10 Things Jennifer Lee Needs to do as Disney Animation’s New Chief Creative Officer - Part One

After Disney Animation and Pixar’s disgraced chief creative officer John Lasseter announced his resignation last month, Disney were quick to confirm his replacements. Pete Docter, the director of Up and Inside Out, is replacing Lasseter at Pixar, whilst Frozen director Jennifer Lee is taking over as Chief Creative Officer at Disney Animation. Pete Docter is a safe and reliable choice, but Jennifer Lee is a much bigger risk, and her appointment is far more interesting. Coverage of the change in leadership has focused on the extent of Lasseter’s misconduct and the need to clean up the toxic culture at Disney and Pixar. In spite to this, Lee's appointment is a real cause for celebration, as it is incredibly significant to see a woman take charge of one of the oldest and most iconic animation studios in the world.

Although most of us are really pleased to see Lasseter go, (his behaviour has gone against everything Disney is meant to stand for), there is no denying that he did an excellent job as Disney Animation’s Chief Creative Officer. When he arrived in 2006, Disney was trying to recover from the failure of movies like Home on the Range and Chicken Little, but within a decade, they were providing megahits like Wreck-It-Ralph, Frozen, Zootropolis and Moana, reasserting their status as the most successful animation studio in the world. In many ways, Lee simply has to continue the formula which made Lasseter’s movies so successful, minus the bullying and sexual harassment which went on behind the scenes. However, she also has a golden opportunity to create change and make Disney Animation into a more diverse and innovative studio.

This article is so big that it will be separated into two parts. The first part will focus on the films themselves, and the approach Jennifer Lee should take to stories and characterisation as she seeks to maintain the winning blend of old and new which has defined Disney’s recent revival. The second part will focus on dealing with fans and critics, encouraging new talent, and most important of all, ensuring that Disney Animation moves on from the scandals which have undermined the reputation of the company.

(Note: This post contains spoilers for Frozen and Zootropolis...)

10 Things Jennifer Lee Needs to do as Chief Creative Officer - Part One

1. Focus on the Women

Lasseter’s resignation marks the third time Disney animation has lost an all-powerful and consistently successful creative head. When Walt Disney died in 1966 and Jeffrey Katzenberg was fired in 1994, Disney Animation entered major creative slumps which left the studio under threat of becoming irrelevant. Without Disney and Katzenberg, the studio lacked direction, and their attempts to move away from the classic fairy tale formula merely alienated their traditional audience. That said, Jennifer Lee has one key selling point which should ensure she does not repeat that same mistake – most of us expect her to take Disney Animation in a specific direction. It would be unwise (and possibly sexist) to imply that the first female Chief Creative Officer at Disney should focus entirely on female-led projects. However, Jennifer Lee is in a great position to encourage the development of new female characters and the emergence of new female writers and animators. In addition to Lee, women like Pamela Ribbon and Lauren MacMullan have played significant roles in Disney Animation’s recent hits, and it would be great if they were allowed to enjoy their moment in the spotlight. Emphasising female talent should give Disney Animation a clear vision and strategy under Lee, and this will make it easier to provide exciting and appealing movies…

Lee should also build on the iconic status of Disney’s existing library of female characters. Although adventure films with male leads (like Aladdin, The Lion King, Tarzan and Wreck-It Ralph) will always be an integral part of the Disney Animated canon, Disney’s princesses have usually been the most important (and profitable) characters provided by the studio. In fact, advertisements for Ralph Wrecks the Internet (Formerly Wreck It Ralph 2) have extensively promoted a scene where we get to meet all the Disney Princesses from Snow White to Moana. In 2012, the year the first Wreck-it Ralph movie was released, Disney Princess toys had generated $3 billion worldwide. Today, this revenue is probably far greater, and when you consider the sales for Frozen and Moana merchandise (Anna, Elsa and Moana are not officially listed as Disney Princesses, but they are considered part of this line-up by many fans) it becomes clear that Disney’s female leads are a total merchandising goldmine. For the most part, female protagonists are still a relative rarity in animated movies, but the Disney Princesses provide the most notable exception to this, as the most iconic and visible female leads in the genre. However, Disney Animation do not need to rely exclusively on one type of film. In addition to directing Frozen, Jennifer Lee co-wrote the recent Disney smash Zootropolis. This movie traded the historical fantasy of Disney Princess stories for a gritty modern setting, whilst keeping many of the tropes which have defined these movies in the past decade (Strong female lead, buddy adventure dynamic, self-referential humour, surprise villains). The Revival-era approach of alternating between Princess stories and more modern adventures has allowed Disney to provide their signature stories on a regular basis whilst preventing them from getting too tedious. With experience working on both types of tale, Jennifer Lee is well placed to continue balancing fairy tale tradition with stories which take Disney Animation in a variety of new directions, whilst maintaining the emphasis on strong female representation.

2. Start Trends, Don’t Follow Them

The failures of movies like The Black Cauldron and Treasure Planet illustrates the fact that Disney are usually  not very good at following contemporary trends. It takes years to create an animated film, and a style popular and relevant when production starts can become painfully dated by the time it is released. The best way of demonstrating this is by examining the films which Disney Animation were providing at the turn of the millennium. At the time, animation studios were trying to make their movies more ‘adult’ and appeal to the stereotypically masculine audience for action blockbusters. Although movies like Titan AE and The Road to Eldorado underwhelmed at the Box Office, Disney persevered regardless, and this led to the failures of Atlantis and Treasure Planet. It is probably not a coincidence that Disney’s most successful movie of the early 2000’s was Lilo and Stitch, which did not adhere to this overly masculine approach. This movie was boosted by a marketing campaign which inserted the destructive alien Stitch into several recent Disney hits, paying tribute to the iconic nature of movies such as Beauty and the Beast and Aladdin at a time when the studio seemed to be turning its back on these.

Eventually, Disney Animation’s decision to defy conventions and create a new distinctive style would lead to their resurgence. During the 2000’s, the dominance of the Shrek movies led to numerous attempts to copy their irreverent parodies of classic fairy tales. Initially, Disney wanted to emulate them with a film called Rapunzel Unbraided, a modern and silly take on the famous Brothers Grimm story Rapunzel. For this adaptation, a pair of ordinary Americans would be sucked into the fairy tale after a witch turns Rapunzel into a squirrel. However, Disney Animation eventually rejected this in favour of Tangled, a straightforward and reasonably faithful (though still comedic) adaptation of the well-known fairy tale. The success of Tangled proved that it was possible to maintain the classic Disney style in the more cynical modern age, and this inspired Disney Animation to establish the traditional but also subversive new approach which would define the films of their ‘Revival’ period.

Following Disney’s dominance in the During the 1990s, animation studios bent over backwards to copy the successful recipe of the Disney Renaissance films. Films like Ferngully: The Last Rainforest, Thumbelina, Quest for Camelot and Anastasia aimed to emulate the assertive female leads, colourful sidekicks, intimidating villains and catchy songs to varying degrees of success. Though they have acquired large fandoms in recent years (Anastasia has become a popular Broadway Musical, whilst Quest for Camelot gave us the iconic Classical Crossover song ‘The Prayer’) these films were widely criticised for their derivative nature. This contributed to fatigue with the Disney Renaissance formula, which led to their movies falling out of fashion. The films of Pixar and Dreamworks provided a clear alternative, but they soon became overwhelmed by imitators as well. However, there is a greater diversity today, with numerous rival studios having different styles. Some may specialise in specific genres (comedy for Illumination, adventure for Dreamworks) or specific forms of animation (the stop-motion of Laika) but they all ensure that studios have a unique selling point with less need to chase trends.  In this environment, it is necessary for Jennifer Lee to preserve a distinctive approach whilst also updating it enough to remain fresh and appealing.

