Alan Menken: ‘A lot of the new Disney scores are generic’ - Getty

“Are we going to talk about Disney and woke?” Alan Menken makes a horrified face and draws a finger across his neck in a throat-cutting mime. “I’m going to pull the plug on this interview if there is any mention of Disney and politics!”

He’s joking. Having composed some of the most memorable scores in the history of animation, including nine for Disney – from The Little Mermaid to Beauty and the Beast – Menken is not about to let a culture-war kerfuffle throw him off balance. “It’s fine,” he says. “Ask me anything.”

We are meeting a few months ahead of the West End opening of Hercules, a new stage-musical version of Disney’s 1997 animated riff on Greek mythology, set to Menken’s original gospel-driven score (with lyrics by David Zippel). “It’s a very sophisticated score stylistically,” he says. “It has a lightness to it and a rhythmic propulsion.”

The new stage-musical version of Disney’s 1997 Hercules has opened on the West End - Matt Crockett/ Disney

A native New Yorker, Menken doesn’t do false modesty – and why should he? After all, he’s one of only 27 people ever to have achieved the EGOT, winning Emmy, Grammy, Oscar and Tony awards. His last Academy Award came in 1996, for Pocahontas, though he’s been nominated multiple times since.

“The Oscars have dried up because I’ve won eight of them now.” Yet it’s another Disney production, the live-action remake of Snow White – not a film that Menken had anything to do with – which is dominating the headlines when we meet and that will, in the weeks that follow its woeful box-office performance, come to be seen as a nadir in the studio’s muddled, frequently controversial project to update its much-loved back catalogue.

Rachel Zegler, leading lady of Disney’s live-action Snow White remake, has drawn criticism for speaking publicly about Palestine - Disney via AP

At the time, Rachel Zegler, Snow White’s leading lady, was drawing criticism from some quarters for comments she had made about Palestine, while the decision to have computer-generated dwarfs in an otherwise human cast had gone down badly with just about everyone. “How you deal with all this stuff, it’s as tricky as hell,” says Menken, who is in two minds about the whole idea of updating the classics, although he is sympathetic towards Zegler. “She’s just a kid. Yes, she said ‘Free Palestine’. It’s the kind of thing any of us might have said. We all want people to be free. Although, of course, there are also the nuances of history.

“But when it comes to the dwarfs…” He pauses, takes a breath. “I’m sorry, but the dwarfs are what Snow White is all about!”

‘The dwarfs are what Snow White is all about!’ - Disney

There’s been a bit of “that stuff” with Hercules, he admits. The story, in which Hercules, a demigod raised among mortals, learns to embrace his destiny, has been updated for the stage show and, says Menken, now allows for its hero – depicted in the cartoon as a buff, blue-eyed redhead and played on stage by the dark-haired, Surrey-born actor Luke Brady – to be portrayed as “a racial outsider”.

Menken applauds the “richness” this brings to the character, but laments the toning down of the cartoon’s randy satyr, Philoctetes, who, he says with a hint of regret, will not be seen on stage “running around lusting over nymphs”.

Surrey-born singer Luke Brady makes a return to the West End stage in the leading role of Hercules - Phil Hill / Disney

“At the time, you play with certain clichés because it’s fun,” he says. “But each new adaptation has to be sensitive to the passing of time and the way people will look at certain issues.” Menken is a hyperactive speaker; he talks in stops and starts, and is as physically expressive as any one of the animated characters to whom he has given such glorious musical voice over the years. He and his writing partner Howard Ashman are widely credited with reviving Disney’s fortunes during the late 1980s after a prolonged period of creative and commercial decline for the studio in the decades that had followed the death of Walt Disney in 1966.

The duo, who had already had a theatrical hit in 1982 with Little Shop of Horrors, struck gold three times in quick succession with The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992), the lyrics for the last completed by Tim Rice following Ashman’s death from Aids in 1991. Menken, who proudly calls himself “the keeper of the flame”, would go on to score Newsies, Pocahontas, The Hunchback of Notre Dame, Enchanted and Tangled. For him, the essence of Disney can be traced back to those classics of the 1930s, 1940s and 1950s that have enriched the childhoods of multiple generations, and to the spirit of which his own scores nod.

