More humor prevailed as five trash cans, stuffed with crinkled papers likely discarded by our animator's father, danced onstage in front of the villain of the evening, Miss Hesitation, the largest gob of crushed paper you've ever seen with a sour, dismissive attitude and the greatest way of looking at an audience and conveying the message of the story with a look, a TSK, or a rude noise. Most moving may have been when the stage was transformed, with the use of a mesh curtain upon which was projected some of our favorite Disney couples led by the Princesses, Arial, Belle, Aurora, and Tiana. As an entire painting production occurred on center stage, these two performed an entire trapeze act, all perfectly in sync with the classical music. The men's ability to judge the centrifugal force to be completely airborne at the top of the wheel or use that moment to do additional flips and stunts within or on top of the wheel are mind-boggling.Īt one point in the show, two cast members worked from a bronze-colored bicycle wheel several stories high at the back of the stage. Four of six men were in, on, or around the wheels as they skyrocketed into the air, usually apart, but sometimes close enough that one could fear they would collide. The double wheel of death appears to be a 50-foot metal wheel with an 8-foot diameter circle on either end. Whether it's the six synchronized acrobats, the five unicycle riding Faerie Princesses, the six men working the double wheel of death, or the six men jumping on the seesaw (aka teeterboard) to propel each other, and one of the button-down, suspender, slicked back black haired male animators present throughout the show, the explosion of color, movement, and context with Disney video frequently played on the interior screens makes for a jaw-dropping, jump to your feet with applause worth performance. Stilt walkers and unicycle riding princesses turned faeries kept the speed and motion of the performance going, similar to the first film reels that Walt created as well as the initial animation you may have been fortunate enough to witness after visiting the Walt Disney Family Museum at the Presidio in San Francisco, California. Comedy breaks the somber and melancholy scenes, whether Julie sticking her pencil into the sharpener that is actually the second-floor balcony to the right or the comic timing of the juggler who, finally able to count the balls only when they were on the ground, kept up to seven going at one time, with another cast member bouncing a giant ball at the back of the stage.
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