AN ANALYSIS OF MUSICALS ADAPTED AS MOVIES AND OTHERWISE.

A CASE STUDY OF

THE LION KING (MUSIC BY ELTON JOHN AND TIM RICE) AND THE SOUND OF MUSIC

(MUSIC BY RICHARD RODGERS)

A RESEARCH PROJECT SUBMITTED TO THE PEPARTMENT OF THE PERFORMING ARTS,

FACULTY OF ARTS, AND UNIVERSITY OF ILORIN IN PARTIAL FULFILMENT OF THE

REQUIREMENT OF THE AWARD OF BACHELOR OF ARTS (B.A) IN PERFORMING ARTS.

OYEBODE EPHRAIM JESUTOFUNMI

16/15CF117

JULY, 2019
 ATTESTATION

I, Oyebode Ephraim Jesutofunmi attest to the fact that this research work is original to me and I did not

copy or plagiarized the research work of anyone, living or dead.

........................................... ................................................

Signature Date
 CERTIFICATION

This project work has been read, approved, and certified, as meeting part of the requirement for PFA

(research methodology), in the department of the performing arts, faculty of arts, university of Ilorin.

................................................ ............................................

Dr. Taiye S. Adeola Date

Project Supervisor

................................................ .............................................

Dr. Tayo S. Arinde Date

Project Coordinator

................................................ .............................................

Prof. Solomon O. Ikibe Date

Head of Department
 Abstract

Over the years, musicals have been a widely appreciated form of theatrical performances.

Eventually, the scripts of some of these plays have been adapted into movies and animations which have

grossed widely in box offices nationwide. This research is based on a direct and deep analysis of two of

such productions; viz: The Lion King (Music by Elton John and Tim Rice) and The Sound of Music (Music

by Richard Rodgers)

Research methods employed in this project are Analytical and Descriptive Methods. The Analytical

Method allows the researcher to collect, access and scrutinize different materials, online journals

especially, portable document files, play scripts and online pages for the purpose of collecting relevant

information. The Descriptive Method however, is adopted for the purpose of explanation of the theories

and collected analysis to give a proper report of the work.

In the process of this study, some findings were made which includes: the similarities and

differences between these musicals while on stage and their on-screen counterparts as regards to casting,

dramatic actions, costume design, set design and other possible performance branches of the theatre.

Furthermore, it helps the researcher and other readers of this project understand the pros and cons of

adapting a musical from stage to screen. Also, it critiques the musical style and contents

In conclusion, there is a certain bar set by the musicals as performed on stage. This research helps

bring to knowledge the ability or inability of these on-screen adaptations to meet these bars and general

ratings of these performances/movies.

TABLE OF CONTENTS
Title Page i

Attestation ii

Certification iii

Dedication iv

Acknowledgement v

Abstract vi

Table of Contents vii

Chapter One: General Introduction

1.1 Background of the Study

1.2 Aim and Objectives of the Study

1.3 The Scope of the Study

1.4 Significance of the Study

1.5 Research Methodology

1.6 Limitations of the Study

Chapter Two: Literature Review

2.1 Definition of a Musical

2.2 Brief History of Musicals

2.3 Definition of Movies and Animations

2.4 Brief History of Movies and Animations

Chapter Three: Analysis of Case Studies

3.1 Synopsis of ‘The Lion King’

3.2 Analysis of ‘The Lion King’

3.3 Synopsis of ‘The Sound of Music’

3.4 Analysis of ‘The Sound of Music’

Chapter Four: Analysis of the Adaptations

4.1 Differences between the On Stage and On-Screen versions

4.2 Similarities between the On Stage and On-Screen versions

4.3 Possible Pros and Cons of Adaptations

Chapter Five: Summary

5.1 Summary

5.2 Findings and Recommendations

5.3 Conclusions

References

Chapter One

General Introduction

1.1 Background of the Study

 The theatre and theatrical productions/performances cut across a vast list of styles all differentiated

by one thing or the other ranging from performance styles, script interpretation, directorial styles and so on.

One among these styles is the musical which is a play that has a lot of singing and dancing involved and

playing a key role in the story development and also as a major entertainment force.

Musicals are performed around the world. They may be presented in large venues, such as big-

budget Broadway or West End productions. Alternatively, musicals may be stages in smaller venues, such

as fringe theatre, Off Broadway, Off-Off Broadway, regional theatre or community theatre productions or

in schools and on tour. Also, several playwrights have dedicated their careers to becoming musical writers

and composers such as: Richard Rodgers (1902-1979), Jonathan Larson (1960-1996), Lynn Ahrens, Betty

Comden (1917-2006) ; while sometimes, mostly recently, musicians, composers, lyricists and playwrights

such as Lin-Manuel Miranda, Elton John, Lebohang Morake (Lebo M), Pharrel Williams and so on are

brought together to produce a reasonable project.

Some of these musical scripts have made their ways into motion pictures, movie franchises and

animations which made these stories look more realistic because of the use of virtual locations, continuity

in real time and use of realistic effects as opposed to the on stage counterparts where a lot of things will

have to be improvised due to the limited resources that can be used on stage. Screen writers are employed,

some of the original composers come back to work as consultants for the movies if they are still alive and

active enough, new songs are optionally composed and some original songs removed and a producer is

brought aboard to work on the score and the movie is produced. With time, these musicals are toured and

the same audience want to watch the on-screen adaptations either for entertainment or critical purposes.

1.2 Aim and Objectives of the Study

The aim and objectives of this work is to bring into focus the similarities and differences between

the musicals The Lion King and The Sound of Music on stage and on screen and to compare which of these

versions have critically been proven to be better than the other. Another aim is to analyze styles of musicals
and see which of these styles the case studies fall under in reference to their genres, setting, language,

themes and styles.

1.3 The Scope of the Study

Some advantages and disadvantages are presented when musicals are being adapted into motion

pictures or otherwise, also, not everything seen on screen can be presented on stage and otherwise. These

pros and cons as well as differences and similarities will be noted in context to other musicals too asides

the case studies.

1.4 Significance of the Study

This work explains the basic themes of this storylines and musical styles of the case studies and a

biography of the music composers and the way the playwrights portrayed the central idea of the storylines

as regards to characterization, themes, plot structure and language. Finally giving a vivid explanation of the

influence these stories have on our society.

1.5 Research Methodology

Research is a scientific inquiry aimed at learning new facts, testing ideas etc. it is the systematic

collection, analysis and interpretation of data to generate new knowledge and answer a certain question or

solve a problem (Yigzaw 2006, p. 56).

The research methodologies applied to this project are the descriptive and analytical

methods in which the researcher will be able to describe the different styles of the play and also analyze the

similarities and differences between the on stage and on screen versions.

1.6 Limitations of the Study

 The research encountered some kinds of limitations in getting materials to backup points in the

course of putting this project together especially hard copies of books, but basic explanations were done by

the researcher been able to make do with the limited materials to buttress these points. Materials such as

play texts, journals, internet links and other works from previous researchers

Chapter Two

Literature Review

2.1 Definition of a Musical

Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting

and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated

through words, music, movement and technical aspects of the entertainment as an integrated whole.

Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished
by the equal importance given to the music as compared with the dialogue, movement and other elements.

Since the early 20th century, musical theatre stage works have generally been called, simply, musicals.

The three main components of a musical are the music, the lyrics, and the "book." The "book"

refers to the "play" or plot of the show. The music and lyrics together form the score of the musical. The

interpretation of the musical by the creative team heavily influences the way that the musical is presented.

The creative team includes a director, a musical director, and usually a choreographer. A musical

production is also creatively characterized by technical aspects, such as set, costumes, stage properties,

lighting, etc. that generally change from production to production.

