A whole new world of licensing is possible with Disenchanted! School Edition. Poisoned apples. Glass slippers. Who needs ’em?! Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that is anything but Grimm. Forget the princesses you think you know. When these royal renegades toss off their tiaras, this hilariously subversive musical, now adapted for the high school stage, cleverly reveals what really happened ‘ever after’! After sold-out engagements nationwide and Off Broadway in NYC, theatres worldwide can now apply for production rights exclusively from TRW!
Welcome to the kingdom of Disenchanted! princesses. These wonderfully empowered and funny women have come together in a vaudeville-variety show, to tell the truth about living happily ever after. Together, with the brassy and all-powerful Snow White at the lead, this band of royal renegades storm the proverbial castle, all the while hilariously poking holes in the age-old tenets of The Princess Complex (The PC).
The Princess Complex, as exemplified by Cinderella at the beginning of the show, is that tired old notion that a woman is only valid and desirable if she is a ditzy, insecure, Bambi-like waif; a helpless damsel in distress who does nothing more than sit around and wait for her prince to come. The PC is the antagonist of Disenchanted! – the ‘big bad’ that the women speak out against through song, dance and comedy skits in the hopes that they can dispel its power.
The results, sadly, are not always salvation and freedom from The PC. Cinderella, a true believer in everything princessy, begins the show as an exploited, dim-bulb of a girl but as she listens to each princess’ story, finds the power to literally toss aside her glass slippers and grow independent of her prince (see ‘All I Wanna Do Is Eat’ and ‘A Happy Tune?’). Pocahontas plays a little game on us in her 3-song arc. We first meet her as a baby-doll talking, Marilyn Monroe type, silly and gamine, only to have her turn the tables on the audience, reminding them that, despite the sexploitation put forth in cinema, she was actually a ten-year old tomboy who most likely never kissed John Smith.
Beneath the comedy, slapstick and broad farce alike, that plays out in the Disenchanted! vaudeville, there is a very important conversation taking place between the princesses and the audience throughout the show. There is no fourth wall as the princesses regale the crowd with their not-so-happily ever afters: The PC has caused Belle to go hysterically and yet irreparably ‘Insane’ and The Little Mermaid despairs after realizing she gave up everything she loved just to net a man.
Many of the princesses fair better, of course: Princess Badroulbadour takes some tongue-in-cheek political jabs at Middle-Eastern misogyny; Rapunzel goes to war against the capitalistic greed of Hollywood; and The Princess Who Kissed The Frog celebrates the arrival of the long-awaited, and terribly over-looked, princess of color. Snow White (the perfect princess) and Sleeping Beauty(seemingly not as princess-like) tussle over the idea of being fairy tale princess acceptable. They are all strong women who put forth the idea that a princess comes in many different forms and that loving who you are is truly living happily ever after. As Sleeping Beauty sings, “I’m perfect just the way that I am!”
Women of all shapes, sizes and ethnicities. Ages may range from late teens to 50s+ provided the cast looks as if they’re all from the same generation (i.e. all teens-20s; all 30s-40s; all 40s-50s+).
There is only one character who is race-specific. That character is THE PRINCESS WHO KISSED THE FROG, who should be played by a black actor. If there are black actors in the cast playing other roles, that is fine. As mentioned above, the ethnic breakdown of the cast can be varied. Just be aware that THE PRINCESS WHO KISSED THE FROG is the character who will get to tell the story of the first black princess.
These women are NOT the Disney princesses! They are the women from the original fairytales based on Grimm, Perrault, de Villeneuve, historic accounts, and legend with a healthy dose of modern-day, strong, independent woman mixed in. No exploitative or frilly Disney costumes.
SNOW WHITE: Brassy, sassy and self-assured. She is the leader of the Princess pack who likes to be in control. Equal parts serious-minded, sexy, and fun-loving. With her skin as white as snow and lips cherry red, she aspires to be perfect in all that she does, but soon realizes that being perfectly ‘you’ is more important.
CINDERELLA: Perky and quirky, slightly ditzy. She is always enthusiastic – especially when it comes to being a real-life princess. A happy-go-lucky girl who is about to discover that there’s more to being a princess than gowns and glass slippers. CINDERELLA is the character who grows the most throughout the musical.
SLEEPING BEAUTY: The perfect comic foil to Snow White’s perfect ‘straight-man.’ Always the cut-up, she brings a flippant unpredictability to the evening’s festivities. She’s a comical bull in a china shop. Some would prefer she fit into the stereotype of a perfect princess but she’d rather break the mold and be perfectly herself.
BELLE: A smart, witty French girl from classic lit, driven crazy by the misrepresentation of her image in pop culture. An insane woman who finds herself speaking with inanimate objects and cleaning up after her beast of a boyfriend.
HUA MULAN: Broadly Asian yet Americanized, gentle yet strong, shy yet out-going. She is a walking dichotomy of masculinity and femininity seeking self-acceptance in a world that would have her choose one or the other.
THE LITTLE MERMAID: An innocent, obedient young woman turned rebellious and jaded. She has given up everything – her father, her fin, even her voice–just to net a man. She can only move forward with baby steps; one foot in front of the other.
POCAHONTAS: The ultimate exploited girl who is a bizarre blend of the innocent little Powhatan tyke from history and the buxom babe from today’s pop princess culture. Her journey takes her back to her authentic, historically significant self.
RAPUNZEL: A strong German v’oman with a domineering personality, a big mole on her cheek, and a bushy unibrow! American capitalism has turned this frail, sheltered girl into a Mel Brooksian, Wagnerian singing monster bent on getting her fair share.
PRINCESS BADROULBADOUR: The spunky princess from the Middle Eastern-South Asian Aladdin sagas. She’s had it up to her veils with being secondary in her own tale. She is unhappy with the misogyny and oppression of women in her stories (and in today’s world) but getting even puts a little ‘swing’ in her step!
THE PRINCESS WHO KISSED THE FROG: Forgotten and left out of the kingdom for many years, this empowered African-American woman has now arrived on the scene as a feisty, fabulous storybook princess! She is the ultimate supreme diva in the land and she’s ready to take the world by storm!
OPTIONAL CHORUS : The show is written for the ten princesses above to back each other up in many of the solo numbers. This can also be done with a small female chorus. However, solos as written should not be broken up to accommodate an optional chorus if used.
Drums: Full kit w/SFX sampling pad