Pinocchio is the next Disney musical!- Page 3

[finebydesign]

Posted: 6/16/17 at 1:09pm

[finebydesign]

Posted: 11/30/17 at 11:52am

Starts Friday!!!

[finebydesign]

Posted: 12/1/17 at 12:33pm

Sounding awesome!!!!

[Scarywarhol]

Posted: 12/1/17 at 12:37pm

Wish I could see this. Love the art.

[disneybroadwayfan22]

Posted: 12/1/17 at 12:52pm

Whoa this was quiet as heck. I forgot all about it until now. WYWUAS as the music makes me so happy!!!

[RippedMan]

Posted: 12/2/17 at 12:51am

Beyond stoked to see how this turns out. It def. was quiet. But I think this has great potential! And interesting to see that they went the Peter and the Starcatcher route and held their name off.

[bdn223]

Posted: 12/2/17 at 1:53pm

Disney took their name off of everything post The Little MerMAKEUPYOURMIND. After having both Tarzan and The Little Mermaid rushed to Broadway, the former with no out of town tryout and just a single workshop and the latter with a mixed to negative out of town tryout, Disney realized that with all of their means and capital they did not need to follow the traditional broadway business model as it clearly was causing them to come up with shows that weren’t up to the Disney standard. Thus Disney went back to the drawing board and decided to allow shows to be worked and reworked over and over until they got it write with little oversight from Disney. The first such musical we got out of this was NEWSIES, which was never supposed to come to Broadway, but instead be a licensed version, since it was a title that was being produced illegally with no official version all over the country. The Papermill production was revieved so well though that Disney decided to take a gamble and bring it to Broadway.
Then came Peter and the Starcatcher where Disney didn’t want to tarnish the shows scrappy little engine that could ingenuity that made it so special, so they kept their name off the marquee, but owned the underlying rights. It is akin to back in the 90s when Disney released more adult themed Movies under their Touchstone Pictures lable, as to not tarnish the Disney Brand. The same thing was done to Sister Act, where disney was one of the musicals 4 producers. Sister Act was treated to all the promotional luxuries of a Disney show (The View, Dancing with the Stars, Disney Channel Ads....) without the Disney lable on the Marquee, where they put Whoopi instead.
Then came Aladdin which had 2 out of town tryouts (Seattle & MUNY) before Disney officially came on board for the final one in Toronto. Disney did the hard work of investing more money and time into the production post Toronto, heavily revising the show before it finally opened on Broadway to suprisingly good reviews.
Disney continued this pattern with less success with The Jungle Book, which opened to tepid reviews at best, but gave complete control to Mary Zimmerman. Since it didn’t work they shelved it, since unlike most producers Disney has the pockets and luxury of not forcing a show to Broadway before its time.
Then came The Hunchback of Notre Dame, which although premiering in Germany to much fanfair in 1999, it never made it to Broadway. In 2008 though Disney decided to take it off the shelf and work on it through 2014 when it got 2 out of down tryouts that opened to mixed reviews and was supposed set to open in the Neaderlander and was partially the reason Disney closed Newsies, when someone Froze disney in its tracks.....Disney knows it can’t sustain 4 shows on Broadway simultaneously, let alone 3 for prolonged periods of time with Disney in the Marquee (Aida was sold under Elton John and Tim Rice similar to Sister Act).. FROZEN is the first musical of Disney’s to be fast tracked to broadway in 10 years since The Little Mermaid. Everyone understands why, its just the exception to Disney Theatrical’s new business model which they still appear to be following with much success.
This can be seen with Freaky Friday, which is now geting a Disney Channel Movie adaption, after 2 successful out of town tryouts that were simply meant to perfect a licensed version. Pinocchio only countinues that trend, and I expect Hercules to follow a similar path. The only other adaptation that I could see fast tracked would be Moana, simply because Lin is attached. Other then that is is not unusual for Disney theatrical.

[disneybroadwayfan22]

Posted: 12/2/17 at 1:56pm

Thank you bdn223 for your insight!

BTW: A first look on Jimminy Cricket (Second picture)

https://www.instagram.com/p/BcLPlADBTkB

 

[BwayLB]

