Disney’s HERCULES - Reviews & News Thread

[jacobsnchz14]

Posted: 4/12/22 at 12:03pm

New Jersey's Paper Mill Playhouse will present the indoor premiere of Disney's new musical Hercules as part of its 2022-2023 season.

Hercules, which premiered in 2019 as part of the Public Theater's free Shakespeare in the Park at the Delacorte Theater, will run February 9-March 12, 2023. Lear deBessonet will return to direct the musical, which has a score by Alan Menken and David Zippel, with a new book for this production by Kwame Kwei-Armah and Robert Horn. Michael Kosarin is music supervisor and music direction by Alvin Hough Jr. It is based on the Disney animated film written by Ron Clements, John Musker, Donald McEnery, Bob Shaw, and Irene Mecchi, and directed by Ron Clements and John Musker.

https://www.theatermania.com/new-jersey-theater/news/disneys-hercules-musical-to-have-indoor-premiere_93639.html

Updated On: 3/1/23 at 12:03 PM

[JBroadway]

Posted: 4/12/22 at 12:31pm

I like "Indoor premiere" as a designation. You don't hear that one every day! 

It's interesting that still have DeBessonet on the project, which suggests they probably aren't totally scrapping everything from PublicWorks - if that's the case, it will be interesting to see how they retool it outside of the hyper-specific PublicWorks infrastructure.  Obviously they won't have the community ensemble, or maybe they're have a scaled down version of it.

I also wonder what the rewrites will look like. Personally, I appreciated the show's message about helping the community through service and need-fulfillment, rather than just brute strength. A tad on the nose, maybe, but it worked for PublicWorks, and I liked it as a re-interpretation of the Hercules story. 

[DrewJoseph]

Posted: 4/12/22 at 12:57pm

Really hope for a lavish production. The story just screams for big sets, costumes and puppets. 

[JBroadway]

Posted: 4/12/22 at 1:11pm

DrewJoseph said: "Really hope for a lavish production. The story just screams for big sets, costumes and puppets."

I feel like it will depend on what they ultimately plan for the property. If they want to bring it to Broadway, then it may very well have a major upgrade. But if they're trying to prep the show for licensing (as they've been doing with a lot of their B-tier and C-tier properties lately) then they might not, either because (a) it's not worth it, and (b) they want the conceive the show so that smaller companies can do it. 

I know that we've heard terms like "broadway-bound" and "developed for Broadway" thrown around with this property in the past few years, but I'm still not convinced. I think it will go route of Hunchback, Freaky Friday, etc. People were excited for the PublicWorks production because it was long-anticipated from a cult fanbase of young millennials, and the run was so short, but I don't think the IP has enough box office power with families to sustain a full commercial run.

Hell, if FROZEN didn't turn out to be the mega-hit they thought it would, the Mouse will surely think twice about putting Hercules on Broadway. 

Updated On: 4/12/22 at 01:11 PM

[darquegk]

Posted: 4/12/22 at 1:23pm

Steering into the community oriented, overtly socialist aspect might be a good publicity move for Disney in their ongoing battle with the Florida right wing, as well as image rehab after their funding of Don’t Say Gay.

[Jeffrey Karasarides]

Posted: 4/12/22 at 1:39pm

JBroadway said: "I know that we've heard terms like "broadway-bound" and "developed for Broadway" thrown around with this property in the past few years, but I'm still not convinced. I think it will go route of Hunchback, Freaky Friday, etc. People were excited for the PublicWorks production because it was long-anticipated from a cult fanbase of young millennials, and the run was so short, but I don't think the IP has enough box office power with families to sustain a full commercial run."

Then again, Disney originally developed Newsies as something that could be legally licensed to schools and community theatres. Though given how successful the world premiere run was at Paper Mill, it was decided that the show would be brought to Broadway, but only for a limited run. Yet as the main stem production was proving to be just as (if not, more) successful as its world premiere, Newsies then became an open-ended run.

With Hunchback, it made sense why it didn't come to Broadway. The stage adaptation was much darker and more mature then the animated film. It definitely would've been a tough sell in New York.

