Theme Parks & Themed Entertainment

Of Mice, Men and Magic: The Human Component of “Mickey’s Magic Show”

Published

18 years ago

January 11, 2007

The following behind-the-scenes tale comes by way of the generous folks over at Genii Magazine, THE
premier magazine in the field of magic. If you're interested in
learning about the great magicians of the past and/or today's top
conjurors, this is one publication you really want to add to your reading list.

As for the author of today's article … Though Richard Kaufman
is probably best known as the editor & publisher of "Genii,"
Disneyana fans probably know Richard best for the book reviews that he
does for MousePlanet. Speaking of the Mouse, if you head on over to Kaufman's blog, you can read some very interesting comments about Richard's most recent trip to the Tokyo Disney Resort.

And now … On with the show!

GENII: When did the idea to have real magicians in the show come about?

BRAD: About three years ago, Jim Steinmeyer was already involved at that point. Kenneth Feld,
the producer, said that if they were going to do this type of show,
they wanted real magicians in it as opposed to just the characters. He
wanted the show to be heavily about the magic.

GENII: That's unique-there are no non-Disney characters in the Feld "Disney on Ice" shows, no real people.

BRAD:
There are a lot of "firsts" in this show. One is that there are two
non-Disney characters, me and Alex, who are interacting with the
characters. We are interacting, live, with the pre-recorded vocal tracks
of the characters, all of whom are voiced by the same people who do the
characters' voices in TV and movies. Another first is that the mouths
of the characters move and their eyes blink, giving them a greater
degree of realism.

GENII: The show most resembles "Playhouse Disney," a show performed in both Disney-MGM Studios in Orlando and Disney's California Adventure in Anaheim. It has a live performer who interacts with characters from "Bear in the Big Blue House," "Jo-Jo's Circus," "Stanley," and "The Book of Pooh." It functions the same way technically. How did both of you come to be involved?

BRAD: Steve Daley, who worked as "Tiny Bubbles" in "Showgirls of Magic" at the Hotel San Remo
in Las Vegas, has been a friend of mine for several years-he's a
wonderful guy. He called me in September, 2005 and told me that there
was going to be a tour and they were looking for a young illusionist
between the ages of 18 and 25. He thought I'd be perfect for the part
and asked me to send my information. When I heard from my agent that it
was going to be a Disney show produced by Kenneth Feld, I thought about Siegfried and Roy's show, Barnum & Bailey Circus, and the "Disney on Ice" shows but I had no idea what the scope of this show would be. I had been doing an illusion show at Six Flags Great Adventure
in New Jersey as well as a kid's Halloween show. Kenneth Feld, after
viewing my DVD, came up to New Jersey with the director Jerry Bilik, and
watched my show. And they hired me.

GENII: Alex, wasn't Steve Daley also involved in getting you cast?

ALEX: A few days before Christmas in 2005, I got a call from Tiny — most of his friends call Steve "Tiny" — who I'd met at the World Magic Seminar
in Las Vegas when I won the Lance Burton award. We kept in touch. He
called me and said he had a project that he thought I'd be perfect for:
"The producers are expecting your call tomorrow." The next day I spoke
to an agent, Ron Severini, who was also Brad's agent from Castle Talent.
He said that he wanted me to audition next week-with all my shows at
holiday time I had only one day off. Fortunately we were able to arrange
it for that day. And they hired me, too!

GENII: When did you begin rehearsal?

ALEX:
Most of the cast flew into South Carolina on March 17 [2006]. We went
right into the theater on Saturday and Sunday, doing readings, then went
heavily into rehearsal on Monday.

GENII: The first time I saw the show was at the Patriot Center in Fairfax, Virginia in April, so you rehearsed for about a month …

ALEX: We rehearsed for five weeks …

BRAD: Then opened in previews in Columbia, South Carolina, and the show you saw in Virginia was still considered a preview.

GENII: How many weeks of previews did you do?

BRAD: We did four cities, Columbia, Baltimore, Fairfax, and Youngstown, Ohio. Then we opened here in Washington, D.C.

GENII: And these were theatrical venues, theaters, as opposed to arenas where sporting events are held.

BRAD:
Most of the cast prefers working in the genuine theaters, but the
arenas are cool, too, because of the number of people — it plays into
your dreams of performing as a kid.

GENII: When you have a large group like that, it can create a real electricity for the performer to feed off of.

BRAD: The magic and nostalgia of a real theatrical environment is great — there's a certain charm to being in a theater …

GENII: … it's more intimate.

ALEX:
The arena is fun because it reminds you of sporting events and to
perform there is really cool because you see the stands, but it's not
the same feel as when you're in a theater and you see a balcony and
orchestra pit, and you can see the audience's faces.

BRAD: What's unique about this is
show is the audience interaction. The kids come up and I do the magic
with them on the edge of the stage, but there's also constant
interaction with the kids in the audience throughout the show. So, when
the houselights do come up we can see the people in the audience and
interact with them directly.