3. Preserve Links to the Past

Disney have been most successful when drawing on their reputation for providing magical and escapist fairy tales. When he took over at Disney Animation, John Lasseter made no secret of the fact that he wanted to return the studio to its roots. He greenlit The Princess and the Frog, the first hand-drawn Disney film in half a decade and brought back several writers and animators who had left the studio or been forced out during the shift to CGI. In an interview in 2009, he claimed that it was “ridiculous” to dismiss 2D movies as old-fashioned and attributed their demise to “bad storytelling”, also promising that Disney would return to releasing traditionally animated films on a regular basis. Unfortunately, this did not occur and the experiment with traditional animation formally ended in 2013, when numerous animators were laid off and Disney president Bob Iger announced that the studio were no longer creating any new hand-drawn films. However, many of the Disney veterans who returned during this period, including Chris Buck, Ron Clements and John Musker, stayed to work on the CGI films. Collaborating with newer directors and screenwriters like Jennifer Lee, Don Hall and Chris Williams, they lent their experience to the creation of megahits like Frozen and Moana. This encouraged the combination of old storytelling and new ideas which allowed these films to be so popular.

Demands for hand-drawn animation have remained persistent, but this classic form of filmmaking has failed to make much of an impact in an era dominated by technological advances. After The Princess and the Frog struggled in a competitive Winter 2009 season dominated by motion-capture 3D epic Avatar, Disney Animation dropped the traditional 2D animated style (with the exception of 2011’s widely overlooked Winnie the Pooh reboot), with the classic Disney approach being applied to the stories rather than the techniques used to create them. However, traditional animation has not been discarded entirely, as the 2012 short Paperman received acclaim for its use of new technology to place 2D faces and items into a 3D environment, whilst Moana used traditional drawing to depict Maui’s living tattoo Mini Maui. Today, traditional animation is widely seen as being too old fashioned, with only smaller and more independent studios such as Cartoon Saloon and GKIDS continuing to use it. However, the acclaim they have earned has firmly proved that 2D films are now synonymous with high quality and have entirely lost their reputation for mediocrity. If Jennifer Lee wants to take a risk and increase Disney’s artistic credibility, then providing one of two traditional animations to accompany the now-standard CGI movies would be a good idea.

4. Take Risks

The movie which allowed Jennifer Lee to take power at Disney Animation after just seven years with the studio was undoubtedly Frozen, which is still the most successful Disney Animation film of all time. Frozen became such a unique hit because it unafraid to take risks and subvert the traditional template, with the traditional romantic certainties of Disney Princess films being challenged and defied as Anna and Elsa’s relationship takes centre stage. Although some Disney films (such as The Little Mermaid and Enchanted) had pointed out the problems with 'True Loves Kiss' before, Frozen was the first to clearly demonstrate that the bond between sisters is more powerful and important. One of the most controversial twists in Frozen – and one of the twists most central to this message - is the reveal that the seemingly friendly and supportive Prince Hans has actually been a manipulative scheming villain for the whole movie. Regardless of your opinions on the character and the way the twist is handled (It is probably better in concept than in practise), you must admire Jennifer Lee for taking such a provocative approach. ‘Prince Charming’ turning out to be a horrible person or outright villain is hardly new in the fairy tale genre (see Into the Woods and the Shrek sequels), but as those well-known examples are primarily comedic, it is rare to see this trope played for both drama and shock value. Jennifer Lee did not just dismantle the image of a nauseatingly perfect Prince Charming who will solve all your problems, she actively dynamited it, and this is the sort of bold attitude which should be encouraged from a studio which has become synonymous with overly safe and sanitised fairy tales. Frozen’s bold and subversive approach made it an iconic hit, but Jennifer Lee cannot continue recycling its winning formula indefinitely. This is most apparent when you compare the acclaim the film received to the considerably cooler reception given to the new Broadway version, written (but not directed) by Lee. With the exception of some structural and cosmetic changes, the Broadway adaptation of Frozen stays close to the template of the film, but a narrative which was so bold and interesting in 2013 lost a lot of its spontaneity after almost half a decade. We have enjoyed Anna and Elsa’s initial adventures enough times – now Lee needs to venture into unknown territory, whether by giving Anna and Elsa new stories or creating new heroes for audiences of all ages.

5. Provide Original Films

With Ralph Wrecks the Internet and Frozen 2, Disney Animation are trying to turn their recent hits into full franchises. However, focusing too much on a handful of iconic brands would be an unwise approach. Pixar’s decline since 2010 has been heavily tied to their overreliance on sequels. Most of these movies were very good (with the conspicuous exception of Cars 2), but Pixar were previously known for their bold and innovative approach, so films set in a familiar world with familiar characters inevitably seem like a downgrade most of the time. This has also affected Disney Animation as well. Disney Animation fans are anxious about sequels, in no small part due to the widely criticised direct to video sequels to Disney Animation classics created by DisneyToon studios between the mid 1990s to the mid 2000s (This group of movies ranges from Bambi 2 to Brother Bear 2). Disney Animation themselves have not done many sequels, but Ralph Wrecks the Internet and Frozen 2 mark the first time the studio has done two sequels in consecutive years, and here have also been rumours of a sequel to Zootropolis. The occasional sequel is not a problem, but greenlighting several in quick succession whilst delaying and eventually cancelling the original animated project Gigantic has sent the message that Disney Animation are actively prioritising sequels at the expense of new projects. This approach is unnecessary, as Disney franchises can continue outside of film, with Big Hero 6 and Tangled being turned into perfectly serviceable TV series. Therefore, Jennifer Lee should be free to focus on greenlighting new work. In addition, she should consider resurrecting discarded projects – After all, the decision to take long-gestating fairy tale films out of development hell led to Tangled and Frozen…

The pivot towards sequels may have been encouraged by the sense that Disney has already adapted the majority of children’s stories. However, there are numerous fairy tales, myths and legends all over the world which would be ideal for the studio, including several with strong and compelling female leads. The Norwegian fairy tale East of the Sun and West of the Moon gender flips the archetypal fairy tale plot by depicting a girl going on an adventure to rescue a prince from a villainous troll. The Six Swans features a tenacious heroine who overcomes a variety of obstacles to free her brothers from a curse. The Icelandic fairy tale The Horse Gullfaxi and the Sword Gunnfoder subverts one of the most infamous fairy tale tropes by featuring a loving and heroic stepmother as one of the protagonists. These three stories alone could provide Disney Animation with at least 5 further years of success and popularity, and this is before we consider thousands of other fairy tales which have been told for centuries. There is no shortage of material to turn into hit films, and Jennifer Lee needs to be open to greenlighting new films and new ideas to take advantage of this. In the statement she made when her new role was confirmed, Lee stated that “telling original stories” was one of her primary aims. Hopefully, these stories will build on Disney Animation’s past hits, allowing the studio to evolve and provide entertainment which can resonate with today’s audiences whilst also inspiring and enchanting future generations.

(Part Two of this Article Will Follow Soon...)

Tangled the Series – First Season Reviews and Second Season Previews

(Note: This article contains plenty of spoilers for Tangled: The Series)

Last year, Tangled: The Series, a follow-up to Disney’s 2010 animated hit Tangled, premièred on the Disney Channel, allowing Rapunzel, the lost princess of Corona, and former bandit Eugene Fitzherbert (previously known as Flynn Rider) to go on further adventures. The series picks up where the film left off, as Rapunzel and Eugene adjust to life in Corona, and Rapunzel’s new handmaiden Cassandra becomes a feisty new sidekick for the princess. However, things get complicated when Rapunzel comes across magical rocks which cause her long and magical blond hair (cut off at the end of Tangled) to return. The first season ended with the rocks destroying the walls of Corona, and King Frederic allowing Rapunzel and her friends to leave the kingdom in order to find out more about these rocks and their mysterious powers. The second series will continue from here, with Rapunzel getting to explore the world outside of Corona.

