Felipe Gamba, Director of International Production Strategy, Disney Theatrical Group (DTG), was in India during the run-up to the debut of Beauty and the Beast in India. Gamba shares his experiences on how theatricals operate within the Disney universe. Excerpts of a conversation with Urvi Malvania
Tell us a bit about the Disney Theatrical Group and its journey so far.
The Disney Theatrical Group was launched in 1994 with Beauty and the Beast. The movie had released three years before that and we all know it was part of what is now called the renaissance of Disney animation (along with The Little Mermaid and Aladdin). One of the reviews for Beauty and the Beast compared the movie to a Broadway musical and that is when Disney decided the idea was worth a shot, at least as a weekend job. This also coincided with the reconstruction of the Times Square.
What does a typical year look like for DTG at Broadway?
We typically have two shows a year at Broadway; at most three. While one reason is the scale of the shows, we also do not want to over-expose our properties. These shows are also not cheap to put together and being a business outfit, we keep a sharp focus on profitability. A Broadway show's profitability will depend on how long it runs, which in turn can be gauged from the advance bookings for a particular musical. The longer a show runs, the more profitable it is.
At DTG, we prepare ourselves for the long run. A show like Aladdin took us eight years to finally put on stage.We basically produce our shows in the US, THE UK and Australia. Everywhere else, we collaborate.
How has the India experience been?
India is unlike any other country we have taken the shows to. I have a feeling it is going to be a novel experience. We have a string of firsts already. Apart from being the first Disney musical ever in the country, we also have the swivel chairs and the immersive stage. Theatre is not only about the stage and the actors. It is actually a dialogue between the audience and the actors.
