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      U.A.E. Bans ‘Lightyear,’ Disney Film with Same-Sex Kiss

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      The United Arab Emirates banned the animated film, an offshoot of the “Toy Story” movies, from its cinemas. Censors in Indonesia and Malaysia are also considering restrictions.Disney’s new movie “Lightyear,” an offshoot of the “Toy Story” franchise, faces bans or restrictions in parts of Southeast Asia and the Middle East over a scene that features a kiss between two women. The animated film opens around the world this week.The United Arab Emirates has banned “Lightyear” from public screenings, and Malaysia has asked Disney to cut several scenes from the film before it can be shown in local cinemas, according to officials in the Muslim-majority countries.In Indonesia, the nation with the world’s largest Muslim population, the chairman of the Film Censorship Board told The New York Times on Wednesday that the kissing scene could potentially violate a law that prohibits movies that show “deviant sexual behavior.”“The Film Censorship Board doesn’t want to be drawn into the vortex of debate over pro L.G.B.T. versus anti-L.G.B.T.,” said the chairman, Rommy Fibri. “But that kissing scene is sensitive.”Disney did not respond to repeated requests for comment.The international backlash against “Lightyear” is a fresh public relations headache for Disney, whose growing willingness to publicly defend L.G.B.T.Q. people has made it a somewhat unlikely cultural lightning rod in the United States.Disney has described “Lightyear,” which was created by Pixar Animation Studios and directed by Angus MacLane, as the “definitive origin story” of the character Buzz Lightyear, a space ranger who starred in the 1995 film “Toy Story” and several sequels.“Lightyear” focuses on the friendship between Buzz (voiced by Chris Evans) and another space ranger, Alisha Hawthorne (Uzo Aduba). Alisha marries a woman, and in one scene she greets her wife with a kiss.Disney’s chief executive, Bob Chapek, came under intense pressure earlier this year from many of the company’s employees to take a forceful stand against anti-L.G.B.T.Q. legislation that was moving through the legislature in Florida, which is home to the Disney World resort.Gov. Ron DeSantis of Florida signed the bill into law in late March, and Disney publicly condemned it. The Florida House later voted to revoke Disney World’s special tax designation, a privilege that the theme park near Orlando had held for more than a half century.The international backlash to “Lightyear” has generated far less public attention in the United States than Disney’s clash with Mr. DeSantis. But it’s a reminder for the company that cultural clashes over children’s content do not end at the U.S. border.In the United Arab Emirates, the government’s Media Regulatory Office said on Twitter this week that “Lightyear” was not licensed for screenings in domestic cinemas because it had violated the country’s “media content standards.” The agency did not elaborate or respond to a request for comment.In Malaysia, “Lightyear” can be screened in its current form on Netflix, but the Film Censorship Board has asked Disney to change several scenes, including a “romantic” one, before it can be shown in cinemas, said a spokesman for the Ministry of Home Affairs.In Indonesia, Mr. Rommy of the Film Censorship Board said officials there had flagged the kissing scene to Disney and were waiting for the company to send the completed film, with subtitles, for censorship review. “We aren’t saying that we reject the movie,” he said.A movie with a homosexual kissing scene would likely not pass a censorship review in Indonesia because of a 2019 law that prohibits movies with “vulgar sexual activity” or sexual content that is “deviant” or “unreasonable,” Mr. Rommy added.Openly gay, lesbian and transgender people face persecution across the Islamic world. In Malaysia, legislation targeting them is rooted in religious courts and British colonial-era prohibitions for Muslims and non-Muslims. In Indonesia, where nearly nine in 10 of the country’s 270 million people are Muslim, some politicians have tried to associate L.G.B.T.Q. people with immorality, disease and the subversion of Indonesian culture.Italia Film International, a company that distributes Disney films in the Middle East and has promoted “Lightyear” on its website, did not respond to requests for comment.It was unclear as of Wednesday how the movie would fare in other countries around the Middle East and Asia. The film censorship authorities in Saudi Arabia and China, a major market for Hollywood studios, did not respond to requests for comment.In Singapore, the Infocomm Media Development Authority said in a statement this week that viewers should be 16 or older to view “Lightyear.” It described the film as the “first commercial children’s animation to feature overt homosexual depictions,” and said that Disney had declined its suggestion of releasing two versions of the film, including an edited one for younger viewers.“While it is an excellent animated film set in the U.S. context, Singapore is a diverse society where we have multiple sensibilities and viewpoints,” Cheryl Ng, who chairs the agency’s film consultation panel, said in the statement.Muktita Suhartono More

