Disney Theatrical - The Advantages and Disadvantages of Adapting Disney for the Stage

On October 1^st, Frozen: The Musical, the stage adaptation of Disney’s 2013 megahit Frozen, concludes its seven-week tryout at Denver’s Buell Theatre. After this, the cast and crew will begin preparing for the move to Broadway’s prestigious St. James Theatre. Performances there will begin on February 22nd, with the play officially opening four weeks later. Anna and Elsa’s stage debut is the latest in a long line of projects from Disney Theatrical Productions Limited (known as Disney Theatrical for short), the flagship division of the Disney Theatrical Group. Established in 1993, they are responsible for turning the likes of Beauty and the Beast, The Lion King and Aladdin into acclaimed and long-running stage musicals. Frozen is Disney’s highest-grossing animated film, and is just as popular and prominent today as it was when it was released almost four years ago. Thus, it goes without saying that Frozen: The Musical will enjoy a long and successful run on Broadway. However, if Disney Theatrical want it to become as iconic as the original film, there is still considerable work to do.

A couple of weeks ago, critics representing America’s most prominent newspapers and magazines were allowed to see Frozen: The Musical in Denver and publish their reviews. Variety provided near-total praise, even speculating that the play might be better than the movie, but other reviewers were quick to point out flaws in the highly-anticipated musical. The Denver Post accused it of being “derivative” and sending mixed messages, whilst The New York Times claimed that Anna had been reduced to “a more conventional Disney girl” and wondered if there was too much focus on Elsa’s emotional turmoil. The harshest criticism came from The Chicago Tribune, who claimed that Anna and Elsa’s relationship (which should be the heart and soul of any retelling of Frozen) was underdeveloped and called the show “cautious and emotionally underwhelming”. In spite of these important complaints, these early reviews for Frozen: The Musical have generally been positive, with the acting and singing mostly acclaimed across the board, and enthusiastic praise for a number of special effects. However, there is too much at stake for the production to merely be a long-running success. If the aim is for Frozen: The Musical to emulate The Lion King and become a great theatrical phenomenon for decades to come, the relatively mixed reviews for the Denver tryout probably represent a bit of a disappointment for Disney Theatrical’s president, Thomas Schumacher.

That said, Frozen: The Musical is as critic-proof as any play can be. Audiences seem to be reacting to it with great enthusiasm, coming dressed as their favourite characters and singing along to ‘Let It Go’. Their support for the production means that the changes made between Denver and Broadway are likely to be relatively minor. However, even if you think that the critics are being excessively harsh at this early stage, they are not to be ignored. After all, they have exactly the same desire as the general public and the creatives at Disney Theatrical – they want to enjoy the best stage version of Frozen possible. If the issues they raise regarding the story and the portrayal of Anna and Elsa remain unfixed when the play starts its official run on Broadway, they could affect its reputation and undermine its financial prospects in the long-term.* Furthermore, underwhelming reviews on Broadway could undermine the Frozen brand as a whole, which would have a negative impact on the forthcoming Frozen 2. Thus, the comments of the critics in Denver are worth taking into account if Disney Theatrical want an adaptation of Frozen which endures even after the excitement of the Frozen fandom cools down and it has to be judged primarily on its own merits.

The pressure surrounding Frozen: The Musical is so intense that even early reviews which would be welcomed for any other production can create anxiety for Disney. These vastly increased expectations prove that bringing a Disney film to life on stage is not an easy task. For every The Lion King (still going strong almost 20 years after it arrived on Broadway), there’s a relative critical and commercial disappointment like the stage adaptations of Tarzan and The Little Mermaid. There are a number of things which need to be taken into account when discussing the work of Disney Theatrical, as their strategy has advantages and disadvantages. First of all, the issues with translating an animated film to stage can make it harder to maintain the wonder and excitement associated with the original movie. However, the plays can take unique and creative approaches which make them truly distinct from Disney’s cinematic output. They can get upstaged by Disney’s live-action remakes, which can deliver a greater spectacle and contribute far more to the Disney Corporation’s Quarter earnings, but reach a wide audience through regional and amateur productions, engaging and inspiring theatregoers all over the globe. Overall, Disney Theatrical’s work is generally minor compared to Disney’s films and TV shows, but the influence of theatre and the ability to do something new with much-loved stories and characters make their endeavours worthwhile.

Constraints of the Stage

Disney Theatrical spend substantial sums of money on bringing Disney films to life on stage. Frozen: The Musical is reported to have a budget of between $25 million and $30 million. This doesn’t seem like much (It is only a fraction of the $150 million budget of the original animated movie), but it makes Frozen: The Musical one of the most expensive Broadway musicals of all time. Given the popularity of the original movies and the need to provide audiences with a unique and spectacular experience, Disney Theatrical are willing to spend considerably more than other theatrical producers. However, this focus on blockbusters is a high-risk strategy. Disney Theatrical’s greatest flop, Tarzan, was performed on Broadway for 14 months. This would be a fairly good run for a smaller musical, but as Tarzan cost up to $16 million to make, it did not last long enough to recoup its budget. In order to be considered a financial success, Disney’s stage musicals have to bring audiences in for years. This means that they have to appeal on their own terms, and be more than just an entertaining night out for fans of the original films. The financial pressures affecting Disney Theatrical are exacerbated by the fact that, for all the talent working behind the scenes, and the plethora of cutting-edge resources they use, there are some things which are very difficult to accomplish on stage.

The most important quality in the world of theatre is ‘suspension of disbelief’ – audiences are willing to accept almost anything they see as long as the effects are impressive enough and do not distract from the story or characters. However, Disney films contain a number of unique aspects which are hard to portray outside of animation and if it is too difficult and expensive to bring them to life on stage, they can be cut. Action sequences are often removed in the theatrical adaptations, and prominent animal characters (such as Abu the monkey from Aladdin and Tantor the elephant from Tarzan) can sometimes be edited out as well. In the case of The Little Mermaid, a key element of the plot (Ursula’s attempt to hypnotise Eric into marrying her) was removed relatively late in development and replaced with a storyline involving a singing contest. Done well, these changes can easily be overlooked by the fandom, but if the new additions are inferior to the old material, it can encourage the perception that the stage version cannot capture the magic of the film.  Another limitation affecting theatrical adaptations of Disney films is the fact that many of them are epic narratives, and it can be difficult to portray these properly on stage. This is not a problem with a story like Beauty and the Beast, which is predominantly set inside the Beast’s castle, but it has a far greater effect on Frozen, which relies on a quest-based storyline. Anna spends a substantial amount of the story travelling from her kingdom to Elsa’s ice castle on the North Mountain and back again, but her long journey needs to be depicted on a single stage with only a few moving elements. The size and scope of Disney movies is one of their main selling points, but their focus on adventure and discovery is not always compatible with a form which primarily requires more static characters and a narrative focused on a few key locations.

The one Disney Theatrical musical which was most affected by the constraints of theatre was The Little Mermaid. On paper, bringing an underwater kingdom to life on a stage should not be difficult – after all, the Hans Christian Andersen story which inspired Disney’s film has been adapted into numerous ballets and operas. However, these smaller productions have the freedom to adopt a more minimalist approach, whilst The Little Mermaid had to focus on spectacle to justify the $16.6 million budget. As a result, the diverse range of sea creatures from the movie were depicted using rather garish and over-the-top costumes (“heelie” shoes were infamously used to stimulate swimming), which ultimately felt unconvincing. The problems caused by the need to translate Ariel’s story to stage were most apparent at the climax. The original film ended with an epic sea battle, in which the Ursula turns into a giant and tries to finish off Ariel and Eric. As such a scene would be impossible to depict effectively in theatre, even in a grand production like this, it was replaced with one where Ariel has to save King Triton from Ursula by destroying her magical shell. Though this new conclusion solves a major problem with the climax of the original by focusing on Ariel’s character growth and making her the one to defeat Ursula, it lacks the danger and excitement of the film. This is crucial, as higher stakes would mean that Ariel’s decisions would carry a greater weight and make the happy ending all the more satisfying. Ultimately, adapting a Disney film to the stage is harder than many people think, as the limits of theatre mean that the fantasy offered by cinema has to be toned down, which can easily result in a play which lacks the excitement and entertainment value of the source material.

The Advantages of Theatre

However, whilst there are difficulties with translating a big story to a relatively tiny stage, the more confined and intimate nature of theatre has some vital advantages, as it forces Disney Theatrical to focus on the story and the characters inhabiting it. As a result, the songs which are central to most Disney films assume an even greater level of importance, because they advance the plot and develop the characters in a lively and memorable way. Disney Theatrical musicals add a wide array of extra songs to the original ones used in the film. Whilst Frozen had around 8 songs (including reprises), Frozen: The Musical currently features 25, although a couple of minor numbers might be cut by the time it gets to Broadway. Most of the songs added when translating Disney films to stage are written especially for the new version, but the updated song list can also include numbers which were intended for the original movie but cut during the production process. Generally, the sheer volume of new songs means that they have a tendency to fade from memory when taken outside the context of the play, but several (including Human Again from Beauty and the Beast, Shadowlands from The Lion King, If Only from The Little Mermaid and Proud of Your Boy from Aladdin) have stood out to become fan favourites in their own right. The stage versions also make changes to the story which can inspire future retellings in different mediums. In the stage version of Beauty and the Beast, the curse on the castle is gradually causing the castle staff to lose their humanity and become increasingly like the objects they have been transformed into. If Belle doesn’t admit her love for the Beast in time, than the castle staff will be turned into inanimate antiques permanently. This addition to the story was so effective that it was also used in the recent live-action remake. Done well, changes made by the stage versions can add depth to the characters and increase tension, allowing the story to be compelling in its own right.