GENII: Tell me about working with Jim Steinmeyer, since he designed all the magic in the show.

ALEX:
Brad's 25, I just turned 21, and to actually be able to spend two weeks
with Jim and pick his brain was unbelievable. We talked to him all
about magic in general and the history of the illusions he put into this
show.

GENII: I assume that some of the routines each of
you do solo, "in one" [in front of the closed curtains during set
changes], are items you were performing prior to being hired for this
show.

BRAD: Right before Alex joined the project, I flew
down to Palmetto where the Feld warehouses are, and I had a meeting with
Jim, as well as Jerry, the director, and many other team members. It
was during that time they asked me what magic I'd like to do in the
show. At that point I was blown away because they asked me. One of the
things I brought up when they told me they were going to hire a second
magician was the idea of a Double Sawing. I always loved the trick, but
we didn't know if Kenneth Feld and Disney would agree to it because of
the saw involved.

GENII: But you don't saw!

BRAD: No, we don't.

GENII: You just insert the blades down in the boxes. Did Jim figure out just to put the blades in without sawing?

BRAD: I think so. When
we found out that Kenneth loved the idea I was thrilled because it's the
perfect illusion for two magicians to do. Throughout the entire process
of working with Jim, and Alex will agree, too, there was never a
feeling of Jim or anyone on the production team dismissing our ideas.
They treated us as if we had as much experience, and our opinions had as
much validity, as the other people involved. That meant a lot to us.

GENII: Alex, I assume you were doing Linking Rings before joining the show.

BRAD: Goofy taught him how to do it!

ALEX:
(laughing) When I met with Brad, Jerry, Jim, and my manager, they all
asked what I was already doing that I might like to do in the new show,
so I felt a lot of freedom there. When we started rehearsals, I wanted
to do the rings, but there were also other things I wanted to do. Jerry,
the director, immediately said he loved the rings and insisted I do
them in the show. I was doing the rings beforehand, but Goofy did not
teach me. It was Mickey.

GENII: The show has changed
through its previews as all shows do, but has the magic remained the
same? Are the same illusions in the show now as in the first rehearsal?

BRAD: The magic is the one thing that has remained solid throughout.

ALEX: We have removed a few things, but nothing major.

BRAD:
There were some transitional pieces removed during the rehearsal
process … more audience interaction pieces. The first time we ran
through the entire show in rehearsal it ran two hours and 45 minutes. So
we had to cut things.

GENII: That's an accepted part of the process-shows always start long and are then tightened.

BRAD:
Alex and I have genuine confidence in the show's production team. So if
Kenneth Feld, or Jerry Bilik, or Jim Steinmeyer say to us that
something isn't working, or it's too long, we've learned to trust them.
They've been doing this for so many years and have learned what is going
to work for an audience. So, when they watch the show as we were
performing for live audiences during previews, they know what's working
and what isn't, and what direction in which to move things to make it
better. The changes have all been for the better.

ALEX:
Most of the changes that have happened have been in the script. Brad and
I got the final script the day before we opened. Brad and I are …

GENII: … quick studies!

ALEX:
We are now! Throughout the final week of rehearsals, we knew that we
didn't have the final script, which was sort of nerve-wracking, but they
had enough faith in us that they felt confident in giving it to us the
day before opening.

BRAD: And then it continued changing every day.

GENII: Have they shifted the order of the illusions in the show?

BRAD:
The sequence of illusions has not, but the order of the acts have
changed in the first half, but not the magic section of the second act.

GENII: Run through the show for me.

BRAD: The shows starts out with me and Alex being introduced to the audience …

ALEX: It's like a warm-up, with a few jokes as people are still being seated.

BRAD: I do a silk to cane, then Alex links two
rings together, and I finish that section with a trick called
"Bowl-a-Rama," where I produce a bowling ball. All three of these
effects, which magicians see all the time, get great responses from
laypeople.

GENII: That's because they've never seen them done live.

BRAD: As magicians we can become jaded, but the appearing cane gets an "oooo" from the audience.

ALEX:
Brad was saying, "I don't know about doing that," and I said "It's the
best effect in magic, along with throw streamers. You toss those out and
every single time people go 'Whoa!"

BRAD: And that's what you need at the start. Next the "Magic-ettes" come out …

ALEX:
Our Disney magician's assistants, five female dancers. They sing a song
and welcome the audience and introduce our stars, Mickey and Minnie,
who are soon joined by Donald, Daisy, and Goofy.

BRAD:
Then Mickey introduces the first act, which is "Out of a Hat," performed
by Alice [from Alice in Wonderland] and the Mad Hatter. They go into a
cute number with Alex.

GENII: The large box upon which the hat rests is opened up early on in the number and you can see it's completely empty inside.