Posted: 12/2/17 at 2:07pm

bdn223 said: "Disney took their name off of everything post The Little MerMAKEUPYOURMIND. After having both Tarzan and The Little Mermaid rushed to Broadway, the former with no out of town tryout and just a single workshop and the latter with a mixed to negative out of town tryout, Disney realized that with all of their means and capital they did not need to follow the traditional broadway business model as it clearly was causing them to come up with shows that weren’t up to the Disney standard. Thus Disney went back to the drawing board and decided to allow shows to be worked and reworked over and over until they got it write with little oversight from Disney. The first such musical we got out of this was NEWSIES, which was never supposed to come to Broadway, but instead be a licensed version, since it was a title that was being produced illegally with no official version all over the country. The Papermill production was revieved so well though that Disney decided to take a gamble and bring it to Broadway.
Then came Peter and the Starcatcher where Disney didn’t want to tarnish the shows scrappy little engine that could ingenuity that made it so special, so they kept their name off the marquee, but owned the underlying rights. It is akin to back in the 90s when Disney released more adult themed Movies under their Touchstone Pictures lable, as to not tarnish the Disney Brand. The same thing was done to Sister Act, where disney was one of the musicals 4 producers. Sister Act was treated to all the promotional luxuries of a Disney show (The View, Dancing with the Stars, Disney Channel Ads....) without the Disney lable on the Marquee, where they put Whoopi instead.
Then came Aladdin which had 2 out of town tryouts (Seattle & MUNY) before Disney officially came on board for the final one in Toronto. Disney did the hard work of investing more money and time into the production post Toronto, heavily revising the show before it finally opened on Broadway to suprisingly good reviews.
Disney continued this pattern with less success with The Jungle Book, which opened to tepid reviews at best, but gave complete control to Mary Zimmerman. Since it didn’t work they shelved it, since unlike most producers Disney has the pockets and luxury of not forcing a show to Broadway before its time.
Then came The Hunchback of Notre Dame, which although premiering in Germany to much fanfair in 1999, it never made it to Broadway. In 2008 though Disney decided to take it off the shelf and work on it through 2014 when it got 2 out of down tryouts that opened to mixed reviews and was supposed set to open in the Neaderlander and was partially the reason Disney closed Newsies, when someone Froze disney in its tracks.....Disney knows it can’t sustain 4 shows on Broadway simultaneously, let alone 3 for prolonged periods of time with Disney in the Marquee (Aida was sold under Elton John and Tim Rice similar to Sister Act).. FROZEN is the first musical of Disney’s to be fast tracked to broadway in 10 years since The Little Mermaid. Everyone understands why, its just the exception to Disney Theatrical’s new business model which they still appear to be following with much success.
This can be seen with Freaky Friday, which is now geting a Disney Channel Movie adaption, after 2 successful out of town tryouts that were simply meant to perfect a licensed version. Pinocchio only countinues that trend, and I expect Hercules to follow a similar path. The only other adaptation that I could see fast tracked would be Moana, simply because Lin is attached. Other then that is is not unusual for Disney theatrical."

One Disney movie not so recent that shouldn't be fast tracked that would be good for Broadway is Brother Bear. Besides the typical costumed puppets, dancing can be used to partially tell the story

[RippedMan]

Posted: 12/2/17 at 2:13pm

There's a London centric theater board and the posts on that aren't super positive. Apparently there's only 4 songs used in the show? So it's more a play with music than a musical.

[disneybroadwayfan22]

Posted: 12/2/17 at 2:44pm

What’s the link? I think they mean the 4 songs from the Disney movie. On the FB video, the actor who’s Pinocchio had a new song

Updated On: 12/2/17 at 02:44 PM

[RippedMan]

Posted: 12/2/17 at 5:14pm

Theatreboard.co.uk

[disneybroadwayfan22]

Posted: 12/2/17 at 5:35pm

Thank you!!

[ukpuppetboy]

Posted: 12/2/17 at 6:13pm

With a 15 piece orchestra, underscoring from the movie and maybe 4/5 chorus moments/numbers it is most definitely a musical. Not a glitzy razzmataz fiesta like Aladdin (thank goodness) but at times Matilda-esque with some recognisable John Tiffany flourishes reminiscent of Let The Right One In (the gorgeous tree/forest scenes) and Cursed Child.
It was beautifully written, fantastically dark (very European/Grimm Tales in it's execution) and with some fantastic scaling of puppetry throughout (and almost exemplary puppeteering - most notably Audrey Brisson's deft and charming creation of Jiminy Cricket). I loved 99% of it. And that was Friday's first preview.

Updated On: 12/2/17 at 06:13 PM

[RippedMan]

Posted: 12/2/17 at 7:11pm

Oh cool! I love Tiffany's work and loved Let The Right One In, so I'm super excited for this. Curious to see what direction it goes commercially.

[disneybroadwayfan22]

Posted: 12/2/17 at 7:31pm

So, it was just the Disney songs? How were the fox/cat characters, donkey kids, and the Blue Fairy?

[ukpuppetboy]

Posted: 12/4/17 at 2:27am

There's a whole section on the music in the programme (large special edition programme akin the the Follies/AiA editions) but I'm afraid I haven't had a chance to read it yet. I believe there is new music as well as new arrangements of all the movie songs (including reprises) and new interpretations of the movie underscore but I'm a Menken age Disney fan so really not too familiar with Pinnochio on film. But as I say I'll try and sit down to read that (and my Cursed Child programme from yesterday) before heading to NZ on Tuesday!

The fox is a sinister, camp human figure in costume (like the wolf in the original Into the Woods productions) but with makeup/tail/full length coat and platform shoes to give him a menacing and imposing presence. Very well performed by David Langham.

The Blue Fairy as a Special Effect is a smaller "tinkerbell"-esque flaming fireball that dances the full height and width of the Lyttleton stage. Similar to the petronus effect in Cursed Child but in all the right ways. When grounded Annette McLaughlin portrays her with long flowing blue hooded cape as an etherial presence with such a goregous '11 o'clock'  "When You Wish Upon A Star" and a voice that comes out of nowhere. She is also present as one of the larger than life puppets in the prologue in, not my favourite puppeteering performance of the evening (head manipulation), but that is being VERY critical (as a puppet maker and puppeteer) and only when compared to some of the other stellar puppetry work going on all over that stage.

I wont go into any spoilers but having just seen Cursed Child yesterday the creative chemistry maybe similar but I don't believe there to be much of an overlap. Both productions are magnificant in their own respective ways. I would go and see both again in a heartbeat. I think this weekend has made a big John Tiffany fanboy of me - if "Once", "Let the Right One In" and "Black Watch" hadn't already...

 

*edited for spelling. like everything I ever do.

Updated On: 12/7/17 at 02:27 AM

[finebydesign]

Posted: 12/4/17 at 1:23pm

[finebydesign]

Posted: 12/4/17 at 1:24pm