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      Estelle Harris, George’s Mother on ‘Seinfeld,’ Dies at 93

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      Employing a high-powered screech, she took maternal exasperation and paranoia to comedic heights as one of the show’s most frequently recurring characters.Estelle Harris, who hyperventilated her way into the hearts of millions of “Seinfeld” fans as George’s mother, Estelle Costanza, died on Saturday in Palm Desert, Calif. She was 93.Her son Glen Harris announced the death in a statement sent by Ms. Harris’s agent.In 27 episodes — starting in 1992 during the fourth season of “Seinfeld,” around the time that the show became a pop culture sensation, and continuing until its final episode in 1998 — Ms. Harris embarrassed and harangued her son, one of the show’s four main characters, George Costanza (Jason Alexander), and his father, Frank (Jerry Stiller).During her character’s meltdowns, often in response to slights and offenses to propriety, Ms. Harris deployed a screech that had the urgency of a hyena in its death throes. When she whined about “waiting for hours,” that final word had three, maybe four moan-like syllables. The combination of stiffness and violence in her gesticulations expressed a forbidding level of psychological tension.Ms. Harris knew how to make outrage into a joke.“You don’t play comedy,” she told The Chicago Tribune in 1995. “It’s like that Jewish expression ‘crying laughter.’ All through the centuries the Jews had such terrible things happen to them that they had to laugh a little harder.”Her “Seinfeld” debut was one of the series’ most famous episodes: “The Contest.” After George’s mother catches him having a private moment with one of her issues of Glamour magazine, she falls in shock, throws out her back and enters a hospital.“I go out for a quart of milk; I come home and find my son treating his body like it was an amusement park,” Ms. Harris said. “Too bad you can’t do that for a living” — and now, with her voice rising, she used her working-class New Yorker’s accent to milk the script’s sarcasm: “You could sell out Madison Square GAAARDEN. Thousands of people could watch you. You could be a BIIIG STARRR.”That set the template for her subsequent appearances, including on other beloved episodes like “The Fusilli Jerry” (1995) and “The Rye” (1996). She began her scenes in a sane register of a volatile emotion — recrimination, self-pity, bafflement — and by the end of the sequence arrived at an outburst so intense it could only be farcical.Ms. Harris’s success in the role led to other opportunities to play the shrill and unhinged, including in the “Toy Story” movie franchise, for which she provided the voice of Mrs. Potato Head.At the height of the popularity of “Seinfeld,” Ms. Harris found herself with the kind of celebrity that drew looks on the street. Something in the emotionality with which she portrayed Estelle Costanza had prompted fond recognition in a national audience.“Black people, Asians, WASPs, Italians, Jews — they all say, ‘Oh, you’re just like my mom,’” she told The Tribune.Estelle Nussbaum was born on April 22, 1928, in the Hell’s Kitchen section of Manhattan, where her Polish-Jewish parents owned a candy store. She grew up largely in Tarentum, Pa., a coal-mining town where her parents moved to help relatives run a general store and to provide Estelle a gentler setting for her childhood.Though she faced antisemitic taunts in her small town, Estelle found an outlet in stage performances. Her father, who she said “spoke the King’s English,” insisted that she take elocution lessons from a young age.Ms. Harris in 2010 at the premiere of “Toy Story 3” in Hollywood. She provided the voice of Mrs. Potato Head in the movie.Kevin Winter/Getty ImagesShe moved back to New York in her late teens and later married Sy Harris, a salesman of window treatments. They had three children, and for a while, Ms. Harris was a homemaker.She wound her way through dinner theaters and television commercials, including a 1983 spot for Handi-Wrap: “It don’t mean a thing, if it ain’t got that cling: doo-wrap, doo-wrap, doo-wrap,” she sang with schmaltzy enthusiasm.After her big break on “Seinfeld,” Ms. Harris’s other major credits included the movies “Out to Sea” (1997), starring Jack Lemmon and Walter Matthau, and “My Giant” (1998), with Billy Crystal.Mr. Harris died last year. In addition to her son Glen, Ms. Harris is survived by another son, Eric; a daughter, Taryn; three grandsons; and a great-grandson.In her Tribune profile, Ms. Harris said she had complained to Larry David, the co-creator of “Seinfeld,” about her character’s constant yelling, but experience proved him right: “The more I yell, the more they laugh,” she said.Ms. Harris admitted that her personal life prepared her for the part.“I yell at my husband, but he doesn’t mind,” she said. “He’s grateful for the attention.”Tiffany May More

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      Alan Horn, a top creative executive, is the latest high-ranking Disney departure.

