It’s a well known saying (and perhaps fact) that you can do more with film, than you can do on stage (however, there is the rare occurrence that you can do more on, and with, stage than you can on film - does The Phantom of the Opera ring a bell?). However, there are several occurrences in which the transition from screen to stage is a success. With the recent opening of Disney’s Aladdin in the Great White Way, let’s have a look at some of the best transitions.
If there has ever been a show that has made a transition, and made it well, it would be The Lion King. With Julie Taymor heading the production, it was bound to get some sort of attention. It was also the first time that Broadway (and the rest of the world) would see something like this show. Many were hesitant because how, exactly, would the film translate to the stage? How were the animals going to be depicted - like the characters that are commonly seen at Walt Disney World?
The film translated to the stage brilliantly and the animals weren’t like the ones at Disney - in fact, they were like nothing anyone had seen before. They were portrayed in the form of puppets and additional tools, with the performer of that particular animals’s costumes being made so that they blended in the with the particular puppet, as well as the background. For example, the giraffes were portrayed by actors on stilts, and those portraying certain roles, such as Simba, Mufasa and Scar have mechanical head pieces.
The songs from the original film were used, with additional music written by Sir Elton John, Lebo M, Julie Taymor, and Hans Zimmer. Elton and Hans also wrote the music for the original film. Mark Mancina and Jay Rifkin also supplied additional music. Several new songs were written for the show, including “Shadowland” and “The Madness of King Scar”.
With a stellar script, the original song writing team, amazing costumes and sets, the show maintained the original magic of the film, and developed some magic of its own. There was some controversy, when it was announced that Rafiki was now female and would be played by a female. Julie Taymor defended this by saying she felt the film did not have a strong, set in stone, female lead. The show won numerous awards, including six Tony’s and eight Drama Desk Awards. It has played in over eight countries, and is currently touring North America.
It should also be noted that Robert Guillaume, who provided the voice of Rafiki in the original film, went on to become the first ever black man to portray the Phantom of the Opera.
Based on the 1968 Mel Brooks’ film of the same name, The Producers revolves around two theatrical producers who will try anything to get rich. In this particular instance, it involves overselling interests in what is most definitely a Broadway flop.
The musical (stage) version of the show proved to be so popular, it set a record at the Tony’s, winning a record-breaking 12 Tony Awards (anyone who follows the theatre knows this is no easy feat). The original show starred Nathan Lane and Matthew Broderick, with Gary Beach in a supporting (and Tony winning) role.
The show was written by Mel Brooks, with the music and lyrics also written by Mel. One of the main reasons that the show did so well, as it maintained a certain consistency from the film - starting with Mel remaining at the head of the show, along with him providing the writing of the music and lyrics. Mel offered the roles of lyricist to several others, but they all declined, saying that if anyone should do it, it was he, as he knew the show best. While the show included many scenes and jokes that were from the film, there were several differences, which allowed the show to keep a certain originality. For example, the film was set in the year of 1968, while the show was set in 1959.
What made it a hit with the audiences was that it didn’t, much like the film, take itself seriously. The show was incredibly upbeat and moved along nicely. While the sets were less elaborate than some other shows, they worked. The script worked with a typical Mel Brooks charm, as did the songs and story. Nathan Lane and Matthew Broderick’s runs were so successful that Nathan and Matthew had to return, as ticket sales plummeted when their original time with the show came to an end. It is considered a good sign in the theatre when original stars return.
The show did so well, it spawned numerous productions, ranging from London to the Hollywood Bowl (with several original cast members returning) to Buenos Aires. It’s been so popular, that the actual producers of this show had nothing to worry about.
Now, here is a doozie. Before reading on, take this warning. The show was not entirely based upon the hit film, but also upon the books that the film was based on. While the show did have many of the film’s elements and songs (granted, lyrics were changed), there were also many elements brought into the show from the books. There were numerous complaints of the show not being like the film, when, in fact, many did not know the film and the show were both based on a series of books by PL Travers. This will be focusing on the Broadway version.
What made this show so successful? Originally starting in London, it then transferred to Broadway, which in turn spawned a hit North and South American tour. PL Travers agreed there could be a stage show, on the condition that The Sherman Brothers did not have anything to do with the show, whatsoever, as she did not enjoy the original film’s songs.
The show followed the story of The Banks Family, who were falling apart due to Mr. Bank’s overwork and views of how a family should be, and were in desperate need of some help. In comes Mary and saves the day. The plot was more similar to that of the books - Mary was far more stern and fearsome (she was loving, kind and fun too!), and the show was far more frightening than the original film. Mary leaves and comes back far more often. Cameron Mackintosh and the producers placed a ban for children three and under from attending the show, as they found children of this age found it frightening and parents were complaining.
Part of the reason the show did so well was because it did differ from the film, and allowed a little more room for the original story to be told. Mary was more frightening. It wasn’t the children who were causing trouble, it was Mr. Banks that was causing tension in the family. Bert got around a little more, and there was more of a romance hinted at between Bert and Mary. Yes, there were modifications, but they worked. It was like seeing the film from behind the scenes. Sometimes, change is a good thing.
Several tours later, along with numerous different productions ranging over countries like England, Australia and Germany, the show has done ever so well, due to its originality and technical merits.
One may think that their favourite film has no right being moved to the stage, but in some instances it works, like the shows mentioned above. While some have not succeeded (ie the oh so infamous Carrie), some have. Other successes have included Singin’ in the Rain, Beauty and the Beast, Edward Scissorhands (which is more of a ballet), Footloose and Saturday Night Fever.