Ever wonder how Disney musicals play with the New York City theater (excuse me, theatre) crowd? David Ozanich of The Awl has a clever piece on how Disney’s policy of finding the best and the brightest creative minds is saving Broadway. Says Ozanich,
. . . I mostly respect Disney for hiring playwrights like Doug Wright (who won the Pulitzer for I Am My Own Wife), David Henry Hwang (who penned M. Butterflywhich alone is important for introducing the world to BD Wong), and even screenwriter Julian Fellowes (Gosford Park) to write the books for The Little Mermaid, Tarzan, and Mary Poppins respectively. As one who has written a play, and one that was even mildly successful, I made about 24 cents on both the New York and London productions combined. The fees that the above three make for every performance of these Disney shows no doubt fund their other, perhaps more high-brow, attempts at theater-making. These are not the actions of an outfit that cares only about bringing in bucks on the backs of tourists with kids.
You can read the rest of the article here. Warning, some of the language is off-color and may offend some people, but the article is also a well-written, funny look at how non-Disney fans see Disney. There’s also a hint of things to come. The Hunchback of Notre Dame on stage? Yes. Yes, please.
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