Dig A Little Deeper Episode 1 - Show Notes
- Mar 29, 2024
- 17 min read
Hi there! Thanks for clicking through to my blog. I'll be posting more information about the podcast episodes as they come out, so be sure to check back regularly to find out more about these topics!
Looking for a transcript of the episode? Click here.
I'm going to be going section by section, talking about details that may not have made the podcast, and will give a (non-comprehensive) list of sources that I referenced while writing the episode!
Let's get started.
I will be linking to a lot of YouTube videos and articles below, but for this episode, I also referenced some physical books and documentaries. If this is a topic that interests you, and you haven't already, I would highly recommend picking up these materials:
Howard (2020) - a documentary directed by Don Hahn, who was the producer of Beauty and the Beast and worked alongside Howard Ashman. This documentary is primarily an oral retelling of events that happened in Ashman's life, centering around his work with Disney. It's a great overview of Howard Ashman's life, as covered in this episode.
Waking Sleeping Beauty (2009) - a documentary directed by Don Hahn, this time focusing on the first few films of the Disney Renaissance. Again, it's an oral history of events, but a great view into the production of the films.
Mouse in Transition (2014) - a book by Steve Hulett, a member of the writing staff at Walt Disney Animation Studios from 1977-87. His book details his experience working on the production side of things, and gives a sense to the chaotic nature of the animation department during the years up until the Disney Renaissance. I found it particularly interesting to hear about the treatments he had written for films that eventually went in a totally different direction, like for Beauty and the Beast and A Thousand and One Nights (he wrote a script about the King of Thieves story, which would be picked up for one of the Aladdin sequels)
Disney Melodies (2015) - a book by Karl Beaudry, which primarily focuses on the theory behind the music played at the Disney Parks. He talks about the works of the Sherman Brothers, as well as Walt Disney's impact on the music used in his films, which I found particularly useful for the background section of the podcast. He also gives certain common characteristics among all of the music found under the Disney umbrella, which seem to also apply to the music of Ashman and Menken.
As of March 2024, both documentaries are available to watch on Disney+, though that is always subject to change. I was able to get both books through my local library, but they are also available on online retail sites.
Background
Classic Disney Ages
During this section of the podcast, the background music is a quick medley of all the films mentioned. Did you catch all the tunes?
Steamboat Willie from Steamboat Willie
Someday My Prince Will Come from Snow White and the Seven Dwarfs
When You Wish Upon a Star from Pinocchio
Peter and the Wolf from Make Mine Music
A Dream Is a Wish Your Heart Makes from Cinderella
Sleeping Beauty from Sleeping Beauty
The Bare Necessities from The Jungle Book
The Bronze Age
Most of the information I referenced in this section is directly from Hulett's Mouse in Transition. In addition to the fast turnover of leads on projects, Hulett also described his experience during the animator's strike in 1982, and the frustration of the staff as they moved locations from Burbank to Glendale. He talks a lot about his work with Pete Young, Ron Clements, and John Musker, which is why I continue to point them out throughout the episode.
This era of Disney history is also referred to as the "Dark Age," specifically the films between The Fox and the Hound and Oliver & Company. While the additional separation makes sense based on the period of time between The Jungle Book in 1967 and The Little Mermaid in 1989, it would lead to an imbalance in the number of films within each age. Thus, I refer to this entire period as the "Bronze Age."
I also briefly mention the creation of the Disney Channel during this period. For a comprehensive history of the Disney Channel, I turn to this video from the YouTube channel Yesterworld Entertainment: https://www.youtube.com/watch?v=9MQ8kwPkemQ&list=PLWkuKd1j-V8YdK45uW6cJdS3gbkItElMl&index=46&pp=gAQBiAQB
It does a great job of talking about the creation of the network, and the rises and falls in its popularity.
For more about the music of the Disney Channel, specifically about the bumper cards and their music, I highly recommend this video from the YouTube channel Defunctland: https://www.youtube.com/watch?v=b_rjBWmc1iQ&t=2805s&pp=ygUaZGVmdW5jdGxhbmQgZGlzbmV5IGNoYW5uZWw%3D
It is a fantastic review of the network's history, specifically around the turn of the century. Perjurer includes interviews with the production staff behind the network, and it was fascinating to hear about their work as well.
