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Animated Broadway: Disney and Musical Theater in the 1990s and Early 2000s

Animated Broadway: Disney and Musical Theater in the 1990s and Early 2000s ALEX BÁDUE AND REBECCA S. SCHORSCH Animated Broadway : Disney and Musical Theat er in the 1990s and Early 2000s When the ninth edition o Ff o rbidden Broadway—a revue that satirizes Broadway musicals by parodying show tunes—opened in 1996, it com - mented on Disney’s recent arrival on Broadway. To the music Beauty of and the Beast’s (1994) “Be Our Guest,” spoofs of Lumière and the Beast sang, “Broadway, while you’re fading, we will be invading. . . . Now you’re fated to be animated. You’re so stressed, I suggest you recoup and take a rest.” These lyrics accentuate Disney’s impact on Broadway musical theater, which for more than a decade had been undergoing aesthetic challenges with the arrival of British megamusicals Cats (1983), Les Misérables (1987), Phantom of the Opera (1988), and Miss Saigon (1991). The arrival and solid presence of the British megamusical in the 1980s and early 1990s initially contested Broadway aesthetics. In this article, we argue that when Disney Theatrical Productions (DTP) started its activi - ties in New York City’s theater district, it relied on these new aesthetics to leave its own stamp on the American musical, effecting changes that Alex Bádue is a musicologist who http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Animated Broadway: Disney and Musical Theater in the 1990s and Early 2000s

American Music , Volume 39 (2) – Aug 31, 2021

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

ALEX BÁDUE AND REBECCA S. SCHORSCH Animated Broadway : Disney and Musical Theat er in the 1990s and Early 2000s When the ninth edition o Ff o rbidden Broadway—a revue that satirizes Broadway musicals by parodying show tunes—opened in 1996, it com - mented on Disney’s recent arrival on Broadway. To the music Beauty of and the Beast’s (1994) “Be Our Guest,” spoofs of Lumière and the Beast sang, “Broadway, while you’re fading, we will be invading. . . . Now you’re fated to be animated. You’re so stressed, I suggest you recoup and take a rest.” These lyrics accentuate Disney’s impact on Broadway musical theater, which for more than a decade had been undergoing aesthetic challenges with the arrival of British megamusicals Cats (1983), Les Misérables (1987), Phantom of the Opera (1988), and Miss Saigon (1991). The arrival and solid presence of the British megamusical in the 1980s and early 1990s initially contested Broadway aesthetics. In this article, we argue that when Disney Theatrical Productions (DTP) started its activi - ties in New York City’s theater district, it relied on these new aesthetics to leave its own stamp on the American musical, effecting changes that Alex Bádue is a musicologist who

Journal

American MusicUniversity of Illinois Press

Published: Aug 31, 2021

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