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      One of Hollywood’s senior statesmen announced his retirement on Monday, adding to a startling changing of the guard at the Walt Disney Company.Alan F. Horn, 78, will step down on Dec. 31 as chief creative officer of Disney Studios Content, a division that includes Marvel, Lucasfilm, Searchlight Pictures, Pixar, 20th Century Studios and Disney’s traditional animation and live-action movie operations. His position is not expected to be filled.“It’s never easy to say goodbye to a place you love, which is why I’ve done it slowly,” Mr. Horn said in a statement. “But with Alan Bergman leading the way, I’m confident the incredible Studios team will keep putting magic out there for years to come.” Mr. Bergman, a steady hand at Disney’s movie division since 1996, succeeded Mr. Horn as chairman of Disney Studios Content last year.Mr. Bergman, 55, called Mr. Horn “one of the most important mentors I’ve ever had.”Mr. Horn’s retirement adds to brain drain at the world’s largest entertainment company as a new generation of executives rise to power — led by Bob Chapek, who became chief executive last year. While not unexpected, the parade of retirements has contributed to an unsettled feeling inside the conglomerate, which is still recovering from an almost complete shutdown during the early part of the pandemic.Robert A. Iger, the executive chairman, is decamping in December. Alan N. Braverman, Disney’s top lawyer, and Zenia B. Mucha, its chief communications officer, plan to leave around the same time. Other departures have included Jayne Parker, who led human resources; Steve Gilula and Nancy Utley, who ran Searchlight, Disney’s art film studio; and Gary Marsh, a longtime Disney-branded television executive.Mr. Horn’s entertainment career has spanned nearly 50 years. He joined Disney in 2012 after being squeezed out of a senior role at Warner Bros. to make room for a new generation of managers. At Warner, where he expertly steered the Harry Potter and Batman franchises, he forged a strategy that ultimately swept through Hollywood — focusing on effects-filled franchise pictures, or “tent poles,” that resonate overseas.The growth at Disney’s movie division under his tenure was jaw-dropping. In 2012, Disney-distributed movies collected about $3.3 billion at the global box office. In 2019, the studio generated $9 billion in ticket sales. More

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      In ‘Monsters at Work,’ the Scary Part Is the New Business Model

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      Twenty years after Pixar debuted the original “Monsters, Inc.,” Disney+ is bringing a cast of new monsters to the small screen — and putting Mike and Sulley in the managers’ office.You’ve got to feel sorry for Tylor Tuskmon.After finishing at the top of his university class and receiving the business career offer of his dreams, Tylor arrives for his first workday to find that the company’s chief executive has just been jailed. The new leaders have adopted a radically novel approach and no longer need his furiously studied, exquisitely honed talent. He’s going to have to start at the bottom — literally — with the basement maintenance crew. More

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      'Soul' Nabs Oscar, Continuing Pixar's Awards Season Dominance

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      “Soul,” the Pixar story of an aspiring jazz musician hovering between life and death, was named best animated feature, a win that was expected even though “Wolfwalkers,” a Celtic fantasy from the Irish studio Cartoon Saloon, had its partisans.“Soul,” directed by Pete Docter, had racked up wins all season long, continuing Pixar’s dominance at awards time. This is the studio’s 11th Oscar for best animated feature since the category was introduced in 2002.The movie is notable for a number of reasons: It’s Pixar’s first movie with a Black protagonist (the pianist and music teacher Joe, voiced by Jamie Foxx), and the creative team includes the company’s first Black co-director, Kemp Powers.Docter, accepting the Oscar, thanked music and art teachers, including his parents, and said: “You make the world a better place.”He added, “My wish for all of us tonight is that we could follow the example of jazz musicians: that wherever we are, whatever we have, we turn it into something beautiful.” More