Getting the Band Together
The Great Mouse Detective
This video from the YouTube channel SuperCarlinBrothers covers the end of the Bronze Age slump and the revolutionary return to form that was The Great Mouse Detective: https://youtu.be/06V9kRSA9RM?si=XCra2C1juOk5_5CE
Particular things that Carlin mentions in this video that make The Great Mouse Detective stand out include:
The rapid pace of the story - For budget reasons, the runtime of the movie was cut to 77 minutes, so each scene was intentional with its content, and it didn't drag like the other films found in the Bronze Age
The new animation techniques - specifically the CGI used inside of Big Ben during the final battle of the film
The expressive performances of Basil (Barrie Ingham) and Ratigan (Vincent Price)
Later in the episode, I mention the way that villain songs tend to be structured in musicals. Instead of the protagonist's "I Want" song, an antagonist may sing an "I Am" song. A perfect example is found in this film, with the song "The World's Greatest Criminal Mind," sung by villain Ratigan. In this song, Ratigan details all of his previous crimes, then talks about his next, biggest one yet. It's an incredibly upbeat song, which praises the work of the antagonist, showing off his inflated ego.
In a certain way of looking at things, the majority of Andrew Lloyd Webber's musical Cats can be seen as a series of "I Am" songs sung by the troupe of cats, until the 11 o'clock number "Memory" sung by the closest thing the musical has to a main character. This is noted in this video from the YouTube channel Sideways, which talks about the 2019 movie adaptation of the musical: https://www.youtube.com/watch?v=i3aK-EK5V2k&list=PLWkuKd1j-V8YdK45uW6cJdS3gbkItElMl&index=59&pp=gAQBiAQB
Little Shop of Horrors and Ashman's work in New York
As mentioned in the episode, Ashman had worked on a couple of other projects in New York prior to Little Shop of Horrors. As detailed in Hahn's documentary Howard, he was the artistic director of the WPA Theater in New York City, where they workshopped and performed various plays. His first project with Alan Menken was a musical adaptation of Kurt Vonnegut's God Bless You, Mr. Rosewater. Both the 1979 showcase at the WPA Theater and the 1981 production at the Arena Stage in Washington, D. C. were directed by Ashman, who also provided lyrics for Menken's music. This production was immediately followed by the premiere of Little Shop of Horrors in 1982 at the WPA Theater.
In all of Ashman's projects, he tended to take extra care when directing the female leads. This ensures that they give an expressive performance, and are more than just a helpless ingenue. With a thoughtful director, the actress can take what is written and apply themselves to the scene, giving the character a backbone and a reason for being portrayed as they are.
One of the characteristics of Disney music mentioned by Beaudry in his book Disney Melodies is the pattern of sequencing found. This can be seen in "Somewhere That's Green" as well.
While not perfect matches, these two phrases match shape - starting low, a sixth leap upward, then scale back down near where it started.
As mentioned in the podcast episode, Ashman's ventures on Broadway did not stop with Little Shop of Horrors. He also worked on the 1986 production of Smile, providing lyrics to Marvin Hamlisch's compositions. Hamlisch is best known in the Broadway realm for his work with A Chorus Line, one of the longest running shows in Broadway history, and winner of a multitude of Tony awards.
The show followed a group of young women as they progressed through a beauty pageant in California, and starred up-and-coming actress Jodi Benson (née Marzorati), who sang an "I Want" song about the happiest place on earth, "Disneyland." Knowing Ashman and Benson's upcoming roles in the history of the Disney company, it feels like a perfect inclusion for this part of Disney history.
Of course, this production was not much of a success. Creative disputes between Ashman and Hamlisch kept the development of the musical from blossoming into something great, and it closed on Broadway after only 48 performances, deemed a financial and critical failure.
I also mention producer David Geffen in this section of the podcast. Not only was he the producer for both the off-Broadway run and the movie adaptation of Little Shop of Horrors, but he also has an extensive history working within the entertainment industry. He founded multiple record companies that have worked with numerous big-name musicians like Joni Mitchell, Bob Dylan, Elton John, and Nirvana. Other movies that he produced through the Geffen Film Company include 1983's Risky Business and 1988's Beetlejuice. He also backed the Broadway productions of Dreamgirls and Cats. Following Jeffrey Katzenberg's departure from Disney in 1994, he joined forces with Geffen and director Stephen Spielberg to found DreamWorks, known today for its extensive animated film catalog.