However, no Disney production has turned the limits of the stage into strengths quite as effectively as The Lion King. With its giant cast populated entirely by animals (consisting of both the anthropomorphised main characters and large crowds of entirely lifelike animal “extras”), The Lion King seemed like a far more unusual choice for Broadway than Beauty and the Beast. However, Disney Theatrical made the inspired decision to hire Julie Taymor to direct the project. Drawing on Asian theatrical techniques and puppetry designs, Taymor came up with creative and expressive visuals which were entirely unique to the theatrical environment. The costumes used in The Lion King (referred to as “double events”) provide detailed likenesses of the animals whilst fully showing off the faces and bodies of the human actors playing them. This allows audiences to appreciate both the beauty and authenticity of the animal designs and the skill of the actors, dancers and puppeteers bringing the numerous species to life. Furthermore, imaginative and striking physical effects are used to depict the spectacular African settings of the movie, with ribbons standing in for water and dancers with elaborate headdresses being used to represent growing grass. As theatre gains most of its distinctive atmosphere from the interaction between actors and the audience, showing the humans who were bringing the Savannahs and Jungles to life made it easier for Taymor to directly engage theatregoers in the production. However, as amazing as the visuals are, they do not distract from The Lion King’s timeless coming-of-age story. The powerful themes and messages of the original film remain fully intact, whilst many of its weaknesses are rectified. Notably, the lack of representation for female characters is addressed by changing the gender of Rafiki and giving the lionesses Nala and Sarabi a much more prominent role. With her version of The Lion King, Julie Taymor took a story which many believed could only be told through animation, and turned it into a spectacular and unique theatrical production which quickly became a phenomenon. This gave Disney Theatrical a greater degree of credibility, as they had produced a play which managed to be far more than a mere retelling of a well-known tale.

Aside from the artistic merits of theatre, another reason for the “highbrow” reputation of the medium is the time and effort needed to see it. Theatre tickets are much more expensive than cinema tickets, and cinemas vastly outnumber theatres. Furthermore, there are numerous opportunities to see a film without having to leave the house, but theatre generally lacks the same reach, as plays are always best when seen in person. However, the difficulties accessing theatre can sometimes allow Disney Theatrical to ‘select’ their audience and make more adult plays. Whilst their films have to appeal primarily to children, the older average age of theatre audiences gives them the freedom to create productions which are darker and take more risks. This is most apparent with Aida, which premiered on Broadway in 2000 and enjoyed a healthy four-year run. Based on the iconic Verdi opera of the same name, it is one of the few Disney Theatrical productions not adapted from an existing Disney film. During the 1990s, Disney attempted to create an animated adaptation of Aida, but this fell through for a variety of reasons, with one of the most significant being the fact that the source material, dealing with the doomed romance between the Egyptian captain Ramades and Nubian princess-turned-slave Aida, was too dark for younger audiences. A particularly notable aspect of the opera is the ending, where Ramades is buried alive for treason and Aida chooses to join him in the tomb and die with him. If Disney had retained this ending for an animated film, it would have upset the younger viewers interested in pretty animation and catchy songs, but if they had dropped it, they would have alienated those who did not want to see a classic story get “Disneyfied” too much. As the stage version was able to focus on pleasing a more mature audience, it was able to retain the tragic conclusion of the opera, although it added a reincarnation-themed epilogue to make it a bit more upbeat. None of Disney’s feature-length films have ended with the permanent death of the primary protagonists, so the decision to make a play which finished with this happening was a great way of proving that Disney Theatrical’s work is more adult-orientated and mature than the Disney films are allowed to be.

Stage Musicals Vs. Live-Action

Adapting a Disney film for stage is not the only way to translate it to a new medium. Over the last few years, Disney have placed increased emphasis on making live-action adaptations of their beloved animated films. With the recent live-action remake of Beauty and the Beast, Disney’s live-action and theatrical work has begun to overlap, and there are about to be more instances of films which were already adapted into plays becoming live-action films. The live-action remakes of Aladdin and The Lion King are due in a couple of years, and a live-action adaptation of The Little Mermaid is also in the pipeline. Comparing the stage and live-action versions of Beauty and the Beast highlights the similarities and differences between the two forms. Both adaptations extend the original 90-minute film into an extravagant spectacle lasting over two hours, adding even more songs and providing extra material to further develop the characters. Although the stage musical features far more new songs (It added 14 new songs, compared to the three new songs created for the live-action film) the live-action version possesses a number of more significant advantages. It can make use of vaster and more extravagant sets, and incorporate CGI to bring the characters to life and pull off special effects which are completely impossible in the world of theatre. This encourages more spectacular action sequences and fantastical moments of magic, but also allows for a greater degree of realism. CGI and motion-capture can be used to depict animals in impressively lifelike fashion, whilst elaborate sets and soundstages can make bustling villages and marvellous ballrooms feel completely authentic. It’s far easier to immerse yourself in such a grand world, and this enhances the epic escapism which Disney aim to provide in almost all their works.

However, for a giant corporation like Disney, the biggest advantage with live-action films is the fact that they are far more profitable. The Lion King is the highest-grossing musical of all time, earning $1.37 billion in America alone (as of 2016), but it has taken 19 years to gain this amount of money. In contrast, the live-action remake of Beauty and the Beast gained $1.26 billion worldwide inside a mere 17 weeks. The greater number of cinemas showing the same product all throughout the day means that films can make a large amount of money in a far shorter period of time, meaning that they are a more lucrative prospect. The live-action remakes have frequently been subject to criticism from those who regard them as unnecessary and a sign of Disney’s creative bankruptcy, but there are valid artistic reasons for adapting the animated films into live-action, just as there are for adapting them into theatre. Live-action versions of Disney properties have many of the same advantages as stage versions, but also have a few additional ones. Combined with their higher profile, this means that they can easily overshadow Disney’s theatrical work.

Productions Outside Broadway

In spite of the higher profile of Disney’s live-action remakes, the financial value of projects from Disney Theatrical is often underestimated. So far, when discussing the relative success and failure of Disney’s stage musicals, this article has focused on their popularity on Broadway. However, this fails to take into account the importance of international markets. Major productions of The Lion King has been performed in over 100 cities in 19 countries. The productions based in Broadway, The West End, Hamburg and Tokyo are ‘flagship’ versions, housed in a single theatre continuously since their premiere. For those unable or unwilling to travel to these theatrical hubs, there are national and international tours which take the play to a wide variety of locations for a short run. The numerous productions being performed at any one time all bring a consistent stream of revenue, which can generate billions of dollars for Disney Theatrical over the long haul. On the occasions when a production fails to connect with audiences in a certain territory (The Korean version of The Lion King only lasted a year) the greater success of the other versions ensures that these disappointments have a minimal impact. Even stage musicals which underwhelmed on Broadway can gain a new lease of life through international productions. After Tarzan closed on Broadway, Disney Theatrical quickly retooled it for productions in Germany and The Netherlands. Most importantly, the “physical world” of the show was expanded, with sets which went beyond the stage and into the auditorium, and a number of scenes were added in which acrobatic and aerial stunts were performed over the heads of the audience. There were also a handful of minor changes to the story, with the romance between Tarzan and Jane becoming increasingly prominent. This improved version ran for two years in The Netherlands, and gained audiences of 1.6 million there (equivalent to one-tenth of the population), but its success in Germany was even more remarkable. It premiered in Hamburg in 2008, making $224 million there during a five-year run, and has been a hit at theatres throughout that country ever since, proving that the length of a Broadway run is no longer the only way of assessing the popularity of a major stage musical. Tarzan had initially provided Disney Theatrical with significant losses, but the decision to change it for the Netherlands and Germany turned out to be a very wise idea. It allowed a stage musical which had failed to impress American critics and theatregoers during its Broadway run to become a unique spectacle and gain the attention of an enthusiastic new audience.

