (“I don’t mind dying. I just don’t want to be there when it happens") We also her a few saucy innuendos around Dick’s name, but these are tame compared to the filth Julian Clary provides in the London Palladium pantos, and kids won't have a problem with them. As you may expect, plenty of jokes will cause more serious viewers to groan with embarrassment, but the sheer energy and enthusiasm makes this a pretty amusing production. 

In the grand panto tradition, the entertainment goes on for a bit beyond the inevitable happy ending. We are treated to an interactive cat song called "Cool Cat Chat", a sequence where Dame Sarah reads our birthday notices and thanks the band for their hard work, and a grand wedding for all three of the romantic couples. If things drag a bit at this point, the energetic concluding cover of Kool and the Gang's "Celebration" makes it all worthwhile. It is pointless to judge Panto by the standards of more traditional storytelling, but Dick Whittington and his Cat succeeds as pure entertainment. The lack of story can cause things to drag at times, but there are always impressive songs, amusing jokes and impressive effects just around the corner. It is certainly the escapist entertainment which the British public require right now. 

Verdict 

The Hackney Empire production of Dick Whittington and his Cat provides all the family friendly fun you would expect from a panto, with a charming and charismatic cast providing plenty of amusing comedy and catchy songs.  Even if the production could have done more with its Post-War setting, it still has interesting themes and ideas, and a magical atmosphere which make it satisfying for those who prefer more conventional forms of theatre. Dick Whittington and his Cat is definitely worth seeing, whether you are a keen pantomime geek or totally unfamiliar with the genre. 

Once On This Island at the Southwark Playhouse - Review

Who Made It?

Once On This Island was created in 1990 by the duo Lynn Ahrens (who wrote the book and lyrics) and Steven Flaherty (who composed the score). It is based on the novella 'My Love, My Love' by Rosa Guy, which was inspired by Hans Christian Andersen’s classic The Little Mermaid. This production has been produced and created by the British Theatre Academy, with Lee Proud directing it

Once On This Island is being performed at the Southwark Playhouse, a small theatre in South London. It officially opens tonight and runs until 31st August.

What’s It About?

Once On This Island tells the story of Ti Moune (played by Chrissie Bhima), an orphaned peasant girl living on an island in the French Antilles. The peasants there are often at the mercy of the unpredictable weather brought about by four gods – Asaka, the Mother of the Earth (played by Johnathan Chen), Agwe the God of Water (played by Kyle Birch), Ezrule the Goddess of Love (played by Aviva Tulley) , and Papa Ge, the God of Death (played by Martin Cush).  Meanwhile, the Island elite, the grand hommes, live a life of luxury in grand hotels and apartments. When Daniel Beauxhomme (played by Sam Tutty), son of the most powerful grand hommes, crashes his car during a thunderstorm unleashed by Agwe, Ti Moune rescues him and nurses him back to health. In order to ensure his survival, she offers her soul to the Papa Ge. When Daniel is returned to his home, Ti Moune soon sets off on a grand quest to find him again, aided by Asaka and Ezrulie. However, Daniel may not be able to return Ti Moune’s love, and she finds herself having to face the consequences of her deal with Papa Ge…

Review

(Note: This Review Contains Spoilers) 

The Southwark Playhouse production of Once On This Island is the third production of this musical to be staged in London. The first took place in 1994 at the Royalty Theatre (later replaced by the Peacock Theatre) and won an Oliver Award for Best New Musical. The second was staged at the Hackney Empire in 2009. This revival is the smallest of the three, taking place in a 300 seat auditorium with a cast consisting of performers from the British Theatre Academy. However, it still manages to be a creative and colourful production, making a convincing case that Once On This Island should be revived more often in the UK.. 

Once On This Island returned to prominence in late 2017 as the result of an innovative Broadway revival which won a Tony Award. The version was notable for its “in the round staging”, and the Southwark Playhouse emulates this to brilliant effect.  When you walk into the auditorium, you cross the front of the stage and pass the actors as you get to your seats. There are washing lines surrounding the auditorium and tyres and boxes everywhere. As in Broadway, this immersive staging makes it feel like you have been taken to a world far removed from the grey tedium of the city outside the theatre.  The staging of that version is not the only thing copied here. Asaka (played by the legendary Sharon D Clarke in both previous London versions) is now played by a heavyset actor in drag, and the action is implied to specifically take place in Haiti (the map on the floor has Haiti illuminated). The recycled costumes form the basis for the masks used by the four gods.

However, the production (designed by Simon Wells) has some unique visual flourishes of its own. Daniel's car is depicted in impressively minimalistic fashion, and a small stepladder is used in several creative ways. The climactic effect, involving a very special tree, feels truly grand and impressive in the confined space. The production also features some incredible lighting (provided by Andrew Exeter), with intense changes in colour which really convey the mood of each scene and smoky light that really make you feel the heat and humidity of the setting. Audiences rarely give much though to the lighting, so it’s great to see so much effort put into this aspect of the production. Whilst this version is not as grand as the one on Broadway (there are no live chickens or goats here!) it is still pretty impressive on its own terms.