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      40 Acres and a Movie

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      Disney owns a piece of every living person’s childhood. Now it owns Marvel Studios, too. The co-hosts Jenna Wortham and Wesley Morris look at depictions of racist tropes and stereotypes in Disney’s ever-expanding catalog. The company has made recent attempts to atone for its past. But can it move forward without repeating the same mistakes?On Today’s EpisodeThe Marvel Cinematic UniverseLetitia Wright as Shuri in “Black Panther” (2018).Disney/Marvel Studios, via Associated PressTeyonah Parris portrayed Monica Rambeau in the 2021 Disney+ series “WandaVision.”Marvel Studios/Disney PlusEarlier this year — during “season three of the pandemic” — Jenna binged the M.C.U., the Marvel Cinematic Universe. While she appreciated the moral messaging of the movies, which are centered on a fight against evil forces, she was appalled by the lack of nonwhite characters. “You mean to tell me they’ve been making these movies for over a decade — 12 years — and you have still not managed to decenter the whiteness of this universe?” she exclaimed.Jenna and Wesley talked about these offerings from the Marvel universe: “Avengers: Endgame” (2019), “WandaVision” (2021) and “The Eternals” (2021).The Disney of Your Childhood and NowWesley and Jenna discussed how rewatching classic Disney movies with adult eyes has been unsettling, from the colonial undertones in “The Little Mermaid” (1989) to the Orientalist tropes peddled in “Lady and the Tramp” (1955).Disney, however, has tried to atone for its history. On the Disney+ streaming service, some older movies, such as “Dumbo” (1941) and “The Aristocats” (1970), contain warning labels about “negative depictions” and “mistreatment of people or cultures.” And one musical, “Song of the South” (1946), does not appear on the platform at all.Still, the labeling effort isn’t comprehensive and seems to address only movies with instances of blatant racism, Jenna noted. “It’s worth interrogating how all of these movies reinforce the ideas that are so harmful in the formation of this country,” she added.In recent years, Disney has started to make movies that feature more diverse casts and story lines, such as “Coco” (2017), “Moana” (2016) and “Soul” (2020). They’ve also remade classics, including the live-action “Mulan” (2020) and a super-realistic version of “The Lion King” (2019).“Moana” (2016) is about a Polynesian girl who embarks on a journey to save her island from destruction.DisneyBlack FuturesJenna mentioned the essay, “Fandom, Racism, and the Myth of Diversity in the Marvel Cinematic Universe,” which unpacks how Black and Asian stereotypes are employed in Marvel comics.She also pointed to Alisha Wormsley’s art project “There are Black People in the Future,” which began as “a response to the absence of nonwhite faces in science-fiction films and TV.”Alisha’s project gets at the importance of thriving representation in popular culture. “What is on our screens matters so much,” Jenna said, and “has a huge impact on how we see ourselves.” She added: “We have to be able to imagine ourselves whole, happy and healthy in the future for that to be possible today.”Hosted by: Jenna Wortham and Wesley MorrisProduced by: Elyssa DudleyEdited by: Sara Sarasohn and Sasha WeissEngineered by: Corey SchreppelExecutive Producer, Shows: Wendy DorrExecutive Editor, Newsroom Audio: Lisa TobinAssistant Managing Editor: Sam DolnickSpecial thanks: Nora Keller, Julia Simon, Mahima Chablani and Desiree IbekweWesley Morris is a critic at large. He was awarded the 2012 Pulitzer Prize for his criticism while at The Boston Globe. He has also worked at Grantland, The San Francisco Chronicle and The San Francisco Examiner. @wesley_morrisJenna Wortham is a staff writer for The Times Magazine and co-editor of the book “Black Futures” with Kimberly Drew. @jennydeluxe More

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      Pixar’s ‘Soul’ Has a Black Hero. In Denmark, a White Actor Dubs the Voice.