The international productions mentioned above are all made by professionals. However, one of the main advantages of theatre is how easy it is to involve the general public in the art form. In contrast to the expensive equipment required for making live-action films, and the extraordinarily difficult and time-consuming processes behind animated movies, it is possible to create a great play with just a script, a stage and a few props. Non-commercial or “amateur” productions are put on for fun rather than profit in schools, small towns, and other places which want to provide an evening of enjoyable, family-friendly entertainment in spite of their incredibly limited budget and resources. Musicals are the sort of appealing, well-known plays which attract audiences to these performances, but you need a license in order to perform them without violating copyright law. In order to aid non-commercial theatre groups who would like to perform versions of their musicals, the Disney Theatrical Group have created a division called Disney Theatrical Licensing. They open up most of the Disney Theatrical plays for licensing, and provide theatre groups with the materials (including scripts and songbooks) necessary to bring their productions to life. In addition to licensing former Broadway musicals such as Beauty and the Beast, Aida and The Little Mermaid, Disney Theatrical Licensing distributes licenses to perform stage plays specifically created for regional and non-commercial theatre, including The Hunchback of Notre Dame, which is far closer to Victor Hugo’s iconic gothic tragedy than Disney’s 1996 animated film was allowed to be. Disney Theatrical Licensing have also established a range of ‘Disney Junior’ plays to be performed by younger children participating in school plays and youth theatre groups. At approximately half the length of an average Broadway musical, the ‘Disney Junior’ plays include abridged versions of Disney Theatrical’s Broadway productions (e.g. Beauty and the Beast, The Little Mermaid, The Lion King) as well as stage adaptations of films (including Peter Pan and Mulan) which have yet to be turned into full-length theatrical musicals. By giving children the opportunity to play their favourite characters and sing their favourite songs, ‘Disney Junior’ productions can inspire them to take a lasting interest in theatre whilst also giving them a new level of appreciation for the films they know and love. The smaller, simpler, licensed productions may seem relatively trivial, but they have sometimes had a major impact on Disney Theatrical. The stage version of Aladdin was originally intended to be exclusively for licensing, with a “pilot” production in Seattle to promote it. However, the Seattle production proved so popular that further national and international productions were quickly greenlit. Aladdin eventually arrived on Broadway in 2014, almost 3 years after the Seattle production started. Although it had changed significantly during its long journey to Broadway, the original “pilot” show had encouraged Disney to realise that a stage adaptation of Aladdin had the potential to become a major theatrical success. Newsies, based on a widely forgotten live-action Disney film from 1992, was also upgraded from licensing-only to Broadway on the strength of a limited run in New Jersey. Given the obscurity of the original film in comparison to the likes of Aladdin, the fact that Newsies managed to make it to Broadway at all demonstrates how seemingly minor regional productions intended to promote Disney Theatrical Licensing can build the positive word-of-mouth which leads to a major hit for the Disney Theatrical Group as a whole.

Conclusion

Disney’s motivations for translating their films to stage are both artistic and financial in nature. The producers, writers and directors behind the Disney Theatrical plays are excited by the challenge of moving the big blockbuster films into a smaller and more intimate medium without sacrificing the spectacle and sense of wonder central to the original movies. The stage versions of Disney films aim to emphasise elements of the source material that remain impressive in any medium, such as the universally compelling stories, the memorable characters, and the catchy songs, but even the popularity of the source material cannot guarantee complete success. Meanwhile, Disney’s recent live-action remakes use cutting-edge CGI, beautiful locations and energetic action sequences to provide a greater level of adventure and excitement, highlighting the limitations of the stage. However, the success of distinctive and high-quality productions such as The Lion King justifies Disney’s decision to expand into theatre. With The Lion King, Disney Theatrical gave audiences a must-see spectacle which took full advantage of theatre’s focus on physical effects and abstract imagery, and won over those concerned that Disney’s plays would be too conventional and commercialised. Disney Theatrical also have the creative freedom to produce darker, more adult plays such as Aida and The Hunchback of Notre Dame, demonstrating that they are committed to providing something more than the upbeat and optimistic family entertainment which has traditionally defined the Disney brand. Overall, Disney Theatrical are able to distinguish themselves from Disney’s filmmaking divisions and provide plays which can tell familiar stories in a new and creative way, providing something for Disney fans, theatregoers and more casual audiences.  

Due to the size and status of The Walt Disney Company, financial concerns also exert a major influence on their handling of stage musicals. Although they are relatively cheap to make compared to their films, and can provide enormous profits in the long run, these productions need to be sold out for many months in order to justify the time and money spent on bringing them to life, and cannot provide the rapid return on investment of the animated and live-action films. However, Disney Theatrical generate a far greater amount of revenue for The Walt Disney Company than people realise, especially when you take into account the numerous productions of their musicals occurring all over the globe. These run for months or even years on end, with some equalling and occasionally surpassing the success of the Broadway originals. Disney Theatrical also make money by licensing their plays for regional and non-commercial theatre, and their willingness to create new plays exclusively for this small-scale category of theatre can sometimes lead to the unexpected creation of a new hit such as Newsies or Aladdin. Ultimately, Disney Theatrical have consistently proved that it is possible to turn animated movies into popular and well-received stage musicals, and Frozen: The Musical will undoubtedly provide yet another success for them when it arrives on Broadway.

(*Note – I would like to address concerns that this article is being too pessimistic about Frozen: The Musical. After all, it is guaranteed to have a long run on Broadway, and there is a strong possibility that it will equal or surpass Beauty and the Beast’s 13-year stay there – an impressive achievement by any standards. It is also certain to do well internationally, and will probably gain even more money through licensing and 'Disney Junior' productions further down the line. However, many theatre analysts are going to compare its performance to that of The Lion King, just as cinema analysts compared the box-office takes of Big Hero 6 and Moana to the money raised by Frozen. In spite of the vast sums of money raised by Big Hero 6 and Moana, some considered them financial disappointments for not emulating the success of Frozen. Similar unrealistically high expectations could be used to portray Frozen: The Musical as a relative failure for Disney Theatrical if it fails to match the records set by The Lion King. After all, Frozen managed to earn more than the original version of The Lion King at cinemas.  This is incredibly unfair, but it’s one of the major risks faced when adapting such a popular property into a blockbuster play.)

Creating Fictional Worlds: How to Make Your Own Fairy Tale Kingdom

Given that the fairy tale genre is defined by characters and story, the significance of the setting can often be overlooked. However, the setting adds to the atmosphere of the stories, and gives characters an environment in which their adventures can take place. Authors of fairy tales can take two different approaches to the setting, often dependant on the medium of story (novels, films, TV series, etc.) in which they are working. Some prefer to use deliberately vague locations, primarily defined by their place in the distant past, whilst others try to depict their location in enough detail to make it feel like a genuinely realistic environment. The demands of audiences can have a significant impact upon the portrayal of fairy tale kingdoms. In recent years, authors have become increasingly aware of importance of representing foreign areas (particularly those outside the traditional European setting) properly without resorting to problematic Orientalist stereotypes, and the need to avoid simplistic clichés means that they have to portray their settings with more depth and complexity, genuinely examining their inner workings.

The Use of Non Specific Locations

In fairy tales, the main priority is telling an engaging story packed full of incidents. This means that the setting is merely described in the most basic fashion. Even fairy tales which aim to showcase a national culture take this simple approach, invoking images of a particular location without fully identifying it. When they published their collection of Children’s and Household Tales in 1812, the Brothers Grimm aimed to promote a unified German culture by highlighting the stories told by ordinary citizens in German-speaking lands, and emphasising the similar interests and values which linked these people. The “purely German” nature of the Brothers Grimm tales is made clear by the fact that these stories all take place in forests and castles similar to those which can be found throughout central Germany. However, the nationalist overtones of the Brothers Grimm’s collection are somewhat concealed by the fact that their location is almost never made explicit. Although some tales have a concrete setting (The Bremen Town Musicians is set on the road to Bremen, but the animal protagonists never actually reach the titular town) most are just set in unnamed and interchangeable kingdoms from “once upon a time”. This deliberately vague approach gives the stories a mysterious atmosphere, and enhances their sense of fantasy. Although the various storytellers whose works were collected by the Brothers Grimm based the locations of their stories on their home countries, they recognised that specifying a clear location would slow down their tales and make them too complicated, thus reducing their magic and universal appeal.

Early Disney films tried to capture the sense of mystery provided by the Brothers Grimm, with Snow White, Pinocchio, Cinderella and Sleeping Beauty giving us locations which invoke the look and feel of the source material without providing many specific details about them. This deliberately vague approach even applies to some of Disney's more modern films. For fans of The Little Mermaid, trying to place Prince Eric’s kingdom in a firm location is nearly impossible. Judging by the sunny climate, proximity to the sea, and the presence of birds such as Flamingos in the nearby area, Eric’s kingdom is seemingly inspired by Mediterranean areas such as Greece, Italy and Monaco. However, Eric’s castle is based on Chillon Castle in Switzerland, and the basic look of the nearest beach is closer to Scandinavian beaches than Mediterranean ones. Overall, it seems like writers and animators were primarily aiming to capture the look and feel of a generic sea-based Kingdom, with little regard for its internal geography. After The Little Mermaid, Disney films began using more clearly defined locations, whether real (Beauty and the Beast is set in France, The Princess and the Frog in New Orleans) or fictional (Rapunzel’s kingdom of Corona, Anna and Elsa’s Kingdom of Arendelle). The need to provide more sophisticated stories and more complex characters has led to the basic approach of earlier Disney films falling out of fashion, and they are now set within more realistic and detailed environments.