[Nolan LuPone]

Posted: 4/12/22 at 1:58pm

Jeffrey Karasarides said: "With Hunchback, it made sense why it didn't come to Broadway. The stage adaptation was much darker and more mature then the animated film. It definitely would've been a tough sell in New York."

Interesting of you to say that. I don't think Hunchback would have had a tough time just because it wasn't a slap-happy adaptation of the Disney film. Hunchback has a lot of popularity amongst millennials, a cult-classic if you will. I think the fact that the producers and composers refused to downsize the choir is what brought death to the Hunchback of Notre-Dame.

[DaveyG]

Posted: 4/12/22 at 2:03pm

I just hope Robert Horn doesn’t sink it with bad sitcom jokes. Love the score.

[ACL2006]

Posted: 4/12/22 at 2:04pm

This is, essentially, it's pre-Broadway tryout. Aiming to land on Broadway Fall of 2023. Probably kicking out Aladdin to take the New Amsterdam.

[Jeffrey Karasarides]

Posted: 4/12/22 at 2:24pm

^Or maybe it could reopen the Palace Theatre.

[JBroadway]

Posted: 4/12/22 at 2:38pm

Jeffrey Karasarides said: "Then again, Disney originally developedNewsiesas something that could be legally licensed to schools and community theatres. Though given how successful the world premiere run was at Paper Mill, it was decided that the show would be brought to Broadway, but only for a limited run. Yet as the main stem production was proving to be just as (if not, more) successful as its world premiere,Newsiesthen became an open-endedrun."

 

I know about all that, but I think that happened because the show itself garnered its own buzz, not solely reliant on the IP. Maybe that will happen with Hercules too, but it's an uphill battle. 

Are we sure that Hunchback was ever actually planning to go to Broadway? It seemed to me that people just assumed it would because of the circumstances, but I feel like it's more likely that they were planning to put it straight to licensing. 

If ACL2006, or other users, insist that you have it on good authority, from reliable sources, that Hercules is planning to go to Broadway, then I guess I'm more inclined to believe it (though of course it's always important to take message board rumors with a grain of salt). But if we're just saying "it's Disney, it's Hercules, it'll probably go to Broadway!" then I'd say again that I'm still not convinced. 

 

[Nolan LuPone]

Posted: 4/12/22 at 3:02pm

JBroadway said: " Are we sure that Hunchback was ever actually planning to go to Broadway? It seemed to me that people just assumed it would because of the circumstances, but I feel like it's more likely that they were planning to put it straight to licensing."

 

It was going to Broadway. Schwartz and Menken refused to downsize the giant choir, which was necessary because of NY labor laws, so it died. Frozen went to Broadway instead.

Updated On: 4/12/22 at 03:02 PM

[ATerrifyingAndImposingFigure]

Posted: 4/12/22 at 4:05pm

Wonder if Roger Bart will be back. I would think so, but I don’t know given his current involvement in Back to the Future, which realistically could be aiming for Broadway around this time.

As for this show, I’m pretty sure they want it on Broadway, but it’s likely they’re already considering if it doesn’t seem like a big enough winner then they’ll just skip that and get right to licensing.

Updated On: 4/12/22 at 04:05 PM

[DrewJoseph]

Posted: 4/12/22 at 4:17pm

They ruined Hunchback from the greatness and epicness of the original German production. Which is clearly the way to go for the story and score imo. That wouldve been Broadway quality, but this new version just did not do it for me and I’m glad it’s not what ended up on the great white way. It felt very low budget and for some reason they eliminated all the spark and beauty of the original music?

I’m sure hoping they’re not taking a similar approach to this show. I guess when we hear more about the creative team, especially the designers, we’ll have a clearer picture of the scale they’re aiming for.

[MayAudraBlessYou2]

Posted: 4/12/22 at 4:23pm

JBroadway said: "I know about all that, but I think that happened because the show itself garnered its own buzz, not solely reliant on the IP. Maybe that will happen with Hercules too, but it's an uphill battle.