There is no fixed length for a musical, and it can range from a short, one-act entertainment to

several acts and several hours in length (or even a multi-evening presentation); however, most musicals

range from one and a half hours to three hours. Musicals today are typically presented in two acts, with one

intermission 10 to 20 minutes in length. The first act is almost always somewhat longer than the second act,

and generally introduces most of the music. A musical may be built around four to six main theme tunes

that are reprised throughout the show, or consist of a series of songs not directly musically related. Spoken

dialog is generally interspersed between musical numbers, with some exceptions.

A show often opens with a song that sets the tone of the musical, introduces some or all of the

major characters, and shows the setting of the play. Within the compressed nature of the musical, the

writers must develop the characters and the plot. Music provides a means to express emotion.

Many familiar musical theater works have been the basis for popular musical films. Conversely,

there has been a trend in recent decades to adapt musicals from the screen to the stage and otherwise, both

from popular animated film musicals.

Musical have been a popular choice for theatre goers for over a century. Musical performers need to

be able to sing, dance and act well if they wish to draw their audience into their story or stage show. The

score also needs to be entertaining and contain prominent leitmotifs which help to develop the characters.
One of the reasons why musicals continue to maintain a strong following is that there are a number of

different types of story and genre of music represented. The following are some of the different types of

musical that are performed on stage or film.

Book Musical

A book musical is defined as performance where musical numbers and dances are fully integrated into a

proper narrative with defined dramatic goals. A book musical is normally made up of three major elements;

music, lyrics and script (book). In the majority of cases, the script or story is created first, and then the

score (music and lyrics) is created afterwards as a way of developing the characters and furthering the

narrative. Examples are: The Sound of Music (Music by Richard Rodgers), 1776, Carousel, The Lion King.

Jukebox Musical

A jukebox musical is a musical created using pre-existing songs. These songs are put together to create a

story. The songs may all be by the same artist or group, but a jukebox musical can also be created by

blending music by different artists. The songs can be sung in their original state; however the lyrics or the

music can be adapted slightly to make them fit in better with the story. Examples of other famous Jukebox

musicals include; We Will Rock You (featuring the songs of Queen) and Mamma Mia (featuring songs by

Abba). Although Jukebox musicals can portray a completely original story, they can also be used in a

documentary style. In these cases, they may help to portray the stories of the original artists; for example

Jersey Boys.

Revue

A revue is a type of musical theatre which combines singing, dancing, music and sketches. The contents of

a revue are normally linked together by a common theme. Although a revue can have a storyline, this is

usually weak and is normally considered to be secondary to the content of individual pieces and

performances within the revue. Revues are a popular form of entertainment amongst student drama
societies, because they allow members to have the chance to showcase an array of different talents. The

society may decide on a loose theme and ask members to contribute to the show using their own

interpretation of that theme. Revues may also be staged by particular composers or performers to showcase

their own work. Examples of this include; Side by Side (Music and Lyrics of Stephen Sondheim), and Tom

Foolery (the works of Tom Lehrer).

Concept Musicals

A concept musical is a musical where a theme, metaphor or concept is just as important as the overarching

plot and the featured songs. The concept musical became particularly popular during the 1960’s when

directors and playwrights sought to throw traditional theatrical structures out in favor of experimentation

and freedom of expression. Directors and playwrights will often use their concept to make some sort of

social commentary. Some critics argue that it is harder for concept musicals to find commercial success,

because the concept or theme may not always be clear-cut. This means that the content is often more

divisive than that of traditional musicals.

Rock Musical / Rock Opera

Rock musicals or rock operas are productions which use more modern styles of music to tell a story.

Although the music is usually original for the production, it may be influenced by or written by famous

rock musicians. “Tommy by The Who” is a prominent example of a rock musical which was created by

rock musicians. Spring Awakening is an example of a modern rock musical which has been created to tell a

pre-existing story. The rock music themes have been cleverly used in this musical to help to portray the

emotional angst which is being experienced by the main characters in the piece. The use of rock-style tunes

also helps to make an 18th Century story seem more relatable to modern day audiences. Other examples

include: Jesus Christ Superstar, UK Chess.

Operetta
An operetta is a show that does not contain rock orchestration in the score, that is all singing, or with

scenes and enough difficulty heavy legit singing that opera companies might take on. Examples of this

include: Candide, Sweeny Todd, Passion, Aspects of Love, and Charlotte Sweet.

Musical Comedy

Musical Comedy is usually a light-hearted play with separate book scenes and songs where any troubles

are worked out by the finale, or everyone gets married, or the protagonist learns a lesson at the end. Classic

ones have well established troupes “alpha couple”, “beta couple” (usually the funny ones), the wise lady

who belts out a song with a lesson, the comic relief character, etc. examples are Guys and Dolls, Grease,

Anything Goes, Something Rotten

2.2 Brief History of Musicals

Musical theater dates back to the theater of the ancient Greeks, who included music and dance in

their stage comedies and tragedies as early as the fifth century B.C.E. Aeschylus and Sophocles even

composed their own music to accompany their plays. Then, in the twelfth and thirteenth centuries, religious

dramas brought about liturgy, set to church chants.

Although music has been a part of dramatic presentations since ancient times, modern Western

musical theatre emerged during the 19th century, with many structural elements established by the works

of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America. These were followed by the

numerous Edwardian musical comedies and the musical theatre works of American creators like George M.

Cohan at the turn of the 20th century. The 20th century also saw the influence of large corporations on the

production of musicals. The most important has been The Walt Disney Company, which began adapting

some of its animated movie musicals such as Beauty and the Beast and The Lion King for the stage, and

also created original stage productions like Aida, with music by Elton John. Disney continues to create new

musicals for Broadway and West End theaters, most recently with its adaptation of its 1999 animated

feature, Tarzan.
Corporate sponsors dominate Broadway today, and often alliances are formed to stage musicals which

require an investment of $10 million, or more. In 2002, the credits for Thoroughly Modern Millie listed 10

producers. Typically, off-Broadway and regional theaters tend to produce smaller and therefore less

expensive musicals, and development of new musicals has increasingly taken place outside of New York

and London or in smaller venues. Wicked, for example, first opened in San Francisco, and its creative team

relied on the critical reviews there to assist them in retooling the show before it reached Broadway, where it

ultimately became a major success. The 1990s and 2000s have seen many writers create smaller-scale

musicals (Falsettoland, Passion, Little Shop of Horrors, Bat Boy: The Musical and Blood Brothers). On

Broadway, some production companies have risked creating new musicals such as Urinetown (2001),

Bombay Dreams (2002), Avenue Q (2003), and The 25th Annual Putnam County Spelling Bee (2005). This

era also ushered in the advent of Jukebox Musicals such as Buddy - The Buddy Holly Story (1995), Movin'

Out (2002, based on the tunes of Billy Joel), Good Vibrations (the Beach Boys), All Shook Up (Elvis

Presley), etc.

Films provide another source for today's composers; for example: Hairspray, The Lion King, and The

Color Purple. Roughly one-third of the current Broadway musicals are based on films or classic literature

such as Little Women, The Scarlet Pimpernel, and Dracula. The reuse of plots, especially those from The

Walt Disney Company, has been considered by some critics to be a redefinition of Broadway: rather than a

creative outlet, it has become a tourist attraction. It also appears that the spectacle format is on the rise

again, returning to the times when Romans would have mock sea battles on stage. This was true of

Starlight Express and is most apparent in the musical adaptation of The Lord of the Rings, billed as the

biggest stage production in musical theater history.

Despite concern that the musical had lost touch with the tastes of the general public and that the

cost of musicals was escalating beyond the budget of many patrons, in the 2006-2007 seasons, 12 million

tickets were purchased on Broadway for a gross sale amount of almost $1 billion. The League of American
Theaters and Producers announced that more than half of those tickets were purchased by tourists (five

million domestic and 1.3 million foreign). This does not include off-Broadway and smaller venues.

