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TIME: Almanac 1995
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1995-02-24
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<text id=94TT0533>
<title>
May 02, 1994: Theater: Disenchanting Kingdom
</title>
<history>
TIME--The Weekly Newsmagazine--1994
May 02, 1994 Last Testament of Richard Nixon
</history>
<article>
<source>Time Magazine</source>
<hdr>
ARTS & MEDIA/THEATER, Page 72
DISENCHANTING KINGDOM
</hdr>
<body>
<p> A pyrotechnic Beauty and the Beast, with actors who are just
cartoonish instead of cartoons, launches Disney on Broadway
</p>
<p>BY WILLIAM A. HENRY III
</p>
<p> The greatest of all Disney magic is the magic of copyright.
More remarkable than Mickey or Dumbo or any other creation,
pre- or post-Walt, has been the company's success in exploiting
established franchises and accumulating new ones. Perhaps the
most cunning Disney trick is to take fairy tales in the public
domain and reinvent them as corporate property. A billion-dollar
example is Beauty and the Beast, which has metamorphosed from
a bedtime story known to every child into a megahit animated
film (and an even bigger hit on video), a sound track, a theme-park
attraction, an ice show, a lunch-box and T-shirt decoration
and, as of last week, a Broadway musical. Actually, not just
a Broadway musical but the costliest and most complex ever,
not to mention maybe the most vapid, shallow and, yes, cartoonish.
</p>
<p> At its campy, shameless best, the Broadway Beauty brings to
mind Busby Berkeley movies, Radio City Music Hall spectacles,
the Ziegfeld Follies and Fourth of July at Disney World. You
may be amused, you may be appalled, but you cannot fail to be
agape. The one thing this riot of color and noise does not bring
to mind is the modern Broadway musical, which can delight in
scenery and special effects but is most concerned with evoking
emotion and telling a story.
</p>
<p> Only briefly does Beauty become affecting, when Belle and her
captor, a prince transformed into a sort of buffalo, fumblingly
get to know each other. Terrence Mann finds coltish gawkiness
in a lumbering leviathan and suggests a new reason why the myth
has endured. When the beast stops slurping and growling and
starts thinking of cleanliness and manners, he evokes the civilizing
process boys go through in adolescence as they discover girls.
Mostly, though, the characters seem even simpler when played
by actors than they did as cartoons. The costumes that help
them resemble a candelabrum or a clock also render them slow
and clunky. Maybe that is why, despite a barrage of whizbangery,
the show is sluggish.
</p>
<p> Whether Disney spent $12 million mounting Beauty, as its moguls
claim, or a more beastly $20 million, as some theater insiders
assert, it has bet big on its belief in a vast untapped stage
audience yearning for family entertainment--even in the honky-tonk
heart of Manhattan, even at a $65 top-ticket price, even at
a 10:30 p.m. curtain-call time, when much of the target audience
should be in bed. So far, business has been good. The day after
Beauty opened, it set an all-time Broadway record for a single
day's ticket sales: $603,494, vs. the $548,460 racked up in
1993 by The Who's Tommy. By week's end the advance sales exceeded
$10 million. Nevertheless, last week chairman Michael Eisner
floated the notion of starting evening shows at 7:30 instead
of 8. Aides pointed out pitfalls: there may be a lot of latecomers,
and the schedule change might imply that Beauty is not for grownups.
Regardless of when it plays, 2 1/2 hours is a long time for
children to sit still. Adults may be squirming too.
</p>
<p> Disney says this is only Phase 1. Next it will invest $8 million
in a government-subsidized renovation of a theater on 42nd Street,
symbolically sanitizing the porn district, to mount stage versions
of other cartoons. Broadway can only welcome any attempt to
instill theatergoing in the young--and, of course, hope Disney
makes the next show better.
</p>
</body>
</article>
</text>