ALEX:
Benny, my character, now joins the show and helps Alice and the Mad
Hatter produce Goofy's hat, and lots of flowers and silks from the big
hat. Goofy also joins in as a sort of magician's assistant. And then
Goofy and I produce the White Rabbit from an enormous foulard that has
come out of the hat. Then it's time to go, because of course they're
late!

BRAD: Next Mickey comes out and does his "House of
Cards" illusion. It's a card trick where Mickey displays a fan of jumbo
cards, the audience selects one, and it changes into the Queen of
Hearts. The loud roaring voice of the Queen of Hearts from Alice in
Wonderland is heard and the "Magic-ettes" come out dressed like large
playing cards.

ALEX: Alice returns and is joined by the
Queen of Hearts, and the cards (Magic-ettes) do a dance number and the
cards they're wearing all change into the Queen of Hearts. Then I jump
out wearing a Goofy Joker card and the Queen yells out, "Off with his
head!"

BRAD: I come out pushing a "Twister," which is
the Queen's torture device, and Benny/Alex gets put inside. Goofy comes
out and he does the twisting while trying to explain to me and Alice how
to do things, and so he ends up twisting Benny by mistake. After he's
untwisted, we exit.

GENII: There's a complete set change
here and the entire Alice in Wonderland, Queen of Hearts set is struck
and a Sorcerer's Apprentice "set" comes in. The Steinmeyer "Pole
Levitation" is brought out. There's one broom off to the side.

BRAD: Then Mickey attempts to make a single broom rise, but he accidentally levitates Minnie …

ALEX:
And then six brooms begin floating around the stage, taking on a life
of their own as in the Sorcerer's Apprentice segment from Fantasia. It's
an awesome effect and gets "ooos" and "ahs" every show. After Minnie
descends from the "Pole Levitation," she and Mickey exit the stage as
Brad enters and brings up a child helper from the audience.

BRAD: I select one kid from the audience and we perform a do-as-I-do "Paper Hat Tear."

GENII: Is that something which was already in your repertoire before this show?

BRAD:
Yes. Then, in order to get rid of the ripped-up tissue from the kid's
hat, we transform it into a flower botania, which Minnie then takes.

ALEX:
Brad exits, then Minnie and Mickey introduce the next act, The Royal
Palace of Toontown, and the curtains open to reveal a great set with an
empty throne in the middle of the stage. Mickey takes a single rose and
places it on the thrown, then the royal assistants Donald and Goofy come
onstage and cover the thrown with a large curtain. When the curtains
are then parted, Belle from Beauty and the Beast is sitting there. Next I
come out again and, after saying hello to Belle, try to duplicate what
Mickey did (hoping to produce the Beast as a prince) by putting a red
rose on the throne and having Goofy and Donald close the curtain. This
time, when it's opened, out comes Gaston. He interacts with Belle and
they leave. Mickey puts another rose on the thrown, the curtains close
and open, and Snow White is revealed. She sings a song and is
interrupted by me, and I put another rose on the throne to try and
produce Snow White's prince. Unfortunately, since my character Benny is
just learning, he inadvertently produces the Old Hag. She asks Snow
White if she wants any apples …

GENII: And Snow White has a terrific line here: "I won't make that mistake again!" It got a big laugh.

ALEX:
Snow White always gets the largest response in the show. Next, Mickey
takes another rose and places it on the thrown. After the curtains are
closed and reopened, Cinderella appears. However she's in rags rather
than her ball gown, and Mickey, Minnie, and Benny all go off to find her
gown. The Fairy Godmother comes in and changes her rags into a gown
during the Bibbity Bobbity Boo dance. There's also a sing-along with the
kids from the audience who remind the Fairy Godmother of the words to
the song.

BRAD: After the song is over, the Fairy
Godmother and Cinderella notice me in the back, working on a box and I
bring it forward. The Fairy Godmother tells me to go into the audience
and borrow a pair of shoes. I bring up the pair of sneakers which are
then turned into Cinderella's glass slippers in the box. The Fairy
Godmother asks me to find two mice in the audience and, when I reply
that there aren't any, she uses some magic and produces Jaq and Gus.
They wheel on the royal carriage and Cinderella's dress of rags is
turned into a ball gown. Goofy and I take the carriage off stage.

ALEX:
The Fairy Godmother produces Prince Charming from the same throne. Then
the Prince and Cinderella begin to dance, and they're joined by Mickey
and Minnie, then Donald and Daisy, Jaq, Gus, and Goofy. This grand waltz
is the end of the first act.

GENII: And the first act is longer than the second?

BRAD: The first act is 43 minutes long …

ALEX: … and the second act is 35 minutes.

GENII:
From what I can see, the entire audio track for the show is
pre-recorded with the exception of your two voices, and so there can
never be any deviation in the timing.

BRAD: Correct,
except for my audience participation segments or when we're interacting
with the audience. When you have a cooperative kid come up as a
volunteer you can go on for quite a while, and there are other kids that
don't work out as well and so the interaction takes less time.