Circling down to the Nigerian theatrical community; although operas are more widely accepted and

performed, musicals have found their way into dominance and are now very popular in theatres across

Nigeria especially the Music Society of Nigeria (MUSON) centre and the TerraKulture arena. These

musicals are staged for days, sometimes weeks to enable good audience circulation. Some of these

musicals include Fela and the Kalakuta Queens (2018) a jukebox musical based on the life and works of

Nigerian Musical icon Fela Anikulapo Kuti, Wakaa: The Musical (2015), Queen Moremi: The Musical

(2019) to mention but a few.

2.3 Definition of Movies and Animations

Movies

The Merriam Webster dictionary defines a movie as “A recording of moving images that tells a

story and that people watch on a screen or television”. Alternate definitions include: “Movies, also known

as films, are a type of visual communication which uses moving pictures (motion pictures) and sound to tell

stories or teach people something”.

In every part of the world, people watch movies as a form of entertainment or a way to have fun,

make them laugh, cry or feel afraid. Most movies are made so that they can be shown on big screens at

movie theatres and at home. After movies are shown on movie screens for a period of weeks or months,

they may be marketed through several other media. They are shown on pay television or cable television,

and sold or rented on DVD disks or videocassette tapes, so that people can watch the movies at home. One

can also download or stream movies. Older movies are however shown on television broadcasting stations.

Genres of movies include:

Action Movies
Action movies have a lot of exciting effects like car chases and gun fights, involving stuntmen. They

usually involve 'goodies' and 'baddies', so war and crime are common subjects. Action movies usually need

very little effort to watch, since the plot is normally simple. For example, in Die Hard, terrorists take

control of a skyscraper and ask for a big ransom in exchange for not killing the hostage workers. One hero

somehow manages to save everyone. Action movies do not usually make people cry, but if the action

movie is also a drama, emotion will be involved.

Adventure Movies

Adventure Movies usually involve a hero who sets out on a quest to save the world or loved ones.

Comedy

Comedies are funny movies about people being silly or doing unusual things or being in silly or unusual

situations that make the audience laugh.

Documentary

Documentaries are movies that are (or claim to be) about real people and real events. They are nearly

always serious and may involve strongly emotional subjects, for example cruelty.

Tragedy

Tragedies are always dramas, and are about people in trouble. For example, a husband and wife who are

divorcing must each try to prove to a court of law that they are the best person to take care of their child.

Emotion (feelings) is a big part of the movie and the audience (people watching the movie) may get upset

and even cry.

Family Movies

Family movies are made to be good for the entire family. They are mainly made for children but often

entertaining for adults as well. Disney is famous for their family movies.
Horror Movies

Horror movies use fear to excite the audience. Music, lighting and sets (man-made places in movie studios

where the movie is made) are all designed to add to the feeling.

Romantic Comedies

(Rom-Coms) are usually love stories about 2 people from different worlds, who must overcome obstacles

to be together. Rom-Coms are usually light-hearted, but may include some emotion.

Comedy Horror

Comedy horror movies blend horror and comic motifs in its plots. Movies in this genre sometimes use

black comedy as the main form of humor.

Science Fiction (Sci Fi)

Science fiction movies are set in the future or in outer space. Some use their future or alien settings to ask

questions about the meaning of life or how we should think about life. Science fiction movies often use

special effects to create images of alien worlds, outer space, alien creatures, and spaceships.

Fantasy

Fantasy movies include magical and impossible things that any real human being cannot do.

Thrillers

Thrillers are usually about a mystery, strange event, or crime that needs to be solved. The audience is kept

guessing until the final minutes, when there are usually 'twists' in the plot (surprises).

History of Movies
Although the start of the history of film is not clearly defined, the commercial, public screening of ten of

Lumière brothers' short films in Paris on 28 December 1895 can be regarded as the breakthrough of

projected cinematographic motion pictures. There had been earlier cinematographic results and screenings

but these lacked either the quality or the momentum that propelled the cinématographe Lumière into a

worldwide success. Soon film production companies and studios were established all over the world. The

first decade of motion picture saw film moving from a novelty to an established mass entertainment

industry. The earliest films were in black and white, under a minute long, without recorded sound and

consisted of a single shot from a steady camera.

Conventions towards a general cinematic language developed over the years with the use of several shots

(mostly through editing), continuity between shots, camera movements (panning, tracking, tilt), camera

angle, field size (long shot to extreme close-up) and other cinematic techniques all contributing specific

roles in the narrative of films. Special effects became a feature in movies since the late 1890s, popularized

by Georges Méliès' fantasy films. Many effects were impossible or impractical to perform in theater plays

and thus added more magic to the experience of movies.

Technical improvements added length (reaching 60 minutes for a feature film in 1906), synchronized

sound recording (mainstream since the end of the 1920s), color (mainstream since the 1930s) and 3D

(mainstream in theaters since the first decade of the 21st century). Sound ended the necessity of

interruptions of title cards, revolutionized the narrative possibilities for filmmakers, and became an integral

part of moviemaking.

Different film genres emerged and enjoyed variable degrees of success over time, with huge differences

between for instance horror films (mainstream since the 1890s), newsreels (prevalent in U.S. cinemas

between the 1910s and the late 1960s), musicals (mainstream since the late 1920s) and pornographic films

(experiencing a Golden Age during the 1970s).

The popularity of television seemed to form a threat to cinemas in the 1950s (at least in the U.S. and other

western countries), which resulted in attempts to make theatrical films more attractive with technological

innovations. New widescreen formats enticed filmmakers to create more epic films and spectacles that

looked better on a big screen than on television. 3D films experienced a short golden age from 1952 to

1954. Television also opened up a new market for filmmakers, introducing new possibilities that led to new

genres, especially in serialized form.

Since the 1950s video became a viable, cheaper alternative to film, with direct results, forming a more

accessible moving image medium for many more artists and amateurs to experiment with. This led to the

emergence of video art in the late 1960s and to much more home movies being made.

By the 1980s home video had opened a big market for films that already had their theatrical run, giving

people easier access to titles of their choice in video rental shops. Direct-to-video (niche) markets usually

offered lower quality, cheap productions that were not deemed very suitable for the general audiences of

television and theatrical releases.

Improving over time, digital production methods became more and more popular during the 1990s,

resulting in increasingly realistic visual effects and popular feature length computer animations.

Since the late 2000s streaming media platforms like YouTube provided means for anyone with access to

internet and cameras (a standard feature of smartphones) to publish videos to the world. Also competing

with the increasing popularity of video games and other forms of home entertainment, the industry once

again started to make theatrical releases more attractive with new 3D technologies and epic (fantasy and

superhero) films became a mainstay in cinemas.

Animations
 Animation is simply the act of creating the illusion of movement through still images. A craft that

began hundreds of thousands of years ago with the stereotypical cave painting imagery which usually

depicted hunting in motion. According to the Collins Dictionary, Animation is “a motion picture that is

made from a series of drawings, computer graphics, or photographs of inanimate objects (such as puppets)

and that simulates movement by slight progressive changes in each frame”. Animation is another genre of

movies/ motion pictures.

History of Animations

The history of animation started long before the development of cinematography. Humans have

probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic

lantern offered popular shows with projected images on a screen, moving as the result of manipulation by

hand and/or some minor mechanics. In 1833 the phenakistiscope introduced the stroboscopic principles of

modern animation, which decades later, provided the basis for cinematography.

After a number of pioneers began creating animated shorts in the early 20th century (1914’s Gertie

the Dinosaur being a notable example), the very first feature-length animation created using traditional

methods was entitled El Apóstol. Released in 1917 to a South American theatre audience, the 70-minute

long movie; running at 14 frames per second; also holding the distinction of being the first commercially

profitable animated movie ever made. According to those who saw it, the political satire was exceedingly

good. The only copy of the film was however destroyed in a house fire. A few more experimental

animation techniques were developed over the next decade (including methods like rotoscoping), which

produced some hit-and-miss results.

It was the opening of the Walt Disney studio in Los Angeles, however, that changed the game

forever. To many, the word “animation” begins and ends with Walt Disney. With more innovations and

notable works over the 20th century and beyond, Disney’s studio and tumultuous history set a precedent

for the entire animation industry.