Are we sure that Hunchback was ever actually planning to go to Broadway? It seemed to me that people just assumed it would because of the circumstances, but I feel like it's more likely that they were planning to put it straight to licensing."

JBroadway, I can 100% confirm that Disney originally had Broadway plans in mind for Hunchback. They were actually testing out new ways of billing the show due to its darker nature, removing "Disney's" from the official title of the piece (unlike their other Broadway shows, which officially read as "Disney's The Lion King," "Disney's Aladdin" etc). with the Disney company name only appearing in small font beneath the title so as not to draw attention and make it seem too "kiddie." Lots of market research was being done to gauge whether they could sell the show on Broadway without the Disney name, or if they should keep the name but telegraph its more mature themes in different ways.

Michael Arden has told me personally how disappointed he was that the show wouldn't continue on Broadway. It was explicit that Broadway was the goal when he was hired and he really felt strongly connected to the material and believed it would be big for him. The biggest culprit for derailing the plans is indeed the massive chorus. The two tryouts used non-union singers, which would not have been possible on Bway. The market research done by Disney suggested that the show would be a tough sell than their normal fare, making the massive cost of paying all those equity singers for the chorus far too prohibitive. The creatives refused to cut or shrink that element of the show, claiming that it was essential to convey the mood and power of the story (and admittedly, it was effing awesome to hear that many voices come together).

 

Ironically, Newsies is the complete opposite scenario. They developed the stage version with licensing rights in mind but demand proved so popular that they quickly changed tactics and made Broadway the goal.

[JBroadway]

Posted: 4/12/22 at 4:27pm

Thanks for the info, MayAudraBlessYou!  

MayAudraBlessYou2 said: "Michael Arden has told me personally how disappointed he was that the show wouldn't continue on Broadway. It was explicit that Broadway was the goal when he was hired and he really felt strongly connected to the material and believed it would be big for him." 

Yes, I remember he was very....vocal...about his disappointment. Some might even use some other choice adjectives. 

Updated On: 4/12/22 at 04:27 PM

[bwayphreak234]

Posted: 4/12/22 at 5:04pm

MayAudraBlessYou2 - Very interesting! I didn't know the background behind Hunchback.

Re: Hercules... if this even remotely resembles what was at the Delacorte a few summers ago, this should stay FAR FAR FAR away from Broadway.

[CATSNYrevival]

Posted: 4/12/22 at 5:12pm

Would there really have been no way for the producers of Hunchback to negotiate a non union chorus on Broadway? That's never happened before? All those kids in the 90's Joseph revival chorus were union?

[VintageSnarker]

Posted: 4/12/22 at 5:46pm

"Lear deBessonet will return to direct the musical"

I'm surprised no one has brought up the questionable decisions from this Encores season. Regardless, it does seem a little strange to continue with the same director in what will hopefully be a very different kind of production (see: Michael Mayer Funny Girl) but maybe they really enjoyed working with her.

[JBroadway]

Posted: 4/12/22 at 5:54pm

^I, too, am surprised it took this long for someone to bring up Encores, considering DeBessonet has become "punching bag of the year" on this and other forums. 

The main issue people have with her Encores tenure is that she's deviating from the intended purpose of the company. This is not that - quite the opposite, in fact. She was attached to this production when it was part of PublicWorks, a company for which DeBessonet has been a foundational contributor. And in fact, as I heard it, she was the one who initially conceived doing Hercules at PublicWorks - she had PublicWorks approach Disney, not the other way around. So it makes sense that they'd want to continue the relationship.

Although I agree it's a little strange to keep her on the project since they will undoubtedly want to re-conceive her original vision for a commercial setting. But I guess if she's up for the challenge, good for her! And yes, as I said in my earlier post, we'll just have to wait and see how much they keep from PublicWorks - you're right that it might be more like the Funny Girl situation. 

[DramaTeach]

Posted: 4/12/22 at 6:14pm

I will eternally be disappointed that Hunchback was shelved and Frozen was taken to Broadway. Hunchback has depth and music that gives me goosebumps from the first notes. I really hope they don’t make Hercules more of the same. They said they learned their lesson about Broadway wanting art after the cool response Beauty and the Beast received, but it doesn’t seem so. Throw a few bright colors on the stage, add a few notes to preexisting songs, so a girl can belt her face off, rinse, and repeat.