“Fantasia, Dumbo, the later Winnie the Pooh: they all had a depth and a beauty, a proper form, a moral,” he says. “When the Aids crisis hit, or when 9/11 happened, I couldn’t watch the news, I couldn’t watch my favourite action adventure movies, it was just too fraught a time. But I would watch Disney. For me, those films were the only safe space in the world. I grew up on those films, but, by the 1980s, it had all gone. So Howard and I came along and rebooted it.”

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Now, the company to which he has dedicated his career once again finds itself at a turning point, caught between trying to appease the more progressive yet censorious Left and the diehard traditionalist Right. Although Menken is in favour of a live-action remake of The Hunchback of Notre Dame (initially announced in 2019), he accepts that, given the story’s more “problematic” aspects, it is unlikely to go ahead. “People will go, ‘Let’s leave out the fact that Frollo [Quasimodo’s clergyman nemesis] is obsessed with the gipsy Esmeralda.’ They’ll say, ‘We can’t have Quasimodo as a hunchback.’ Well, f--- that. I’d love to make a Hunchback movie [that follows] what Victor Hugo wrote. But it can’t be done.”

However, he says, swerving onto a more diplomatic course, “I don’t think Disney is having an identity crisis. Obviously, Disney has been very open for gay people and diversity and woke. And then woke became a dirty word. Sometimes, when you press against limits, things push back. But I know Bob,” he says, referring to the Disney CEO, Bob Iger. “I think he’s pretty savvy about the business model.”

Alan Menken: ‘As a child, I was very ADHD. My parents were appalled’ - Shervin Lainez

Menken grew up in a Jewish household in New York City during the dawn of rock ’n’ roll in the 1950s and, throughout his early years, set his heart on becoming a pop star. “I didn’t want to go to school, ever,” he says. “I was very ADHD. My parents were appalled.” When he told them he wanted to be a songwriter, in the mould of his hero Bob Dylan, they insisted that he practise the piano every single day. “They imprinted on me the need to dig in and work. They would say, ‘You want to be a shoe salesman instead?’ I find it very depressing to buy shoes now.”

After graduating from college in 1972, he attended the BMI Lehman Engel Musical Theatre Workshop – a well-respected incubator for future Broadway talent – partly to placate his parents, who were musical-theatre fanatics. That same year, he met and fell in love with Janis Roswick, a ballet dancer; half a century later, they remain married and have two daughters. Suddenly, the itinerant lifestyle of a touring pop star no longer looked quite so appealing, so Menken dedicated himself instead to composition. It’s often said of his Disney music that it lacks an identifying style of his own, unlike, say, the higher-brow Stephen Sondheim, whose musical imprimatur is instantly recognisable.

Menken composed some of the most memorable scores for Disney, including 1991’s Beauty and the Beast - Alamy

“You can only pull on the stuff that’s in your gut,” Menken says. “And when it comes to audiences, the great thing about Disney is that it’s a leveller.” All the same, he is keen to point out that his scores do have musical and emotional specificity, be it the “apocalyptic” Phil Spector girl-group sound behind Little Shop of Horrors or the ragtime influence on Newsies. “I’m not trying to be egotistical, but that was very much my and Howard’s approach: we established throughout our scores a specificity of place,” he says.

By comparison, “a lot of the new Disney scores are generic…”. He stops, as if reconsidering what he is about to say. “I think they have moved into a different place, where a Lin-Manuel score is very much Lin-Manuel,” he continues, referring to Lin-Manuel Miranda, the creator of Hamilton, who wrote the Oscar-nominated score for Disney’s 2021 film Encanto. “That’s not what Howard and I did, but, hey, things evolve.”

At 75, Menken still has multiple projects on the go – including both a live-action remake and a stage adaptation of Tangled, the 2010 Disney animation loosely based on the story of Rapunzel – and can’t imagine himself retiring any time soon. “Well, I can if I think what I’m producing isn’t good enough,” he says, “but I haven’t reached that point yet.”

Without wishing to be morbid, I can’t resist asking: if he had to choose one song for his funeral, what would it be? “I think Out There, from Hunchback,” he says. “I’d be singing it in the coffin, wanting to get back out.”

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