Disney Cruise Line Returning to New York, California and Texas in Fall 2017

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May 29, 2016

In the fall of 2017, Disney Cruise Line will return to New York with sailings to the Bahamas and the Canadian coast – including a new seven-night Canada cruise. San Diego will serve as a home port with cruises to Mexico, and Galveston will again be a homeport with sailings to the Caribbean and Bahamas.

Bookings open to the public May 26, 2016. More details on the itineraries can be found on the Ports and Itineraries for 2017 page of disneycruise.com.

New Canada coast itinerary and new ports from New York

Disney Cruise Line returns to New York City in the fall of 2017, for a mix of voyages that include Canada coast and Bahamas itineraries.

On Oct. 21, the Disney Magic will sail from New York on a seven-night Canada sailing – the line’s longest-ever voyage to the Atlantic Canada coast. This sailing includes a new port of call for Disney Cruise Line – Charlottetown, Prince Edward Island.

Bar Harbor, Maine, is another new port of call for Disney Cruise Line and part of a five-night sailing that departs New York on Sept. 27. This cruise also will stop at Saint John, New Brunswick, Canada.

A total of six seven- and eight-night sailings to the Bahamas, all including a visit to Disney’s private island, Castaway Cay, will be a part of the 2017 New York season.

Adding to the magic on each of the Bahamian cruises will be the opportunity to visit Walt Disney World Resort when the ship stops at Port Canaveral, Fla. Each guest on these sailings will receive a one-day Walt Disney World Park Hopper ticket and round-trip transportation for the short drive between the ship and the resort.

Return to San Diego, California

In September and October of 2017, Disney Cruise Line will return to San Diego with a variety of Disney Wonder cruises to Baja and the Mexican Riviera.

On most Baja sailings, guests can visit Cabo San Lucas and Ensenada, Mexico, to enjoy world-famous beaches and snorkeling. Two-night cruises depart San Diego on Sept. 15, Sept. 22 and Oct. 13, and a three-night cruise departs Oct. 5 and includes a day at sea.

Mexican Riviera itineraries feature snorkeling and scuba diving hot spots, while Puerto Vallerta and Mazatlan are where cliff divers, culture and ziplining through the jungle canopy take center stage. Seven-night itineraries departing on Sept. 24 and Oct. 15, call on Puerto Vallerta, Mazatlan and Cabo San Lucas. Four additional four- and five-night Mexican Riviera cruises set sail during the season in San Diego.

Return to Galveston, Texas

Disney Cruise Line returns to Galveston in 2017, with a line up of eight seven-night cruises to the Caribbean and the Bahamas. All Bahamian itineraries include a stop at Castaway Cay, Disney’s private island in the Bahamas.

On Nov. 10 and Dec. 1, the Disney Wonder will sail a western Caribbean itinerary from Galveston to Cozumel, Grand Cayman and Falmouth, Jamaica.

On Nov. 17, Nov. 24, Dec, 8, Dec. 15, Dec. 22 and Dec. 29, the Disney Wonder will sail from Galveston to Key West, Nassau and Castaway Cay.

To learn more about Disney Cruise Line or to book a vacation, email me at [email protected] for a FREE Quote. Book now before it sells out. We also can customize a vacation package for your group.

Seaside Luxury and History at Fairmont Miramar Hotel & Bungalows

By

Greg Aragon, Writer Greg's Getaway

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May 28, 2016

The Fairmont Miramar Hotel & Bungalows is kind of like two charming hotels in one. At times it is a modern and classy beach-front resort. And other times it can be an elegant and secluded retreat, sheltered by gardens, a 90-yr-old tower, and a giant 130-yr-old fig tree. I guess it depends on your mood, but however you look at it, the hotel makes a memorable getaway and is one of my Southern California favorites.

The Fairmont is a luxurious ocean-front hotel

My recent trip to the Fairmont began when a friend and I pulled into a hidden, hedge-lined driveway across the street from the Santa Monica Pier. We then parked beneath the giant fig tree, handed the car keys to the valet and stepped into seaside luxury.