Pinto Colvig, famously known as the voice of Disney’s Goofy (a Mickey Mouse Animated Series

character), was an extremely talented illustrator and is reputed to have made the very first animated feature

film himself a couple of years before El Apóstol, but this is now impossible to verify. As a result, some

critics point to the 1937 release of Snow White and the Seven Dwarfs as the first feature-length animated

film since it was fully hand-drawn and isn’t classified as a ‘lost movie’.

Pixar’s release of Toy Story in 1995 could be deemed the second biggest feat in animation history as it was

the advent of Computer Generated Images (CGI) in animation history. It’s however undeniable that the

CGI animations released since are following some kind of Moore’s Law effect: every year the rate of

technological increase is growing exponentially, leading to mind-blowing results which are light-years

ahead of titles released just a couple of years ago. The animation industry has grown to become an absolute

behemoth in the world of cinema. As of the last reliable estimates, which surfaced around 2008, the

industry was reported to be worth a cool $68.4 billion alone.

 Chapter Three

Analysis of Case Studies

3.1 Synopsis of The Lion King

In the Pride Lands of Africa, a pride of lions rule over the animal kingdom from Pride Rock. King

Mufasa's and Queen Sarabi's newborn son, Simba, is presented to the gathering animals by Rafiki the

mandrill, the kingdom's shaman and advisor. Mufasa shows Simba the Pride Lands and explains to him the

responsibilities of kingship and the "circle of life", which connects all living things. Mufasa's younger

brother, Scar, covets the throne and plots to eliminate Mufasa and Simba, so he may become king. He

tricks Simba and his best friend Nala (to whom Simba is betrothed) into exploring a forbidden elephants'

graveyard, where they are attacked by three spotted hyenas, Shenzi, Banzai, and Ed, who are in league with

Scar. Mufasa is alerted about the incident by his majordomo, the hornbill Zazu, and rescues the cubs.

Though upset with Simba, Mufasa forgives him and explains that the great kings of the past watch over

them from the night sky, from which he will one day watch over Simba.

Scar sets a trap for his brother and nephew; luring Simba into a gorge and having the hyenas drive a

large herd of wildebeest into a stampede that will trample him. He informs Mufasa of Simba's peril,

knowing that the king will rush to save his son. Mufasa saves Simba but ends up hanging perilously from

the gorge's edge. Scar refuses to help Mufasa, instead sending him falling to his death. He then convinces

Simba that the tragedy was Simba's own fault and advises him to leave the kingdom and never return. He

orders the hyenas to kill the cub, but Simba escapes. Scar tells the pride that both Mufasa and Simba were
killed in the stampede and steps forward as the new king, allowing his three hyena minions and the rest of

their large pack to live in the Pride Lands.

Simba collapses in a desert and is rescued by Timon and Pumbaa, a meerkat and warthog, who are

fellow outcasts. Simba grows up in the jungle with his two new friends, living a carefree life under the

motto "hakuna matata" ("no worries" in Swahili). Now a young adult, Simba rescues Timon and Pumbaa

from a hungry lioness, who turns out to be Nala. She and Simba reunite and fall in love, and she urges him

to return home, telling him that Pride Lands have become a drought-stricken wasteland under Scar's reign.

Feeling guilty over his father's death, Simba refuses and storms off. He then encounters Rafiki, who tells

him that Mufasa's spirit lives on in Simba. Simba is visited by the ghost of Mufasa in the night sky, who

tells him that he must take his rightful place as king. Realizing that he can no longer run from his past,

Simba decides to return to the Pride Lands.

Aided by his friends, Simba sneaks past the hyenas at Pride Rock and confronts Scar, who had just

struck Sarabi. Scar taunts Simba over his role in Mufasa's death and backs him to the edge of the rock,

where he reveals to him that he murdered Mufasa. Enraged, Simba pins Scar to the ground and forces him

to reveal the truth to the rest of the pride. Timon, Pumbaa, Rafiki, Zazu, and the lionesses fend off the

hyenas while Scar, attempting to escape, is cornered by Simba at the top of Pride Rock. Scar begs for

mercy and attempts to blame the hyenas for his actions; Simba spares his life, but orders him to leave the

Pride Lands forever. Scar attacks his nephew, but Simba manages to toss him from the top of the rock. Scar

survives the fall, but is attacked and killed by the hyenas, who overheard his attempt to betray them.

Afterwards, Simba takes over the kingship as rain begins to fall. He also makes Nala his queen.

Later, with Pride Rock restored to its usual state, Rafiki presents Simba and Nala's newborn cub to

the assembled animals, continuing the circle of life.

The following are the list of characters:

Simba: a male lion who is next in line to become king, son of Mufasa
Scar: a male lion, Simba's uncle and Mufasa's brother; he kills Mufasa in order to become king

Mufasa: a male lion, King of the Pridelands; Simba's father and Sarabi's husband

Sarabi: a lioness, Simba's mother and Mufasa's wife

Nala: a lioness who later becomes Simba's love interest

Rafiki: a female mandrill who serves as narrator

Timon: a male meerkat who becomes a friend with Simba

Pumbaa: a male warthog who also becomes a friend with Simba

Zazu: a male hornbill, Mufasa's majordomo

Shenzi: a female hyena; one of Scar's minions

Banzai: a male hyena; one of Scar's minions

Ed: a male hyena who cannot speak; one of Scar's minions

3.2 Analysis of ‘The Lion King’

The story of The Lion King was written by a team of 17 people namely: Barry Johnson, Andy

Gaskill Kevin Harkey, Tom Sito, Rick Maki, Burny Mattinson, Lorna Cook, Gary Trousdale, Jorgen

Klubien, Larry Leker, Ed Gombert, Mark Kausler, Thom Enriquez, Jim Capobianco, Chris Sanders, Joe

Ranft and Francis Glebas. They admitted that they drew inspiration from the biblical story of the lives of

Joseph and Moses and also from William Shakespeare’s Hamlet. In the case of The Lion King, the concept

for the 1994 animated classic came first and underwent a lot of storyline changes with different titles (King

of the Kalahari, King of the beasts, King of the Jungle). Oliver and Company directoorGeorge Scribner

was the initial director of the film, being later joined by Roger Allers who was the lead story developer for
Beauty and the Beast (another musical under the Disney Company) in October 1991. Allers brought along

Brenda Chapman who eventually became the head of story.

Afterwards, several of the lead crew members, including Allers, Scribner, Hahn, Chapman, and

production designer Chris Sanders, took a trip to Hell's Gate National Park in Kenya, in order to study and

gain an appreciation of the environment for the film. After six months of story development work Scribner

decided to leave the project, as he clashed with Allers and the producers on their decision to turn the film

into a musical, as Scribner's intention was of making a documentary-like film more focused on natural

aspects. Rob Minkoff replaced Scribner, and producer Don Hahn joined the production as Schumacher

became only an executive producer due to Disney promoting him to Vice President of Development for

Feature Animation. Hahn found the script unfocused and lacking a clear theme, and after establishing the

main theme as "leaving childhood and facing up to the realities of the world", asked for a final retool.

Allers, Minkoff, Chapman and Hahn then rewrote the story across two weeks of meetings with directors

Kirk Wise and Gary Trousdale, who had just finished Beauty and the Beast. The script also had its title

changed from King of the Jungle to The Lion King, as the setting was not the jungle but the savannah. It

was also decided to make Scar and Mufasa brothers since the writers felt that it was much more interesting

if the threat came from someone within the family.