Sheridan Square and the AIDS Crisis in New York
Outside of this project, I wrote a research paper on the AIDS crisis in the United States, which goes into more depth about this topic. You can find the full paper here.
When the disease first began spreading in New York, this article was published in the New York Times: https://www.nytimes.com/1981/07/03/us/rare-cancer-seen-in-41-homosexuals.html/
It is entirely possible that Stuart White, one of Howard Ashman's former partners, was among the first few diagnosed, before the disease had even been named. It also is not a coincidence that White's passing in 1983 was followed by the writing and release of the song "Sheridan Square."
Another article that analyzes this song can be found here: https://stanforddaily.com/2019/06/05/sheridan-square/
Quotes from this song can be found in many places relating to the AIDS crisis, including the AIDS quilt. In particular, these lyrics can be found multiple times on the large scale activism piece:
And if some good rises out of everything /
Then the phoenix is rising there /
We can make it until the sun comes up /
And it will /
Over Sheridan Square.
You can search for these at this interactive site that preserves the whole piece online: https://www.aidsmemorial.org/interactive-aids-quilt/
Oliver & Company
This article contains quotes from the production team of Oliver & Company: https://www.nytimes.com/1988/11/13/movies/film-oliver-company-gives-dickens-disney-twist-urban-scene-appropriate-rooftop.html
Specifically, it highlights the 11 minutes of CGI used in the film (specifically within the opening sequence and other scenes in the chaotic streets of New York) and the announcement that Disney would produce a new animated film every year.
A video that talks about celebrity stunt casting in animated films can be found on the YouTube channel Lindsay Ellis: https://youtu.be/nyiBdccfNkg?si=fjmwceKfelnbV_LR
Ellis goes into depth about the relationship between Disney and Robin Williams, but begins the video by talking about how the practice began, and specifically how it took off after the success of Oliver & Company (starting at about the 3:00 mark).
The Genius At Work
The Lunchtime Lecture
While the whole lecture has yet to be released to the public, the most complete compilation of clips can be found on the Disney Archive YouTube channel: https://youtu.be/5h06FSVoqr4?si=aG2sR-a7toV04oL4
I also referenced this document, which is a transcript of all the clips of the lecture that have been found on the internet: https://www.scribd.com/document/453572294/Howard-Ashman-s-lecture-at-D-sney/
Another video that goes into detail about this lecture is by the YouTube channel Sideways: https://youtu.be/JX0gZY9VKlM?si=E2YNI1EuM20eLFJ5
He contextualizes each point that Ashman made in his lecture, but describes the turning point for Disney as the film Who Framed Roger Rabbit, which revitalized public interest in classic animated films. He also talks through the linked timeline of events between Disney and Rodgers & Hammerstein, which I have visualized here:
This timeline utilizes red lines and words when talking about Disney's works, and blue lines and words when talking about Rodgers and Hammerstein's works. In particular, the bulk of Rodgers and Hammerstein's works fall within the Disney Silver Age. While there were other popular stage musicals in this period, nothing quite compares to the powerhouse that was the works of Rodgers and Hammerstein.
Moving along, the green lines and words are Howard Ashman's works. This timeline also shows the struggles that the animation department was going through during the Bronze Age. With frequent production troubles, they only produced a handful of films over the span of two decades, compared to the fast pace of the Disney Renaissance once the popularity of these films increased.
The staple songs of musicals are an important part of this lecture as well. They are:
The Establishing Number - A song that sets the scene of the show, maybe even introduces the characters that we follow throughout the show. Examples that come to mind are "Four Jews in a Room" from William Finn's Falsettos, and "Prologue" from Dave Malloy's Natasha, Pierre & The Great Comet of 1812. In The Little Mermaid, this number is "Fathoms Below."
The I Want Song - As Ashman described it, this is when the leading lady plunks herself down on a tree stump and tells the audience her deepest desires. Examples include "Wouldn't It Be Loverly" from Lerner and Loewe's My Fair Lady, and "The Wizard and I" from Stephen Schwartz's Wicked. In The Little Mermaid, this number is "Part of Your World" as well as its reprise.