BRAD: The second act opens with me onstage to
warm the audience up and I say that I was hoping to get some pizza. At
that point Benny appears, delivering a pizza. Then I realize that I
ordered a double-cheese pizza and they sent me a double pizza. And I do a
version of the Sucker Die Box with a double-pizza box. It has been a
staple of my kid show for a long time. It was originally in a different
spot in this show, but we decided to put it right after intermission
when the kids had just eaten something. Our prop department built this
in a jumbo version and when Alex and I first saw it, we couldn't imagine
being able to handle it. We literally thought it would be impossible to
do because the prop was so big.

ALEX: But Jim, being the genius that he is, said, "It looked really good when you were fumbling, why don't you try it this way."

BRAD: It worked well in rehearsal and when we finally brought the kids in, they just went nuts over it.

ALEX:
After the pizza trick is over and Brad finds the vanished pizza hanging
on his back, the Magic-ettes come out and re-introduce Mickey and
Minnie to actually begin the act. All throughout the show, as a running
gag, Donald Duck has been aching to do his own special trick and now the
time arrives. Donald enters to do his trick and, while he's not
looking, the Magic-ettes and Daisy wheel on the "Colossal Cannon." They
explain to Donald that he's going to be shot out of the cannon and his
reaction is, naturally, "I don't think so." He runs off the stage. They
look around for someone to shoot out of the cannon when Benny runs
onstage, and he's more than happy to volunteer to be shot out of the
cannon. They try to stuff me in the cannon, but I'm too big, so they
wheel on a giant roller box called "Mickey's Magical Mashing Machine." I
get put inside, then they roll me out in a flat version and they put
the flat version of Benny into the cannon.

BRAD: At that
point they wheel the cannon into position to fire Benny into the back of
the theater, then Minnie explains that it could get messy so Mickey
brings on the magical target. The cannon shoots Benny across the stage
and he emerges from the target a little worse for wear. Benny and the
cannon leave the stage and we transition into the magical land of
Aladdin. We take the audience on a trip to Agrabah, with a new set, with
Mickey and Minnie, then Goofy appears as the genie and shows Mickey how
to use the magic carpet. The carpet dances around and Goofy chases it
offstage, followed by a huge crashing sound. Then Goofy reappears on
stage when they want to create Princess Jasmine by rubbing the lamp.
Princess Jasmine appears as the curtains part and reveal her sitting on
her couch. Jasmine is surprised that Aladdin isn't around, so Mickey and
Minnie introduce me. I come out and Jasmine gives me the once over.
Mickey then introduces the "best illusion of all," which is our
levitation.

GENII: It's great that Jim convinced them to leave it alone and let it be what it is-black background, stars.

BRAD:
The music went through changes-originally it was an all-male a cappella
group and it was very slow. Now it works better and leaves the audience
wanting more. So Jasmine floats up, then down, and I pass the hoop over
her. Then she floats up again to about nine or 10 feet-and so do I,
which is a bit shock to the audience.

GENII: At that moment, I looked at the laymen and it seemed that, in that instant, they really felt they were watching a magic show.

ALEX:
That's the beauty of this presentation. The first act is really a
Disney show, while the second act is more the "Magic" show. A lot of
adults aren't expecting that and the second act really brings them into
it.

BRAD: Jim, Alex, and I talked a lot about how the
first act is a magic show within a show, whereas the second act is a
pure magic show and the kick-off is the levitation. In one of the early
previews in Columbia, Jim sat behind a father and daughter in the
balcony. During the first part of the show, the father just sort of
nodded to agree with the daughter's enthusiastic remarks, but when the
levitation took place, and when I floated up after Jasmine, the father
shook his head and said, "Wow." At that moment Jim knew it was perfect.

GENII: I wish there were more moments like that in the show.

BRAD:
We do as well. Feld shows are always 100 percent about the audience,
and as time goes on and they start testing the audiences, I wouldn't be
surprise if things are added or changed.

ALEX: This show
is always a work in progress. Now, after the levitation, Mickey and
Minnie congratulate Brad, officially complimenting him in front of the
audience, then he takes Jasmine back to Agrabah.

BRAD: Now Benny comes back on. He's still trying
to unlink the same two rings-this is a running gag throughout the
show-and Mickey and Minnie give him a pep talk because they want to see
him succeed as well. This is where the story line comes together, with
Mickey and Minnie approving of both of us.

ALEX: As Brad
mentioned, at the beginning of the show I link the two rings, but have
been unable to unlink them since. Mickey tells me to believe in myself
and I'll be able to do it. In the polls they've taken after the show,
parents have remarked a lot about this particular message because it's
so positive. So, Benny says he'll continue to practice and I leave.

