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“I really want everyone who is in our audience to know that they can be a hero, or a superhero,” Tom Vazzana, Show Director, Disney Parks Live Entertainment said during the press event, describing a new “Incredibles”-themed dance party his team is developing for Walt Disney World’s Magic Kingdom. “Whether you are male or female, undecided, in a wheelchair … I don’t care who you are, I want you to go away from this party knowing that you have some sort of superpower.”. This also is why “and something goes terribly wrong” has become one of the leading tropes in theme park attraction narratives. “It has to,” Universal Creative designer Thierry Coup told me in an interview many years ago. “It gives us a chance to be heroes, and to try to save the day.”.

Related ArticlesBlue Milk: Disneyland’s Galaxy’s Edge will offer 3 indian bridal gold wedding shoes/bollywood women peach lehnga jutti shoes/gold wedding flats/gold ballet flats/khussa shoes/punj varieties of the signature ‘Star Wars’ drinkHow to make your own R2-D2 or BB-8 when Droid Depot opens at Disneyland’s Star Wars landIs Disneyland making a mistake with the way it’s opening Star Wars: Galaxy’s Edge?This is what the $125 per-person ‘Disney Princess Breakfast’ will includeCaptain Marvel makes her first appearance at the DisneylandPeople want better – better lives, better relationships, better communities, and a better world, Theme parks win customers when they can play to that..

Creating a theme park is an exercise in emotional manipulation. Some of us go along willingly, embracing the role play and pretending to be whomever the parks want us to be. For others, the influence happens subconsciously. We don’t know we are supposed to be “honorary cars” in Cars Land. But we don’t care. Because designers thought about the psychology of the environments they create, we buy in and enjoy it, no matter whether we think about what went into that design or not. Robert Niles is the editor of ThemeParkInsider.com. Follow him on Twitter @ThemePark.

By Joanne Engelhardt, For the Palo Alto Daily News, A trio of energetic, versatile and capable actresses do the heavy lifting in the Foothill Music Theatre presentation of “9 to 5 The Musical,” which runs through March 18 at Lohman Theatre on the Foothill College campus in Los Altos Hills, While indian bridal gold wedding shoes/bollywood women peach lehnga jutti shoes/gold wedding flats/gold ballet flats/khussa shoes/punj people over 50 may remember the appealing 1980 movie, “9 to 5,” Dolly Parton later wrote music and lyrics for 17 sprightly songs — including, of course, the uber-hit “9 to 5” — and, with a book by Patricia Resnick, “9 to 5 The Musical” opened on Broadway in 2009 for a five-month run..

At Foothill, director Milissa Carey uses a large-screen video of Dolly herself singing that song to bookend the hokey, but entertaining musical that’s big on down-home charm. The 22-member cast includes three stellar singers in the lead roles of the long-suffering Violet (Glenna Murillo), sweetly sexy Doralee (Allie Townsend) and timid, unskilled new hire Judy (Rachelle Abbey). They — as well as all the other overworked and underpaid “secretaries” at Consolidated Corporation — are under the oppressive management of one Franklin Hart (a suitably smarmy Aaron Hurley), whose only goal at the moment is bedding the innocent (but oh-so-savvy) Doralee.

Townsend seems completely at ease whether she’s basking in the whistles and stares by Hart and other male cast members or using her indian bridal gold wedding shoes/bollywood women peach lehnga jutti shoes/gold wedding flats/gold ballet flats/khussa shoes/punj Parton-esque Southern drawl in song, Wearing form-fitting dresses with plunging necklines, she’s both an eyeful and an earful as she declares that her voluptuous figure is actually a liability at times in the song, “Backwoods Barbie” (in a push-up bra), Equally as impressive is Murillo (Violet) who grounds the play by being both coolly efficient and incredibly smart, And has she got a set of pipes..

Abbey does a good job of gradually coming out of her shell and gaining confidence. So much so that when her ex-husband shows up to make amends after his young girlfriend dumps him, she tells him she doesn’t need him in the dynamic “Get Out and Stay Out” number. Hurley is able to walk that thin line between being disgustingly chauvinist and exuding sleazy charm while romancing Doralee. It works most of the time, though his lustful version of “Here for You” borders on the bizarre. Kudos to Kayvon Kordestani who milks the role of the office drunk Margaret for all it’s worth. She has an amazing way of twisting her feet inward and dangling her body precariously while sitting in a chair. Angela Cesena as Hart’s assistant Roz, although sometimes incredibly over the top, still impresses when she reveals her desperate loneliness in the song “5 to 9.”.

It’s not easy to corral a musical like this that requires the entire cast to act, sing and dance, Fortunately the eight-member ensemble is up to the task as they scramble backstage changing from office workers to cowgirls to doctors, policemen and more, Critic’s choice: Check out Jordan Covington (the acrobatic one) in the opening number, There are a few times when there’s dead space that director Carey could have eliminated, especially in Act 1, Dolores Duran-Cefalu’s musical direction of Parton’s lively score works fine as she and five other musicians play offstage, The crowd favorite is, obviously, the opening number, “9 to 5” which became known as the working indian bridal gold wedding shoes/bollywood women peach lehnga jutti shoes/gold wedding flats/gold ballet flats/khussa shoes/punj woman’s anthem, Most of Parton’s other melodies are straight out of the “easy listening” category..

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