Alan Menken: The Legacy of a Disney Musical Maestro

In early 1991, composer Alan Menken visited his friend and collaborator, lyricist Howard Ashman, at St Vincent’s Hospital in New York. Ashman was in the final stages of an AIDS-related illness but was determined to complete his work on Disney’s *Aladdin*. During this visit, they crafted the music and lyrics for "Prince Ali" while Ashman lay in bed. Menken and Ashman had previously collaborated on Disney’s *The Little Mermaid* and were simultaneously finalizing *Aladdin* and *Beauty and the Beast*. Ashman passed away before *Aladdin* was completed, missing its subsequent success and the Academy Awards where Menken won for best score.

The Guardian

Alan Menken's career trajectory is notable, especially given his family's background in dentistry. His father, a piano-playing dentist, and his mother, an actress and playwright, fostered his early love for music. Menken's diverse influences range from classical music to rock, with notable inspirations including Joni Mitchell and the Rolling Stones. His early work, *Little Shop of Horrors*, co-created with Ashman, was pivotal in securing their partnership with Disney, which was revitalizing its animation division under new management.

The Guardian

Menken and Ashman's contributions were central to the Disney Renaissance, a period marked by a resurgence in animated musicals. Their approach integrated Broadway's storytelling techniques, ensuring that every song advanced the plot or developed characters. Following Ashman's death, Menken continued to compose for Disney, creating scores for films such as *Pocahontas*, *The Hunchback of Notre Dame*, and *Tangled*. He emphasizes the importance of understanding a story's structure before beginning to write music, a method he has maintained throughout his career.

The Guardian

Menken is currently revisiting many of his classic scores for stage and live-action adaptations, including collaborations with Lin-Manuel Miranda on new tracks for the 2023 remake of *The Little Mermaid*. He is also working on adaptations of *Night at the Museum* and *Nancy Drew*, alongside a lesser-known rock musical titled *Atina: Evil Queen of the Galaxy*. Menken acknowledges the increasing challenges of producing musicals, particularly in New York, where costs have escalated. Despite these hurdles, he remains optimistic, believing that quality work will eventually find its audience.

The Guardian

Menken reflects on his creative process, stating, “We’re not going to start writing until we figure out what’s the story, and will it make a good musical.” He also notes the need for flexibility in adapting classic works, saying, “On the one hand, you’re the keeper of the flame, but you’re also a member of a new team that’s going to reinterpret the material.”

The Guardian

• “For a while he was absolutely convinced that if it got beyond a very small circle of people, his career would be over,” — Alan Menken

The Guardian

• “I do feel like, over time, if it’s good enough, it’ll find its life.” — Alan Menken

The Guardian

Alan Menken's enduring legacy in musical theater and film continues to influence new generations of artists, reflecting a blend of innovation and respect for the craft.

The Guardian