Lyricist Tim Rice, who was working with composer Alan Menken on songs for Aladdin, was

invited to write the songs, and accepted on the condition of finding a composing partner. Tim Rice worked

closely with the writing team, flying to California at least once a month because his songs needed to work

in the narrative continuity. Rice's lyrics which were reworked up to the production's end were pinned to the

storyboards during development. As Menken was unavailable, the producers accepted Rice's suggestion of

Elton John, after Rice's invitation of ABBA fell through due to Benny Andersson being busy with the

musical Kristina från Duvemåla. John expressed an interest in writing "ultra-pop songs that kids would

like; then adults can go and see those movies and get just as much pleasure out of them", mentioning a
possible influence of The Jungle Book, where he felt the "music was so funny and appealed to kids and

adults".

Elton John and Tim Rice wrote five original songs for the film ("Circle of Life", "I Just Can't Wait

to Be King", "Be Prepared", "Hakuna Matata" and "Can You Feel the Love Tonight"), with John's

performance of "Can You Feel the Love Tonight" playing over the end credits. The IMAX and DVD

releases added another song, "The Morning Report", based on a song discarded during development that

eventually featured in the live musical version of The Lion King. The score was composed by Hans

Zimmer, who was hired based on his work in two films in African settings, The Power of One and A World

Apart, and supplemented the score with traditional African music and choir elements arranged by Lebo M.

Zimmer's partners Mark Mancina and Jay Rifkin helped with arrangements and song production.

The Lion King original motion picture soundtrack was released by Walt Disney Records on April

27, 1994. It was the fourth-best-selling album of the year on the Billboard 200 and the top-selling

soundtrack. It is the only soundtrack for an animated film to be certified Diamond (10× platinum) by the

Recording Industry Association of America. Zimmer's complete instrumental score for the film was never

originally given a full release, until the soundtrack's commemorative 20th anniversary re-release in 2014.

The Lion King also inspired the 1995 release of an EP album; Rhythm of the Pride Lands, with eight songs

by Zimmer, Mancina, and Lebo M.

The use of the song "The Lion Sleeps Tonight" in a scene with Timon and Pumbaa led to disputes

between Disney and the family of South African Solomon Linda, who composed the song (originally titled

"Mbube") in 1939. In July 2004, Linda's family filed suit, seeking $1.6 million in royalties from Disney. In

February 2006, Linda's heirs reached a legal settlement with Abilene Music, who held the worldwide rights

and had licensed the song to Disney for an undisclosed amount of money.

Walt Disney Theatrical produced a musical stage adaptation of the same name, which premiered in

Minneapolis, Minnesota in July 1997, and later opened on Broadway in October 1997 at the New
Amsterdam Theatre. The Lion King musical was directed by Julie Taymor and featured songs from both

the movie and Rhythm of the Pride Lands, along with three new compositions by Elton John and Tim Rice.

Mark Mancina did the musical arrangements and new orchestral tracks. The musical became one of the

most successful in Broadway history, winning six Tony Awards including Best Musical, and despite

moving to the Minskoff Theatre in 2006, is still running to this day in New York, becoming the third

longest-running show and highest grossing Broadway production in history. The show's financial success

led to adaptations all over the world.

The musical debuted on July 8, 1997 in Minneapolis, Minnesota at the Orpheum Theatre and was

successful before premiering on Broadway at the New Amsterdam Theater on October 15, 1997 in

previews, with the official opening on November 13, 1997. On June 13, 2006, the Broadway production

moved to the Minskoff Theatre to make way for the musical version of Mary Poppins, where it is still

running after more than 9,000 performances. It is Broadway's third longest-running show in history, and

has grossed more than $1 billion, making it the highest grossing Broadway production of all time. Over

100 million people worldwide have seen the musical and it has earned numerous awards and honors,

including six Tony Awards, one for Best Musical and Best Direction of a Musical, making director Julie

Taymor the first woman to earn such an honor.

The show opened in the West End's Lyceum Theatre on October 19, 1999, and is still running after

more than 7,500 performances. The cast of the West End production were invited to perform at the Royal

Variety Performance in 1999 and 2008, in the presence of senior members of the British Royal Family.

In September 2014, The Lion King became the top-earning title in box-office history for both stage

productions and films, surpassing the record previously held by The Phantom of the Opera. The Lion King

musical has grossed nearly $8.1 billion as of 2017.

The songs that were finally involved in the staging of the musical are as follows
Song Written by Performed by

Act I

"Circle of Life" Elton John and Tim Rice Rafiki and Company

"Grasslands Chant" Lebo M Company

"The Morning Report" Elton John and Tim Rice Zazu, Young Simba, and

Mufasa

"The Lioness Hunt" Lebo M Lionesses

"I Just Can't Wait to Be King" Elton John and Tim Rice Young Simba, Young Nala,

Zazu, and Ensemble

"Chow Down" Elton John and Tim Rice Shenzi, Banzai, and Ed

"They Live in You" Mark Mancina, Jay Rifkin, Mufasa and Company

and Lebo M

"Be Prepared" Elton John and Tim Rice Scar, Shenzi, Banzai, Ed, and

Company

"The Stampede" Hans Zimmer and Lebo M Company

"Rafiki Mourns" Hans Zimmer and Lebo M Rafiki, Sarabi, Young Nala,

Ensemble

"Hakuna Matata" Elton John and Tim Rice Timon, Pumbaa, Young

Simba, Simba, and Ensemble

Act II

"One by One" Lebo M Company

"The Madness of King Scar" Elton John and Tim Rice Scar, Zazu, Banzai, Shenzi, Ed

and Nala
"Shadowland" Hans Zimmer, Lebo M, and Nala and Company

Mark Mancina

"Endless Night" Julie Taymor, Lebo M, Hans Simba and Company

Zimmer, and Jay Rifkin

"Can You Feel the Love Elton John and Tim Rice Timon, Pumbaa, Simba, Nala,

Tonight" and Company

"He Lives in You (Reprise)" Mark Mancina, Jay Rifkin, Rafiki, Simba and Company

and Lebo M

"Simba Confronts Scar" Mark Mancina and Robert Instrumental

Elhai

"King of Pride Rock/Circle of Hans Zimmer and Lebo The Company

Life (Reprise)" M/Elton John and Tim Rice

NB. The ensemble here refers to the vocal orchestra and the company refers to the whole cast all these

being accompanied by instruments.

Many of the animals portrayed in the production are actors in costume using extra tools to move

their costumes. For example, the giraffes are portrayed by actors walking on stilts. For principal characters

such as Mufasa and Scar, the costumes feature mechanical headpieces that can be raised and lowered to

foster the illusion of a cat "lunging" at another. Other characters, such as the hyenas, Zazu, Timon, and

Pumbaa, are portrayed by actors in life-sized puppets or costumes. The Timon character is described by

Taymor as one of the hardest roles to master because the movement of the puppet's head and arms puts a

strain on the actor's arms, back, and neck.

Composer Lebo M led the original Broadway chorus. The chorus members are usually visible in the

production, rather than being hidden in the shadows as seen in some other musical shows. A new section of

the production, the Lioness Hunt, features a particularly complicated dance sequence for the actresses, and

the dance is made even more difficult by the large headpieces worn during the scene.
 In 2019, a CGI/ Live Action remake which was directed by Jon Favreau was released and

basically did not stray away from the original story idea although some songs were cut off entirely or

reduced into instrumentals as the score which was done by Hans Zimmer, Tim Rice and Elton John all over

again. A new song ‘Spirit’ was however added which was written and performed by Beyonce who played

Nala in the film.

3.3 Synopsis of ‘The Sound of Music’

Act I

In Salzburg, Austria, just before World War II, nuns from Nonnberg Abbey sing the Dixit

Dominus. One of the postulants, Maria Rainer, is on the nearby mountainside, regretting leaving the

beautiful hills ("The Sound of Music"). She returns late to the abbey where the Mother Abbess and the

other nuns have been considering what to do about the free-spirit ("Maria"). Maria explains her lateness,

saying she was raised on that mountain, and apologizes for singing in the garden without permission. The

Mother Abbess joins her in song ("My Favorite Things"). The Mother Abbess tells her that she should

spend some time outside the abbey to decide whether she is suited for the monastic life. She will act as the

governess to the seven children of a widower, Austro-Hungarian Navy submarine Captain Georg von

Trapp.

