![]() In those cases, I have tried to provide the best samples I could find of high-quality productions that were captured on video or audio. However, for various reasons, this isn’t always possible. Whenever possible, I have attempted to use the official studio recordings. For those who want to take a deeper dive into Menken, Ashman, and Rice’s work on Mermaid, Beauty, and Aladdin, I highly recommend seeking out the now out of print collection titled The Music Behind the Magic: The Musical Artistry of Alan Menken, Howard Ashman & Tim Rice.įor (almost) each song, I have included links to recordings. This is an admirable feat, and it has not gone unnoticed. And through it all, he has not sacrificed quality. ![]() All five of the musicals included here were composed by Menken, and for all five, he has returned to his project at least once to adapt it for a different medium, whether onstage or for a live-action remake. It is quite astonishing to see the vast amount of content that Alan Menken has written for The Walt Disney Company over the years, both on stage and on screen and even, occasionally, for the parks. Lastly, this is an acknowledgment of Alan Menken and his collaborators. I have includes most reprises, when they officially qualify as musical numbers either on a recording or on the official song breakdown list from Music Theatre International (MTI). Sometimes this isn’t perfectly accurate, such as in the case of deleted songs, or when story beats have shifted so dramatically during writing that the song no longer makes sense. It also is an attempt to place the songs in chronological order where they appear in the story. To be clear, this document highlights the differences in musical numbers across three incarnations of the same project, while also tracing the history and development of the respective mediums throughout the years. Secondly, I hope that this will be extraordinarily helpful to those tracing the history of these famous properties or The Walt Disney Company as a whole. Firstly, I have compiled it in the hope that educators, actors, singers, and theatre practitioners can refer to it as a valuable resource when putting on a production or preparing a performance. This is where this document intends to help. Though many of us remember the songs in the original animated films, it is easy to forget where and when those other songs appear. This is a curious phenomenon, but one that has happened at least three times already: original songs are written for an animated film, new songs are written for a stage version, and then those songs are discarded and new songs are written again for the live-action remake. More than 20 years later, Menken and Rice got together yet again and wrote additional songs for the live-action remake. For the film, composer Alan Menken collaborated with lyricist Tim Rice to write new songs to fit within the story. In 1994, Disney launched their first Broadway production, based on their 1991 hit film Beauty and the Beast. In many of these cases, this wasn’t the first time that Disney had revisited these properties. In the past 10 years, live-action remakes of these animated classics have regularly been making their way to the big screen.
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