As we strolled through the palatial lobby, I sensed the history and appeal of the place. I could see why the Fairmont has been a happening hideaway for Hollywood hipsters and guests since 1921. As we made our way to our private bungalow, we past a stone pond and waterfall, surrounded the property’s gated pool area, lush green lawns and vegetation and a jungle of palm trees.

The historic bungalows are plush, secluded and serene

At our room we found serenity and more luxury. Tucked in a corner of the grounds, in the Miramar Gardens, the roughly 400 sq-ft Signature Bungalow featured a comfy king bed, humungous Flat screen TV, office desk with Internet, espresso machine, mini-bar, and spacious bathroom with extra-deep soaking tub. The room also boasted a peaceful patio, overlooking the pool and gardens.

After lounging in the bungalow, we headed to the pool area for a swim and some sun. While sipping iced tea and relaxing on a cozy recliner beneath swaying palms, I read about the 300-room Miramar’s fabled history.

Built in 1921 as a private mansion by John P. Jones, a former U.S. Senator and founder of Santa Monica, the Fairmont Miramar quickly became a celebrity hangout, where the well-to-do could escape crowds and be pampered by the ocean. In 1924 the six-story Palisades Wing was built to provide apartments for extended-stay guests, such as actress Greta Garbo, who lived here for four years.

In the 1930s, private bungalows were constructed and actresses such as Jean Harlow and Marilyn Monroe, and public figures like Eleanor Roosevelt and aviator Charles Lindbergh became regulars. Today, the Palisades Wing is still around, and the 32 poolside bungalows have been restored to former grandeur and are separated from the two main hotel buildings by gardens, ponds and fountains.

The giant, 130-yr-old fig tree is a Fairmont Miramar landmark

Another hotel landmark still standing is the magnificent 80-ft-tall fig tree that welcomes guests at the main entry. Planted more than 130 years ago, the tree is the second largest of its kind in California. The tree is so beloved that hotel’s signature eatery was named FIG Restaurant (www.figsantamonica.com).

Utilizing fresh, local and organically grown ingredients straight from the Santa Monica Farmer’s Market, FIG features an intimate private dining room and a bar area for casual dining.

Our meal at Fig began with a delicious albacore tuna crudo appetizer, with ginger slaw, corn crisps and aji amarillo. For a main course I had a tasty curry-flavored plate of seared eastern scallops with spiced cauliflower, melted apples and fennel. My friend went with the succulent bone-in 18 oz ribeye steak, with spicy butternut squash and salsa verde. For dessert we split a divine chocolate fudge cake.

The hotel’s signature Fig Restaurant renown for great steaks, seafood and fresh local ingredients

After dinner, we walked across the street to the beach and strolled along the sand toward the lights of Santa Monica Pier’s iconic Ferris wheel. In the morning, we enjoyed a great breakfast at the Lobby Lounge, overlooking the waterfall and a Koi fishpond.

The hotel is located across the street from the world famous Santa Monica Pier

The Fairmont Miramar also boasts a state-of-the art fitness center; a clothing and gift shop; a tiny, tasty chocolate store; a barber shop; and Exhale, a full-service spa with therapy services and fitness programs, mind and body classes, yoga, steam room, sauna, lockers and showers.

The Fairmont Miramar Hotel & Bungalows is located at 101 Wilshire Blvd., Santa Monica, 90401. For more info and reservations, call (310) 576-7777 or visit: http://www.fairmont.com/santamonica/

Behind the Transformation of the Hyperion Theater at Disney California Adventure

By

Robbie Bulus

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May 28, 2016

Within minutes of the opening act of Disney California Adventure park’s new “Frozen – Live at the Hyperion,” audiences realize there’s another important headliner in this musical theater production – a headliner so integral to the telling of this adaptation that its name shares the production’s title: Live at the Hyperion.

Opened in 2001 as part of the new Disney California Adventure theme park in Anaheim, Calif., the grand Hyperion Theater is fully equipped to host major theatrical presentations. With the opening of the new “Frozen – Live at the Hyperion” show, Disney’s creative team is utilizing the theater’s full creative capabilities. New technology combines with classic theatrics to immerse audiences in a story that feels both fantastic and familiar.