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyPixar’s ‘Soul’ Has a Black Hero. In Denmark, a White Actor Dubs the Voice.The casting has fueled a debate about structural racism and fanned anger about stereotyping and prejudice in European-language voice-overs, even when films have main characters of color.Jamie Foxx is the voice of the main character in “Soul,” Joe Gardner. In some dubbed versions for European release, white actors have taken that role.Credit…Disney/PixarJan. 16, 2021, 6:09 a.m. ETCOPENHAGEN — Like most of their counterparts around the world, Danish film critics initially greeted “Soul,” Pixar’s first animated feature to focus on Black characters and African-American culture, with rapture, hailing its sensitive, joyful portrayal of a jazz musician on a quest to live a meaningful life.The film was described as “a miracle,” by one reviewer in Denmark, “beautiful and life-giving” by another.What the Danish press did not initially focus on, by and large, was the characters’ race. But that changed after the movie’s release on Dec. 25, when realization spread that the Danish-language version had been dubbed primarily by white actors. This is also the case in many other European-language versions of “Soul.”While in most countries, the film’s voice-over casting has barely registered with the public, in Portugal, more than 17,000 have signed a petition calling on Pixar to remake the local edition with actors of color. “This movie is not just another movie, and representation matters,” the petition states.Joe Gardner, the main character in “Soul,” is Pixar’s first Black protagonist. and the studio took steps to accurately represent African-American culture, hiring Kemp Powers as a co-director and installing a “cultural trust” to safeguard the story’s authenticity. The actor Jamie Foxx, who voices Joe in the English-language original, told The New York Times, “To be the first Black lead in a Pixar film feels like a blessing.”In the Danish version, Joe is voiced by Nikolaj Lie Kaas, who is white. When the national newspaper Berlingske interviewed scholars and activists who expressed their disappointment about this and suggested that the casting was an example of structural racism, a fiery controversy erupted, prompting Lie Kaas to issue a statement about why he had accepted the role.Nikolaj Lie Kaas, a Danish actor, voices Joe Gardiner’s part in the Danish version of “Soul.”Credit…Vittorio Zunino Celotto/Getty Images“My position with regards to any job is very simple,” he wrote on Facebook. “Let the man or woman who can perform the work in the best possible way get the job.”Asta Selloane Sekamane, one of the activists who criticized the casting in the Berlingske article, said in an interview that no one can claim there wasn’t enough Black talent to fill the main roles, because actors of color were hired to voice some of the minor parts. “It can’t be the constant excuse, this idea that we can’t find people who live up to our standards,” she added. “That’s an invisible bar that ties qualification to whiteness.”Mira Skadegard, a professor at Aalborg University in Denmark who researches discrimination and inequality, said the resistance to accusations of structural racism was unsurprising. “In Denmark, we have a long history of denial when it comes to racism, and a deep investment in the ideal of equality,” she said.“We don’t really understand this as a critique of institutions and structures; we see it as a critique of who we are,” she added.In Denmark and Portugal, dubbing is generally reserved for animation and for children’s programs. But in other European countries, including France, Germany, Italy and Spain, most mainstream films from abroad are dubbed, and the practice is seen as an art in its own right — one that rests on the practitioners’ ability to make themselves unobtrusive.“The best dubbing should pass by completely undetected,” said Juan Logar, a leading Spanish dubbing director and voice actor.