[BritCrit]

Posted: 4/12/22 at 6:31pm

JBroadway said: "^I, too, am surprised it took this long for someone to bring up Encores, considering DeBessonet has become "punching bag of the year" on this and other forums.

The main issue people have with her Encores tenure is that she's deviating from the intended purpose of the company. This is not that - quite the opposite, in fact. She was attached to this production when it was part of PublicWorks, a company for which DeBessonet has been a foundational contributor. And in fact, as I heard it, she was the one who initially conceived doing Hercules at PublicWorks - she had PublicWorks approach Disney, not the other way around. So it makes sense that they'd want to continue the relationship.

Although I agree it's a little strange to keep her on the project since they will undoubtedly want to re-conceive her original vision for a commercial setting. But I guess if she's up for the challenge, good for her! And yes, as I said in my earlier post, we'll just have to wait and see how much they keep from PublicWorks - you're right that it might be more like the Funny Girl situation."

DeBessonet did Annie Live, so she is certainly not above commercial projects. No-one is calling that a great production by any means, but it got a decent amount of credit for being the only Annie adaptation to truly embrace the political elements of the original musical. Hercules is another "guilty pleasure" family musical with a resonant subtext, so should be a decent fit...

[VintageSnarker]

Posted: 4/12/22 at 7:39pm

DramaTeach said: "They said they learned their lesson about Broadway wanting art after the cool response Beauty and the Beast received, but it doesn’t seem so. Throw a few bright colors on the stage, add a few notes to preexisting songs, so a girl can belt her face off, rinse, and repeat."

I would argue the bigger issue is budget and scale more than lack of artistry. I think it's perfectly fine to aim for Wicked. But except for the Aladdin costumes, they seem to fall short on production value and theatrical magic. 

Resonant subtext? It's not Hadestown. It's a bland "hero's journey." The parts that work are grounded in character relationships, not broader messages. 

[BritCrit]

Posted: 4/12/22 at 7:59pm

VintageSnarker said: "DramaTeach said: "They said they learned their lesson about Broadway wanting art after the cool response Beauty and the Beast received, but it doesn’t seem so. Throw a few bright colors on the stage, add a few notes to preexisting songs, so a girl can belt her face off, rinse, and repeat."

I would argue the bigger issue is budget and scale more than lack of artistry. I think it's perfectly fine to aim for Wicked. But except for the Aladdin costumes, they seem to fall short on production value and theatrical magic.

Resonant subtext? It's not Hadestown. It's a bland "hero's journey." The parts that work are grounded in character relationships, not broader messages."

"Resonant Subtext" is hyperbolic - there are no real political parallels - none of the Depression/Pandemic parallels deBessonet used in Annie Live, and none of the "Rainbow Nation" resonances (South African creatives helping to make an Africa-set musical about a wronged heir reclaiming his kingdom around the time Apartheid ended and Nelson Mandela became South African president) that added dramatic power to The Lion King in the mid 1990s. However, the pandemic has highlighted the value of  community, enhancing one of the core messages of the 2019 version. Plus the rise of BLM highlights the demand for mainstream depictions of black heroism, hence the addition of Kwame Kwei-Armah to the writing team. Hercules is fairytale fantasy first and foremost, but its not devoid of relevance...

[VintageSnarker]

Posted: 4/12/22 at 8:12pm

If we're talking about shoehorning in messages, you could do something with Hades lording over an undesirable kingdom and then using that resentment to fuel a quest for power that pulls in dumb (Cyclopes) and dangerous (Titans) allies he can't fully control. But that's the kind of allegory that gets out of hand very quickly. I didn't get to see the 2019 version because the lottery was impossible but if anything the movie is about an adopted kid whose community rejects him until he proves himself "useful." And there's some muddled stuff about fame and the ungratefulness of the masses in there. And his big sacrifice is to give it all up for one woman.