“This production is very emotional,” explains Dana Harrel, creative portfolio executive with Walt Disney Imagineering Creative Entertainment. “We take our audiences to a place that we’ve never gone before, so the environment for this journey becomes vitally important to the telling the story.”

The scale of the nearly 2,000-seat Hyperion Theater means the theatrical effects in this production play a very large role. For example, it took approximately 45,000 square feet of custom-dyed fabric to create the “Aurora” curtain that envelops the interior of the theater, almost completely surrounding the audience and providing a surface for large format projection and lighting effects.

An enormous turntable was installed on the stage to allow an elegant movement of set pieces from scene to scene and to accommodate Elsa’s breathtaking and intricate staircase of ice, which juts out over the audience. To adapt the thrilling wolf chase from the film, Kristoff’s sleigh was built upon a motion base platform similar to a flight simulator, providing an incredible kinetic energy to the scene for performers and audience alike.

Another impressive enhancement to the theater involves the scene in which Elsa’s emotions generate a sudden explosion of ice spikes from the stage. Each of the realistic shards of ice is independently controlled and the natural look of the effect is remarkable.

“We are using theatrical technology that simply wasn’t available when the theater opened in 2001, and some of it wasn’t even around five years ago,” explains the show’s producer Jennifer Magill. “This is especially true of the large amount of video projections.”

Magill notes that the show has more than 20 video “canvases” upon which eight ultra-high- definition projectors are used. A precision mapping technology turns 8,000 square feet of scenic surfaces into living backgrounds, transporting the audience into the worlds of Arendelle, pine forests and sparkling ice castles. The custom, curved 2,200-square-foot onstage video screen itself weighs 44,000 pounds and required special stage reinforcing to accommodate its installation.

Many of the scenic elements are wirelessly controlled. In fact, two pieces representing mounds of snow actually move about the stage autonomously, using laser scanners and reflectors as their guide.

“Of course, it snows frequently in the story, so our stage and house are equipped for theatrical changes in the weather,” says Magill. “For example, we’re using eight snow machines to create a wintry look for some sequences.”

All of the technology used at the Hyperion is in the service of the story, Magill emphasizes.
Since opening, the Hyperion Theater has been home to several of the park’s major entertainment productions. Most notably, the Hyperion Theater recently completed its 13-year run of “Disney’s Aladdin – A Musical Spectacular.”

“We are quite fortunate to have a theater like the Hyperion,” says David Duffy, executive producer for “Frozen – Live at the Hyperion” and director of Creative Entertainment for the Disneyland Resort. “Guests in our parks are already immersed in a vast amount of storytelling, so there is a natural expectation to be magically taken away from reality and dropped – quite believably – into the very center of a compelling story. A theater like the Hyperion allows us to deliver and exceed that expectation.”

“Frozen – Live at the Hyperion” is based on the Walt Disney Animation Studios’ film “Frozen,” which is the No. 1 animated feature of all time and among the most critically acclaimed animated films. It is the winner of two Academy Awards® (2014), for Best Animated Feature and Best Original Song.

‘Frozen – Live at the Hyperion,’ a New Stage Musical, Premieres at Disney California Adventure Park

By

Robbie Bulus

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May 26, 2016

“Frozen – Live at the Hyperion,” a new theatrical adaptation based on Disney’s animated blockbuster film, Now Open at the Hyperion Theater at Disney California Adventure Park in Southern California.

This new theatrical interpretation for the stage immerses audiences in the beloved world of Frozen and takes audiences on the heartwarming journey of Anna and Elsa, with all of the excitement of live theater. Under the direction of Tony Award® nominated Director Liesl Tommy, the show features elaborate costumes and sets, stunning special effects, and show-stopping production numbers. An exceptionally large production, the show features an opening cast and crew of more than 200, six full musical numbers and a 2,200 square foot video wall which combine for an unforgettable theatrical experience.