BRAD:
Mickey and Minnie then turn the show over to me and we do two illusions
from my existing repertoire from Six Flags. There's an audience
participation spot involving a "Substitution Trunk" with one of the
Magic-ettes who switches places with me. Then I introduce our "Air
Memory Box," where we save up the air from each city we go to, then the
air turns into smoke and the smoke turns into Benny.

ALEX:
After I emerge from the smoke chamber, the audience can still see me
fussing with the two linked rings and Brad asks me how it's going. I
say, "I thing I've finally go it," and Brad gives me a bit of
encouragement and I go into my Linking Ring routine with six rings —
something from my existing repertoire. After I've linked all the rings,
Mickey joins me on stage and I do the "lean."

GENII: Was your performance of the Linking Rings directed by Jerry Bilik?

ALEX: Not at all. They gave us lots of freedom and told us that they hired us because we already did these things well.

BRAD:
One of the things that's given us the most pride in the show is the way
they've always come back to me and Alex, as magicians, and consulted us
about costume, music, and choreography to make the magic the most
effective it can be.

GENII: After the Linking Rings …

BRAD: Mickey and I come back on stage and congratulate Benny on all of his hard work that finally paid off.

GENII: And now you're equals: both qualified magicians. Benny has graduated from being a bumbler to a success.

ALEX:
Brad and I both say that we want to show our favorite illusion and
Mickey suggests that we perform it together, and out comes the Double
Sawing. Mickey exits, our assistants come out, and we perform the
routine: two thin model sawings. Each of our assistants is wearing a
different color outfit and, after they're cut in half, we switch the
lower portions of the boxes. When they're restored and come out of the
boxes, the lower half of their outfits are switched as well.

BRAD: This gets a huge reaction from the audience.

GENII: The kids all think it's very funny.

BRAD:
After the Double Sawing, Mickey comes back onstage and gives us his
seal of approval on everything, but we still can't find Donald Duck
because he's been missing since he ran offstage during his cannon
illusion. Since we need someone to do "Donald's Special Disappearing
Duck Illusion" and he's not around, I go into the cage — a "Lion's
Bride" illusion. Mickey, Minnie, Goofy, Benny, and Daisy cover the cage
and, when the cloth is removed, I've vanished and Donald has taken my
place. Then all of a sudden I go missing on stage and Mickey asks,
"Where's Brad?" I turn around dressed as Benny, and Benny then appears
in the audience.

ALEX: Brad
says to Mickey, "What do you have to say?" And Mickey says, "Let's make
some magic" and we do a double Silk Fountain, then we do a small
Snowstorm and go into the finale which brings everybody back onto the
stage with singing and dancing. Small fireworks go off and confetti
shoots out.

GENII: And the kids love it. My daughter saw
the show twice and would like to see it again-which is, I'm sure,
exactly what Kenneth Feld had in mind.

Theme Parks & Themed Entertainment

Disney’s Forgotten Halloween Event: The Original Little Monsters on Main Street

Published

4 weeks ago

September 22, 2024

Jim Hill

When most Disney fans think of Halloween in the parks, they immediately picture Mickey’s Not-So-Scary Halloween Party at Walt Disney World or the Oogie Boogie Bash at Disneyland Resort. But before those events took over as the must-attend spooky celebrations, there was a little-known event at Disneyland called Little Monsters on Main Street. And its origins? Well, they go all the way back to the 1980s, during a time when America was gripped by fear—the Satanic Panic.

You see, back in the mid-1980s, parents were terrified that Halloween had become dangerous. Urban legends about drug-laced candy or razor blades hidden in apples were widespread, and many parents felt they couldn’t let their kids out of sight for even a moment. Halloween, which was once a carefree evening of trick-or-treating in the neighborhood, had suddenly become a night filled with anxiety.

This is where Disneyland’s Little Monsters on Main Street came in.

The Origins of Little Monsters on Main Street

Back in 1989, the Disneyland Community Action Team—later known as the VoluntEARS—decided to create a safe, nostalgic Halloween experience for Cast Members and their families. Many schools in the Anaheim area were struggling to provide basic school supplies to students, and the VoluntEARS saw an opportunity to combine a safe Halloween with a charitable cause. Thus, Little Monsters on Main Street was born.

This event was not open to the general public. Only Disneyland Cast Members could purchase tickets, which were initially priced at just $5 each. Cast Members could bring their kids—but only as many as were listed as dependents with HR. And even then, the park put a cap on attendance: the first event was limited to just 1,000 children.

A Unique Halloween Experience

Little Monsters on Main Street wasn’t just another Halloween party. It was designed to give kids a safe, fun environment to enjoy trick-or-treating, much like the good old days. On Halloween night in 1989, kids in costume wandered through Disneyland with their pillowcases, visiting 20 different trick-or-treat stations. They also had the chance to ride a few of their favorite Fantasyland attractions, all after the park had closed to the general public.

