Disney’s HERCULES - Reviews & News Thread — Page 2

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.

VintageSnarker said: "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."

The messaging in the PublicWorks production was a tad heavy-handed and cheesy, but it did not feel shoehorned. It actually worked quite well for their take on the story.

And in fact the ending is changed - in this version, he isn’t giving up his divinity to be with Meg, he’s giving it up so he can be a real member of the human race, and contribute as a member of society, not as someone who fights solely with physical strength. It was actually quite a lovely ending - Menken wrote an original song called “To Be Human” that actually made me tear up a little.

VintageSnarker said: "Thanks for that summary, JBroadway. I didn't realize they'd already changed it up so much. Do you remember any rewritten lyrics? I suppose you could keep most of the stuff about fame and heroism with a new message about turning from individualism and self-glorification to collectivism and actually addressing community needs. That feels more in line with the original than rejecting physical strength."

The Public posted Jelani singing "To Be Human": https://www.youtube.com/watch?v=8VT_bsHo3NE

I agree with JBroadway, it does bring a tear to my eyes. Especially when it's staged among the community members.

I'm more interested in having a full cast album, so I can stream "To Be Human" to my hearts content...

Hunchback is a masterpiece. Probably one of the best scores written ... ever? I can't think of any clunkers (and I was in it).

I don't think that production was the best it could be though. I hated all the narration. It felt very Bible School to me. And the unit set the choir above. For such an epic story it just felt very closed off and small. I hope another team takes a crack at it down the line because that music is truly gorgeous and the story is just so fascinating.

That said, given the past two Disney project to come from Papermill - both shows with unit sets, essentially - I wouldn't expect any big grand production. And given it coming from the PublicWorks, I'd think they'd go a more smaller Peter and the Starcatcher type vibe.

TheatreMonkey said: "The difference was that Aida did not already exist as a Disney property (well, they actually initially got the rights so they could make an animated movie musical of Aida, but the film was scrapped!). So the audience would not have any expectations, so the Hyperion Theatricals banner worked fine.

Out of curiosity, what was the "rights" situation you're referring to? Was the show (in its musical theatre form) already started, and Disney acquired the rights to that, or are you referring to the rights of the generalAidaIP? I only ask because Verdi'sAidahad long been in the public domain at that point in time; and I thought it was Disney who brought together Elton John, Tim Rice, et al to develop the musical.

Genuinely curious, given this was such an unusual path for Disney's theatrical division to take -- not being an already existing property of theirs!"



TheatreMonkey: You are correct that the Verdi opera now lies in public domain. So anyone could adapt that. However, Disney acquired the rights to a children's book adaptation of Aida. It's illustrated by Leo and Diane Dillon, and those illustrations were the source of inspiration for the animators, hence why they needed to purchase the rights to the book. It was envisioned as an animated movie musical (test animation footage and concept art can be found on the internet...I know there's a couple YouTube videos about lost/abandoned Disney and Pixar projects that include snippets but dont remember the titles of said videos off hand). Disney wanted Elton John and Tim Rice to provide contemporary rock/pop music to make sure audiences knew it wasnt going to be opera-esque in any way, but Elton John didnt want to do another animated musical at the time (this was right after Lion King). The film ended up shelved (beyond Elton falling through there are some rumors that the team had trouble landing on a specific style and creative direction but I dont know how true that is or not). Disney execs still wanted to use the IP so they pitched John and Rice on a Broadway version of the story which excited Elton a lot more. And then the musical we know today was created!

Hunchback didn't move from NJ because the production was not working, because of the nepotistic choice of an incompetent director. it wasn't just because Disney couldn't see the potential or understand that the score is tremendous. It wasn't just fear over subject matter or real art. Or the show never would have gotten as far as it did. It wasn't good, and how I wanted it to be. Sadly, its final form as an American musical just isn't what it should have been, and who knows if we'll ever see a high-profile production again, or one that is allowed to reshape the text back into something exciting. We'll see about Hercules! If anything, the equation is flipped--this is a pretty slight, fun piece that the creative team seems determined to make more significant...

Updated On: 4/14/22 at 10:34 AM

Elphaba2019 said: "Derek Klena is the obvious choice for Hercules."



Firstly, I assume they'll offer it to Jelani Alladin first. But even if he turned it down, I doubt they would replace him with a white actor. Not only because it would draw controversy, but also because I believe they very deliberately chose to cast a Black actor in the role. There's a certain power and symbolism to casting a Black actor as Hercules that I think the creators were trying to emphasize, especially given the context of the PublicWorks program, as much of their work is done with community groups in mostly-Black communities.

(not to mention I have some personal opinions about Derek Klena as a performer, but given that he seems to be a beloved performer on these boards, I won't bother to make that part of my core point in this post)

JBroadway said: "Elphaba2019 said: "Derek Klena is the obvious choice for Hercules."

Firstly, I assume they'll offer it to Jelani Alladin first. But even if he turned it down, I doubt they would replace him with a white actor. Not only because it would draw controversy, but also because I believe they very deliberately chose to cast a Black actor in the role. There's a certain power and symbolism to casting a Black actor as Hercules that I think the creators were trying to emphasize, especially given the context of the PublicWorks program, as much of their work is done with community groups in mostly-Black communities.

This is true. Jelani Alladin said on the Little Known Facts podcast that he was initially not rehired to play Hercules at the Public after doing the workshops, citing the fact that "Go the Distance" is too high for him in its original key. He mentioned that (and I'm paraphrasing slightly I'm sure) that the creative team brought in "every Black male musical theatre actor between the ages of 18 and 35" to audition to replace him until finally offering him the role.

BritCrit said “It's a bit odd to see one of the most notable people in Black British theatre work on a Disney musical, but Matthew Bourne did Mary Poppins and Michael Grandage did Frozen, so Kwei-Armah doing a more commercial project is not without precedent...”



True, as you said, it’s been done before, and everyone has to pay the bills. But I’d wager that it’s once again the PublicWorks connection, as he directed Shaina Taub’s Twelfth Night at PublicWorks. And the marriage of PublicWorks and Disney was always a bizarre one to begin with.

With respect, it will probably - and should be - a person of color. And it would be great if Jelani Alladin could reprise the role.

Guy Ritchie just signed on to direct a live-action remake of the movies, with the Russos producing



Maybe this will jumpstart efforts to bring the musical to Broadway - marketing synergy and all that.

JBroadway said: "Elphaba2019 said: "Cast Derek Klena as Hercules in PaperMill Playhouse's Production of Hercules - Sign the Petition!”


Jesus….

Sorry I wasted my time responding to you."

The way I cackled at this. Absolutely delusional Stan behavior