Creating Worlds both Near and Far

The magic and mystery represented by these faraway lands have often inspired fairy tale authors. A number of Hans Christian Andersen stories are set in exotic locations, most notably The Nightingale, which takes place in ancient China. During the 18th Century, translations of Arabian Nights became popular in Europe, and in 1805 (The year of Andersen’s birth) the Danish poet and playwright Adam Oehlenschlager created a stage version of Aladdin. This was highly popular in Denmark and Oehlenschlager’s romanticism inspired a lot of Andersen’s finest work. Andersen’s fascination with Asia often bled into his tales in more subtle ways. Though his version of The Little Mermaid is regarded as one of the definitive Danish fairy tales, it is actually set in a kingdom with palm trees and orange trees on the beaches, buildings made from white and yellow materials and characters wearing silk and gold. These descriptions invoke images of the Mediterranean, in particular Asian areas such as Turkey, rather than the less colourful environment of Scandinavia. Incorporating the bright colours and distinctive architecture of the Middle East and Far East into his works allowed Andersen to show off his ability at creating beautiful and evocative descriptions and gave his work the magical atmosphere which has allowed it to remain so iconic today.

Many fairy tale works find inspiration closer to home. In Shrek 2, the fairy tale kingdom of Far Far Away is heavily based on modern-day Los Angeles, complete with a version of the Hollywood sign, red carpet events, shops such as Abercrombie and Witch, and even TV shows. The casually anachronistic nature of Far Far Away generates comedy which keeps with the modern and irreverent tone of the Shrek series. However, the decision to model this a fantasy environment on such a prominent real-life location also serves a more serious purpose. LA is famous for being one of the most glamourous cities in the world, due to its association with the stars of Hollywood. By using this location as their inspiration, the makers of Shrek 2 manage to draw parallels between the aspirational fantasies represented by life in LA and the fantasies which define fairy tales, suggesting that the rich and famous of today are the modern equivalent of the kings, princesses and other major fairy tale characters. This gives them the opportunity to create a clearly-defined and colourful world for our characters to inhabit, whilst also satirising the quirks of life which define not just LA, but in the whole of America. The combination of the magical and mundane allowed Shrek 2 to appeal to both children and adults, generating plenty of comedy about modern life without losing the creativity and imagination which make fairy tales so timeless.

The Problems with Creating Distant Kingdoms

Sometimes, there are instances where decision to set a story in a fictitious kingdom can lead to controversy. This can often happen when creating locations based on regions which are often underrepresented or depicted in an overly stereotypical fashion by Western filmmakers. One film which been particularly criticised for the way in which it creates a fictitious kingdom is Disney’s 1992 hit Aladdin. The kingdom of Agrabah, where Aladdin and the other characters live, is based in the Middle East, but there are also a number of elements from Indian culture, with the Sultan’s palace being modelled on the Taj Mahal. This casual blending of a diverse range of complex cultures into a single entity is made even more problematic by the shallow portrayal of Agrabah’s citizens. With the exception of Aladdin, Jasmine and possibly the Sultan (who look and act more like Westerners than the rest of the cast), the human characters in Aladdin are almost all grotesque caricatures. The Westernised view of Eastern cultures as a single, stereotyped, backwards ‘other’ is known as ‘Orientalism’, and this has the toxic effect of increasing prejudice against these areas. Combining elements from Eastern cultures indiscriminately without respecting their differences and complexities reinforces the Orientalist worldview. It can also generate the deeply offensive implication that the most distinctive thing about these areas is the fact that the inhabitants are not white. In the case of Aladdin, the mishandled and lazy combination of Arabian and Indian cultures ensure that neither is represented properly, hence the controversy generated by the decision to cast the Anglo-Indian actress Naomi Scott as Princess Jasmine in the forthcoming live-action remake of the movie.

Ron Clements and John Musker, the co-directors of Aladdin, also co-directed Disney’s more recent hit Moana. It’s depiction of Polynesian characters and customs is far more sensitive, and more scrupulously researched, than Aladdin’s depiction of Arabs, but there are still issues with it. One of these is the way in which Moana’s island, Motonui, features elements from various Polynesian cultures, including Samoa, New Zealand, Fiji and Hawaii. As a result of this, a small but vocal band of critics have accused it of perpetuating Orientalist tropes by reducing many complex cultures into a single fantasy world. However, in the case of Moana, the decision to amalgamate a diverse range of customs and cultures is more justified for two reasons. First of all, the film is inspired by the story of the Long Pause – the 2000 year gap between the arrival of settlers in Western Polynesian Islands like Fiji and Samoa and the colonization of islands in Central and Eastern Polynesia. During the second wave of exploration, Polynesian tribes discovered, and eventually came to inhabit, islands such as Hawaii and New Zealand. Hawaii and New Zealand are the two areas in the region which have the largest population, and most of the key figures involved in making the movie (including almost all of the cast, as well as co-writers Taika Waititi and Aaron and Jordan Kandell) come from Hawaii and New Zealand. For these people, the wayfinders who ended the Long Pause are a common set of ancestors, so it makes sense for Moana and the people of Motonui, who represent a fictionalised version of these wayfinders, to originate some of the traditions which would later become synonymous with their descendants. Secondly, Moana is based on a set of myths which vary between the Polynesian islands. Just as the writers had to merge several different stories about Maui into a single narrative, they had to merge numerous different and sometimes contradictory customs and beliefs, trying to represent all the regions of Polynesia instead of one specific area. Overall, the Polynesian culture which is created for the film is much more respectful than that of Aladdin, but there are still plenty of errors and missteps, and the very idea of creating a fantasy kingdom based on an area which is often overlooked and misrepresented in the real world can be problematic for some.  The pressures faced when making both Aladdin and Moana illustrate the fact that creating a fantasy world for fairy tales can be a risky process which needs to be handled carefully in order to avoid problematic implications.

Exploring the Kingdom

In the world of fairy tales, life as a ruler is often depicted in an overly idealised fashion. Male heroes are rewarded for their bravery by winning the hand of a beautiful princess in marriage, and the fantasy of being a princess remains popular amongst girls today. The portrayal of medieval kingdoms as worlds where characters enjoy power and prestige, as well as pretty castles and elegant clothes, can clash with our knowledge that the pre-enlightenment period in which most fairy tales are set was one defined by prejudice, plague and superstition. This contrast between the dream and the far less glamorous reality has inspired works such as Amy Schumer’s Princess Amy sketch, Rachel Bloom’s Historically Accurate Disney Princess Song, and David Henry Wilson’s 1989 novel The Coachman Rat, which aim to show that the optimistic fantasies of fairy tales cannot survive in the cruel historical world in which they are set. These works have a number of differences (Schumer and Bloom use their signature styles of edgy comedy to make their points, whilst Wilson’s novel is crushingly bleak) but they share a focus on deconstructing the belief that becoming a member of the royal family in a fairy tale world is a dream come true. In recent years, people have become increasingly aware of the violence and tension underpinning daily life, and this has fuelled the demand for darker and edgier stories. The comforting picture of becoming a popular and successful monarch leading a happy medieval kingdom has become less credible, and this has encouraged some particularly brutal fictional subversions of it.

However, showing more of the real world surrounding the fairy tale protagonists does not necessarily mean focusing on the most negative aspects of the human experience. Some of Disney’s most successful properties, such as Aladdin, The Little Mermaid and Tangled, have been spun off into animated TV series, and the increased amount of time spent with the protagonists in this new medium means we need to explore their world in more detail. In films, the kingdoms of our protagonists are depicted in a superficial fashion, as they tend to be a mere backdrop for events, but TV series need to give us a greater understanding of the environment which our protagonists inhabit. The rise of fanfiction has also fuelled increased interest in exploring the inner workings of fairy tale worlds. Frozen has lended itself particularly well to fanfics about royal affairs. Elsa is the first Disney protagonist to be shown becoming a queen, but her responsibilities are barely explored in the film itself. In a family-friendly fantasy musical such as Frozen, examinations of the political intricacies of Arendelle would be an unnecessary and tedious distraction, but in the world of fanfic, authors can discuss the pressures of running a kingdom as much as they wish. Going beyond the basic depiction of a fairy tale kingdom is hard to do in films, but longer and more complex forms of entertainment recognise that building a more developed and realistic world allows increased opportunities for our protagonists to go on adventures.

Conclusion

In the fairy tale genre, memorable characters and an engaging story are generally more important than the setting, which tends to be a mere backdrop. However, a memorable setting can enhance a fairy tale by giving it a distinctive atmosphere, or providing a variety of interesting places where the protagonists and antagonists can interact. The amount of detail which should go into depicting a location depends on the amount of the length of the story and its focus. In a three-page, fast-paced Brothers Grimm story, the settings do not need to be described in any great detail, but in a film like Moana, we want to get a sense of the daily lives of our characters and the world they live in. In recent years, writers and filmmakers have tried to satisfy the demand for settings which reflect the diversity and complexity of the modern world, sometimes creating controversy in the process. Ultimately, a distinctive location can make a fairy tale film stand out, but we should not forget that it also needs to provide a story and characters which audiences all over the world can enjoy and relate to.