Maria arrives at the villa of Captain von Trapp. He explains her duties and summons the children

with a boatswain's call. They march in, clad in uniforms. He teaches her their individual signals on the call,

but she openly disapproves of this militaristic approach. Alone with them, she breaks through their

wariness and teaches them the basics of music ("Do-Re-Mi").

Rolf, a young messenger, delivers a telegram and then meets with the oldest child, Liesl, outside the

villa. He claims he knows what is right for her because he is a year older than she ("Sixteen Going on
Seventeen"). They kiss, and he runs off, leaving her squealing with joy. Meanwhile, the housekeeper, Frau

Schmidt, gives Maria material to make new clothes, as Maria had given all her possessions to the poor.

Maria sees Liesl slipping in through the window, wet from a sudden thunderstorm, but agrees to keep her

secret. The other children are frightened by the storm. Maria sings "The Lonely Goatherd" to distract them.

Captain von Trapp arrives a month later from Vienna with Baroness Elsa Schräder and Max

Detweiler. Elsa tells Max that something is preventing the Captain from marrying her. He opines that only

poor people have the time for great romances ("How Can Love Survive"). Rolf enters, looking for Liesl,

and greets them with "Heil". The Captain orders him away, saying that he is Austrian, not German. Maria

and the children leapfrog in, wearing play-clothes that she made from the old drapes in her room.

Infuriated, the Captain sends them off to change. She tells him that they need him to love them, and he

angrily orders her back to the abbey. As she apologizes, they hear the children singing "The Sound of

Music", which she had taught them, to welcome Elsa Schräder. He joins in and embraces them. Alone with

Maria, he asks her to stay, thanking her for bringing music back into his house. Elsa is suspicious of her

until she explains that she will be returning to the abbey in September.

The Captain gives a party to introduce Elsa, and guests argue over the Nazi German Anschluss

(annexation) of Austria. Kurt asks Maria to teach him to dance the Ländler. When he fails to negotiate a

complicated figure, the Captain steps in to demonstrate. He and Maria dance until they come face-to-face;

and she breaks away, embarrassed and confused. Discussing the expected marriage between Elsa and the

Captain, Brigitta tells Maria that she thinks Maria and the Captain are really in love with each other. Elsa

asks the Captain to allow the children to say goodnight to the guests with a song, "So Long, Farewell".

Max is amazed at their talent and wants them for the Kaltzberg Festival, which he is organizing. The guests

leave for the dining room, and Maria slips out the front door with her luggage.

At the abbey, Maria says that she is ready to take her monastic vows; but the Mother Abbess

realizes that she is running away from her feelings. She tells her to face the Captain and discover if they
love each other, and tells her to search for and find the life she was meant to live ("Climb Ev'ry

Mountain").

Act II

Max teaches the children how to sing on stage. When the Captain tries to lead them, they complain

that he is not doing it as Maria did. He tells them that he has asked Elsa to marry him. They try to cheer

themselves up by singing "My Favorite Things" but are unsuccessful until they hear Maria singing on her

way to rejoin them. Learning of the wedding plans, she decides to stay only until the Captain can arrange

for another governess. Max and Elsa argue with the Captain about the imminent Anschluss, trying to

convince him that it is inevitable ("No Way to Stop It"). When he refuses to compromise on his opposition

to it, Elsa breaks off the engagement. Alone, the Captain and Maria finally admit their love, desiring only

to be "An Ordinary Couple". As they marry, the nuns reprise "Maria" against the wedding processional.

While Maria and the Captain are on their honeymoon, Max prepares the children to perform at the

Kaltzberg Festival. Herr Zeller, the Gauleiter of the region, demands to know why they are not flying the

flag of the Third Reich now that the Anschluss has occurred. The Captain and Maria return early from their

honeymoon before the Festival. In view of the Nazi German occupation, the Captain decides the children

should not sing at the event. Max argues that they would sing for Austria, but the Captain points out that it

no longer exists. Maria and Liesl discuss romantic love; Maria predicts that in a few years Liesl will be

married ("Sixteen Going on Seventeen (Reprise)"). Rolf enters with a telegram that offers the Captain a

commission in the German Navy, and Liesl is upset to discover that Rolf is now a committed Nazi. The

Captain consults Maria and decides that they must secretly flee Austria. German Admiral von Schreiber

arrives to find out why Captain von Trapp has not answered the telegram. He explains that the German

Navy holds him in high regard, offers him the commission, and tells him to report immediately to

Bremerhaven to assume command. Maria says that he cannot leave immediately, as they are all singing in

the Festival concert; and the Admiral agrees to wait.

 At the concert, after the von Trapps sing an elaborate reprise of "Do-Re-Mi", Max brings out the

Captain's guitar. Captain von Trapp sings "Edelweiss", as a goodbye to his homeland, while using Austria's

national flower as a symbol to declare his loyalty to the country. Max asks for an encore and announces

that this is the von Trapp family's last chance to sing together, as the honor guard waits to escort the

Captain to his new command. While the judges decide on the prizes, the von Trapps sing "So Long,

Farewell", leaving the stage in small groups. Max then announces the runners-up, stalling as much as

possible. When he announces that the first prize goes to the von Trapps and they do not appear, the Nazis

start a search. The family hides at the Abbey, and Sister Margaretta tells them that the borders have been

closed. Rolf comes upon them and calls his lieutenant, but after seeing Liesl he changes his mind and tells

him they aren't there. The Nazis leave, and the von Trapps flee over the Alps as the nuns reprise "Climb

Ev'ry Mountain".

NB. The songs that follows the actions are noted in quotes after.

3.4 Analysis of ‘The Sound of Music’

In the case of “The Sound of Music”, the stage musical came first with the music by Richard Rodgers,

lyrics by Oscar Hammerstein II and the book by Howard Lindsay and Russel Crouse. The Sound of Music

story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, published in 1949 to

help promote her family's singing group following the death of her husband Georg in 1947.

After viewing The Trapp Family, a 1956 West German film about the von Trapp family, and its

1958 sequel (Die Trapp-Familie in Amerika), stage director Vincent J. Donehue thought that the project

would be perfect for his friend Mary Martin; Broadway producers Leland Hayward and Richard Halliday

(Martin's husband) agreed. The producers originally envisioned a non-musical play that would be written

by Lindsay and Crouse and that would feature songs from the repertoire of the Trapp Family Singers. Then

they decided to add an original song or two, perhaps by Rodgers and Hammerstein. But it was soon agreed

that the project should feature all new songs and be a musical rather than a play.
 Details of the history of the von Trapp family were altered for the musical. The real Georg von

Trapp did live with his family in a villa in Aigen, a suburb of Salzburg. He wrote to the Nonnberg Abbey

in 1926 asking for a nun to help tutor his sick daughter, and the Mother Abbess sent Maria. His wife had

died in 1922. The real Maria and Georg married at the Nonnberg Abbey in 1927. Lindsay and Crouse

altered the story so that Maria was governess to all of the children, whose names and ages were changed, as

was Maria's original surname (the show used "Rainer" instead of "Kutschera"). The von Trapps spent some

years in Austria after Maria and the Captain married and was offered a commission in Germany's navy.

Since von Trapp opposed the Nazis by that time, the family left Austria after the Anschluss, going by train

to Italy and then traveling on to London and the United States. To make the story more dramatic, Lindsay

and Crouse had the family, soon after Maria's and the Captain's wedding, escape over the mountains to

Switzerland on foot.

The original Broadway production, starring Mary Martin and Theodore Bikel, opened in 1959 and

won five Tony Awards, including Best Musical, out of nine nominations. The first London production

opened at the Palace Theatre in 1961. The show has enjoyed numerous productions and revivals since then.

The Sound of Music was the last musical written by Rodgers and Hammerstein; Oscar Hammerstein died

of stomach cancer nine months after the Broadway premiere.