The event was run entirely by the VoluntEARS—about 200 of them—who built and set up all the trick-or-treat stations themselves. They arrived at Disneyland before the park closed and, as soon as the last guest exited, they began setting up stations across Main Street, Adventureland, Frontierland, Fantasyland, and Tomorrowland. The event ran from 7:30 to 9:30 p.m., and by the time the last pillowcase-wielding kid left, the VoluntEARS cleaned everything up, making sure the park was ready for the next day’s operations.

It wasn’t just candy and rides, though. The event featured unique entertainment, like a Masquerade Parade down Main Street, U.S.A., where kids could show off their costumes. And get this—Disneyland even rigged up a Cast Member dressed as a witch to fly from the top of the Matterhorn to Frontierland on the same wire that Tinker Bell uses during the fireworks. Talk about a magical Halloween experience!

The Haunted Mansion “Tip-Toe” Tour

Perhaps one of the most memorable parts of Little Monsters on Main Street was the special “tip-toe tour” of the Haunted Mansion. Now, Disneyland’s Haunted Mansion can be a pretty scary attraction for younger kids, so during this event, Disney left the doors to the Stretching Room and Portrait Gallery wide open. This allowed kids to walk through and peek at the Haunted Mansion’s spooky interiors without actually having to board the Doom Buggies. For those brave enough to ride, they could, of course, take the full trip through the Haunted Mansion—or they could take the “chicken exit” and leave, no harm done.

Growing Success and a Bigger Event

Thanks to the event’s early success, Little Monsters on Main Street grew in size. By 1991, the attendance cap had been raised to 2,000 kids, and Disneyland added more activities like magic shows and hayrides. They also extended the event’s hours, allowing kids to enjoy the festivities until 10:30 p.m.

In 2002, the event moved over to Disney California Adventure, where it could accommodate even more kids—up to 5,000 in its later years. The name was also shortened to just Little Monsters, since it was no longer held on Main Street. This safe, family-friendly Halloween event continued for several more years, with the last mention of Little Monsters appearing in the Disneyland employee newsletter in 2008. Though some Cast Members recall the event continuing until 2012, it eventually made way for Disney’s more public-facing Halloween events.

From Little Monsters to Mickey’s Not-So-Scary and Oogie Boogie Bash

Starting in the early 2000s, Disney began realizing the potential of Halloween-themed after-hours events for the general public. These early versions of Mickey’s Halloween Party and Mickey’s Halloween Treat eventually evolved into today’s Mickey’s Not-So-Scary Halloween Party and Oogie Boogie Bash. Unfortunately, this also marked the end of the intimate, Cast Member-exclusive Little Monsters event, but it paved the way for the large-scale Halloween celebrations we know and love today.

While it’s bittersweet to see Little Monsters on Main Street fade into Disney history, its legacy lives on through these modern Halloween parties. And even though Cast Members now receive discounted tickets to Mickey’s Not-So-Scary and Oogie Boogie Bash, the special charm of an event created specifically for Disney’s employees and their families remains something worth remembering.

**The Merch: A Piece of Little Monsters History**

For Disney collectors, the exclusive merchandise created for Little Monsters on Main Street is still out there. You can find pins, name tags, and themed pillowcases on sites like eBay. One of the coolest collectibles is a 1997 cloisonné pin set featuring Huey, Dewey, and Louie dressed as characters from Hercules. Other sets paid tribute to the Main Street Electrical Parade and Pocahontas, while the pillowcases were uniquely designed for each year of the event.

While Little Monsters on Main Street may be gone, it’s a fascinating piece of Disneyland history that played a huge role in shaping the Halloween celebrations we enjoy at Disney parks today.

Want to hear more behind-the-scenes stories like this? Be sure to check out I Want That Too, where Lauren and I dive deep into the history behind Disney’s most beloved attractions, events, and of course, merchandise!

Theme Parks & Themed Entertainment

The Story of Mickey’s Not-So-Scary Halloween Party: From One Night to a Halloween Family Tradition

Published

1 month ago

September 7, 2024

Jim Hill

The spooky season is already in full swing at Disney parks on both coasts. On August 9th, the first of 38 Mickey’s Not-So-Scary Halloween Party (MNSSHP) nights for 2024 kicked off at Florida’s Magic Kingdom. Meanwhile, over at Disney California Adventure, the Oogie Boogie Bash began on August 23rd and is completely sold out across its 27 dates this year.

Looking back, it’s incredible to think about how these Halloween-themed events have grown. But for Disney, the idea of charging guests for Halloween fun wasn’t always a given. In fact, when the very first Mickey’s Not-So-Scary Halloween Party debuted on October 31, 1995, it was a modest one-night-only affair. Compare that to the near month-long festivities we see today, and it’s clear that Disney’s approach to Halloween has evolved considerably.