The director and choreographer is Lee Proud, who worked as an assistant choreographer on the long running West End adaptation of Billy Eliot and has directed other Southwark Playhouse productions . He does a solid job in this production. The ensemble give excellent performances, with the dancing being timed excellently and the effects being performed smoothly. During Ezrule's song 'The Human Heart', the ensemble all carry small jars of lights, enhancing the emotional power of the number. Given that the musical is approximately 85% music and 10% narration, the songs are the main attraction, and need to be really impressive. Fortunately, the performances have a real electric energy that makes the musical compelling to watch. In this context, the confined space is a real advantage, as it ensures that the power of the songs remains consistent throughout. The perfrmances could have fallen flat on a larger stage, but here, every member of the audience gets to fully appreciate the power of the instrumentals and the energy of the performaners.

As the performance is being given by youth actors from the British Theatre Academy, it is unfair to compare them to veterans like Lea Salonga, Clive Rowe and Sharon D. Clarke, who have appeared in previous productions of Once On This Island. However, there are times when their lack of experience is distracting. During big songs like "Waiting For Life" and "Mama Will Provide" they sometimes get drowned out by the loud backing band, although they generally recover and finish impressively. In addition, the gods and Ti Moune’s adoptive parents are best portrayed by older actors, as they provide the gravitas necessary for these characters to have full impact. However, the performers are all likeable and charismatic, and three of the were especially impressive. As Ezrule, Aviva Tulley initially seems to be overshadowed by the other gods, but her subtle performance conveys wisdom and compassion . As the sinister Papa Ge - the most antagonistic of the gods - Martin Cush has the wiry intensity required for the role, but has a couple of comic and even tender moments which he handles well. However, the best performance is from Chrissie Bhima as Ti Moune - she dominates the story. Though most of the musical is sung, Ti Moune gets the majority of dialogue, and proves excellent at conveying emotion during the darker and more dramatic moments. These three have the talent and ability to be headlining major musicals in the near future.

For all the great aspects of this production, it also reveals the main flaw with Once On This Island, which have prevented it reaching the status of better known musicals. The story and characterisation are relatively simplistic, probably due to the short 85 minute runtime and large amount of songs. The most significant addition to The Little Mermaid template is the "love defeats prejudice" message, but it feels a bit underdeveloped. The "Sad Tale of the Beauxhommes" , which explains why the grand hommes are fated to always reject the peasants, is played for comedy as much as tragedy, which is an unwise idea given the bleak and unpleasant reality of this subject matter (The Grand Hommes are descended from a slaveowner who cursed them after being booted off the Island during the a Revolution) Daniel’s shameful heritage puts a disturbing new angle in his reluctance to follow his heart, but this isn't explored. In fact, the only song to really exploit the prejudice angle is "Gossip", where the grand hommes voice their suspicions about Ti Moune. It is one of the strongest songs, and more of the numbers should have examined the hostility she faces. 

The focus on style over substance also means that the characters are a bit flat. Ti Moune is a very fiesty and single minded character, but it's hard to warm to a lead willing to risk her life for a guy who doesn't really know her. Daniel is a relatively two-dimensional male lead, and his song "Some Girls" is one of the weaker numbers, but he's well meaning enough to ensure that he remains somewhat likeable despite his bad decisions (the fact that Sam Tutty never buttons his shirt helps as well) The Gods have probably the most interesting arc, as Ti Moune's tenacity inspires them to show kindness and compassion, but they are absent for long stretches, especially during the middle.

However, fairy tales are not meant to be sophisticated explorations of human growth and complexity. Productions such as Once On This Island should primarily be judged on their ability to provide emotion, and this version resoundingly succeeds in that regard. The production generally remains upbeat and positive, but the sadder and more serious aspects are handled carefully and honestly. In the best The Little Mermaid tradition, the ending is both heartbreaking and heartwarming, and the concluding song, "Why We Tell The Story" is truly joyous. As great as the other songs are, "Why We Tell the Story" is the real stand out, with its catchy call-and-response hook and its inspirational but also thought provoking lyrics. Like the best fairy tales, its story is simple but its messages are deep. For all the catchy music and colourful visuals, Once On This Island powerfully demonstrates that one tenacious girl can overturn an entire unfair system.

Verdict

The Southwark Playhouse production of Once On This Island is an excellent treat for those willing to look past the West End and watch something smaller and more creative, The production highlights some of the limitations of the source material, but it also showcases its strengths. The soundtrack is excellent, the staging is unique and creative the main messages are valuable and relevant, even if they could have been emphasised more. This production is a wonderful burst of escapism and  we will hopefully get to see more productions of Once On This Island in London in the future.