Disney Creative Entertainment, the arm of Walt Disney Imagineering responsible for live theatrical entertainment at Disney Parks, has produced this new stage interpretation of “Frozen – Live at the Hyperion” with all of the creativity and resources of its predecessor “Aladdin – A Musical Spectacular” which ran for a remarkable 13 years at the 2,000 seat Hyperion Theater.

As would be expected from Walt Disney Imagineering and Disney Parks, new technologies – especially with projections, fabrics and special effects — will delight audiences in new and unexpected ways. Guests are immersed in the world of “Frozen” from the moment they enter the theater and are surrounded by a specially lit “Aurora” curtain. As the musical unfolds, the scenic design and large moving set pieces create a cinema-style energy enhanced by state-of-the-art projections that create dynamic environments for the performers. Custom sound design envelops the audience in music and audio effects. And, of course, there will be snow throughout the interior of the theater – on stage and over the audience.

“Frozen – Live at the Hyperion” is based on the Walt Disney Animation Studios “Frozen,” which is the number one animated feature of all time. It is the winner of two Academy Awards (2014) for Best Animated Feature and Best Original Song.

“While our production of ‘Frozen’ stays true to the heart and soul of the film, we have adapted it for the stage so it’s truly a musical theater production that befits our beautiful Hyperion Theater,” said Dana Harrel, creative entertainment executive with Walt Disney Imagineering. “The goal of this creative team is to take all audiences – including those who know the film, and those new to these characters – on this exciting and touching adventure with Anna and Elsa.

“We know that for many in the audience — adults and children alike – this production will be a first or rare theater-going experience, and we want to make it as magical as possible.”

The new adaptation features music and lyrics by the creators of the film score, Kristen Anderson-Lopez (“In Transit,” “Up Here”) and Robert Lopez (“Avenue Q,” “The Book of Mormon,” “Up Here”), and is adapted from the screenplay by four-time Tony Award® nominee Chad Beguelin (“Aladdin – A Musical Spectacular” at Hyperion Theater; Broadway: “Gotta Dance,” “Aladdin,” “The Wedding Singer,” “Elf”).

“Frozen – Live at the Hyperion” is directed by Tommy, who was recently nominated for a Tony Award® for her Broadway show “Eclipsed.” The choreographer is Christopher Windom and this is his seventh collaboration with Tommy. The musical supervisor/arranger/adaptor is Jason Michael Webb, whose Broadway credits include “The Color Purple,” “Motown: The Musical,” “Violet,” and “Memphis.” Clint Ramos, the principal costume designer, was also nominated this year for a Tony Award® for his work on “Eclipsed.”

“I am approaching ‘Frozen’ as I would any new work – to search the story for what resonates most emotionally, which is the story of the relationship between Anna and Elsa, their coming of age and conquering their worst fears,” explains Director Tommy. “It’s what made the movie so intensely satisfying and fresh. The theatrical version of ‘Frozen’ that my designers and I are creating for the Hyperion builds on the film’s emotional intensity using beautiful performances, thrilling choreography and the most cutting-edge design elements.”

A great amount of creative energies have been employed to bring “Frozen – Live at the Hyperion” to the stage. Harrel and Tommy have assembled a team of creative talent from both Broadway and Disney to create this production. The principal designers are Robert Brill (scenery), Charles Lapointe (wigs), David Weiner (lighting), Aaron Rhyne (projections) and Broken Chord (audio), and Ramos (costumes).

The challenge of bringing the animated non-human characters of Sven and Olaf to the stage was assigned to master puppet designer Michael Curry, who co-designed with director Julie Taymor the animal creations of “The Lion King” on Broadway, the magic mirror in “Snow White: An Enchanted Musical” at Fantasyland Theatre, and many other Disney parades, shows and projects, as well as projects for Cirque du Soleil and the Metropolitan Opera. Curry’s intricate designs created for Olaf and Sven allow the performers to connect with the characters and bring them to life on stage in new ways.

An entirely separate two-act Broadway production of “Frozen” is currently being prepared by Disney Theatrical Productions and is slated to join Disney Theatrical’s New York productions of “Aladdin” and “The Lion King” for spring 2018 at a theater to be announced. It will have a pre-Broadway engagement starting in summer 2017 in Denver.

