THE METAMORPHOSIS OF MASCULINITY IN DISNEY’S BROADWAY MUSICAL
BEAUTY AND THE BEAST
Jerald Bolden
B.A., California State University, Sacramento, 2005
THESIS
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
THEATRE
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
FALL
2009
THE METAMORPHOSIS OF MASCULINITY IN DISNEY’S BROADWAY MUSICAL
BEAUTY AND THE BEAST
A Thesis
by
Jerald Bolden
Approved by:
__________________________________, Committee Chair
Melinda Wilson, Ph.D.
__________________________________, Second Reader
Linda Goodrich, Ph.D.
____________________________
Date
ii
Student: Jerald Bolden
I certify that this student has met the requirements for format contained in the
University format manual, and that this thesis is suitable for shelving in the Library
and credit is to be awarded for the thesis.
__________________________, Graduate Coordinator
Melinda Wilson, Ph.D.
Department of Theatre and Dance
iii
___________________
Date
Abstract
of
THE METAMORPHOSIS OF MASCULINITY IN DISNEY’S BROADWAY MUSICAL
BEAUTY AND THE BEAST
by
Jerald Bolden
This thesis examines Walt Disney Theatrical Production’s construction of
masculinity in live performance in the original 1994 Broadway musical Beauty and
the Beast. Through an analysis focusing on the key male players–the antagonist,
Gaston; the father figure, Maurice; and the protagonist, the Beast–this study critically
discusses the techniques Disney utilized in order to create and metamorphose
characters’ masculinity in live performance. As primary sources, I turn to both the
Broadway libretto and Broadway cast recording of Beauty and the Beast. From an
analysis of the script, music and production photos, I discuss the symbols and signs
attributing to a characters’ gender. Additionally, I critique characters within Disney
films created prior to the animated film version of Beauty and the Beast. Each film
under discussion in this study was scrutinized regarding male roles and archetypes
contained therein. From an analysis of the animated characters I clarify how each
character in live performance evolved from elements of their animated counterparts.
Lastly, I also consult literature on gender studies to further examine Disney’s
presentation of manhood and masculinity. Ultimately, I prove how Disney presented,
created and metamorphosed male gender roles in the original Broadway Production of
Beauty and the Beast through various theatrical techniques and semiotics.
_______________________, Committee Chair
Melinda Wilson, Ph.D.
______________________
Date
iv
ACKNOWLEDGMENTS
I am profoundly indebted to Dr. Melinda Wilson for her admiration and
insightful direction on my thesis topic. Her incredible methodological expertise,
organization and countless hours of helpful discussion are largely responsible for
helping me shape my thesis into something readable. Additionally, I am grateful to
Dr. Linda Goodrich for her overwhelming support, her excitement for my topic and
assistance with academic composition. From these two women I have significantly
metamorphosed into a better writer and thinker. I would also like to thank my parents,
Jim and Phyllis Bolden; my aunt, Bobbi Bolden; and my magnificent friends, Claire
W. Hurni, Shel Weisman, Stuart Elderidge, Shana McCarl, Fransisco Garcia, John
Hopkins, Lindzay Thortenson, Clay Helton, and Kelda Jordon. Without the support of
this team of people, I would have nothing to contribute. In addition, I would like to
thank all of my dance and theatre teachers who have fueled my theatrical endeavors
and contributed to my artistic experience.
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TABLE OF CONTENTS
Page
Acknowledgments………………………………………………………………………..
v
List of Figures……………………………………………………………………………
vii
Chapter
1. BEAUTY AND THE BEAST: DISNEY’S FIRST BROADWAY
MUSICAL……………………………………………………...................................
1
2. DISNEY’S CONSTRUCTION OF THE HYPER-MASCULINE GASTON………
23
3. DISNEY’S CONSTRUCTION OF THE NORMATIVE MASCULINE
MAURICE……………………………………………………………….……..........
.
4. DISNEY’S CONSTRUCTION OF CLASSIC MASCULINITY IN THE
BEAST…………………………………………………………………………….....
59
85
5. DISNEY’S USE OF MASCULINITY AND METAMORPHOSIS IN LIVE
PERFORMANCE POST BEAUTY AND THE BEAST…………………………....
142
Appendix A. Sample Scansion…………………………………………………………..
156
Appendix B. Selected Tracks from Original Broadway Cast Recording
of Beauty and the Beast…………………..……………………………..
157
Appendix C. Selected Song Lyrics from Beauty and the Beast…………………………
158
Works Cited……………………………………………………………………………..
175
vi
LIST OF FIGURES
Page
1.
The Masculinity Spectrum………………………………………………………....
12
2.
Pete and Mickey Mouse in SteamBoat Willie………………….…………………….…
25
3.
Pete and Scrooge in Mickey’s Christmas Carol………………..……………...............
25
4.
Gaston and Villagers in the Pub………………………………………………...….
27
5.
Vulcan’s Large Physique………………………………………………………....
28
6.
King Triton from The Little Mermaid.......................................................................
28
7.
Animated Version of Gaston in Beauty and the Beast……..……………………..
29
8.
The Huntsman in Snow White and the Seven Dwarfs…….………………………..
31
9.
Lumberjacks in Paul Bunyan ………………………….………………..............…
31
10.
Burke Moses as Gaston in Broadway Production……………………………….…
40
11.
The Villagers in Broadway Production…….………………..………………….…
42
12.
Gaston and his Cronies in Broadway Production………..………...………………
42
13.
Gaston, D’Arque and Lefou Discussing Gaston’s Plan….………………………...
52
14.
Gaston and the Beast in their Climatic Battle………………..……….....................
56
15.
The Dwarfs in Snow White and the Seven Dwarfs……..……..……………………
62
16.
The King and Grand Duke in Cinderella ………………... …………….................
64
17.
King Hubert and his Lackey in Sleeping Beauty ………………….………………
64
18.
Animated Version of Maurice in Beauty and the Beast …………………………..
65
19.
Maurice and Belle in Broadway Production………………………..……………..
72
20.
Tom Bosely as Maurice in Broadway Production………………………...............
74
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21.
Maurice as Classic Normative in Broadway Production ….....................................
83
22.
Rubber Prosthetics used for the Beast…………………………………………...…
99
23.
Terrance Mann in Various Stages of Hair and Makeup…….……….......................
100
24.
Costume Design for Young Prince …………………….…..….…………………..
104
25.
The Beast’s Appearance Inspired by Rock Performers….…………………….......
106
26.
The Beast Refuses to Submit to Belle and Maurice in Broadway Production….....
110
27.
Costume Aspects Help define the Beast as Normative Masculine………..…….…
121
28.
The Beast Appears Classic Masculine in Broadway Production……….………....
129
29.
Belle and her Prince in Broadway Production …………………………………….
140
30.
Mufassa’s Face in the Stars of The Lion King Broadway Musical……………...…
145
31.
Palm Tree in The Lion King Broadway Musical…………..…………………....…
147
32.
Pride Rock’s Drought in The Lion King Broadway Musical………………………
149
33.
The Gazelle Wheel in The Lion King Broadway Musical…………………………
150
34.
Life “Under the Sea” in The Little Mermaid Broadway Musical……….…………
152
35.
Norm Lewis as King Triton in The Little Mermaid Broadway Musical…………..
154
viii