D23 Expo 2017 - A Preview

If you’re a Disney fan, the D23 Expo is one of the most important events of 2017. Held by the official Disney fan club D23 (which gets its name from the year in which the Walt Disney Studios were founded), the D23 Expo takes place every two years in the Anaheim Convention Centre. This year, it will take place between Friday 14^th July and Sunday 16^th July, with thousands of Disney fans from all over the globe heading to California in order to meet the men and women behind the entertainment which has shaped their lives, and learn major secrets about future Disney projects. In the last D23 Expo in 2015, highlights included exclusive footage from Moana, and major revelations about the live-action remakes of The Jungle Book and Beauty and the Beast. This year, the D23 Expo will be bigger than ever, so there will be even more treats for Disney fans…

Since Walt Disney established his studio in 1923, The Walt Disney Company has become one of the biggest companies in the world, creating the Disney Channel and the Disneyland Theme Parks. They also own the film studios LucasFilm (who make the Star Wars movies) and Marvel Studios (who are behind the Marvel Cinematic Universe), as well as the major American TV channel ABC. All aspects of Disney’s media empire will be represented at the D23 Expo. However, as this blog is aimed at fairy tale fans, it will only discuss events related to Disney’s fairy tale films and TV shows.

Below is a list of events at the D23 Expo which will be of significant interest to Disney enthusiasts and fairy tale fans. These include: costume competitions, panels hosted by Disney historians, interviews with the makers of your favourite Disney films, and special announcements regarding forthcoming projects from the company. If you’re attending the D23 Expo, be sure to check out some of these events…

(Note: For more news on the D23 Expo 2017, be sure to check out the Fairy Tale Fanboy Twitter and Facebook Pages,)

Friday 14^th July

Mousequerade (Stage 28, 11AM)

Casual visitors to D23 can expect to see thousands of passionate Disney fans dressed as their favourite Disney characters. In this competition, a number of these cosplayers will show off their best Disney costumes, competing to win trophies in five different categories and a $2,300 cash prize. Jim Babcock, who serves as emcee for a number of Disney events, will host this contest, with actresses Ashley Eckstein and Yvette Nicole Brown and costume designer Kara Saun serving as the judges.

Pixar and Walt Disney Animation Studios: The Upcoming Films (Hall D23, 2:30PM)

Disney are still defined by their animated films, so this event will be the most significant of the weekend. Here, John Lasseter, Disney’s chief creative officer, will promote the latest animated films from Disney and Pixar. If previous D23 Expos are any indication, he will be joined by a few surprise guest stars. The movies which will dominate the event are Pixar’s next film, Coco (which will be released in America this Thanksgiving) and Wreck-it Ralph 2: Ralph Wrecks the Internet. There is also a real possibility that Lasseter will provide exclusive information about Frozen 2 (due in 2019) or Gigantic (due in 2020)…

Ink and Paint: The Women of Walt Disney Animation (Walt Disney Archives Stage, 4:30PM)

Mindy Johnson is a historian who has written books on several Disney-related subjects, including Tinker Bell: An Evolution and Marc Davis: Walt Disney’s Renaissance Man. Her latest book, Ink & Paint: The Women of Walt Disney’s Animation, a detailed, extensively-researched study on the role of female animators within the Walt Disney Studios, will be published in a couple of months. In order to promote it, Johnson will head an event at the D23 Expo where she will interview a panel of female animators who have worked for Disney in order to highlight their contributions to Disney history.

Melodies in Walt’s Time: The Music of Disney’s Live-Action Films (D23 Expo Arena, 6PM)

Although Disney’s live-action films tend to be overshadowed by their animated output, they made a number of live-action musicals in the 1960’s with songs written by The Sherman Brothers. These included Summer Magic, The Happiest Millionaire, and Disney’s greatest live-action movie, Mary Poppins. In this concert, hosted by iconic comedienne Whoopi Goldberg, we will hear classic songs from these movies, such as ‘The Ugly Bug Ball’ and ‘Supercalifragilisticexpialidocious’, performed by a number of singers, including some of the stars of these films.

Saturday 15^th July

The Walt Disney Studios Live Action Films (Hall 23, 10:30AM)

This event will primarily focus on Marvel films (such as Thor: Ragnarok and Black Panther) and Star Wars films (such as Star Wars Episode VIII: The Last Jedi). However, a significant amount of time will be devoted to previewing Disney’s live-action fairy tale sequels and remakes. The main attraction here will be Mary Poppins Returns, a sequel to the 1964 live-action classic starring Emily Blunt as the legendary nanny. We could also receive information on some of the live-action remakes currently in the pipeline, including Aladdin, Mulan and The Lion King. Fans have a number of major questions about these projects (Who will play the Genie in Aladdin? Who will play Mulan? Will Elton John return to write new songs for The Lion King?) and it’s likely that at least a few of these will be answered during the event.

The Power of the Princesses (Stage 28, 10:30AM)

Disney Princesses are some of Disney’s most popular characters, so it’s no surprise that they will have a significant presence at the D23 Expo. In this event, animators  Amy Smeed and Kira Lehtomaki will introduce audiences to the women who voiced four of Disney’s most notable Princesses: Jodi Benson (who voiced Ariel) , Paige O’Hara (the original Belle)*, Anika Noni-Rose (who voiced Tiana in The Princess and the Frog), and Auli'i Cravalho (who voiced Disney’s latest princess**, Moana). They will reveal how these iconic characters were created, and share stories about how they have inspired fans all over the world.

(* When this event was announced, Ming-Na Wen, who voices Mulan, was announced as a panellist, but she has been replaced by Paige O’Hara for unknown reasons.)

(**technically, Moana is the daughter of a chief, but she sings and has a cute animal sidekick, so she counts as a princess.)

The Hidden Art of Disney: A Behind-the-Scenes look at the They Drew as They Pleased Book Series (Walt Disney Archives Stage 11:30AM)

During the D23 Expo, the Walt Disney Archives Stage will host events which provide fascinating insights into Disney’s history. One of these is The Hidden Art of Disney, hosted by Didier Ghez, the author of They Drew as They Pleased. This collection of books (Ghez has already published two volumes and plans to write six) showcases the work of concept artists who helped create the universes central to each Disney film and the characters who inhabit them. In this event, Ghez will reveal how he researches for each of his books (the majority of illustrations shown in each volume have never been seen by the public before), and provide an exclusive preview of concept art featured in Volume 3 of They Drew as They Pleased, which will be published in autumn.

Olaf’s Frozen Adventure: A Sneak Peek at the New Frozen Short Film (Stage 28, 2:30PM)

In Olaf’s Frozen Adventure, the lovable snowman from Frozen will return for a 21-minute short (which will accompany Coco in cinemas) in which he tries to help Anna and Elsa celebrate the perfect Christmas by finding a best Christmas tradition for them. With Jennifer Lee and the Lopez’s busy working on both the Broadway version of Frozen and the long-awaited Frozen 2, Olaf’s Frozen Adventure is being brought to life by a new creative team, headed by directors Stevie Wermers-Skelton and Kevin Deters, producer Roy Conli and composers Kate Anderson and Elyssa Samsel (who are writing four new songs). In this event, exclusive previews of Olaf’s Frozen Adventure will be shown, and there will also be plenty of behind-the-scenes footage.

Once Upon a Time (D23 Expo Arena 3:15PM)

This autumn, ABC’s popular fairy tale TV series Once Upon a Time is undergoing a “soft reboot” for its seventh season. Henry, the son of original protagonist Emma Swan, is now an adult, who has just been reunited with his daughter Lucy. Some key characters from the previous six seasons (such as Emma Swan and Snow White), will no longer be part of the core cast, and the characters who are returning (such as Regina and Captain Hook) will be joined by new protagonists and antagonists. In this event, co-creators Edward Kitsis and Adam Horowitz will explain the major changes made to the show in more detail, with Colin O’Donoghue, who plays Captain Hook, joining them to promote the new season.

Sunday 16^th July

Celebration of an Animated Classic: The Lion King (D23 Expo Arena, 10AM)

23 years after its initial release, The Lion King remains one of Disney’s finest and best-loved animated films. It has spawned a direct-to-video sequel, a direct-to-video midquel, two spin-off TV series, a long-running stage musical and even a live-action remake. Simba’s coming-of-age story remains just as compelling today as it was in 1994, and its legacy will be the subject of this event. Producer Don Hahn, director Rob Minkoff and animators Tony Bancroft and Mark Henn will tell us about how The Lion King was made, and they will be joined by a few special guests as they discuss how it became such a timeless classic.