Movie Review 'X-Men Apocalypse'

By

Joel Covey

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May 25, 2016

In a world filled with one comic book based action flick after another, the benchmark gets set higher and harder to surpass with each new superhero film. X-MEN: APOCALYPSE already had big shoes to fill with its last critically successful film of the franchise ‘DAYS OF FUTURE’ PAST and a few of other big releases of the year, ie: CIVIL WAR, DEADPOOL and BATMAN VS SUPERMAN. This latest installment in the X-Men related catalogue strives to be no less than astonishing yet slightly over-the-top. Bryan Singer returns to the franchise with the biggest, most epic X-Men to date. Regardless of what others are saying, this one is more powerful and inconceivably stunning than any other superhero film (period). Oh, are you doubting me because you have seen some other low ratings? Well then, let get to it.

X-Men: Apocalypse has an unfair advantage trying to stick out in already mutant superhero genre heavy year. Competing against similar themes with a team of already well-known superhero’s fighting against each other or together against a bigger villain out for world domination, X-Men: Apocalypes is able to join the two in an incredibly convoluted if not complicated storyline, but I mean it in the very best of ways.

Jumping into an already very large cast of mutants, the film faces difficulties starting with several smaller groups of X-Men and merging into a larger story where everyone melds in to each others subplot one way or another. ‘Days of Future Past’ has already successfully completed the task, but now ‘Apocalypse’ is able to build upon a now more known set of characters with a bigger backstory for each. While this is nothing like how Disney has assembled Avengers in all of their own movies before bringing them together, X-Men has been able to get there by means of a smart structure in its last couple of films. Smaller origin stories are sprinkled throughout and deeper understandings of some X-Mens future statuses are explained. A very challenging interwoven plot can get messy, but Singer has been able to keep it together while being able to touch upon what every X-Men fan should have been wanting.

Set in the late 80’s, the first and most powerful mutant from the Marvel’s X-Men universe, Apocalypse, is accumulating the powers of other mutants as he awakens after thousands of years trapped in a deep unconsciousness. When awoken by mistake by the unwarranted return of Moira (the delightful Rose Byrne), Apocalypse recruits his own team of mutants including Magneto (Michael Fassbender), to cleanse the Earth in order to start anew with only the most powerful mutants this world has seen. The younger X-Men generation along with Raven/Mystique (Jennifer Lawrence), Professor X (James McAvoy), Jean Grey (Sophie Turner), Quicksilver (Evan Peters) and many more including several surprises must come together to defeat the all powerful God with the self-inflicting name, Apocalypse.

Perhaps some negativity could be had at the expense of a not-so-linear storytelling method, but this has already become the expectation of the series. As seen within a brief synopsis, the general theme is constant, but why single out this movie from the rest? Bad timing may have resulted in less appreciation than this film deserves!

Even with a giant cast with some characters having a far less of a chance of having validity for being featured, like Olivia Munn’s almost silent character Psylocke, the film features great performances by all the mutants. While many may knock Apocalypse’s poorly done aesthetics and make-up heavy design, the film doesn’t take itself for more than what it is. Often poking fun at itself, it knows comedy is needed in what has become a darker, grittier lump of a genre films these days. From BATMAN BEGINS, to IRONMAN, to Netflix’s DAREDEVIL; superhero movies have gotten dark. Compare the first X-Men, or HULK, or the first Fantastic 4 with today’s style. X-Men: Apocalypse has become slightly darker than it’s predecessors, but it still knows it’s a movie based upon a comic book. So let’s keep this little fact in mind when picking apart some of the flaws in these films. I mean, I can complain as much as I want that each new character is somehow able to find a seamstress within minutes and appears later in some badass costume as if they were able to go to Joann’s to make these outfits. Some of this I have learned to look past or else I would hate everyone of these films.

Fox and Singer have successfully made a film filled with impressive CGI filled action sequences that doesn’t become tired half-way through. Every sequence is massive with what appears to have been a tiresome task of the creation of these computer generated scenes of destruction. Every effect if gorgeous and intricate to the point of finding myself in awe in every battle scene.