The ratings for the first series, whilst not spectacular, remained reasonably consistent in spite of some horrific scheduling. After six episodes, the series went on a three-month hiatus, and then moved to a Sunday prime time slot (putting it in direct competition with the iconic Game of Thrones). For the last few episodes, the show was shifted from Sunday evenings to Saturday mornings, which made it difficult for the shows older fanbase to access it. In spite of this, Tangled: The Series has maintained a loyal and highly enthusiastic audience, gaining three nominations at the Annie Awards and winning a Daytime Emmy. As a result, Tangled: The Series has been renewed for a second season, but it has now been renamed Rapunzel’s Tangled Adventure (more on this later) and will now air on Sunday mornings, starting from this weekend. The series will begin with an hour-long episode called ‘Beyond the Corona Walls’, which will feature brand new songs and start an epic new adventure for Rapunzel.

The New Title

For its second series, the title of Tangled: The Series been changed to Rapunzel's Tangled Adventure. It’s a bit jarring to see the title get changed, but the new name still makes it clear that this show centres on Rapunzel and is part of the Tangled universe. There are both advantages and disadvantages with this new title. It makes it clear that Rapunzel is the main character and her coming-of-age is the central focus of the show. It also implies that the adventure elements of the series (which have always been its strongest aspects) will take centre stage, allowing for a more and consistent tone. However, the new title also seems juvenile and generic, with an uncomfortably close resemblance to the title of the widely criticised Frozen Christmas special Olaf's Frozen Adventure. There is also a risk that an excessive focus on Rapunzel could distract from the other leads. When Tangled gained its title (it had initially been called Rapunzel before being controversially renamed late in production), the filmmakers claimed this was because Eugene was as much of a protagonist as Rapunzel. The idea that the Tangled brand is bigger than a single princess has also informed Tangled: The Series to an extent. During the first season, there were numerous episodes centred on Eugene or Cassandra, with Rapunzel playing a secondary role (there were even episodes where animal sidekicks Pascal and Maximus were the leads). Rapunzel is an interesting character, but so are her friends, so putting them in the background might be a problem. Nonetheless, the new title will not be too much of a hindrance if the stories remain interesting and the characters remain likeable and engaging. Regardless of the title, a series centred on Rapunzel and Eugene will hopefully remain an entertaining show.

A Quick Review

Tangled: The Series is generally great entertainment for fans of the original movie, and even those with little interest in that film will find plenty of merit in it. Disney series are aimed at a younger and narrower audience than Disney films, so they tend to be lighter, softer and less sophisticated than the original movie. However, the first season of Tangled: The Series has plenty of darker and more mature moments, which elevate it above conventional Disney Channel fare. Rapunzel’s experiences being imprisoned in a tower for 18 years have clearly had a significant effect on her psychology, and her two signature traits – her obsession with exploring and need to be liked – can be closely linked to her awful childhood. In two episodes, Rapunzel has to revisit the tower, and it is clear that this is quite traumatic for her. This dark undercurrent does not overshadow the character’s upbeat and fun personality, but it adds an unsettling layer which is more likely to be understood by adults. In addition, there is some welcome emphasis on the pressures and responsibilities Rapunzel faces as a royal, ensuring that the show has more depth than the traditional princess wish-fulfilment fantasy.

As well as having appealing characters and interesting storylines, Tangled: The Series also contains plenty of genuinely impressive animation. The 2D storybook-inspired style may seem fairly primitive compared to the detailed CGI animation of the original film, but the characters remain as expressive as ever, and the bright colours make the series feel like a recognisable part of the Tangled universe. The action sequences are fluid and often impressive, although there are some distracting uses of blocky CGI more suited to an animated series from 1997 than one from 2017. In addition to the lively animated style, there have been some more unusual touches with have enhanced the fairy tale identity of the show. One episode featured a story being told with illustrations from a pop-up book, (which were filmed in stop-motion), and concluded with a scene where the shadows of Cassandra and the villain-of-the-week were projected on the sides of a hot-air balloon as they duelled inside. Meanwhile, the final episode featured a flashback sequence told through mosaics. The interesting storylines, themes and visuals confirm that Tangled: The Series is willing to be creative and take risks, and this ensures that older audiences can enjoy it as much as the children.

However, Tangled: The Series has plenty of flaws, many of which stem from the fact that it tends to alternate between adventure and comedy without combining the two as well as the original film. The central plot arc, involving the growth of the mysterious black rocks, was neglected for long stretches in favour of sitcom antics. Furthermore, the portrayal of the lead characters could be somewhat erratic, with comedic episodes often exaggerating the worst aspects of Rapunzel, Eugene and Cassandra in order to gain cheap laughs. However, it is worth enduring the filler to get to the interesting material. Overall, Tangled: The Series is a pretty solid continuation of the Tangled franchise, and it seems like it will still be worth watching when it becomes Rapunzel's Tangled Adventure.

The Cast

It goes without saying that Rapunzel and Eugene will return, with Mandy Moore and Zachary Levi continuing to bring Tangled’s core duo to life. They are a lively and likeable pair of protagonists and it is fun to see their journey towards the inevitable wedding. The pub thugs at the Snuggly Duckling will accompany them on their adventures, literally putting their tavern on wheels and taking it on their adventures with them. Cute animal sidekicks Pascal and Maximus are also there to provide Rapunzel and Eugene with extra support. The fact that are protagonists are moving away from Corona means that the supporting characters from the first season will mostly be absent from this one. It is doubtful that the quirky denizens of Corona will return in any major capacity, as the mysterious blacksmith Xavier (voiced by Adewale Akinnuoye-Agbaje) is the only one with a real role in the larger storylines. Rapunzel’s parents will also have a significantly reduced role, but Rapunzel’s growing maturity could lead to interesting changes in her relationship with them. Last season, King Fredric (voiced by Clancy Brown) was generally defined by the tiresome ‘overprotective father’ tropes, and his stifling attempts at keeping Rapunzel safe could get pretty annoying. Hopefully, he will be allowed to become a more unique and likeable character, and it would also be great if the underused Queen Ariana (Voiced by Julie Bowen) gained more opportunities to come into her own.

However, for all of the characters who may be absent, the three strongest additions to the Tangled cast will definitely be back for more adventures. Cassandra (Voiced by Eden Espinosa) is going to get more opportunities to fight for Rapunzel and friends after leading Corona into battle at the end of the last season. Eugene’s childhood friend Lance Strongbow (Voiced by James Monroe Iglehart) has joined the pub thugs, which will probably allow him a larger role in the series. Finally, fan-favourite villain Varian (Voiced by Jeremy Jordan) will be back, still looking for revenge on Rapunzel and a means to free his father Quirin from the crystal prison created by the black magic of the rocks. It will be fun to see how these three characters evolve in this season.

A variety of new characters will be added in this series, with many of them being female. Two of the most interesting are Madam Carnadist, a mysterious figure seen in a teaser at the end of last season, and Stalyan, Eugene’s ex-fiancée. Carnadist is voiced by stage and screen veteran Carol Kane, whilst Stalyan is voiced by Yvonne Strahovski. Strahowski’s role is especially significant for fans of the action comedy series Chuck, as she starred opposite Zachary Levi as the female lead. Both characters seem like they will cause significant trouble for Rapunzel and friends, but they will hopefully be given the depth and nuance needed to make them appealing and memorable.

The up and coming Lil Rel Howery will star as a character called Goodberry, and Britt Robertson is voicing a new teenage character called Vex. B-Movie icon Bruce Campbell has been cast as the ‘bizarrely charming’ King Edmund, whilst former James Bond Timothy Dalton (another actor who had a central role in Chuck) will voice an adventurer and inventor called Demanitus. Both have worked with Pixar in the past, but it’s pretty surprising to see them appear in a Disney channel series, and their presence will certainly entertain any fathers who happen to be watching. Meanwhile, Kathy Mixon has been cast as an alluring character called Seraphina and Kathy Namijy will voice an eccentric forest dweller. The most recent actor confirmed to be joining the cast is Lance Henriksen, who will apparently be voicing the Baron, a hitherto unseen crime boss whose minions have created trouble for Eugene and Lance in previous episodes. It is likely that all these characters are going to be recurring presences, and we could see further celebrities make one-off appearances throughout the season. The first season featured one-episode guest appearances from the likes of Danny Trejo, Bradley Whitford, Jane Krakowski and Ellen Greene, and more notable actors and actresses could follow in their footsteps.

