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To save her father, a girl who always puts others before herself promises to live her life in a lavish castle with a strange beast. Download the free trial version below to get started. First Light Movie Watch Online. Double-click the downloaded file to install the software.

Beauty and the Beast (musical)Beauty and the Beast is a musical with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton. Adapted from Walt Disney Pictures' Academy Award- winning. French fairy tale by Jeanne- Marie Leprince de Beaumont –[1]Beauty and the Beast tells the story of a cold- blooded prince who has been magically transformed into an unsightly creature as punishment for his selfish ways. To revert into his true human form, the Beast must first earn the love of a bright, beautiful young woman whom he has imprisoned in his enchanted castle before it is too late.

Critics, who hailed it as one of the year's finest musicals, immediately noted the film's Broadway musical potential when it was first released in 1. Disney CEO Michael Eisner to venture into Broadway. All eight songs from the animated film were reused in the musical, including a resurrected musical number which had been cut from the motion picture.

Original songwriter Menken composed six new songs for the production alongside lyricist Rice, replacing Ashman who had died during production of the film. Woolverton, who had written the film's screenplay, adapted her own work into the musical's libretto, and specifically expanded upon the characterization of the Beast. Woolverton also expanded the storylines of the castle staff from servants who had already been transformed into household objects into humans who were gradually turning into inanimate objects. Costumes were designed by Ann Hould- Ward, who based her creations on both the animators' original designs as well as the Rococo art movement after researching how clothing and household objects looked during the 1. After completing tryouts in Houston, Beauty and the Beast premiered on Broadway on April 1. Susan Egan and Terrence Mann as the eponymous Belle and Beast, respectively. The musical opened to mixed reviews from theatre critics, but was a massive commercial success and well received by audiences.

Beauty ran on Broadway for 5,4. Broadway's tenth longest- running production in history. The musical has grossed more than $1.

It has also become a popular choice for high school productions.[2]Background and inception[edit]Still recovering from Walt Disney's demise,[3] Disney's animated films continued to experience a noticeable decline in quality while struggling to attain critical and commercial success during the 1. The Walt Disney Company CEO Michael Eisner was hired to ensure the performance of the studio's next animated projects, despite having virtually no animation experience. Eisner himself had been a theatre major in college.[4] Eisner's first hire as Disney's CEO was theatrical producer Peter Schneider, who subsequently became responsible for hiring more artists who shared similar theatrical backgrounds to contribute to the studio's next animated releases, among them lyricist Howard Ashman and his long- time collaborator, composer Alan Menken.[4] Ashman and Menken had previously amassed great live musical success with their Off- Broadway production Little Shop of Horrors, but the performance of Ashman's first Broadway venture Smile had been disappointing.[5] Eager to redeem himself, Ashman agreed to work on Disney's animated film The Little Mermaid (1.

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4. Beauty and the Beast is a musical with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton. Adapted from Walt Disney Pictures.
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Menken would famously decide to approach as though they were scoring a Broadway musical.[5] Upon release, The Little Mermaid was a massive critical and commercial success, garnering two Academy Awards, both of them for Ashman and Menken's original music.[5] Disney established a successful renaissance period,[6] during which Ashman and Menken became responsible for teaching the art of transforming traditional animated films into animated musicals.[7]. Disney CEO Michael Eisner eventually green- lit a Broadway adaption of Beauty and the Beast. Inspired by Mermaid's success, production on an animated musical adaptation of the "Beauty and the Beast" fairy tale began shortly afterward, during which Ashman finally confessed to Menken that he was dying of AIDS, a secret he had been keeping from the studio in fear of being discriminated against or fired.[5] Before the film had even been completed, executive vice president Ron Logan suggested to Eisner that he consider adapting Beauty and the Beast for Broadway, an idea Eisner quickly deflected.[8] While the film, written by screenwriter Linda Woolverton,[3] was premiering at the New York Film Festival, an ailing Ashman was being cared for at St. Vincent's Hospital; the lyricist succumbed to his disease four days later on March 1. November release.[5]Beauty and the Beast became the last project on which Menken worked with Ashman.[9] The film was released to immediate critical acclaim and commercial success,[3] outperforming The Little Mermaid by becoming the highest- grossing animated film in history,[5] as well as the first animated film to be nominated for an Academy Award for Best Picture.[1. Once again, Academy Awards were won for Ashman and Menken's music. Several critics noticed the film's live musical potential,[1.

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New York Times theatre critic Frank Rich.[1. Lamenting the Broadway selection at the time,[9] Rich famously praised the songwriting duo for having written "[t]he best Broadway musical score of 1. Broadway" in 1. 99.

Rich's review would ultimately provide Eisner and Katzenberg with the confidence needed to seriously consider the film as a potential Broadway project.[5] Disney was also inspired by the successes of Broadway musicals such as Cats, Les Misérables and The Phantom of the Opera,[5] strongly believing their production could be just as profitable.[1. Virtually unknown at the time, Robert Jess Roth was appointed the production's director based on his various successes directing live shows at the Disney theme parks.[9] Eisner and Katzenberg had opted against hiring a more established director in order to retain creative control over the project, believing that an A- list director would likely feel more inclined to challenge their vision.[9] Roth himself had previously pursued Eisner about investing in a Broadway show – originally suggesting a stage adaptation of Mary Poppins (1. However, Eisner invited Roth to ask him about pursuing Broadway again in the future once he had finished directing three additional Disney theme park shows.[1. Ultimately impressed with Roth's adaptation of The Nutcracker, Eisner finally suggested an adaptation of Beauty and the Beast, inspired by the success of a condensed stage version of the film at Disneyland,[1. Since the film had not yet been released on home video, Roth spent an entire day re- watching Beauty and the Beast in theaters while brainstorming how to present its fantastical elements onstage, and eventually worked with choreographer Matt West and set designer Stan Meyer on their own proposal, with contributions from Menken and Woolverton.[1. In a hotel in Aspen, Roth convinced Eisner and Katzenberg to green- light a Broadway adaptation of Beauty and the Beast using a combination of 1.

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Eisner retained final approval over all creative elements of the production, "from the lowest chorus swing performer to the director, stars and design team."[9] Menken was initially skeptical of Roth's qualifications, as he had never directed a Broadway show before.[9] Meanwhile, the producers were concerned that audiences might not be interested in seeing the same story that they had enjoyed on film on Broadway.[1. Among the skeptics was theatrical producer Steven Suskin, author of Opening Night and Broadway, who argued that the production was more likely to be successful in reverse: "(The movie is) basically written as a theater piece. I'm sure it would've worked in the theater first, and it then would've worked in the movies," believing audiences would have difficulties accepting a new version of such an immensely popular work.[1.

Beauty and the Beast became Disney's first Broadway venture,[1. Disney's animated film Snow White and the Seven Dwarfs (1.

New York in 1. 97.