A peek at how Disney resort shows are made

By MIKE SCHNEIDER

Associated Press

LAKE BUENA VISTA, Fla.

With excitement building over a new “Star Wars” land opening later this year at Walt Disney World, as well as at its California cousin, it’s easy to forget a slew of new entertainment shows also are debuting in the biggest year for the Florida theme park resort in two decades.

If the famous Disney Imagineers provide the “wow” factor with their fantastical feats of engineering on rides and attractions, it’s the entertainment division that provides Disney World’s heart.

Disney World recently invited The Associated Press for an exclusive, behind-the-scenes look at how it puts the shows together.

Here’s a look at the behind-the-scenes people who produce the pixie dust. Many of them started out as performers and have been at Disney World for decades.

THE BOSS

Bettina Buckley oversees the entertainment division’s 6,700 workers in 100 different disciplines responsible for more than 200,000 performances a year at the resort.

Putting a show based on a character under the Disney corporate umbrella in Disney World extends the life of that franchise, ultimately making it more valuable to the company. When deciding on which character or property to use for a show, she pays attention to what visitors say in surveys and letters.

She also considers the available space and how the show would affect the brand.

THE DREAMERS

Once a character or intellectual property is picked, creative development director Reed Jones, show writer Allison Hirsch and a team consisting of a puppeteer, a juggler, a musical theater pro, an improv artist, technicians and musicians meet for weekly brainstorming sessions to figure out how to bring the story into the three-dimensional world through writing, costumes, music and lighting.

No idea is off the table.

“It’s a one-hour variety show. We kind of can’t let people see it because it’s really wacky and funny,” Jones said.

THE REALIST

Joseph Greggory “GG” Cook makes sure the ideas that “the dreamers” come up with can actually work. “I am the rubber that meets the road,” said Cook, manager of theatrical design and technical production.

He is helped by a darkened “pre-visualization” room where two large screens and a virtual-reality headset help him see what shows will look like in a 3D model, and how they will be maintained, before they are built.

“It’s the hub of the wagon wheel, if you will. We previsualize our entire show, soup to nuts,” Cook said. “It allows us the opportunity not to have to build a real-world model.”

THE COSTUME DESIGNER

Harmony McChesney has a piece of Velcro in her purse at all times. When it’s time to test a fabric’s durability, she rubs the Velcro against the fabric. If it snags, “I say, this doesn’t belong to us. It’s not our friend,” said McChesney, a costume designer with big glasses, auburn hair swept up and large costume jewelry.

Durability is a must since the costumes worn by dancers, singers and costumed characters are washed every day. The department makes 10,000 costume pieces with the help of 300 sewers and six designers.

Call it couture for Disney characters.