The Up Number - This song tends to come in a lull in the action, somewhere around the intermission. Examples that come to mind are "King of New York" from Menken's Newsies, and "Non-Stop" from Lin-Manuel Miranda's Hamilton. In The Little Mermaid, this number is "Under the Sea."
The Villain Song - A chance for the antagonist to explain their scheme to the audience, or to watch as the plan goes into motion. Examples include "Hellfire" from Menken's Hunchback of Notre Dame, and "Epiphany" from Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street. In The Little Mermaid, this number is "Poor Unfortunate Souls."
The Lover's Ballad - The protagonist and their love interest sing together, typically toward the end of the show. Examples that come to mind are "Tonight" from Bernstein and Sondheim's West Side Story, and "Ten Minutes Ago" from Rodgers and Hammerstein's Cinderella. In The Little Mermaid, this number is "Kiss The Girl," though due to the plot of the movie, they are not able to sing together. Instead, Sebastian and the other sea creatures sing together to help convince the pair to kiss.
A different study of the types of songs in musicals can be found here: https://www.musicals101.com/score.htm
One additional quirk of Ashman's works is the addition of a food-related song. His sister Sarah Gillespie recounts this fact in the biography section of his website. https://www.howardashman.com/howards-life-time
Though he was slim, Howard loved cooking - a hobby he took up in childhood and continued to enjoy throughout his life. As an adult, his love of food would come out in song as just about every musical he worked on had - one way or another - a food song (Rosewater - “Cheese Nips”; Little Shop - “Feed Me”; Mermaid - “Les Poissons”; Beauty and the Beast - “Be Our Guest”; Smile- “Maria’s Song." Even the unfinished Babe had “Growing Boy.”
The Little Mermaid
This video from the YouTube channel Dreamsounds goes through Ashman's work with Disney, but through a queer lens: https://www.youtube.com/watch?v=euXi03tGoDE&t=1s&pp=ygUaZHJlYW1zb3VuZHMgbGl0dGxlIG1lcm1haWQ%3D
The Don Hahn documentary Howard goes into depth about the recording process and the near omission of the I Want song "Part of Your World." It also includes clips of Benson and Ashman in the recording booth, and you can watch Ashman's directing style, and his ability to get the right emotions out of an actor. It's really an amazing sight to see.
As mentioned in the podcast, the 1990 Academy Awards ceremony is around when Ashman could no longer conceal his AIDS diagnosis. After winning the Oscar for Best Original Song for "Under the Sea," Ashman broke the news to Menken the next day, and would call Katzenberg later in the week. In this picture, you can see the glasses Ashman is wearing, due to the progression of the disease.
Ashman's Treatment of Aladdin
This article gives a good description of Ashman's version of Aladdin: https://collider.com/aladdin-howard-ashman-version/
The demos that Ashman recorded for a few of the songs were also released in the album "Howard Sings Ashman." specifically the original lyrics for "Arabian Nights" and the cut songs "Bakkak, Omar, Aladdin, Kassim" and "Call Me a Princess."
While it's only voice and piano, you can still hear those jazz influences in the rhythms and chord structure. In the above example, there are syncopated rhythms in both the melody and the piano backing, a staple of jazz music.
Personally, I quote the phrase "Dialogue, dialogue, dialogue," found in the demo for "Arabian Nights," quite often.
A fun detail that you may not have caught in the 2019 live-action adaptation of the film is in the song Friend Like Me, where Aladdin and the Genie dance and jump over each other in a similar fashion to the Nicholas Brothers, who were known for performing with Cab Calloway in the 1943 film Stormy Weather. Their choreography in the song "Jumpin' Jive" is the specific callback used in the 2019 film. Further analysis of the various iterations of this number can be found here https://www.fantasy-animation.org/current-posts/re-examining-friend-like-me
Ashman worked on both this treatment and the drafts of Beauty and the Beast until his passing. One of the other cut numbers from Aladdin was a villain song for Jafar, titled "Humiliate the Boy." This was to be sung after Aladdin's true identity was revealed, and Jafar details the way that he would destroy the protagonist's good name in these harsh lyrics:
And it's so rich!
And it's so rare!
To take his shirt, his shoes, his jewelry,
And then we'll thin his hair!