“My job is to find the voice that best matches the original,” said Logar. “Black, white, Asian, it doesn’t matter.”Charles Rettinghaus, a German dubbing artist, expressed a similar sentiment. In his 40-year career, he has been the voice of actors including Jean-Claude Van Damme and Javier Bardem, but he said he felt a special connection with Jamie Foxx, whom he has covered in more than 20 films, including the German version of “Soul.”Although he is white, Rettinghaus said he had not felt pressured to step away from any Black roles, adding that the same opportunities should apply to actors of all races. “It doesn’t matter if you are Black, you should be and are allowed to dub anything,” he said. “Why shouldn’t you play a white actor or an Indian or an Asian?”Kaze Uzumaki, a Black colleague of Rettinghaus, said it was more complicated than that. Uzumaki dubs the character of Paul in “Soul” and has lent his voice to the German versions of dozens of other American films and television series. Almost without exception, his roles were originally played by actors of color.“At first, I really didn’t like it,” he said. “But I figured I was more comfortable with me speaking the role than a lot of other white colleagues who don’t have a good knowledge of the English language, and can’t really tell what a Black person sounds like.”The German actor Kaze Uzumaki voices the role of Paul in the German version of “Soul.”Credit…Kaze UzumakiUzumaki said that he had dubbed doctors of color in hospital shows, only to be told by the director that he sounded “too educated.”“They don’t even realize that they’re being racist,” Uzumaki said. “But every time a director says something like, ‘No, you sound too polished; you know how they talk, right?’ I feel like I’ve been hit with a stick in the face.”The discrimination is often double-edged. Ivo Chundro, a Dutch actor of color who dubbed the part of Paul in “Soul” for distribution in the Netherlands, said, “Directors will only cast white actors for white parts, and tell actors of color, ‘No, your voice isn’t white enough.’”Some directors say that demographics limit who they select. “In Spain, we don’t have a second generation of immigrants yet,” said Logar. “Except for a few very young kids, there aren’t a lot of Black actors who were born here and speak Spanish without an accent.”Actors of color like Chundro and Uzumaki contend that those directors simply aren’t looking hard enough. But there are signs that things are starting to change. In 2007, a dubbing director in France told the actress Yasmine Modestine that, because she was mixed race, her voice wasn’t right for a part. Based on her complaint, the French equal opportunities commission investigated the dubbing industry as a whole and found a culture of prejudice and stereotyping.Fily Keita, right, dubs the voices of many famous actresses — both Black and white — for their movies’ French releases.Credit…Yan Coadou/Thibaut MicheSince then, the opportunities for voice actors of color have expanded there. Fily Keita, who voiced Lupita Nyong’o in the French-language version of “Black Panther,” said that she didn’t feel held back as a Black actor working in the industry. She has also lent her voice to roles played originally by white actresses, such as Amanda Seyfried and Jamie-Lynn Sigler.“I love dubbing precisely because it’s a space of freedom,” she said. “Where you’re not limited by your physical appearance.”Chundro, the Dutch actor, said that the Black Lives Matter movement was starting to shift the conversation around race and representation in the Netherlands. He cited a demonstration in Amsterdam in June as helping open eyes to enduring racism.“I used to have a lot of discussions about racism where people just didn’t get it,” Chundro said. But the protest “was like a bandage being ripped off a wound, and since then, it’s been much easier to talk about,” he added.With that greater awareness has come more opportunities, he said. “There’s more work out there, and I’m getting cast a lot more.”Sekamane, the Danish activist, also credited the movement with changing attitudes. “I’m 30 years old, and my whole life I’ve been told racism is in my head,” she said. “It’s only in the last year, thanks to Black Lives Matter, that the conversation has started to change.”AdvertisementContinue reading the main story More

