SHAKSPER 2002: Re: Hamlet! The Musical

From: Hardy M. Cook (editor@shaksper.net)
Date: 12/20/02 

The Shakespeare Conference: SHK 13.2455  Friday, 20 December 2002

[Editor's Note: I think this thread has reached its useful end. Please
continue any further discussion privately. Hardy]

[1] From:               Mike Jensen <jensensh@hotmail.com>
Date:           Thursday, 19 Dec 2002 08:25:42 -0800
Subject: 13.2443 Re: Hamlet! The Musical
Comment:        Re: SHK 13.2443 Re: Hamlet! The Musical

[2] From:               Richard Burt <burt@english.umass.edu>
Date:           Thursday, 19 Dec 2002 16:59:01 -0500
Subject:        Hamlet, the Musical


[1]-----------------------------------------------------------------
From:           Mike Jensen <jensensh@hotmail.com>
Date:           Thursday, 19 Dec 2002 08:25:42 -0800
Subject: 13.2443 Re: Hamlet! The Musical
Comment:        Re: SHK 13.2443 Re: Hamlet! The Musical

First to Dr. Cook,

I think this is well past the point of where Mr. Kennedy and I are
having a private, and rather unpleasant conversation, don't you?

Now to Mr. Kennedy,

I did not reveal every facet of overlap that I knew about in the plots
of *Hamlet* and *The Lion King* because that was not the point of my
post, which was obvious to both people who wrote me off list.  Indeed, I
once engaged in the exercise you have neglected of making notes on
similarities and dissimilarities in the two plots, a project that I
aborted half way through because the plots are so dissimilar it seemed
pointless.

Mr. Kennedy, you may enjoy the movie *Hop-a-Long Cassidy*, re-released
as *Hopalong Cassidy Enters*.  There are two rival ranches.  One of
Hoppy's sidekicks is smitten with a young woman from the rival ranch.
He attends a party there and gets into trouble.  It has about as much in
common with *Romeo and Juliet* as *The Lion King* does with *Hamlet* but
without a more substantial link, I would not be so bold as to claim it
is an adaptation.  Aside from those features the plots have little else
in common.

Mike Jensen

[2]-------------------------------------------------------------
From:           Richard Burt <burt@english.umass.edu>
Date:           Thursday, 19 Dec 2002 16:59:01 -0500
Subject:        Hamlet, the Musical

On the Wonderful World of Disney, ABC, January 4, 1998, an episode
involved two boys who audition and reject an actor doing Hamlet as a
musical.

Also, I found these listings: "Shakespeare and Company: The Lion King
and the Disneyfication of Hamlet" is a deconstructive reading of The
Lion King that identifies Disney's appropriation of Shakespeare for the
purpose of preserving Anglo Saxon culture. Author Stephen H. Buhler
(University of Nebraska; Lincoln, NE)

Gavin, Rosemarie. 'The Lion King' and 'Hamlet': a homecoming for the
exiled child." English Journal v85, n3 (March, 1996):55 (3 pages). "An
educator had difficulty instructing her students on the play 'Hamlet'. A
book gave her an idea of linking 'Hamlet' to the Walt Disney movie 'The
Lion King,' which allowed her students to perceive the supernatural
symbol of an exiled child whose mission is to reinstate global harmony."
(Magazine Index)

Neugarten, Robert.  "The Lion King." Folio: Shakespeare-Genootschap van
Nederland en Vlaanderen 1, no. 2 (1994): 41-43. 1994 [Points out
parallels between Hamlet and the Walt Disney film The Lion King.]

Stenberg, Doug.  "The Circle of Life and the Chain of Being: Motifs in
The Lion King." Bulletin 14, no. 2 (1996): 36-37. 1996. Concludes that
the Disney animated film The Lion King is based on Shakespearean plots
and themes                 in Hamlet, Macbeth, and 1 and 2 Henry IV.]

And while we're at it, there's also: Hopkins, Lisa.  "Bedknobs and
Broomsticks: Disney's Henry V." Bulletin 16, no. 1 (1998): 46-47. 1998.
Notes/Performers [Finds that the Disney movie Bedknobs and Broomsticks
appropriates motifs from Laurence Olivier's Henry V.]

Schalkwyk, David. "From the Globe to Globalisation: Shakespeare and
Disney in the Postmodern World." Journal of Literary Studies/Tydskrif
vir Literaturwetenskap 15, nos. 1-2 (1999): 33-65. 1999. [Considers the
Globe Theatre in Bankside and Disneyland Paris as postmodern cultural
institutions "informed by specific concepts of historical authenticity,
reconstruction and entertainment." English and Afrikaans summaries, 33.]

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