Tangled: The Series Soundtrack – A Review

Tangled: The Series is not a full-on musical series in the vein of something like Glee or Crazy Ex-Girlfriend, but it often makes use of music, with each of the three ‘tentpole’ episodes containing two or three songs. Past animated series based on Disney films, such as The Little Mermaid and Hercules, also had semi-musical formats (although they featured more songs than Tangled: The Series), but Tangled: The Series stands out because it is the first Disney Channel series to feature new songs from Alan Menken, who composed the music for Disney classics like Beauty and the Beast and Aladdin. Menken wrote the songs for Tangled with Glenn Slater, and the duo returned to create ten new songs (two of which are reprises). The three ‘tentpole episodes’ of Tangled: The Series are pilot episode Tangled: Before Ever After, winter special Queen for a Day and season finale Secret of the Sundrop. All three feature songs which range from enjoyable diversions to genuinely interesting anthems worthy of comparison to the music from the original film – a pretty impressive feat given the reduced standards of a Disney Channel series.

The songs mostly fit an upbeat guitar-pop style reminiscent of ‘When Will My Life Begin’ from the original Tangled. Although this relative sameness narrows the audience (if you dislike acts such as Colbie Caillat, or hate the early songs of Taylor Swift, this soundtrack is not for you), it generally suits the sunny fairy tale approach of Tangled: The Series, even if the use of electric guitars in ‘Life After Happily Ever After’ and ‘I’ve Got This’ feels a bit jarring. However, it’s no coincidence that the best songs in the soundtrack are the ones which do something a little different. The translation of the songs from screen to album is somewhat inconsistent, as some songs keep the dialogue surrounding them (‘I’ve Got This’ and ‘Listen Up’) but in for other numbers (‘Wind in My Hair (reprise)’ and ‘Ready as I’ll Ever Be) all the extra dialogue gets cut. It’s no surprise to learn that former popstar Mandy Moore, and Broadway regulars Zachary Levi, Eden Espinosa and Jeremy Jordan, all give excellent performances, as they really do a great job bringing their characters to life. Clancy Brown does not have their technical ability, but his smooth and deep voice is always a pleasure to listen to.

The overriding theme of Tangled: The Series is Rapunzels’ struggle to balance the pressures and responsibilities of royal life with her own desire to see the world and go on adventures, and the songs in Tangled: Before Ever After, set this conflict up pretty strongly. The opening song, ‘Life After Happily Ever After’ does a solid job establishing what life is like in Corona’s royal palace for Rapunzel, Eugene and King Frederic. It also introduces the reliably compelling ‘after ever after’ theme of the series, as Rapunzel realises that struggles to cope with the pressures and responsibilities of life as a princess. The song conveys the rush of Rapunzel’s royal life very well, and the downbeat ending does a good job of highlighting Rapunzel’s anxieties. ‘Wind in My Hair’ is the second song from Tangled: Before Ever After, but it appears first on the album, most likely because it functions as the theme song for the entire Tangled series. As a lively pop anthem, it works excellently in this context, as it highlights Rapunzel’s enthusiasm and her desire to go on adventures, which is the overriding theme of the series. The song also gets a short reprise at the end of the episode, further cementing its status as the signature tune of the series.

Queen For A Day shows Rapunzel being put in temporary charge of the kingdom while her parents are away. Whilst managing life in Corona, she sings ‘I've Got This’, which adds old-fashioned folkier elements to the Tangled sound. It’s another energetic tune, but it features Rapunzel realising she is out of her depth as ruler of Corona, as every decision she makes leads to further problems. It is followed by ‘Let Me Make You Proud’, the signature song for new character Varian. This troubled young alchemist seeks to make his father Qurin proud at all costs, and his single-mindedness begins to turn into fanaticism throughout the episode. As Varian heads to Corona in a doomed attempt to seek help for Qurin, he sings this soaring power ballad, which is full of energy and passion, and easily the best song on this soundtrack. The short, downbeat reprise at the end of the episode sets up Varian’s descent into villainy in powerful fashion, as his pain and dismay at losing Quirin turns to anger. The closing lines are delivered in an aggressive fury which is genuinely quite menacing. Overall, Varian is probably the best Disney villain since Mother Gothel from the original Tangled, and the two versions of ‘Let Me Make You Proud’ demonstrate why he is such an effective character.

Although the vast majority of music in Tangled: The Series is confined to the tentpole specials, two songs came from other episodes. Pascals Story features a catchy new song called ‘Friendship Song’, sung by 15 year-old The Voice semi-finalist Brennley Brown. This tune was only heard for about 30 seconds in that episode, and is probably better in that smaller dose, as Brown’s energetic but immature voice and the relentlessly upbeat arrangement make the song feel rather cloying when extended to four times that length. Meanwhile, ‘Listen Up’ comes from Halloween special The Wrath of Ruthless Ruth. The song is performed by the titular ghost, who haunts the Snuggly Duckling tavern until she gets to fulfil her dream of singing in public. It represents a bit of a departure from the Tangled: The Series style, with a ‘haunted house’ atmosphere which is pleasingly spooky but never remotely scary – essentially, it’s what you would expect from a Halloween special for a Disney Channel series, but it’s still fun to listen to.

The two songs from season finale Secret of the Sundrop come late in the album, as they effectively feel like eleven o'clock songs for the first season as a whole. ‘Set Yourself Free’ is one of the weaker numbers on the album, as it sounds a little too much like a slightly more sombre version of ‘Wind in My Hair’. However, Mandy Moore does a good job of conveying Rapunzel’s need to keep her spirits up and her desire to escape the confines of her castle. The second song in the special, ‘Ready as I’ll Ever Be’ is far better. As Varian, Cassandra and Rapunzel prepare for the final battle, this song provides a warlike, invigorating prelude to the climax, demonstrating how strong the series can be when dealing with big themes and providing epic adventures.

The album concludes with ‘More of Me’, an end credits song performed by Natasha Bedingfield, who had big hits in the mid 2000’s with songs like ‘These Words’, ‘Pocketful of Sunshine’ and ‘Unwritten’. Her generally sunny and optimistic style is an excellent fit for the Tangled universe, but ‘More of Me’ also has a more modern feel which separates it from the rest of the songs on this soundtrack. It probably would have been a decent hit if Natasha had released it as a single at the peak of her career.

Overall, the Tangled: The Series soundtrack is a decent little album for fans of Tangled: The Series. When all the songs are put together, it becomes clear that their lively guitar-based approach can get a little annoying when overused. However, like the larger series, this soundtrack is colourful and entertaining, and there are enough genuinely interesting songs and moments to give it a much-needed edge.

How Will John Lasseter’s Downfall Affect Disney?

In the past year, almost every walk of life has been affected by revelations of sexual misconduct and exploitation, with numerous prominent figures having been accused of a wide range of awful actions. One of the most devastating scandals to occur during this time has been the set of revelations about the sordid and sleazy behaviour of John Lasseter, the chief creative officer at Walt Disney Animation Studios (AKA Disney Animation) and Pixar. There is no underestimating Lasseter’s impact on animation (and American cinema as a whole) since he co-founded Pixar in 1984, becoming its chief creative officer. The studio have become one of the most acclaimed and successful creative forces in Hollywood, with eight of their films winning Best Animated Film at the Oscars and two (Up and Toy Story 3) even competing in the Best Film category. In 2006, Lasseter also become chief creative officer at Disney Animation and spearheaded the 'Disney Revival’ by producing films like Frozen and Moana. However, this glittering career has ended in total disgrace, as the damage caused by Lasseter’s misbehaviour and the outrage it generated meant that dismissing him was the only acceptable option.