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      ‘Ratatouille,’ the Musical: How This TikTok Creation Came Together

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Ratatouille,’ the Musical: How This TikTok Creation Came TogetherWe talked to the Broadway stars behind a virtual performance of the animated film. Inspiration started with quirky TikTok segments circulating this fall.A screenshot of “Ratatouille: The TikTok Musical,” from left: Joy Woods; Tituss Burgess as Remy the rat; and J.J. Niemann.Credit…“Ratatouille: The TikTok Musical”Dec. 31, 2020, 12:37 p.m. ETBeginning in October, thousands of TikTok creators who were bored at home and missing Broadway created elements of a show that didn’t exist yet: a musical based on Disney Pixar’s “Ratatouille,” an animated film about a rat with culinary aspirations.In 60-second increments, people contributed their own songs, dances, makeup looks, set designs, puppets and Playbill programs inspired by the 2007 movie. Without any leadership, the virtual show materialized organically from a crowdsourced jumble of content.It was a musical conceived like no other. Many creators thought it was a long-shot before it could coalesce in real life. But on Friday at 7 p.m. Eastern time, “Ratatouille: The TikTok Musical” will take shape as a virtual benefit performance, with Tituss Burgess starring as Remy the rat. About 80,000 tickets have already been sold for the pre-filmed show, put on by Seaview Productions to raise money for the Actors Fund. It will be available to stream for three days.The musical follows, more or less, the plot of the movie: Remy, who’s blessed with a refined palate, teaches the lowly kitchen worker Alfredo Linguini how to cook by hiding under his chef’s hat. Linguini rises to the top of his restaurant in Paris, only to be judged by the imperious critic Anton Ego.We spoke to its creators about the challenges of making a virtual show adapted from TikTok segments adapted from film. These conversations have been edited for clarity and condensed.Andrew Barth FeldmanThe actor, who was in “Dear Evan Hansen,” playing Alfredo Linguini.How did you get involved?My friend Nathan asked me to sing one of the songs on TikTok. People have been telling me that I looked like this character for years. I love the movie, and I always felt that this character resonated with me. I think we’re both generally anxious people with an undying optimism. He’s clumsy in a cartoony way, and he’s so unabashed in what he does. He has a passion for wanting to do right by everyone. The nervousness paired with the optimism feels very me.How long have you been rehearsing?This is the quickest turnaround for a Broadway show that I’ve ever seen in my life. That first conversation had to have been three weeks ago. This has all moved so, so quickly. It’s all one big romp of a time.What’s one challenge to presenting a show online?It’s funny because we’re doing this remotely. I’m not looking at any of these people. There was one point where it was the end of the day, and I was having trouble. I found this stuffed animal of Remy I have and put him off camera to film the scene — to feel the stakes of the story and remember it’s about a rat whose controlling a hat.André De Shields recording his part as the restaurant critic.Credit…Emily MarshallAndré De ShieldsThe actor, who was in “The Wiz,” playing Anton Ego.Any similarities between you and Anton?There was no time to do any research, so I had to trust the casting director who said, “This is for you. We want you to do this.” I haven’t seen the film, but in terms of playing Anton Ego, who is this snooty food critic, you learn he has turned his nose up at the ratatouille that’s served to him in the restaurant. You learn that’s how he grew up. That’s what his mother gave him as a child. When he tastes the ratatouille, he regresses to his childhood. You see he’s been wearing a mask all his life, and all he needed was a reminder of how happy he was as an ordinary kid.How is this show different from live ones performed onstage?We don’t improvise very much in the theater because there’s a script for us to run, and everyone’s expecting you to say what’s in the written thing. In terms of the distance between all of the collaborative people involved, if something didn’t come out exactly right, than we made use of that spontaneous inspiration. There’s no mistake in jazz. You say, “That’s what I intended to do, now the rest of you follow along.” That’s what “Ratatouille” is all about.Lucy MossThe director, who previously co-directed and co-wrote “Six: The Musical.”What was your vision for the show?The thing that’s really interesting about the original TikTok materials and submissions is that the aspiration for it was so broad. Despite being on a format on the cutting edge of tech and the most Gen-Z thing in the world, people were aspiring to be like a classic musical. The challenge of doing that in the least theatrical space ever — online — was trying to remain true to that aspiration. The aim is a Zoom reading or an online concert that drank 20 Red Bulls and spit on the screen.A screenshot of a ProTools session around 3 a.m. on Christmas Day, from top: the orchestrator Macy Schmidt; the music supervisor and arranger Daniel Mertzlufft; the sound mixer Angie Teo; and the music director Emily Marshall.Credit…Daniel MertzlufftDaniel MertzlufftThe music supervisor and arranger, who wrote some of the “Ratatouille” songs.Tell me about your role on the show.Basically my job was to take the nine songs we were pulling from TikTok and create some kind of story and a full cohesive score. That was the challenge because some of the songs we’re only a minute long, and we had to expand them. We had to write new songs to fill in some spots. We wrote part of a new opening number and an “I want song,” where the character sings what they want and hopefully they get it.What’s been your biggest challenge?I had my first meeting Dec. 4 with the folks at Seaview. They gave me a call and said, “Hey, we have this crazy idea. Disney has given us the allowance to do a benefit for the Actors Fund of ‘Ratatouille.’” They said, “Yeah, we’d like to do this on Jan. 1,” and I took a deep breath and said, “Yeah, that’s possible.”All of us were working 24/7 the first few weeks of December trying to finish all this. It was a return to normalcy for theater and the collaboration. Although the deadline was insane, of course I said yes. Who else can make insane deadlines like that happen besides theater people? I would do a song a day. This is months, if not years, of work that we did in two weeks. Even though it was a challenge, I loved being up until 3 a.m. Christmas morning mixing songs. We’ve all missed the feeling.“Ratatouille: The TikTok Musical” in a shoe-box set created by Christopher Routh.Credit…Christopher RouthChristopher RouthThe set designer, who works as a photographer.Tell me about your shoe-box set models.“Ratatouille” takes place in Paris, so how can I create a Paris backdrop for an actual stage? How can I create different drops for different scenes?The very first “Ratatouille” set model that I posted [on TikTok] and designed a set for, I got the idea from a picture from Pinterest. It was just a silhouette of Linguini with a chef’s hat, and it had a shadow of Remy. I took that, cut that out, lit it up using projections. Then I made sure that the hat was transparent so Remy could come from the back of it, and that’s when the whole set building started. It’s crazy to look at these TikToks again and see where I was and where I am now.This event really highlights a lot of the TikTok creators, and we’re very happy we got this recognition. We can take our content and do something good with it, not only raise money for the show but make sure that Broadway comes back stronger than ever.AdvertisementContinue reading the main story More