It was adapted as a 1965 film musical starring Julie Andrews and Christopher Plummer, which won

five Academy Awards.

Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire

story to be told. In 1956, German producer Wolfgang Liebeneiner purchased the film rights for $9,000

(equivalent to $83,000 in 2018), hired George Hurdalek and Herbert Reinecker to write the screenplay, and

Franz Grothe to supervise the soundtrack, which consisted of traditional Austrian folk songs. The Trapp

Family was released in West Germany on October 9, 1956 and became a major success. Two years later,

Liebeneiner directed a sequel, The Trapp Family in America, and the two pictures became the most
successful films in West Germany during the post-war years. Their popularity extended throughout Europe

and South America.

In 1956, Paramount Pictures purchased the United States film rights, intending to produce an

English-language version with Audrey Hepburn as Maria. The studio eventually dropped its option, but one

of its directors, Vincent J. Donehue, proposed the story as a stage musical for Mary Martin. Producers

Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and

Russel Crouse, who had won the Pulitzer Prize for State of the Union. They approached Richard Rodgers

and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—

traditional Austrian folk songs and their composition—would not work together. They offered to write a

complete new score for the entire production if the producers were willing to wait while they completed

work on Flower Drum Song. The producers quickly responded that they would wait as long as necessary.

The Sound of Music stage musical opened on November 16, 1959 at the Lunt-Fontanne Theatre in New

York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best

Musical. In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for

$1.25 million (equivalent to $10,600,000 in 2018) against ten percent of the gross.
 Chapter Four

Analysis of the Adaptations

4.1 Differences between the On Stage versions and their On-Screen adaptations

The lion king

The Broadway version of The Lion King which premiered 3 years after the original release of the animated

version ushered in some changes. Basic changes came from the fact that it is rather impossible to portray

real animals with their characteristics on stage although director Julie Taymor who had a deep background

in stage props had a good pictorial representation of presenting these animals as realistic as possible.

The differences however are as follows:

 The Broadway version adds some new songs including “The Morning Report” (a comic showcase

for Zazu which was later added in the animated forms to the film’s extended release but was

initially rendered as lines in the animated form); “Chow Down” (Sung by the hyenas when they

chase Simba and Nala in the gorge); “They live in you/ He lives in you(reprise)” (first sung by

Mufasa telling Simba about the great kings of the past, later reprised by Rafiki about Mufasa);
 “Rafiki Mourns” (a Swahili lament for the loss of Mufasa and Simba sung by Rafiki and the

lionesses); “One by One” (a choral entr’acte song, also in Swahili); “The Madness of King Scar”

(shows Scar’s crumbling sanity as he fails at being king); “Shadowland” (sung by Nala as she

resolves to leave the Pridelands) and “Endless Nights” (a solo for Simba as he feels lost and alone

without his father).

 Rafiki is changed from male to female as the director Julie Taymor felt the story was too male-

centric . she also sings “Circle of Life”.

 A short new scene is added between Mufasa and Zazu just after Mufasa’s fatherly talk with Simba.

It starts as Mufasa jokes about firing Zazu for letting Simba wander off (which Zazu takes

seriously), then Mufasa worrying about Simba’s recklessness, only for Zazu to remind him that he

was also the same as a cub. This scvene was also added in the 2019 CGI remake but was before the

fatherly talk and also had no humor in it.

 During the “Madness of King Scaar” sequence, Scar tries to force Nala into becoming his queen.

This is what makes her leave the Pridelands to find help. In the CGI remake, it is Sarabi he tries to

force and Simba arrives just in time.

 A lengthy new scene is added between Simba, Timon and Pumbaa where we see that Simba is

restless and not content with the simple and carefree life anymore. On a whim, he ends up leading

them across a dangerous river; Timon slips in and is nearly swept over a waterfall, causing Simba to

have a flashback about his father’s death. In the CGI remake, a similar scene is introduced but ends

with the comic duo convincing Simba that there’s really nothing to life as when they die, they all

become carcass defying his Father’s original lesson on the Circle of Life.

 Instead of singing “It’s a small world”, Zazu’s funny song in the cage vries between performances

and productions: in the Vegas Production, it was “Vive Las Vegas”, after the stage version of Mary

Poppins opened, it was “Supercalafragilisticexpialidocious” and nowadays, its usually “Let it Go”

from Frozen.
  Timon and Pumbaa’s song and dance to distract the hyenas is also different from the film’s hula: in

US productions, it’s a Charlseton. While in UK productions, it’s a Riverdance parody. In the CGI

remake, it was “Be our Guest” from Beauty and The Beast although they never made it past the first

line of song before running away.

 During the show’s run in China, Chinese elements were included in the musical. One of the songs

was adapted to a well known Chinese pop song, “Laoshu Ai Dami” or “Mice Love Rice”. The cast

even cracked jokes and attempted conversations with the audience in Chinese.

 As of June 27, 2010, nine minutes of the Broadway version were cut, among them were the entire

“Morning Report” musical number. The song was also removed from subsequent productions and

cast recordings such as the Spanish one.

The Sound of Music

Although, the musical came first, the recording of the initial staging is lost. This aspect refers to the new

elements introduced in the more modern stagings of the musical as differs from the movie:

1. There are lyrics before the hills come alive.

What film lovers are used to hearing as an overture accompanied by an aerial view of Salzburg's incredible

scenery is actually partly sung by Maria in both the 1959 and new stage productions - just right before she

breaks into the show's most well-known line, "The hills are alive with the sound of music".

The lyrics go:

“My day in the hills

Has come to an end, I know.

A star has come out

To tell me it's time to go.

But deep in the dark green shadows,

There are voices that urge me to stay.

So I pause and I wait and I listen

For one more sound

For one more lovely thing

That the hills might say”.

2. Maria doesn’t break into song spinning.

It took Julie Andrews a few too many takes to perfect her famous introduction in the film. With only one

chance to get the scene right on stage, thankfully, Maria won't be seen spinning her way through the hills.

3. A shortened version of I Have Confidence,.

Maria skipping and singing across Salzburg after leaving the Abbey the first time was an addition in the

film and wasn't actually in the original Broadway production. Film fans still have a chance to reminisce this

scene, except it's only the shortened version.

4. Maria introduces herself as Maria Rainer.

Maria's maiden name was never actually mentioned in the film. She was simply Fraulein Maria, the

postulant from Nonnberg Abbey. In both original and current productions, she introduces herself to Captain

Von Trapp as Maria Rainer.

It's worth noting that the maiden name of the real-life Maria Von Trapp is Maria Kutschera.

5. It won't be” My Favorite Things” that calms the children during the storm.
As iconic as My Favorite Things was in the film for establishing Maria's relationship with the children (and

inspiring her to use the old drapes for play clothes), the current stage production stayed true to its original,

where the scene unfolds between Mother Abbess and Maria, right before Maria is sent off to the Von Trapp

household.

6. The Lonely Goatherd sequence is changed

Instead of singing My Favorite Things with the children during the storm, the current production shows

Maria teaching them The Lonely Goatherd, just as it was in the original Broadway production. Sadly, the

marionettes won't be making an appearance on stage.

7. The Von Trapp children weren't be seen in the streets of Salzburg wearing curtains as play

clothes.

The Do-Re-Mi sequence was probably what sold Salzburg as a tourist destination to the rest of the world.

The city receives 300,000 visitors every year, prancing through the Mirabel Gardens and singing to the top

of their lungs. In the stage production, however, Maria gets right into teaching the children about music as

soon as she arrives in the Von Trapp villa.

8. There are two new songs

“How Can Love Survive?” and “No Way To Stop It” were two of the songs that were dropped from the

film's repertoire but revived in the current production. The songs give a bit more spotlight on Baroness Elsa

Shraeder and Uncle Max Detweiler.

One song that doesn't make a comeback on stage is “An Ordinary Couple” sung by the captain and Maria

before they get married.