John Lasseter’s downfall has significantly tarnished the Disney brand, and the company will need to change their internal culture without disrupting the constant stream of animated classics which have made them so powerful and influential. Earlier today, Disney announced Lasseter’s two replacements. Pete Docter, the director of Up and Inside Out, will become Pixar’s chief creative officer, whilst Jennifer Lee, the writer and co-director of Frozen, will take over at Disney. Both are under enormous pressure to continue providing hits whilst allowing their studios to move forward in new directions…

The Lasseter Scandal – A Brief Outline

During the autumn of 2017, the #MeToo campaign led to the exposure of predators and perverts who had occupied powerful positions in almost every major industry. Abuses of power at other animation studios had already came to light, so it was only a matter of time before Disney became implicated in a major sexual harassment scandal as well. Lasseter’s misconduct was revealed towards the end of November, after a memo he circulated to Disney Animation and Pixar employees was leaked to the press. In this document, Lasseter admitted to a range of ‘missteps’, including ‘unwanted hugs’, and announced he was taking a six-month sabbatical to reflect on his conduct. As soon as the statement was published, insiders quickly came forward with stories of Lasseter groping female staff members during meetings and parties. These were followed by revelations that he had committed further invasions of privacy, including forcibly kissing female subordinates and harassing models who worked for the Disney Fairies product line. In addition, Lasseter was revealed to be an alcoholic, drinking heavily during a variety of important events. He was also accused of mistreating critics and perceived rivals at Disney and Pixar, and even falsely taking credit for the ideas of others.

In retrospect, it was probably inevitable that Lasseter, who was widely known for his uninhibited personality (he was once filmed hugging 48 people in a single day) would frequently cross the line into inappropriate and offensive behaviour. However, the revelations were still devastating for Disney Animation and Pixar’s numerous fans, as the seemingly affable and enthusiastic face of these iconic studios was exposed as a lecherous bully. The revelations also reflected badly on Disney as a whole, as it was revealed that they had hired ‘minders’ to keep Lasseter in check during events but had not taken any real action to stop him. Furthermore, a ‘Day of Listening’ aimed at addressing discontent with Lasseter’s behaviour at Pixar had been held in 2011, but failed to generate any change.

During the six months after Lasseter announced his sabbatical, Disney kept discussion of the case to a minimum, possibly in the hope that the scandal would die down. However, it proved impossible to suppress the bad publicity affecting the company. In May, as concern grew that other wrongdoers exposed around the same time as Lasseter would return to their former power, an article from Wall Street Journal implied that Lasseter could regain his status as creative head, albeit with reduced managerial powers. This misguided proposal attracted considerable condemnation, and protests against Lasseter’s actions gained new potency. A #LoseLasseter hashtag was shared across social media, with numerous workers at Disney promoting petitions opposing his return. These probably convinced the heads of Disney that it was no longer possible for Lasseter to stay at the studio. Earlier this month, Disney announced that Lasseter would leave Disney Animation and Pixar for good on December 31^st 2018, spending the period until then demoted to a consulting role. Bob Iger, president of the Walt Disney Company, issued a sanitised statement in which he praised Lasseter’s success at Pixar and Disney Animation, and expressed optimism about the future of the two studios. Lasseter also issued a statement where he claimed that the end of 2018 was the right time to leave and “begin focusing on new creative challenges”. In true Disney fashion, the upbeat statements concealed an unpleasant and seedy reality, but the unspoken implications were clear – the outrage at Lasseter’s misconduct had led to him going into an early retirement.

It goes without saying that there are numerous problems with the final settlement. Lasseter’s ‘Creative Consultant’ role is essentially the proposed ‘creative lead’ role used as a temporary, stop-gap measure. The six-month transition period is too long, and there is little clarity over how he will contribute to the company during this time (he will not even have an office at their studios). The highlights the fact that Disney’s response has been focused on trying to find compromises in a situation where this brand of diplomacy feels extremely inadequate. One explanation for this is Iger’s fear that a tougher response could cause Lasseter to become a major rival to Disney. This situation is not without precedent (Jeffrey Katzenberg, Disney’s Head of Production during their early 1990’s ‘Renaissance’, was fired in 1994 and responded by establishing the rival Dreamworks studio) but it feels insensitive to promote the prospect that Lasseter will find a way to remain a major power in the animation industry, given that so many people are disgusted by his conduct. Disney’s failure to deal quickly or decisively with Lasseter has made the company seem weak and uncaring in the face of the demands for change generated by #MeToo and the subsequent #TimesUp movement.  Nonetheless, the fact that he has finally been held to account for his awful behaviour is proof that the #MeToo movement can succeed in forcing seismic change.

Disney's Future.                           

Whilst Lasseter’s dismissal is a notable victory for the employees at Disney and the battle for a more diverse and progressive studio, there will be numerous questions over the extent to which a change in leadership will affect the quality of Disney Animation and Pixar’s output. The Incredibles 2 was the first Disney/Pixar film to still be in production when Lasseter went on leave, but the generally positive critical reception indicates that it has survived the behind-the-scenes turmoil. However, there are three more Disney/Pixar sequels deep in production. Wreck It Ralph 2 (AKA Ralph Breaks the Internet), Toy Story 4 and Frozen 2 are under extra pressure to succeed, as their critical and commercial reception will indicate how well Disney Animation and Pixar have adjusted to the changes caused by the scandal. Disney Animation have often struggled without a strong leader, with the death of Walt Disney and the firing of Jeffrey Katzenberg leading to long wilderness periods that left Disney’s animation wing in seriously poor health. If this situation repeats itself again, it could lead to serious questions about their long-term future.

This article has often conflated Disney Animation and Pixar due to Lasseter’s leading role at both studios, but they have very different creative environments, with different key figures. Although Lasseter has been in charge at Pixar for 34 years (compared to his 12 years as Disney Animation’s chief creative officer), they will probably be less affected by his departure, due to the more experienced ‘brain trust’ firmly established there. However, Disney Animation have a far younger and less experienced set of creatives, and this could easily be a major problem. The difference in experience at both studios is made clear when you look at the careers of their new creative chiefs. Pete Docter has been working with Pixar for almost 30 years, and as Vice President of Creativity at Pixar, effectively became Lasseter’s second-in-command there. With his reputation for writing and directing some of Pixar’s best films, and a collaborative leadership style which has made him popular in the animation community, Docter was probably the most obvious choice to take over at Pixar. In contrast, Jennifer Lee has only been part of Disney Animation’s writing team since 2011, and her inexperience has generated both advantages and disadvantages. Frozen became such a successful film because it took chances and subverted traditional Disney tropes in spectacular fashion whilst still providing colourful family-friendly entertainment full of catchy songs. A more experienced director would have provided a safer, more conventional film which would not have captured the imagination of the public in the same way. However, there were problems with Frozen’s story and characterisation, which were placed into sharp focus by the sheer inescapable popularity of the movie. Jennifer Lee is still at a relatively early stage in her career, and needs training and assistance in order to transition from a raw talent to a figure as acclaimed and respected as Pixar’s veteran directors (It is worth noting that Lee’s co-director on Frozen was Chris Buck, who has been with Disney Animation since 1978). Therefore, giving her such an important leadership role so quickly is a tremendous risk.

The presence of a new creative head will hopefully provide some benefits. During the 2010’s, Pixar have often been criticised for their over-reliance on sequels, with Cars 2 receiving a particularly hostile reception. Disney Animation have also been struggling to provide new and original movies, with Gigantic, a new take on Jack and the Beanstalk, getting cancelled in favour of sequels to Wreck It-Ralph and Frozen. There is also a risk that the winning formula used in most recent Disney Animation and Pixar hits is wearing thin. Most of the movies produced under Lasseter’s leadership at both studios have featured stories about an odd couple going on an incredible journey, large helpings of self-deprecating humour, and surprise villains whose true nature is only revealed near the end of the film (the idea of a seemingly friendly and likeable character turning out to be a horrible person feels a lot more uncomfortable in hindsight, for obvious reasons). Although their movies have still generally ranged from being very good to being excellent, there has definitely been some stagnation at both Disney Animation and Pixar in recent years, reminiscent of the overly prosaic approach which caused Disney Animation to fall from grace during the late 1990s. A new creative head could allow the studios to become more innovative and exciting whilst avoiding the failures which defined their previous eras of transition.