A Not-So-Scary Beginning

I was fortunate enough to attend that very first MNSSHP back in 1995, along with my then 18-month-old daughter Alice and her mom, Michelle. Tickets were a mere $16.95 (I know, can you imagine?), and we pushed Alice around in her sturdy Emmaljunga stroller—Swedish-built and about the size of a small car. Cast Members, charmed by her cuteness, absolutely loaded us up with candy. By the end of the night, we had about 30 pounds of fun-sized candy bars, making that push up to the monorail a bit more challenging.

Mickey’s Halloween Treat 1996 – Photo: Disney

This Halloween event was Disney’s response to the growing popularity of Universal Studios Florida’s own Halloween hard ticket event, which started in 1991 as “Fright Nights” before being rebranded as “Halloween Horror Nights” the following year. Universal’s gamble on a horror-themed experience helped salvage what had been a shaky opening for their park, and by 1993, Halloween Horror Nights was a seven-night event, with ticket prices climbing as high as $35. Universal had stumbled upon a goldmine, and Disney took notice.

A Different Approach

Now, here’s where Disney’s unique strategy comes into play. While Universal embraced the gory, scare-filled world of horror, Disney knew that wasn’t their brand. Instead of competing directly with blood and jump-scares, Disney leaned into what they did best: creating magical, family-friendly experiences.

Thus, Mickey’s Not-So-Scary Halloween Party was born. The focus was on fun and whimsy, not fear. Families could bring their small children without worrying about them being terrified by a chainsaw-wielding maniac around the next corner. This event wasn’t just a Halloween party—it was an extension of the Disney magic that guests had come to expect from the parks.

Disney had some experience with seasonal after-hours events, most notably Mickey’s Very Merry Christmas Party, which had started in 1983. But the Halloween party was different, as the Magic Kingdom wasn’t yet decked out in Halloween decor the way it is today. Disney had to create a spooky (but not too spooky) atmosphere using temporary props, fog machines, and, of course, lots of candy.

A key addition to that first event? The debut of the Headless Horseman, who made his eerie appearance in Liberty Square, riding a massive black Percheron. It wasn’t as elaborate as the Boo-to-You Parade we see today, but it marked the beginning of a beloved Disney Halloween tradition.

A Modest Start but a Big Future

That first MNSSHP in 1995 was seen as a trial run. As Disney World spokesman Greg Albrecht told the Orlando Sentinel, “If it’s successful, we’ll do it again.” And while attendance was sparse that night, there was clearly potential. By 1997, the event expanded to two nights, and by 1999, Mickey’s Not-So-Scary Halloween Party had grown into a multi-night celebration with a full-fledged parade. Today, in 2024, it’s a staple of the fall season at Walt Disney World, offering 38 nights of trick-or-treating, character meet-and-greets, and special entertainment.

Universal’s Influence

It’s interesting to reflect on how Disney’s Halloween event might never have existed without the competition from Universal. Just as “The Wizarding World of Harry Potter” forced Disney to step up their game with “Star Wars: Galaxy’s Edge,” Universal’s success with Halloween Horror Nights likely spurred Disney into action with MNSSHP. The friendly rivalry between the two parks has continually pushed both to offer more to their guests, and we’re all better off because of it.

So the next time you find yourself trick-or-treating through the Magic Kingdom, watching the Headless Horseman gallop by, or marveling at the seasonal fireworks, take a moment to appreciate how this delightful tradition came to be—all thanks to a little competition and Disney’s commitment to creating not-so-scary magic.

For more Disney history and behind-the-scenes stories, check out the latest episodes of the I Want That Too podcast on the Jim Hill Media network.

History

The Evolution and History of Mickey’s ToonTown

Published

8 months ago

February 7, 2024

Jim Hill

Disneyland in Anaheim, California, holds a special place in the hearts of Disney fans worldwide, I mean heck, it’s where the magic began after all. Over the years it’s become a place that people visit in search of memorable experiences. One fan favorite area of the park is Mickey’s Toontown, a unique land that lets guests step right into the colorful, “Toony” world of Disney animation. With the recent reimagining of the land and the introduction of Micky and Minnies Runaway Railway, have you ever wondered how this land came to be?

There is a fascinating backstory of how Mickey’s Toontown came into existence. It’s a tale of strategic vision, the influence of Disney executives, and a commitment to meeting the needs of Disney’s valued guests.

The Beginning: Mickey’s Birthdayland

The story of Mickey’s Toontown starts with Mickey’s Birthdayland at Walt Disney World’s Magic Kingdom. Opened in 1988 to celebrate Mickey Mouse’s 60th birthday, this temporary attraction was met with such overwhelming popularity that it inspired Disney executives to think bigger. The idea was to create a permanent, immersive land where guests could step into the animated world of Mickey Mouse and his friends.

In the early ’90s, Disneyland was in need of a refresh. Michael Eisner, the visionary leader of The Walt Disney Company at the time, had an audacious idea: create a brand-new land in Disneyland that would celebrate Disney characters in a whole new way. This was the birth of Mickey’s Toontown.