While I usually do not suggest 3-D as being a necessity, I do find the need to seek out a quality theater as sound mixing plays an integral part of this film. Think MAD MAX meets the high-flying, powerful superhero universe. Every punch, every superpower zap, every death defying leap, every piece of wizardry is felt within the sound mixing. From Cyclops’s loud jolts of laser beams to the rumbling of Magneto’s magical forces to control metal, every piece of sound is loud and thunderous. This is not something you should just stream to your phone at a later date.

At the end of this ride, my buddy and I simply leaned back in our chairs and looked at each other in pure laughter of how unbelievably impressive it was from start to finish. We had no other way to react but to laugh in enjoyment. I know you don’t want to hear it, but I have to say it and must apologize for my cringeworthy cliche that I am about to bestow upon your eyes. So good, it was funny.

It’s a mighty long film and can be noticeable, not due to a slowness of pace or boredom, but rather because so much takes place. I am seriously at a loss to how some are not praising this film. This is exactly what one should crave for in a superhero movie. Not only is it simply epic, but holds meaning if anyone has any investment in anyone of these characters. This genre will always be faced with either dealing with villain wanting to takeover the world or the internal conflicts faced with a superhero’s past. It’s the nature of the beast and truly what every film of its kind is ultimately about. While deeper meanings and self-reflecting themes will play out, X-Men will always remain true to its tolerance and acceptance moralities.

X-Men: Apocalypse makes no mistake of what its trying to be. It knows its self-worth and doesn’t try to preach. Instead, audiences will find a massively entertaining, action-adventure, with rounded characters and a larger story that will leave you waiting in anticipation for the next (X-Men related) installment.

Watch the Official Trailer:

A look at 'Alice Through the Looking Glass" Press Conference

By

Robert Rivera

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May 25, 2016

Published in 1865 Lewis Carroll’s “Alice’s Adventures in Wonderland” and six years later in 1871 came “Through the Looking-Glass and What Alice Found There” both of which captivated readers around the world. In the latest iterations of the classics with “Alice in Wonderland” in 2010 and now six years later as well comes “Alice Through the Looking Glass” both of which are visually stunning interpretations that will continue to captivate audiences for years to come.

For years the producers of “Alice in Wonderland” talked of a second film, but knew one thing for certain: the film would not be a straight adaptation of Carroll’s second book. “The ‘Looking Glass’ book is essentially a bunch of random and bizarre episodes from Carroll’s life which don’t bear any relation to one other,” explains producer Suzanne Todd (the “Austin Powers” films, “Memento,” “Across the Universe”), “So we had discussions about what would be interesting thematically and what we wanted the story to convey, but we just weren’t there yet.”

When it came time to find a director to take on the next chapter in Alice’s story, the producers knew it had to be someone special, as the bar had been set fairly high with Tim Burton on the first film. “Everyone was in agreement that the tone of this new film should be somewhat lighter and more comedic,” says producer Joe Roth (“Maleficent,” “Snow White and the Huntsman”), “And James Bobin turned out to be the man. He knows comedy, loves history and is intelligent, creative, and the kind of person people want to be around.”

You cannot change the past. It always was. It always will be.
Although I dare say, you might learn something from it….-Time

During a recent press conference, we had the opportunity to hear from Director James Bobin, Producer Suzanne Todd, Mia Wasikowska (Alice Kingsleigh), and Anne Hathaway (The White Queen) about various aspects of the movie.

Q: Why did you decide to produce this movie, and why now?

Todd: It took us a long time after the first movie to really come up with an idea that we felt was worth taking on. We went back into the literature, we went back into what was so popular for 150 years and themes came up that interested us; time, the preciousness of time, the importance of spending time with loved ones and what a kickass girl can do if she sets her mind to it.

Q: Blending multiple worlds and being that this is your first experience with CGI animation, how do you pay homage to what comes before and retain that essence, but put your spin on it?