Practise What You Preach

Lasseter’s misdemeanours led to increased focus on the diversity issues which have affected Pixar in particular. The studio has been known as a ‘Boys Club’, with their movies excessively focusing on the journeys of male protagonists. Recently, Pixar have sought to move away from its excessively masculine image. Inside Out centred on two female leads, whilst Finding Dory and The Incredibles 2 both upgraded the most prominent female characters from the original movies into the primary protagonists. However, the greater levels of female representation in the films has not done much to change the problematic culture behind the scenes. In 2008, Brenda Chapman was hired to direct Brave, the first Pixar film with a female protagonist. However, she was dismissed from the project in 2011 and replaced with a male director. In a widely circulated article, Chapman complained about the way in which she had continually been ignored and dismissed by the Pixar elite. Unfortunately, the discontent generated by this episode did not result in major change. Rashida Jones and her husband Will McCormick were attached to write Toy Story 4, but withdrew from the project. After rumours that Jones had been harassed by Lasseter, she confirmed that her decision to quit the project was based on frustration with the fact that Pixar did not give women or minority writers an “equal creative voice”. This departure only confirmed the institutional inequalities at Disney and Pixar, and Lasseter’s disrespect towards his female employees is only the most extreme manifestation of this regressive culture.

(Note: Since Rashida Jones quit Toy Story 4, Pixar have made steps in the right direction, hiring Stephany Folsom to replace her on that project and appointing Dommee Shi– director of the acclaimed short Bao – to contribute to the story team set up following Lasseter’s departure. They still have a long way to go, but these changes are highly encouraging)

The need to provide a feminist environment is especially important for Disney Animation, due to their focus on female-orientated output. The films of the Disney Revival era, such The Princess and the Frog, Tangled, Frozen, Zootropolis and Moana, have ensured that Disney Animation’s female protagonists are more popular and important than ever. Characters like Tiana, Rapunzel, Anna, Elsa and Moana enjoy an appeal that goes far beyond the traditional ‘young girl’ demographic associated with Disney Princesses. Men and women of all ages have become increasingly open in expressing their love for Disney Animation’s recent movies, and the protagonists of these have become icons amongst those seeking to fight discrimination and exclusion. Therefore, Disney are under considerable pressure to set a positive example for this expanding audience. This is why the attempts to downplay or excuse Lasseter’s actions by comparing him to more extreme offenders are so misguided, as dismissing workplace harassment demonstrates a complete disrespect towards those affected by it (many of the women mistreated by Lasseter quit working for Disney as a result of his actions), and implies that they should remain subservient. Before they can provide positive, forward-thinking movies, Disney Animation need to provide a positive, forward-thinking workplace for their employees. Therefore, Jennifer Lee is the ideal choice to replace Lasseter. Animation is still dominated by males, so giving Jennifer Lee the opportunity to take over will allow them to lead the way in terms of female representation.

Conclusion

It goes without saying that John Lasseter’s misconduct, and Disney’s failure to deal with it properly, have done considerable damage to the studio and undermined its family-friendly reputation. However, now that he has finally left, we need to start looking to the future, and it is worth being highly optimistic about the evolution of Disney Animation and Pixar. The two studios have never just been about one man, and the numerous talented creatives there should be able to flourish in a more positive and stable environment, without the tension and animosity generated by Lasseter.  I am hopeful that Disney can go on providing appealing and inspirational animated films, and the new generation of writers and directors headed by Docter and Lee will be able to create a new range of animated classics which can be enjoyed for decades to come. 

Frozen: The Musical - Articles and Links (Part Two)

Four weeks ago, Frozen: The Musical, the stage adaptation of Disney's iconic 2013 film Frozen, made its Broadway debut, as previews commenced at the iconic (and newly-renovated) St. James' Theatre. This week, the much-loved story of Anna and Elsa, the royal sisters of Arendelle (played by Patti Murin and Caissie Levy), celebrates its official opening night on Broadway. This represents the culmination of a long and eventful journey- the first readings of the script took place two years ago, and there were numerous changes to the cast and crew before Frozen: The Musical was ready to be shown to theatregoers. There even have been a few substantial changes over the preview period- Elsa has recently been given an impressive new costume to wear during the climax of the production. However, it seems like all the hard work will pay off. Frozen fans have generally been full of praise for the musical, and the preview performances have already earned large amounts of money. It seems like Frozen: The Musical will be another big hit for Disney Theatrical, emulating the success previously enjoyed by their adaptations of Beauty and the Beast, The Lion King and Aladdin.

When the preview period began, this blog provided a post highlighting a variety of fascinating articles about Frozen: The Musical. Here, we will showcase 33 more articles about this new Broadway spectacular, including interviews with the cast and crew, information about the costumes and choreography, and exclusive revelations about the new songs created especially for this production...

(Note: This post contains spoilers, as it assumes that most of us are familiar with the story of Frozen by now. If you aren't, be careful...)

Behind the Scenes

With an estimated budget of up to $50 million, it took plenty of effort to make Frozen: The Musical into a unique and impressive spectacle. The costumes, sets, choreography and music have been edited and refined extensively during the production process, and these articles show that the team behind Frozen: The Musical are working incredibly hard in order to live up to the high standards set by the original film...

A Deep Dive Into the Costumes from Frozen on Broadway - The sets and costumes for Frozen: The Musical were designed by Christopher Oram, who has collaborated with director Michael Grandage on numerous projects over the years. In this interview with Time Out, Oram discusses how he designed the costumes of the main characters, staying true to the look and feel of the film whilst altering the clothes to meet the requirements of a stage musical where actors sing and dance in them up to eight times a week. He also reveals how he was inspired by his visits to Norway and his research into traditional Norwegian clothing...

Broadway gets 'Frozen': How A Modern Movie Classic Became a Hot New Musical - This article from USA Today provides plenty of information about Frozen: The Musical, as the Lopezes discuss the new songs added to the musical and its "Shakespearean" tone, Patti Murin and Caissie Levy explain why they love Anna and Elsa so much, and Jelani Aladdin reveals what he brings to the role of Kristoff. In addition, we learn how Murin and Levy prepare for their performances in Levy's dressing room...

Disney's Challenge: Keeping it Frozen, But Still Fresh - This article from The New York Times was published shortly before the Denver tryouts commenced, and it provided audiences with plenty of intriguing information about Frozen: The Musical . This article was the first official source to reveal some of the biggest changes made for Frozen: The Musical, such as the decision to re-imagine Kristoff's troll guardians as Scandinavian forest spirits called 'Hidden Folk' and the removal of Elsa's snow monster Marshmallow. The cast and crew also explain how much effort went into turning Frozen into a stage musical, and we get to see Caissie Levy rehearsing her take on Elsa's signature song, 'Let It Go'...

Dressed to Chill: The Costumes of ‘Frozen’ - In this interview with Newsday, Christopher Oram and Michael Grandage reveal how the costumes used in Frozen: The Musical were created, talking about the challenges posed when adapting clothing from an animated movie to a world of "gravity, physics and mic packs". However, they also reveal the advantages of using these costumes, including the ability to constantly alter them after every performance, and add the sort of details which would be impossible to include in an animated movie...

How Frozen Reimagines Its Icy World for the Broadway Stage - One of the most important selling points of Frozen: The Musical is seeing how Elsa's ice powers are brought to life on stage. This article from Vulture reveals how a wide range of equipment was used by Christopher Oram in order to convey the illusion that the young queen has accidentally created an eternal winter. The items utilised by Oram include crystal curtains, a giant bridge covered in ice, icicles sprouting from the floor, video projections, dry ice, and even dancers dressed entirely in white. There are also a couple of new photos, which show just how spectacular this production is...