Tangled: The Series Q&A Panel (Stage 28, 10:30AM)

After going on a three-month hiatus, Tangled: The Series is returning with new episodes on Sunday 23^rd July. In order to promote the new adventures of Rapunzel and Co., there will be a Q&A Session headed by Mandy Moore (who voices Rapunzel) and Zachary Levi (who voices her love interest Flynn Rider Eugene Fitzherbert). They will be joined by executive producers Chris Sonnenburg and Ben Balistreri, as well as Eden Espinosa and Jeremy Jordan, who voice the prominent new characters Cassandra and Varian…

Walt Disney Signature Collection Presents: The 75^th Anniversary of Bambi (Walt Disney Archives Stage, 11:30AM)

Disney’s Bambi premiered in 1942, introducing children the beauty of wildlife through the story of the titular deer, and featuring (in scene where Bambi’s mother dies) one of the most iconic tearjerker moments in cinema. In order to mark its 75^th anniversary, the surviving members of the voice cast will reveal stories about how the film was made, and discuss the distinctive and beautiful animation, which has inspired animators for generations.

Zero to Hero: The Making of Hercules (D23 Expo Arena, 12:30PM)

Hercules, Disney’s comedic take on Greek mythology, celebrated its 20^th anniversary last month. Though it proved a relative financial disappointment on its initial release, its catchy gospel-influenced songs, lively comedy and memorable characters have given it a strong fan base. In this event, the directors of Hercules, Ron Clements and John Musker (The duo behind The Little Mermaid and Moana) will share stories about the making of the movie, joined by animators Eric Goldberg and Ken Duncan, and voice actors Tate Donovan and Susan Egan, who voiced the protagonists Hercules and Megara.

A Whole New World of Alan Menken (Hall D23, 1:30PM and 5:30PM)

If there is one man who defined ‘The Disney Renaissance’ during the 1990’s, it is Alan Menken. He wrote the scores for Disney classics The Little Mermaid, Beauty and the Beast and Aladdin, and has also provided music for more modern hits such as Enchanted and Tangled. Menken has always been aided by lyricists such as Howard Ashman, Sir Tim Rice and Glenn Slater, but in this show, he is going solo. He will sing some of his most iconic songs, such as “Under the Sea”, “Beauty and the Beast” and “A Whole New World”, whilst providing stories about his long and eventful career.

Snow White and the Seven Dwarves: 80^th Anniversary Screening (D23 Expo Arena, 3:15PM)

Out of all the major anniversaries being marked by Disney this year, the most significant is the 80^th anniversary of the release of Snow White and the Seven Dwarves. The first feature-length animated movie ever made by Disney, this adaptation of the classic Brothers Grimm fairy tale retains a lot of its magic today, due to its enchanting visuals and simple yet appealing story. In order to commemorate 80 years since it was first released, the movie will receive a special screening at D23.

Sleeping Beauty Castle Walkthrough: 60 Years of Walt’s Most Charming Tableaux (Walt Disney Archives Stage, 3:30PM)

When Disneyland was being created in 1956, Disney were hard at work creating their animated film Sleeping Beauty, which would be released in 1959. In order to promote the movie, Disney set up a walkthrough attraction in Sleeping Beauty Castle, enlisting key animators to recreate scenes from the movie inside the castle. In this event, Tony Baxter and Christopher Merritt, who work as “Imagineers” and create the attractions seen at Disney theme parks, will discuss the history and development of the Sleeping Beauty Castle Walkthrough, including its debut in 1957 and its reopening in 2008 after being closed for seven years.

Combining Fairy Tales: Top 10 Universes, Crossovers and Mash-Ups

We are all familiar with a wide range of fairy tales, and their numerous retellings. However, sticking to just one of these stories can be a bit limiting in a world where people are always looking for something new. One quick way of providing the unique product which audiences want is by making a story combining two or more familiar tales in a new way, and many talented authors do this in order to make their contributions to the fairy tale genre stand out. The resulting stories can be referred to as 'combination tales', and there are more than enough examples of 'combination tales' for them to be considered as a full subgenre. There are three ways of combining numerous fairy tales and fairy tale characters into a single story: Universes, Crossovers and Mash-ups.

Universes – The simplest way of combining fairy tales is by placing all the characters we know in a single world. This environment is generally modern in nature, designed to contrast with the rural traditions of fairy tales. The main source of appeal in these universes comes from seeing familiar characters react to the pressures of an unfamiliar world.

Crossovers – Similar to Universes, but with a few differences. These tend to focus on combining a select number of stories instead of depicting an entire world, and they are set in a more conventional fairy tale environment in which woods and witches lurk around every corner.

Mash-Ups - In the world of music, Mash-Ups feature the lyrics of one song being laid over the music of another. The 'combination tales' listed here do something similar, often putting well-known characters from one tale into another story.

There are numerous examples of stories in all three categories. As in any subgenre, 'combination tales' range from brilliant to terrible. However, this article will showcase only the ten best of these. These prove that different fairy tales can be combined into a single story which is unique, creative and fascinating in its own right. This list includes comic books, novels, plays, films, TV series and even a couple of fanfics, but the diverse range of works highlighted represent the very best examples of this subgenre.

Universes

• ·         Fables

(Plot: Thousands of years ago, characters from our favourite children’s stories were forced to flee their homelands when a creature called The Adversary invaded them. They now live in modern-day New York, forming a community called Fabletown. One of the most important citizens there is Snow White, the assistant of Fabletown’s mayor King Cole. In addition to protecting her fellow “fables” and hiding them from the “mundys” (ordinary humans), she has an eventful personal life, including a romance with Bigby Wolf - a sheriff keeping his lupine and homicidal instincts in check - and a strained relationship with her troublemaking sister Rose Red.)

Vertigo Comics have been behind comic books such as Preacher and The Sandman (the latter created by the legendary Neil Gaiman), and the stylish and edgy approach of these cult favourites is applied to the world of children’s stories in Fables. Created by Bill Willingham with the aid of various illustrators, the first issue of Fables was published in 2002, with new issues being published monthly until the series concluded on issue #150 in 2015. Fables started with a relatively mundane murder mystery story which introduced us to our main characters and their world, then gradually expanded in scope until the final issues, which depict Snow White and Rose Red preparing for the battle which will lead to the destruction of Fabletown. In between, our protagonists face numerous conflicts and adventures, and a wide variety of characters get smaller, self-contained stories.

Like other Vertigo Comics properties, Fables is something of an acquired taste, with plenty of gore, sex and swearing. However, there is enough charm and creativity to prevent things from becoming too unpleasant, and plenty of great characters for us to care about. Snow White is a fascinating protagonist, who is tough and intelligent, but she struggles to deal with the traumatic events which have defined her past, and repair her relationship with Rose Red. Meanwhile, Bigby is a moody antihero whose love for Snow White and desire to protect Fabletown make up for his numerous objectionable traits. Apart from the protagonists, the most memorable supporting characters include a womanising Prince Charming who has slept with every "Fable" princess he has ever met, and the likeable Frog Prince, Flycatcher, AKA Prince Ambrose. Due to its large and memorable cast and distinctive tone, Fables has become one of the most successful series created by Vertigo Comics, spawning numerous spin-off comics, graphic novels and even a video game during its long run.

• ·       Once Upon A Time

(Plot: On the night of her 28^th birthday, cynical bounty hunter/ bail bondswoman Emma Swan is visited by a child called Henry, who reveals that he’s the son she gave up for adoption a decade ago. Emma takes Henry back to his hometown of Storybrooke, but Henry tells her that the inhabitants of Storybrooke are actually fairy tale characters, transported there after the Evil Queen placed a curse upon Snow White. Although Henry and his mysterious adoptive mother Regina are initially the only two people aware of this, the rest of the residents, including mysterious pawnbroker Mr Gold and warm-hearted teacher Mary, soon begin to recall their pasts in the fairy tale world. Across subsequent series, the inhabitants of Storybrooke get involved in various adventures involving new dark forces and several curses and mysteries…)

Given that they have created some of the most iconic fairy tale films of all time, it is no surprise that Disney have been behind several works in which characters from multiple fairy tales interact in a single world. Their TV movie Descendants featured the children of famous Disney heroes and villains attending school together, but their most successful attempt at combining the fairy tale characters we love into a single universe is Once Upon a Time, which has aired for six seasons on the Disney-owned channel ABC, with the first of these airing in 2011. The series was created by Adam Horowitz and Edward Kitsis, who previously helped write the hit TV series Lost. Like Lost, Once Upon A Time features elaborate storylines and character arcs which can be confusing to the uninitiated, but it has developed a large and passionate fanbase who are drawn to the universe it depicts and its messages about the value of love, family and happy endings.

The most notable aspect of Once Upon a Time is the large cast of memorable characters, who often prove far more complex to be than the archetypal fairytale characters they are based on. The most prominent of these are Emma, a tough everywoman whose experiences in Storybrooke inspire her to fight for the inhabitants of the town, and Regina, who starts out as a conventional vampish villain, but soon evolves into a more sympathetic figure. The residents of Storybrooke have also met a wide variety of characters from famous stories ranging from Frozen to Dr. Jekyll and Mr. Hyde. Across its run, Once Upon a Time has been nominated for a total of 91 awards, winning 9 of these, including Best Fantasy/Sci-Fi at the 2016 Teen Choice Awards. A seventh series will start airing in the autumn, but this will be a “soft reboot”, centred on the now grown-up Henry. It will retain some of the core characters, such as Regina and Hook, but others such as Emma and Snow White are no longer part of the main cast.

