Thomas Schumacher, who helped lead Walt Disney Animation through its creative renaissance and turned Disney Theatrical Group into a worldwide juggernaut, is set to leave the company later this month after nearly 40 years.
“It’s the end of an era – after nearly 40 years at Disney, the one and only Thomas Schumacher, who helped build our stage business from the ground up, is transitioning out of his role as Disney Theatrical’s Chief Creative Officer to begin his next chapter. He will continue shaping the face of the global theatrical landscape as a behind-the-scenes force focused on the next generation of artists and audiences,” wrote Alan Bergman, the co-chairman of Disney Entertainment, in a companywide memo sent earlier today.
““38 years ago when Peter Schneider at Disney Animation asked me to produce ‘The Rescuers Down Under,’ I had no idea it would lead to four decades working with some of the most exceptional creative artists in the world – both in animation and theatre,” said Schumacher, Chief Creative Officer Disney Theatrical Group, in an official statement. “I’m proud that Disney Theatrical will be in the extraordinarily capable hands of Andrew Flatt and Anne Quart, with whom I’ve worked for over 20 years. I can’t wait to see how they lead this peerless organization forward.”
Schumacher has had a long and storied history with the company. He was first brought over in 1988, following his work on the 1984 Olympic Arts Festival and time with the Los Angeles Ballet. His first project at the company was producing “The Rescuers Down Under,” a sequel to 1977’s “The Rescuers,” one of the few post-Walt animated hits. Formally ambitious and technologically cutting-edge, it extensively utilized the new CAPS system, co-developed by Pixar, which would digitally paint each cel. The film would be the unofficial start of the Disney Renaissance, a time of unparalleled creativity and financial success.
In 1993, when Schumacher was in the midst of producing “The Lion King,” Michael Eisner formed Disney Theatrical Productions – a new arm of the company that would produce original Broadway shows. Schumacher ceded “The Lion King” to producer Don Hahn and was installed, with Disney Animation president Peter Schneider, as the leaders of Disney Theatrical Productions. Disney would purchase the New Amsterdam Theatre on Broadway and lead the charge to revitalize the area, with “Beauty and the Beast” opening in 1994.
In 1999, when Schumacher was promoted to President of Walt Disney Feature Animation, he was also running Walt Disney Theatrical simultaneously, along with Schneider. It’s incredible what Schumacher accomplished in both roles during that period, including overseeing two animation studios (in Burbank and Orlando) and ushing through projects like “Tarzan” (another technological and storytelling marvel) and “Lilo & Stitch,” a one-of-a-kind animated feature that director Chris Sanders said could only have been accomplished with Schumacher’s mentorship and guidance. On the theatrical side he was also launching Julie Taymor’s “The Lion King,” “Aida” from Tim Rice and Elton John, and so much more.
In 2002, Schumacher shifted his attention fully to the Disney Theatrical Group, where it has become a key part of the company – and one of its most successful.
As Bergman said in his memo, “Now, 30 productions later, it is the most successful single entertainment property in box office history. And there have been many more successes since then, including 20 Tony Awards, 28,000 Broadway performances, 240 million audience members globally, Disney shows on every continent except Antarctica – the list goes on. He has grown Disney on Ice, pioneered sensory-friendly Broadway shows, and developed an expansive program to enable schools to produce Disney musicals on their own stages. He has been a tireless supporter, advocate, and leader of the theatre community, playing a key role in turning Broadway’s lights back on during the unprecedented pandemic shutdown. It’s a truly remarkable record.”
Managing Director Andrew Flatt and Executive Producer Anne Quart will continue to report to Cathleen Taff, “with Anne overseeing creative and production for theatrical productions and Andrew leading strategy and business operations for our shows, licensing efforts, live immersive events, and various partnerships including Disney on Ice,” according to Bergman’s memo.
What makes Schumacher’s tenure even more incredible is that he managed to stay within the company and keep pushing things forward. Former colleagues like Schneider and Hahn left the company and Eisner was forced out in the early 2000’s, while Schumacher soldiered on, always equipped with fresh ideas and enlivened by new initiatives. He is truly one of the more unsung creative forces in the company’s history – a champion of art and culture in a place that was often overwhelmed by corporate initiatives and commercial concerns.
“Please join me in recognizing Tom for all he’s brought to Disney over the years. Disney Theatrical has had an amazing road to this point thanks to the foundation he built, and with Andrew, Anne, and the talented DTG team, we will be creating unforgettable live entertainment experiences on stage, in arenas, and elsewhere around the world for many, many years to come,” Bergman wrote.