Inside Disney’s Ambitious Plan To Bring Frozen To Broadway - This in-depth report from Time highlights the challenges faced by the cast and crew of Frozen: The Musical as it arrives on Broadway, where it will compete with other family-friendly productions such as Wicked and Harry Potter and the Cursed Child. The article provides plenty of information about the ways in which Frozen: The Musical will appeal to an older audience (around 70% of Broadway theatregoers are adults seeing a show without children) and how the production will try and maintain the feminist appeal of the source material in an era where women's issues are more prominent than ever. We also learn how Patti Murin and Caissie Levy used fanfiction to help them prepare for their roles as Anna and Elsa, and discover how much effort went into designing costumes and scenery...

What Can You Expect from Disney's "Frozen" on Broadway? We Sat Down with the Choreographic Team. - Elaborate dance sequences are one of the key features of musical theatre, but they meed to be planned and rehearsed in great detail in order to impress audiences. In this report from Dance magazine, we follow Rob Ashford, the head choreographer of Frozen: The Musical, and his assistants as they edit the choreography for the song 'Fixer Upper' in order to emphasise Anna and Kristoff's growing connection to each other. The article highlights the demanding and insecure nature of work in the choreography team, but also shows how important every single movement is when you are making a musical...

Changes Since Denver

Given the intense levels of anticipation for Frozen: The Musical, the mixed reviews for the Denver try-out were a bit of a disappointment. In the five-month period between the end of the Denver run and the beginning of previews on Broadway, around 30% of Frozen: The Musical has been altered in order to make it as impressive as possible and win over audiences. These changes were covered in more detail by a variety of media outlets.

'Frozen' Comes to Broadway with a Tighter Focus and a Timely Message - Here, the cast and crew of Frozen: The Musical tell The Hollywood Reporter about the need to explore Elsa and Anna's emotional turmoil in greater detail, whilst also preventing the production from getting too dark. Michael Grandage reveals that he has responded to criticism of the Denver try-outs by adding a lighter opening, whilst Patti Murin confirms that Anna and Elsa have been given more time together...

How Broadway's 'Frozen' Will Surprise Movie Fans - In this article from Variety, Michael Grandage discusses some of the new scenes created for Frozen: The Musical and outlines a few interesting changes made since the Denver tryouts. A narration provided by Pabbie (head of the 'Hidden Folk') has been cut, more scenes with Anna and Elsa have been added, and (this is the most exciting change of all) the conclusion has been altered to include a reprise of an iconic song from the original film...

Will ‘Frozen’ Succeed on Broadway with a British director and a Different Ending? - In this article from The Washington Post, Michael Grandage discusses the challenges faced when directing a mega -musical like Frozen: The Musical, explaining how he chose to depict characters such as Olaf the snowman. He also reveals how the feedback for Frozen: The Musical in Denver influenced him whilst preparing for the arrival of the show on Broadway...

Reactions to the Previews

Although reporters and critics are unable to publish reviews of Frozen: The Musical until opening night, the start of the preview period is still an incredibly significant event worth mentioning in the media. As a result, several prominent newspapers provided articles commemorating the first performances on Broadway, and commenting on the Frozen fans who were the first people to see Frozen: The Musical at the St James' Theatre...

Disney's Frozen musical opens on Broadway: 'More nudity than expected' - The day after previews officially began, The Guardian provided a report on the reactions of the audience. Viewers of all ages were present at the first performance of Frozen: The Musical on Broadway, and they seemed to be full of praise. The title of this article refers to the fake nudity which occurs during the new musical number 'Hygge', which is sung by flamboyant salesman/sauna owner Oaken and a chorus of sauna users. Unsurprisingly, this sequence has generated quite a bit of debate amongst theatregoers...

'Frozen' has its First Performance on Broadway, and the Fan Frenzy Begins - Here, The LA Times highlight the excitement of audiences at the first preview performance of Frozen: The Musical, their passion for Anna, Elsa and friends, and their enthusiastic reaction when watching the production for the first time. They also provide photos of fans (and a few key members of the crew) waiting to enter the St James' Theatre and watch the show...

Frozen: The Musical First Look: Elsa and Anna's Surprisingly Risque Broadway Debut is a Hit with Adults - Like the Guardian article, this report from The Daily Telegraph highlights some of the racier aspects of Frozen: The Musical, including several "kissing scenes" and the "Hygge" sequence. It also features interviews with audience members, who generally provided positive reviews (although some expressed criticisms and doubts) and ends by speculating that its only a matter of time before Frozen: The Musical debuts in London's West End...

Frozen: the Musical Opens on Broadway – but Will Audiences Warm To It? - Here, The Daily Telegraph comment on the popularity of Frozen and its accompanying merchandise, whilst Michael Grandage provides some information about the development of Frozen: The Musical and the changes made since the Denver try-outs. Like most of the other articles unveiled the morning after the previews began, this report also highlights the numerous positive comments provided by the Frozen fandom...

Inside the 'Frozen' Dress Rehearsal: Broadway's New Musical Prepares to Lift the Curtain - This article from the LA Times chronicles the 'Gypsy Run' - a special dress rehearsal for Frozen: The Musical attended by numerous key Broadway figures. Jennifer Lee, who wrote and co-directed the original Frozen and has written the book for Frozen: The Musical, praises the actors and discusses the importance of a live audience, whilst the actor Alfred Molina (Jennifer Lee's boyfriend and one of the guests at the 'Gypsy Run') gets to provide his opinions on the production. This rehearsal took place just two days before previews began, but Jennifer Lee and the rest of the Frozen: The Musical team were still making changes to the opening number...

The Cast

Media coverage of Frozen: The Musical have unsurprisingly focused on Patti Murin and Caissie Levy, the actresses who play Anna and Elsa. There has been considerable interest in the reasons why they love playing Frozen's two iconic protagonists, and numerous reports have highlighted their unique bond. However, other cast members, such as Jelani Alladin and Greg Hildreth, have also revealed what its like to have a lead role in such a prominent musical...

Bow Down to the ‘Frozen’ Stars Ruling Broadway - In this article from The New York Post, Caissie Levy and Patti Murin explain their contrasting backgrounds and growing friendship, and also reveal why they don't like it when people refer to Elsa and Anna as 'Princesses'. In addition, Levy gets to talk about some of the elaborate costumes which Elsa gets to wear during Frozen: The Musical, including an all-new second-act outfit (complete with boots and trousers) to make Elsa seem more bold and assertive as she prepares to fix the damage her actions have caused...

‘Frozen’ on Broadway Made Them Sisters. Heartbreak Made Them Friends. - This report from the New York Times focuses on the friendship between Caissie Levy and Patti Murin, as they discuss their interests and explain why they relate to Elsa and Anna so much. More tragically, the two actresses reveal their experiences coping with miscarriages, and we find out how Murin's loss of a child has influenced her portrayal of Anna's search for a proper family....

Meet the Guy Behind Olaf in Broadway’s ‘Frozen’ - In Frozen: The Musical, Anna's snowman sidekick Olaf - one of the most memorable characters from the original movie - has been re-imagined as a full-bodied puppet being controlled by actor Greg Hildreth (The Olaf puppet has been designed in a manner similar to the 'double event' puppets in the stage version of The Lion King - both the actor and the character are fully visible at all times). This New York Post article reveals how Hildreth brings his puppet to life, and we also learn why Olaf is more than mere comic relief...

Propelled by New Canaan program, Jelani Alladin stars in Broadway’s ‘Frozen’ - One of the biggest talking points about Frozen:The Musical is the casting of African-American actor Jelani Aladdin as Anna's love interest Kristoff, which adds some much-needed racial diversity to the cast. Here, Alladin tells Connecticut Post about winning a theatrical scholarship at high school inspired him to pursue his acting dreams. He explains the demanding training regime he has to go on in order to prepare for the role, and talks about meeting his idol, Lin-Manuel Miranda...

Q&A: Jelani Alladin of ‘Frozen' - In addition to his Connecticut Post interview, Jelani Alladin has talked to Showtickets.com about playing Kristoff on Broadway. He reveals how he reacted when he first saw Frozen, and explains why he loves that movie so much. Alladin also praises the some of the changes made for Frozen:The Musical, including a new solo for Kristoff in Act two...