• ·       Shrek

(Plot: Shrek is a giant green ogre who prefers to live as far away from others as possible. However, his swamp gets invaded by fairy tale characters (including the fast-talking Donkey) evicted from their kingdom by the tyrannical Lord Farquaad. In a bid to get his swamp back, Shrek makes a deal with Farquaad – he and Donkey will rescue Princess Fiona, a sassy princess imprisoned in a tower due to a mysterious curse, and bring her to Farquaad to be his bride. Shrek manages to complete the first part of his task and free Fiona, but things get complicated when they begin to develop feelings for each other...)

None of the projects on this list has had as much impact as Shrek, which revolutionised the animated genre in 2001. At the time, Disney’s films had become too formulaic and had lost a lot of their signature charm, so when rival animation studio Dreamworks (owned by former Disney head Jeffrey Katzenberg) released Shrek, its irreverent humour meant it represented a breath of fresh air. Shrek was adapted from a 1990 picture book written and illustrated by William Steig, but screenwriters expanded the 32-page story to feature-length by creating a more elaborate plot, with fairy tale characters such as Pinocchio, The Big Bad Wolf, and The Gingerbread Man playing a key role. The inclusion of these familiar figures enhanced the movie’s parody of established fairy tale conventions, and there were numerous jokes at the expense of Disney. However, for all the crude and subversive aspects of Shrek, the CGI animation was incredibly advanced for the time, and the film had an excellent message about the importance of inner beauty.

Due to its ability at combining edgy humour with an appealing, family-friendly story, Shrek proved a major hit, winning the first ever Academy Award for Best Animated Film. In 2004, it was followed by Shrek 2, which added a Zorro-inspired take on Puss in Boots and a villainous Fairy Godmother to the universe, and introduced viewers to Far Far Away Land, a fairytale kingdom with more than a passing resemblance to modern-day Hollywood. It proved to be every bit as popular as the original, making over $919 million worldwide and becoming the highest-grossing animated film to date. The two subsequent sequels (released in 2007 and 2010) failed to match up to the high standard set by these two movies, but Shrek remains popular today, and Dreamworks have been spending the last few years developing a revival of the franchise.

• ·         The Lunar Chronicles

(Plot: Cinder is a cyborg* in the polluted, plague-ravaged futuristic city of New Beijing. Scarlett is an impulsive teenager from France whose grandmother has just gone missing. Cress is a computer expert who has been imprisoned on a satellite since childhood. Winter is a rebellious princess whose facial scars do not conceal her inner beauty. These heroines will have to team up to take on the tyrannical Queen Levana of the planet Luna, who plans to take over the earth.)

(*for those too addicted to fairy tales to understand technical terminology, this means she’s half-human, half-robot)

Most of the fairy-tale “universe” stories mentioned here feature fairytale characters in the modern world or (in the case of Shrek) a fairy tale world that has more in common with the present than the past. However, The Lunar Chronicles goes even further, setting its retellings of fairy tales such as Cinderella, Little Red Riding Hood and Rapunzel in the far future. The Lunar Chronicles franchise consists of five novels (as well as several shorter stories and a couple of graphic novels) written by Marissa Meyer. The first three novels in The Lunar Chronicles (Cinder, Scarlet and Cress) introduce us to our misfit protagonists, the fourth (Fairest) is told from the perspective of the villainous Queen Levana, and the series climaxes with an epic finale, the 827-page Winter.

A former fanfiction writer, Meyer understands her teenage audience very well. Although The Lunar Chronicles uses the same basic ‘teens vs. tyrants’ storyline of major YA (Young Adult) literary franchises such as The Hunger Games and Divergent, it also has the epic storytelling and memorable characters needed to stand out in a crowded genre. Cinder, Scarlet and Cress are relatable protagonists, with enough quirks and flaws to feel realistic and well-developed. The combination of fairy tale characters and sci-fi tropes is also effective. Whilst the two genres seem totally different, they both rely on building atmosphere and appealing to our fascination with the unknown. This means that, in spite of the frequent use of technical terminology and the complex relationships at the centre of her work, Meyer manages to maintain the of the underlying mystique and charm of the classic stories which inspired her. Overall, The Lunar Chronicles is an entertaining series which highlights the enduring appeal of the fairy tale protagonists who feature in it.

Crossovers

• ·         A Tale Dark and Grimm

(Plot: Hansel and Gretel are reimagined as the children of a monarch, who cuts off their heads in order to bring his faithful servant back to life. Hansel and Gretel quickly get resurrected, but their experience (understandably) causes them to run away and look for parents who won’t kill them. However, in the world of fairy tales, such perfect parents turn out to be incredibly hard to find, and Hansel and Gretel end up battling witches, dragons, curses and even the devil himself…)

It is difficult to dislike a story which begins with the line “Once upon a time, fairy tales were AWESOME!”, and this novel by Adam Gidwitz succeeds in demonstrating that fairy tales are not as sweet and innocent as many moral guardians want us to believe. A Tale Dark and Grimm has often been compared to Lemony Snicket’s much-loved A Series of Unfortunate Events, as it revels in the notion that it may be too dark and gory for sensitive readers, featuring numerous warnings advising the faint of heart to stop reading. Much is made of the fact that A Tale Dark and Grimm preserves the bloody content of the classic Brothers Grimm stories, but it also maintains the simplistic, earthy and unpretentious tone which makes them so appealing.

A Tale Dark and Grimm weaves together several Brothers Grimm stories in which children are treated in ways which would make modern audiences uncomfortable. Almost everyone knows about Hansel and Gretel, but only fans of the Brothers Grimm are familiar with tales like Faithful Johannes, The Seven Ravens and Brother and Sister. The common theme of “children in peril” which unites these stories allows them to be combined into a single engaging and effective narrative, as our two protagonists end up stuck in a variety of dangerous situations and realise that they have to grow up quickly in order to survive. The darkness of the fairy tales used is balanced out by the comedic narration and a narrative with the excellent message that children are more intelligent and self-sufficient than adults give them credit for. Unsurprisingly, A Tale Dark and Grimm has been a huge hit with older children since it was first published in 2010, and it even managed to appear on the New York Times’ prestigious Bestsellers list. Adam Gidwitz has since written two follow-up stories (In A Glass Grimmly and A Grimm Conclusion) which have stuck with the winning formula, featuring various child protagonists navigating their way through fairytales both familiar and obscure.

• ·         Into the Woods

(Plot: A baker and his wife learn that their inability to have a child is the result of a curse placed on them by a witch. In order to break this curse, the duo have to bring her a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold. Their quest leads them to Little Red Riding Hood, (who encounters a wolf on her journey to find her grandmother) Jack (who wishes to regain the cow he sold for five magic beans), Rapunzel (seeking to leave her tower and explore the outside world) and Cinderella (who wishes to attend the King's Festival and escape her cruel stepmother and stepsisters). Initially, all these characters are able to obtain the happy endings they seek. However, their impulsive actions eventually lead to disaster, as the Baker’s marriage starts to fall apart, Rapunzel proves unable to cope with the outside world, and a rampaging giant seeks revenge on Jack…)

Stephen Sondheim is one of the most iconic songwriters in the musical theatre genre, renowned for his clever lyrics, intricate melodies, and his ability at creating compelling musicals about dark and unconventional subjects. Sondheim’s talents are in full display in Into the Woods, which premiered on Broadway in 1987. James Lapine, (who previously collaborated with Sondheim on Sunday in the Park With George) wrote the script, but Sondheim is the person most responsible for making Into the Woods such an iconic musical. The 14-minute prologue to Into the Woods, which introduces us to the characters and their wishes and kick-starts the plot, highlights just how talented Sondheim is, as he creates a distinctively mysterious world and memorable characters using complex musical techniques, amusing wordplay and even a bit of rapping. Other notable songs from Into the Woods include “Hello Little Girl” (The Big Bad Wolf’s enjoyably creepy attempt to seduce Little Red Riding Hood), the moving “No-One Is Alone” and the closing number “Children Will Listen”. This impressive music is used to soundtrack a creative and intelligent deconstruction of the fairy tale genre.