9. “Something Good” is the preferred engagement song.

Instead of reviving An Ordinary Couple from the original Broadway production, the current repertoire

gives way to Something Good for Maria and Captain Von Trapp's engagement. The gazebo doesn't make

an appearance, however.

10. The costumes are Austrian...sort of.

It was Christopher Plummer, Captain Von Trapp himself, who commented about the lack of regard for

traditional Austrian outfits in the film. He then explained in an interview that the costumes were made to

appeal to a universal audience. The new production has hints of the Austrian tradition, just like in the

original stage show.

11. The captain sang Edelweiss once.

We're treated by Captain Von Trapp's heart-wrenching rendition of Edelweiss twice in the film - first, in

the family's living room after being coerced by the children, and second, during the Salzburg Festival. In

both stage productions, the captain sings his aria just once, during the festival.

You'll catch one of the children making mention of the living room scene, however, but they don't actually

show it.

12. Here's the real reason Baroness Shraeder broke off her engagement with the captain.

The film made it seem like Baroness Shraeder left Captain Von Trapp because the captain was clearly in

love with "a lady who I think will never be a nun."

The stage productions shone light on the historical events unfolding during that time. Their engagement fell

through because the baroness wanted the captain to work along with the Nazis, while the captain felt that

was against everything he stood for.

13. The intermission break

The film breaks Act I and Act II after the villa party, showing Maria leaving the Von Trapp household. In

the original and current stage productions, Act I wraps up with Climb Every Mountain, which ushers

Maria's return to the Von Trapps. By doing so, both acts end with the same song and symbolize an entry

into a new life.

14. Rolf doesn't actually rat out on the family.

In the film, Hitler youth Rolf betrays the family after the captain taunts him with "you'll never be one of

them." The family still makes their escape, which is all that's important anyway.

But it's surely worth noting that in the stage productions, Rolf finds the family hiding in the garden, but he

actually helps them escape.

4.2 Similarities between the On Stage and On-Screen versions

As for The Lion King, asides the new songs and scenes added, there is practically no difference

between the animated classic and the stage adaptation. Director Julie Taymor tried as much as possible to

portray the animals as realistically as possible with the aid of puppetry and props. Every animal who is

acting a major role with lines use props to portray their character better and every others are just puppets

being controlled by a person on stage either wearing it or handling it.

The sets were also accurately represented from the pride rock to the Elephant graveyard. Finally,

any sequence of action that was impossible to create on stage was brought to life by shadow effect with

puppets acting as the character while the actors voiced from the backstage or instrumental music plays in

the background.

In the case of The Sound of Music, the original story took its own turn from the events of real life either just

to make it more entertaining or for disambiguation purposes. In an interview with Louise Hidalgo for BBC

Magazine, here’s what the Trapps' youngest son said about the film version of the family’s story:
"Everyone thinks the Sound of Music was exactly the way things happened, and of course it wasn't because

there had to be artistic licence," says Johannes von Trapp. He is the youngest son of Georg and Maria the

decorated naval commander and singing nun turned governess of the film.

"This was the Hollywood version of the Broadway version of the German film version of the book that my

mother wrote.

"It's like the parlour game where you whisper a word in your neighbour's ear and he whispers it and it goes

around the room by the time it comes back it's usually changed a bit."

Some of the changes are innocuous; for instance, the family had 10 rather than seven children. Other

changes punch up the story; one example is that the Trapp family didn’t escape post-Anschluss Austria by

hiking over the Alps to Switzerland. Instead, they took a train to Italy.

There was one particular change the family did not enjoy. In the film, Christopher Plummer’s character is

stern and domineering at first. Although his transformation heightens the story, in reality, Georg von Trapp

was genial and kind. According to a “Movie vs. Reality” article written by Joan Gearin of the U.S. National

Archives, this change “distressed the family greatly.”

Other adaptations were welcome, and overall, the Trapps enjoyed the cinematic retelling of their story. In

her article for BBC Magazine, Hidalgo relates this reaction from Maria von Trapp:

Maria later recalled, in a BBC interview, that she only learned Hollywood was making a film when she

read about it in a newspaper.

"I felt very alarmed," she said. "I didn't know what they are going to do with us … Hollywood being

Hollywood; [I thought] they will have me three times divorced and five times married or whatever. And

then it turned out so nice especially the beginning with the mountains and me coming up over the

meadow."

Asides all these, the movie stayed true to the story in every way possible.
4.3 Possible Pros and Cons of Adaptations

Pros and Cons refer to positive and negative aspects of a particular cause.

As obviously stated, not everything that happens on screen can be placed on stage accurately; some

elements must be changed to suit the ‘stage ability’ of the required performance especially in cases where

the roles to be taken are larger than life and require heavy skill and practice to perform / perfect. This is

definitely a con and can also be a pro depending on how much loss the original story is suffering.

In any case, some behind the scenes mishaps could happen and even on stage which can’t be

corrected because of the rule of straight take but in movies, anything can be corrected in the post

production stage.

On the of 14th July 2019, L. Steven Taylor who plays the role of Mufasa in the Broadway version of

The Lion King posted some photos and videos on Instagram showing that a blackout had occurred in the

performance area flooding the backstage area where the props and costumes were kept and some costumes

and props were damaged beyond repair at that moment. For the day, some of the characters had to perform

in muftis (Black on Black) including Mufasa, Rafiki and adult Simba and adult Nala; but they could still

use their props that were not damaged such as their head masks.

On another note, the actors may be restricted in movements due to the fact that theres a fixed

location designed on stage.

Alternatively, Broadway shows are usually being toured and some changes can be effected which

makes for further entertainment and new elements added too to fit the era and environment its being staged

unlike movies that once being released, that’s the end of its editing except it is re made for an alternate or

extended cut.
 Chapter Five

Conclusion

5.1 Summary
 This study researches deeply into the roots of movies, animations and stage musicals and also their

styles, genres and forms. Furthermore, it goes on to analyze their various histories and how they have made

a change in the world of entertainment and forming it into what it is known widely as today.

The research also analyzes the styles, genres, forms and totality of the productions being used as

case studies and gets to spell out the technical differences between the on screen versions and their on stage

counterparts and also their similarities.

Finally, the possible positive and negative factors that can occur when trying to adapt a movie or

animation into a stage performance were analyzed and described in retrospect to the case studies.

5.2 Findings and Recommendations

In the course of this study, it is discovered that not everything that is seen on screen can be

produced on stage due to limited resources and the fact that the performance is live. It also builds

awareness on the technical difficulties of adapting a musical in our common societies and how to avoid

them or manipulate them in inevitable cases.

Further research is recommended for future practical purposes.

5.3 Conclusions

Conclusively, it is fair to say director Julie Taymor of The Lion King on broadway and director Charles

Hickman of The Sound Of Music did a good job in staging the musicals as they didn’t deviate from the film

counterparts and did meet the bar set by the on screen v ersions.

References

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Company Inc. P. 13

^Thomas Alvey, 19th July, 2016. The Types of Musical Theatre, www.theoddeyseyonline.com

^Hanon Ondricek, 3rd February, 2017. The different types of Musical Theatre and how they are

distinguished from each other, www.quora.com

^History of Musical Theatre: Lesson for Kids. www.study.com

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2018

^The Story of My Family. Trapp Family Lodge. 1st September, 2014.

^ www.soundofmusiclondon.com

^Taymor, Julie, The Lion King: Pride Rock on Broadway, (Disney Editions 1998).

^The Origimd of “The Lion King”. James Cummins Book Seller. 13th April, 2014

^Why you need to go see “The Lion King” musical at the Fox Theatre, Sydney Hallas, 19th of January 2018

^Jordan Serchuk, Substantial Differences between the Broadway musical and the film’s version of The Lion

King. www.quora.com

^The evolution of Film over time- A brief History. June 23, 2017. New York Film Academy. www.nyfa.edu

^ www.wikipedia.com