This is not a passive girl wanting a guy.” “Ariel is so full of passion about her yearning that you want her to succeed so badly. It’s about everyone’s liberation of leaving their childhood. It was not about going to meet a cute guy. It’s about everyone’s liberation of leaving their childhood and moving into adulthood and going into new scary frontiers. The moment she makes the deal with the devil, I started sobbing. “She wants to be in another world,” he says. “Is that all this boils down to - that she has a crush on a guy she saw for five minutes?”įar from it, as Kraft says his early fears were proved wrong upon revisiting the film. “Is this really just a story about a girl who wants a guy?” Kraft says he asked early on. Would, then, by comparison, “The Little Mermaid” feel dated in what Kraft describes as “post-‘Brave,’ post-‘Frozen’” world? It had been, after all, a few years since he had seen “The Little Mermaid.” Recent Disney female heroes have moved beyond the hopeless romantic concept of longing for a prince, be it the adventure-hungry Merida in “Brave,” the comfortably independent Elsa of “Frozen” or the career-minded Judy Hopps of “Zootopia.”Įven when a character is more of the love-at-first-sight type - say Anna of “Frozen” - she eventually learns that the heart is more than capable of deception. As Chip McLean, senior vice president and general manager of Disney Concerts says, the goal is to respect “The Little Mermaid” but also “tweak it a little.”Īnd yet Kraft, who represents Menken, admits he had one ever-so-slight hesitation when he first embarked on the project. There will be an intermission, and the plan is to have an eight-minute medley to ease fans back into the second act. Think of it, he says, as “ ‘The Little Mermaid’ variety show.” We went back to the original movie, and found where in the movie would be, and we’re building the movie around that premise.” “But there was a Broadway show where those characters did have songs, so we inserted into the evening some of the Broadway songs to give the other characters a chance to sing. “I discovered that three of the main characters in the movie don’t have any songs,” says veteran manger-agent Richard Kraft, who also serves as the show’s creative director and, with Laura Engel, oversees Kraft-Engel Management. Included in the production are four songs written exclusively for the Broadway show, with music by Menken and lyrics from Glenn Slater, creating what one of the producers calls a “brand-new, weird mash-up art form.” Since no animation exists for these scenes, fans will be shown a peak-behind-the-curtain glimpse of early concept art from the film.
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