Initially, Disney’s creative minds toyed with various concepts, including the idea of crafting a 100-Acre Woods or a land inspired by the Muppets. However, the turning point came when they considered the success of “Who Framed Roger Rabbit.” This film’s popularity and the desire to capitalize on contemporary trends set the stage for Toontown’s creation.

From Concept to Reality: The Birth of Toontown

In 1993, Mickey’s Toontown opened its gates at Disneyland, marking the first time in Disney Park history where guests could experience a fully realized, three-dimensional world of animation. This new land was not just a collection of attractions but a living, breathing community where Disney characters “lived,” worked, and played.

Building Challenges: Innovative Solutions

The design of Mickey’s Toontown broke new ground in theme park aesthetics. Imagineers were tasked with bringing the two-dimensional world of cartoons into a three-dimensional space. This led to the creation of over 2000 custom-built props and structures that embodied the ‘squash and stretch’ principle of animation, giving Toontown its distinctiveness.

And then there was also the challenge of hiding the Team Disney Anaheim building, which bore a striking resemblance to a giant hotdog. The Imagineers had to think creatively, using balloon tests and imaginative landscaping to seamlessly integrate Toontown into the larger park.

Key Attractions: Bringing Animation to Life

Mickey’s Toontown featured several groundbreaking attractions. “Roger Rabbit’s Car Toon Spin,” inspired by the movie “Who Framed Roger Rabbit,” became a staple of Toontown, offering an innovative ride experience. Gadget’s Go-Coaster, though initially conceived as a Rescue Rangers-themed ride, became a hit with younger visitors, proving that innovative design could create memorable experiences for all ages.

Another crown jewel of Toontown is Mickey’s House, a walkthrough attraction that allowed guests to explore the home of Mickey Mouse himself. This attraction was more than just a house; it was a carefully crafted piece of Disney lore. The house was designed in the American Craftsman style, reflecting the era when Mickey would have theoretically purchased his first home in Hollywood. The attention to detail was meticulous, with over 2000 hand-crafted, custom-built props, ensuring that every corner of the house was brimming with character and charm. Interestingly, the design of Mickey’s House was inspired by a real home in Wichita Falls, making it a unique blend of real-world inspiration and Disney magic.

Mickey’s House also showcased Disney’s commitment to creating interactive and engaging experiences. Guests could make themselves at home, sitting in Mickey’s chair, listening to the radio, and exploring the many mementos and references to Mickey’s animated adventures throughout the years. This approach to attraction design – where storytelling and interactivity merged seamlessly – was a defining characteristic of ToonTown’s success.

Executive Decisions: Shaping ToonTown’s Unique Attractions

The development of Mickey’s Toontown wasn’t just about creative imagination; it was significantly influenced by strategic decisions from Disney executives. One notable input came from Jeffrey Katzenberg, who suggested incorporating a Rescue Rangers-themed ride. This idea was a reflection of the broader Disney strategy to integrate popular contemporary characters and themes into the park, ensuring that the attractions remained relevant and engaging for visitors.

In addition to Katzenberg’s influence, Frank Wells, the then-President of The Walt Disney Company, played a key role in the strategic launch of Toontown’s attractions. His decision to delay the opening of “Roger Rabbit’s Car Toon Spin” until a year after Toontown’s debut was a calculated move. It was designed to maintain public interest in the park by offering new experiences over time, thereby giving guests more reasons to return to Disneyland.

These executive decisions highlight the careful planning and foresight that went into making Toontown a dynamic and continuously appealing part of Disneyland. By integrating current trends and strategically planning the rollout of attractions, Disney executives ensured that Toontown would not only capture the hearts of visitors upon its opening but would continue to draw them back for new experiences in the years to follow.

Global Influence: Toontown’s Worldwide Appeal

The concept of Mickey’s Toontown resonated so strongly that it was replicated at Tokyo Disneyland and influenced elements in Disneyland Paris and Hong Kong Disneyland. Each park’s version of Toontown maintained the core essence of the original while adapting to its cultural and logistical environment.

Evolution and Reimagining: Toontown Today

As we approach the present day, Mickey’s Toontown has recently undergone a significant reimagining to welcome “Mickey & Minnie’s Runaway Railway” in 2023. This refurbishment aimed to enhance the land’s interactivity and appeal to a new generation of Disney fans, all while retaining the charm that has made ToonTown a beloved destination for nearly three decades.

Dive Deeper into ToonTown’s Story

Want to know more about Mickey’s Toontown and hear some fascinating behind-the-scenes stories, then check out the latest episode of Disney Unpacked on Patreon @JimHillMedia. In this episode, the main Imagineer who worked on the Toontown project shares lots of interesting stories and details that you can’t find anywhere else. It’s full of great information and fun facts, so be sure to give it a listen!