Oh, we'll emasculate him slowly,
All the better to enjoy!
How delicious, to humiliate the boy!
It became clear to the staff working on the film that Ashman was putting his frustration about his disease into his work, as his life was slowly and painfully taken away from him. The number was replaced with a short reprise of Prince Ali.
Another great video about this treatment is this one from the YouTube channel Dreamsounds: https://www.youtube.com/watch?v=sr3a69Ym5t8&t=46s
Dreamsounds also has a video on the song Proud of Your Boy, and the modern applications of the song. Viewer discretion is advised when viewing this video, it talks about political hate groups that have prominence in today's media, but is certainly worth a watch if you're in the right head space: https://youtu.be/9YVqpGrvZdg?si=ydqPjpLD7StxzJ2T
Putting It All Together
Beauty and the Beast
It was definitely interesting to read about Steve Hulett's treatment for Beauty and the Beast in his book Mouse in Transition.
...I spent time writing a treatment on the fairy tale Beauty and the Beast. I watched the Jean Cocteau picture, researched the original story, and shared my resulting handiwork with some seasoned Disney story artists. [...] My treatment, like lots of ideas that bounced around the studio, soon sank without a trace. Of course, eight years later, when I was long gone, the fairy tale was looked at again and made into a blockbuster hit movie. Good ideas never die. Only so-so movie treatments. (p. 62-63)
Another video that talks about the original treatment is from the YouTube channel Lindsay Ellis: https://www.youtube.com/watch?v=vpUx9DnQUkA&list=PLWkuKd1j-V8YdK45uW6cJdS3gbkItElMl&index=49&t=22s&pp=gAQBiAQB
This video from the YouTube channel Sideways talks about how the standards set by Howard Ashman are seen in future films, specifically the film A Goofy Movie: https://www.youtube.com/watch?v=N6j-562xQSs&t=287s
It specifically mentions how the establishing numbers mirror each other.
Common Movie Recording Processes
The Don Hahn documentary Howard shares a large selection of clips from the recording session for the song "Be Our Guest," where both the orchestra and stars Angela Lansbury and Jerry Orbach perform together on the scoring stage.
It's a real treat to watch, especially compared to the bonus features of movies like the Tom Hooper musicals, 2012's Les Misérables and 2019's Cats. In those clips, you can see the exhaustion on the faces of everyone in the room, as they try to bend their performances around the live vocals.
For a further analysis on this topic, I recommend both the videos on these movies from the YouTube channel Sideways: On Les Mis https://www.youtube.com/watch?v=1ikqU6G6Xgs&pp=ygUQc2lkZXdheXMgbGVzIG1pcw%3D%3D
The documentary also features more clips of Ashman directing the leading lady, this time star Paige O'Hara. While I loved getting to see a perfect preservation of the microphone placement for this recording, it was also another great example of Ashman working with the actors of the film to evoke the perfect emotion for each line. In later recording sessions that he was not able to make it to, Ashman was called in on the phone, and directed O'Hara on the call. You can read more about it in this interview with Paige O'Hara: https://web.archive.org/web/20160302111626/http://www.broadwayworld.com/article/SPOTLIGHT-ON-BEAUTY-THE-BEAST-3D-Paige-OHara-20120125
On the other hand, both Jerry Orbach and Angela Lansbury nail their takes on the first try, a testament to their talent. Specifically, Lansbury was incredibly nervous about singing through the titular song, but nailed it on the first take with the full orchestra.
The Implications
Adapting Material for the Screen
There's been plenty of discourse about the Disney Live Action remakes, but most of the information I cite is from the video made by YouTube channel Sideways: https://youtu.be/OaO3M-zZR8E?si=yBHUQY4Vr_W9DHmt
In this video, he goes through the films that had been released up to that point (Beauty and the Beast, The Jungle Book, Aladdin, The Lion King) and how they were poor adaptations of the original works. He also talks about the uncanny visuals present, but mainly focuses on the way the music is changed (or rather, the lack of change) plus the absurdity behind the addition of the new original songs.
Pop Music in Musical Movies
Again, there's been plenty of discourse on this topic, but I mention The Greatest Showman in particular. A video that goes into some critiques of this film is made by Jenny Nicholson:
Among other things, this video goes into how the music in this film is incredibly bland, as if they were generic pop songs slotted into this film about a circus. The one exception is the number "The Other Side," widely regarded as the best musical sequence of the film, and one that actually progresses the plot within the song.