Q&A: Patti Murin of 'Frozen' - Showtickets.com have also provided a Q&A with Patti Murin, who is finally receiving a solo interview after sharing numerous interviews with Caissie Levy. Here, Murin explains how she became a fan of musical theatre, reveals how Anna became her favourite Disney Princess, and talks about having a "real life Elsa" in her older sister...

The Curious Care and Feeding of Olaf the Snowman in Broadway's 'Frozen' - This article from LA Times provides more information on Greg Hildreth, as he discusses the physical demands of bringing Olaf to life, and reveals how Michael Grandage taught him to base the character on the silly but wise comic fools traditionally found in Shakespeare plays. The article also highlights the work of Daniel Mura, who is in charge of maintaining the Olaf puppet and ensuring that it remains in good condition during every performance...

The Crew

The stars of Frozen: The Musical are aided by a large crew who help transfer the characters and their world from the screen to the stage. In addition to director Michael Grandage and songwriters Robert Lopez and Kristen Anderson-Lopez (who appeared extensively in the previous collection of links) a variety of prominent crew members have also enjoyed some time in the spotlight during the Frozen: The Musical publicity campaign...

Exclusive: Choreographer Rob Ashford Gives Us All the Deets on Broadway's 'Frozen' - In this interview with DanceSpirit, Rob Ashford, the head choreographer for Frozen: The Musical, talks about the need to add dance to the story and explains how choreography was used to highlight the differences between the kingdom of Arendelle and the world of the mountains. He also discusses the constraints posed by the elaborate costumes, and reveals what his favourite sequence in the musical is...

Frozen on Broadway is a Grown-Up version of the Disney Movie - This interview with the Lopezes is from Metro.US, and features them explaining how Frozen: The Musical is aimed at more mature audiences. Kristen Anderson-Lopez discusses the dark themes and the Scandinavian-inspired sets and costumes, whilst Robert Lopez talks about the staging of Elsa's coronation, which is soundtracked by a new ballad called 'Dangerous to Dream'...

How 'Frozen' Has Changed from Screen to Stage, Including Elsa's Brand-New Power Ballad - Here, The Lopezes tell Yahoo Entertainment about the differences between Frozen: The Musical and the original movie. They explain why the world of Frozen means so much to them, and provide some intriguing comments about the forthcoming sequel Frozen 2. They also reveal some of the most interesting changes made to Frozen: The Musical since the Denver tryouts concluded...

Here’s the New ‘Frozen’ Musical Poster (and Seven That Didn’t Make the Cut) - As most theatre fans tend to focus on the play and the people who bring it to life, the importance of good marketing (even for a property as iconic as Frozen) is often overlooked. In this article from the New York Times, Disney Theatrical executive Andrew Flatt reveals the official poster for Frozen: The Musical, and shows us seven rejected designs. His comments highlight how much time and effort go into selecting the perfect poster - considering the quality of the final image, he definitely made the right choice...

They Wrote the 'Frozen' Musical for Broadway, but Can they Make it Sing? - The Lopezes have appeared in more promotional material for Frozen: The Musical than anyone else, but Jennifer Lee, who wrote and co-directed the original film, has not appeared very often in the promotional campaign. However, this LA Times article rectifies that imbalance by putting the trio together, and they provide a variety of insights about how closely the songs and dialogue are linked. The Lopezes and Jennifer Lee also explain how a psychologist helped them work on Frozen: The Musical and Frozen 2 (which is due at the end of 2019), and discuss the need to communicate feminist messages in the era of Times Up...

Why is a Master of Shakespeare Directing the Musical 'Frozen'? Because 'Let It Go' isn't too Far From the Bard - Michael Grandage has spent several interviews discussing the parallels between Frozen: The Musical and iconic Shakespeare plays such as As You Like It and Hamlet. He repeats these comparisons in this interview with LA Times, but also provides some new insights, pointing out that the St James' Theatre is famous for hosting some of the greatest American musicals (including Oklahoma! and The King and I), revealing why he needs to make Frozen: The Musical feel new and unique, and explaining why theatre means so much to him...

The New Songs - Frozen Fridays

Since the preview period began, four of the most significant new songs from Frozen: The Musical have been officially released on-line on four consecutive Fridays. The four new songs released during these 'Frozen Fridays' were: 'Monster' (an epic eleven o'clock song for Elsa), 'What Do You Know About Love' (a upbeat duet for Anna and Kristoff), 'Dangerous to Dream' (a song which Elsa sings as she prepares for her coronation) and 'True Love' (a sombre second-act ballad for Anna). All four of these songs can be heard here, and they represent interesting and memorable additions to the Frozen soundtrack. The Lopezes have provided plenty of insights into these new songs, and the way in which they advance the narrative and develop the characters...

Watch a New Song From ‘Frozen’ on Broadway - The first new song to be released was 'Monster', which Elsa sings as she prepares to face up to the damage which her ice powers have caused. In this New York Times article, the Lopezes provide further information about Elsa's "Moment of Reckoning", discussing the need to explore her emotional turmoil in detail whilst also providing hope and optimism for audiences who want Elsa to be a strong and powerful role model. The article also provides audiences with an exclusive look at the music video, which shows Levy performing the song at Manhattan's Gotham Hall...

These Broadway Stars Reacting To A New Song From Frozen On Broadway Are All Of Us- With its dark lyrics and powerful rock-orientated hook, 'Monster' seems to be one of the most popular of the new songs added to Frozen: The Musical. This article from OhMyDisney shows several Broadway stars (who have appeared in Disney Theatrical hits such as The Lion King, Aladdin and Newsies), listening to 'Monster' for the first time, and their excited and emotional reactions indicate that the song is going to be a major fan favourite...

The Inside Story behind Anna and Kristoff's new Broadway 'Frozen' Duet (plus exclusive song premiere) - The song released on the second 'Frozen Friday' was 'What Do You Know About Love?', a number where Anna and Kristoff sing about their conflicting perspectives on romance as they cross a treacherous bridge. In this article from Yahoo Entertainment, the Lopezes reveal how they adapted Anna and Kristoff's journey for the stage, and explain how they drew on their own relationship in order to develop the dynamic between the two protagonists, as their initial hostility towards each other gradually turns into a powerful friendship...

'Frozen' Exclusive: Hear Elsa's Emotional New Song from the Broadway Musical - In this article from USA Today, written to coincide with the release of 'Dangerous to Dream' (the third song to be released during the 'Frozen Fridays), The Lopezes provide a brief but interesting commentary on all four of the 'Frozen Fridays' songs. They explain how Dangerous to Dream functions as "an 'I want' song for a character who's not allowed to want anything", and how Kristen Anderson-Lopez's history of heartbreak inspired 'True Love'...

Listen to the Frozen Musical’s New Solo for Princess Anna, ‘True Love’ - The final 'Frozen Fridays' release was 'True Love', an eleven o'clock ballad which Anna sings at her absolute lowest point, after Hans betrays her and the 'Frozen Heart' curse accidentally inflicted by Elsa begins to take its toll. In this article from Vulture, Patti Murin and Kristen Anderson-Lopez reveal how 'True Love' conveys Anna's growing disillusionment, and we also learn how the song elaborates on the arrangement and themes of Frozen's iconic opening ballad 'Do You Want to Build A Snowman?'...

Summary

Based on these articles and interviews, it seems like Frozen: The Musical will satisfy Frozen fans whilst providing enough unique elements to please more critical audiences. As the official opening night gets increasingly close, the enthusiastic reactions of Frozen addicts and the goings on behind the scenes have been emphasised in greater detail, but the publicity campaign for Frozen: The Musical has not changed much over the past month, with the Lopezes, Michael Grandage and Caissie Levy still extensively promoting the darker, more mature tone of this production. Overall, Frozen: The Musical is likely to enjoy a long and successful run on Broadway. It will probably receive several nominations in the Tony Awards (Broadway's equivalent to the Oscars) and audiences all over the world can look forward to seeing Frozen: The Musical arrive in major theatres all over the world over the next few years...