The most notable feature of Into the Woods is its inspired use of the Two-Act structure which defines modern theatre. The First Act blends faithful retellings of four classic fairy tales, which preserve their darker and gorier aspects (Cinderella’s story is based on the Brothers Grimm version, rather than the softer and simpler Charles Perrault version which inspires most adaptations), with the adventures of the baker and his wife, two ordinary people who end up having a significant influence on the familiar characters. The First Act ends happily, with the dreams of the protagonists coming true, but in the Second act, these dreams turn into nightmares. Today, in an era when fairy tales are expected to be dark and edgy, many of the twists which shocked those expecting more a conventional fairy tale narrative (protagonists get killed by the giant, Cinderella and Rapunzel’s Prince Charming’s both turn out to be shallow philanderers) no longer feel so subversive. That said, Into the Woods will always remain a great musical, due to the brilliant songs, the fascinating characters and, most importantly of all, the timeless and valuable messages about the impact of fairy tales on our children and the consequences of pursuing your dream without considering the long-term effects this could have. There have been several major productions of Into the Woods over the last 30 years, and in 2014, it was even adapted into a film featuring an all-star cast which included Meryl Streep, James Corden, Johnny Depp and Chris Pine.

• ·         Kissing the Witch

(Plot: This collection features thirteen stories, which put unique twists on European fairy tales ranging from Cinderella and Donkeyskin to The Snow Queen and The Little Mermaid. These include a story about Cinderella realising that she cares more about her fairy godmother than any prince, and one which explains why the Evil Queen wanted to kill Snow White. However, these tales are connected far more closely than they initially appear to be…)

Emma Donoghue is best known for her 2010 novel Room, which was recently-adapted into an Oscar-winning film, but she has also provided a number of short story collections, of which Kissing the Witch is the most notable. Kissing the Witch sounds like yet another collection of revisionist takes on fairy tales, but whereas most works in this crowded genre consist of an anthology of standalone stories, Donoghue combines her tale into a single chain of interlinked narratives. Each story ends with the protagonist asking a question about another central character, and that character then tells them their own tale. Donoghue described this device as “a simple ploy” to make the stories “more marketable”, but it allows Kissing the Witch to stand out (it also allows the anthology to qualify for this list). This structure also pays tribute to the role of women’s folklore in shaping the fairy tale genre.

Kissing the Witch starts with its unusual spin on Cinderella, with establishes some of the major themes of the collection. In addition to showing Cinderella rejecting her Prince in favour of the beautiful Fairy Godmother, it focuses on her doubts and insecurities, with her earlier servitude forced upon her by negative voices in her head rather than a wicked stepmother. After this, we learn about how the fairy godmother had to deal with her own inner demons, and a sense of inadequacy which made her feel as small as Thumbelina. The chain of fairy tales continues from here, going from Rapunzel to The Snow Queen to Hansel and Gretel, before finishing with an original story about a witch who, in spite of her reputation has no magical powers”. The transitions are usually highly effective, giving increased depth to the characters and the world which they inhabit, and the ease with which a secondary character from one story becomes the protagonist in the next proves that the wide range of women in fairy tales have more in common than most casual readers would think. Kissing the Witch uses its unconventional structure to update fairy tales for more feminist times whilst also highlighting their origins as oral narratives and old-wives tales.

Mash-Ups

• ·         Dark as Snow

(Combines Frozen and The Bloody Chamber)

(Read Dark as Snow here. It can also be read on ArchiveOfOurOwn and Tumblr)

(Plot: Desperate to escape from her lonely life with her troubled, reclusive sister Elsa, Anna Arendelle gets impulsively married to seemingly perfect widower Hans Westergard. However, life with Hans in his lavish estate isn’t the fairy tale ideal she expected, and Anna soon finds herself becoming increasingly close to his stable hand, Kristoff. But Hans is keeping a dark secret, hidden inside a mysterious locked room, and it could endanger everything Anna holds dear…)

In theory, the idea of combining Frozen, Disney’s most successful movie, with The Bloody Chamber, Angela Carter’s adults-only take on Bluebeard, sounds ludicrous. However, this fanfic, from the author Anysia, blends the two into one atmospheric and enthralling story. Essentially, Dark as Snow is a straightforward retelling of The Bloody Chamber with characters from Frozen in the lead roles. Anna becomes the protagonist, whilst the villainous Hans takes on the role of The Bloody Chamber’s sinister Marquis. Kristoff and Elsa are also central characters, with Anna’s relationship with Kristoff providing some much-needed sweetness to contrast with the dark and grim tone of the rest of the tale. Dark as Snow includes many of the most memorable elements from Carter’s story (the red ruby necklace, the bed surrounded by mirrors, the book full of sexually sadistic pornography), whilst also sneaking in a number of references to Frozen. If you are familiar with The Bloody Chamber, the allusions to that story are a real treat, but even if you aren’t, this is still a great work on its own terms.

The writing is excellent, with vivid and evocative descriptions that really add to the atmosphere and thus increase tension. Anysia is also great at getting inside Anna’s head, and really makes us care about her and hope that she gets a happy ending. Dark as Snow is definitely not suitable for children, and it is often genuinely scary. Hans is upgraded from the scheming nuisance of Frozen into a truly terrifying monster, and this fanfic contains a number of disturbing scenes where he inflicts acts of physical and sexual violence upon Anna. However, adult readers who can endure moments like these should definitely check this story out. With its memorable, well-developed characters, powerful descriptions and an excellent feminist message, Dark as Snow is proof that a fanfic can be every bit as impressive as a more professional work of fiction.

• ·        The Coachman Rat

(Combines Cinderella and The Pied Piper of Hamelin)

(Read The Coachman Rat here)

(Plot: A rat seeking to explore the human world is accidentally transformed into a human coachman as part of a spell from a fairy godmother which turns scullery maid Amadea into a beautiful princess so that she can attend the Royal Ball. After Amadea’s eventful night at the ball, Robert turns back into a rat, but maintains his ability to speak. However, his gifts soon attract the attention of unscrupulous revolutionary Devlin, who exploits Robert’s power of speech in order to carry out a bloody coup. After Amadea is killed, the fairy turns Robert back into a human, enabling him to plot revenge on Devlin and his supporters.)

Even when competing against stories like Into The Woods and Dark As Snow, The Coachman Rat is the darkest 'combination tale' mentioned in this article by some distance. Written in 1989 by English author David Henry Wilson, it takes one of the most iconic stories of wish-fulfilment in fiction and ruthlessly shatters the upbeat ideals which it represents. The idea of telling the story of Cinderella from the perspective of an animal sidekick seems rather whimsical, but this incarnation of the tale takes place in a world of plague, superstition and witch-burnings. Initially, Robert’s quest to become human permanently has some amusing aspects, but then Amadea and her prince get gruesomely executed. Once Robert is made human again, The Coachman Rat reveals itself as a variation on the Pied Piper of Hamelin, as he gains the ability to summon and control an army of rats using a recorder. Robert uses this power to strike back against the kingdom which wronged him, but soon finds himself alienated from both humankind and his fellow rats.

It goes without saying that Robert is the most important character here, as his initial fascination at the power and influence of humans is replaced by disgust and hatred when he realises what they are truly capable of. Robert’s first-person narration conveys his loss of innocence effectively, as he recalls a variety of awful events with the cold, matter-of-fact detachment of a protagonist whose quest to learn and discover has ended in total tragedy. If you like your fairy tales to be escapist and optimistic, then The Coachman Rat is definitely not for you. However, its bold approach and hard-hitting messages allow it to stand out, providing a harsh reminder that the innocence embodied by fairy tales cannot survive the cruelty and violence of the real world.

• ·        The Tangled Princess Bride

(Combines Tangled and The Princess Bride)

(Read The Tangled Princess Bride here)

(Plot: With their parents both away on royal business, the task of looking after Zachary and Rose falls to their grandfather, the King of Corona. Deciding to read them a bedtime story, the King chooses a tale called The Princess Bride from an anthology series called the Nineteen 80’s. This story is about the relationship between Rapunzel, a girl with magical hair, and the stable hand Eugene Fitzherbert, who get involved in an incredible adventure involving fencing, revenge, chases, escapes, true love, miracles and all sorts of exciting stuff. Soon, Zachary and Rose begin to notice parallels between the protagonists of The Princess Bride and their parents…)

Based on the novel by screenwriter William Goldman, The Princess Bride is one of the best-loved fairy-tale films of all time, with its wonderfully quotable dialogue (including iconic lines such as “As you wish” and “Inconceivable!”), memorable characters and playful sense of humour. Its blend of comedy, fantasy and adventure has inspired numerous fairy-tale films, such as Disney’s 2010 hit Tangled. This story highlights how much Tangled was influenced by The Princess Bride by inserting Rapunzel, Eugene and all their friends and enemies into Goldman’s story, leading to a gloriously chaotic and enjoyable adventure.

Rapunzel and Eugene fit perfectly into the shoes of Buttercup and Westley, and their eternal love for each other gives the story heart to accompany the comedy. Like the two films which inspired it, The Tangled Princess Bride takes great pleasure in celebrating the familiar fantasy tropes whilst pointing out how ridiculous they can be, leading to plenty of silliness and tonnes of anachronistic humour. Highlights include an unusual wedding ceremony presided over by a highly inebriated priest, a wonderfully over-the-top climactic battle involving dozens of famous Disney characters, and an interlude where the King of Corona gets the wrong page and accidentally reads the children an extract from a story called Tangled Die Hard…