Looking at the other examples I pull from, you could say I have a certain disdain for the works of Benj Pasek and Justin Paul, but that couldn't be further from the truth. Their work with La La Land was revolutionary within the film industry, as well as with A Strange Loop, which won the Tony Award for Best Musical in 2022.
This article goes into detail on each song from the movie Wish (2023) and how they don't help the narrative.
The general consensus of why these songs seem so out of place in this film is the songwriters behind the music: Benjamin Rice and Julia Michaels, both known for their pop music. This is in comparison to previous films with music by Alan Menken, Lin-Manuel Miranda, and Kristen Anderson-Lopez & Robert Lopez, who all have a background in musical theater writing, and used those influences in their films.
Movie Musical Marketing Tactics
The recent releases of films Wonka, The Color Purple, and Mean Girls outline a problem with marketing for musical films. In the initial trailers and most other marketing materials for these films, they rarely if ever include their musical roots, strategically editing out any music numbers or dancing that is present in the actual film.
This article from Forbes outlines the thinking behind this tactic.
It claims this marketing strategy "[attracts] a wider audience that may not typically gravitate toward the musical genre." This is to compensate for what was considered box-office failures among this type of film, like West Side Story (2021).
Genre vs. Medium - Musicals and Animation
Probably the best quote on this topic is from director and animator Brad Bird. https://www.cartoonbrew.com/ideas-commentary/animation-is-not-a-genre-oscar-edition-109504.html
People think of animation only doing things where people are dancing around and doing a lot of histrionics, but animation is not a genre. And people keep saying, ‘The animation genre.’ It’s not a genre! A Western is a genre! Animation is an art form, and it can do any genre. You know, it can do a detective film, a cowboy film, a horror film, an R-rated film or a kids’ fairy tale. But it doesn’t do one thing. And, next time I hear, ‘What’s it like working in the animation genre?’ I’m going to punch that person!
This quote is evoked most times when the topic is talked about online. Bird is known for his contributions to the animation industry through directing films like The Iron Giant, The Incredibles, and Up, the latter of which was one of very few animated films to be nominated for the Academy Award for Best Picture.
This idea was brought up again recently in the presenter's speech for the Best Animated Feature category at the 2022 Academy Awards. Presenting the award were actresses Halle Bailey, Lily James, and Naomi Scott, each known for their roles as the live-action versions of Ariel, Cinderella, and Jasmine respectively. In their speech, they say the following: https://centralrecorder.org/78356/opinion/the-oscars-doesnt-respect-animation/
Animated films make up some of our most formative movie experiences as kids.
This notion that animated films are made just for children is a common thought process among those in the wider film industry, and this quote perfectly reflects that fact. It's also reflected in the history of the Academy Award for Best Animated Feature, which mainly nominates whatever main-studio animated movies were popular that year (think Disney, Pixar, Dreamworks, etc.) Since these studios are mainly known for their kid-friendly content, the general opinion of the public is that animated films are inherently for kids.
For a different opinion from the following year, director Guillermo del Toro said the following in his acceptance speech for Best Animated Film at the 2023 BAFTA Awards. https://www.cinemaexpress.com/english/news/2023/Feb/21/guillermo-del-toro-animation-is-not-a-genre-for-kids-its-a-medium-for-art-40209.html#:~:text=In%20the%20acceptance%20speech%2C%20del,musical%20about%20life%20and%20death.
Animation is not a genre for kids. It's a medium for art, it's a medium for film, and I think animation should stay in the conversation.
del Toro won that year for his film Pinocchio, a stunning stop-motion film retelling the classic story, embracing the darker themes of the original tale and exploring adult undertones in its political commentary. This film serves as further evidence that animation is a vastly diverse medium, covering a variety of topics.
Again, this list is not comprehensive. As I come up with more thoughts on this topic, I might edit this article, and any additional notes will be included here.
I will also periodically update this YouTube playlist with more videos relating to this topic. https://youtube.com/playlist?list=PLWkuKd1j-V8a6TcLlyEv3qMX7JODqXrFC&si=HaIpU83ARa7qXcP-
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