Bobin: It’s a question of tone, and tone is the result of a million decisions over the course of the production of the move. It was something I was incredibly aware of. I saw Tim’s first movie and it looked absolutely beautiful. It set some parameters in order for the movie to work. This film was set in another time period, a different geographical location and I felt I needed to bring something from myself into it as well. I felt we couldn’t tell the story of the book because of the cause and effect and how it all starts to blend but I wanted to pay tribute in that it was a story he could appreciate. I think he would appreciate the idea of time travel which I wanted to keep, while having time be a person was Carroll’s idea. It was Carroll who wrote it in the book. It’s incorporating these elements of Carroll’s story whilst maintaining a Tim world and bringing something of what you think those things are.

Todd: When you talk about the achievement of the tone and look, it is thousands and thousands if not millions of decisions. We were very lucky in many cases to have Danny Elfman come back to do the score, and Colleen Atwood who won an Oscar for the first Alice to come back and do the costumes. We had a big production designer Dan Hennah, another academy award winner who we were very lucky to have. We chose someone who really fit in and helped James honor what Tim had done and push it into something fresh and new that was James’ thing. Ken Rosling doing the visual effects obviously helped. It was millions of decisions.

Q: How do the themes in the movie like time working against you, being a female, and being put in a box relate to you and how close it hits home to you especially in this business and being actresses?

Wasikowska: There are so many messages in this film that I think are really great. Even with just the message of time being that there are always things that we wish we could do different in the past but the best way to have peace with it is to accept it and then move forward and not try to change things. I guess it’s an anomaly to have a big summer blockbuster to have a female lead and I guess it’s strange that it’s unusual and hopefully that’ll become more normalized.

Hathaway: There was one scene that I was surprised to find myself really crying during, and it was the scene where Alice wakes up and she’s in the mental institution, and the reasons that she was committed were being excitable, imaginative, and typical female hysteria. They tried to inject her with a drug to dull her and to make her less heself and more controllable. She fights back and she turns it around and she winds up injecting him with it. I was bursting with pride to be in a movie that is taking the narrative back. I’m really proud to work with a company like Disney who’s really looking at who it has been and whether or not it wants to continue being that. They look at the stories they put out into the world and now they have the courage to revise them based on what we know and how we have evolved.

Directed by James Bobin, “Alice Through the Looking Glass” stars; Johnny Depp (Mad Hatter), Anne Hathaway (The White Queen), Mia Wasikowska (Alice Kingsleigh), Matt Lucas (Tweedledee/Tweedledum), Helena Bonham Carter (The Queen of Hearts), and introduces new characters played by Rhys Ifans (Zanik Hightopp), and Sacha Baron Cohen (Time). Also featured are the voices of Alan Rickman (Absolem), Stephen Fry (Cheshire Cat), Michael Sheen (White Rabbit), Timothy Spall (Bayard), Barbara Windsor (Dormouse), Paul Whitehouse (March Hare), and newcomer Matt Vogel (Wilkins). The producers are Joe Roth, Suzanne Todd, Jennifer Todd, and Tim Burton, with John G. Scott as executive producer.

Disney’s “Alice Through the Looking Glass,” which is presented in Digital 3D™, Real D 3D and IMAX® 3D, opens in U.S. theaters on May 27, 2016.

Watch the full trailer below:

Backstage with Disney’s NEWSIES

By

Marta Darby - Contributing Writer

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May 24, 2016

If there ever was a time to ‘seize the day,’ now is absolutely the time. Disney’s NEWSIES is playing an exclusive two-week premiere engagement at Segerstrom Center for the Arts with performances May 17 through May 29, 2016 in Segerstrom Hall.

Set in New York City at the turn of the century, NEWSIES is the rousing tale of Jack Kelly, a charismatic newsboy and leader of a ragged band of teenaged ‘newsies,’ who dreams only of a better life far from the hardship of the streets. But when publishing titans Joseph Pulitzer and William Randolph Hearst raise distribution prices at the newsboys’ expense, Jack finds a cause to fight for and rallies newsies from across the city to strike for what’s right.

We were delighted to get a behind-the-scenes look into what it takes to get NEWSIES on the stage, as well as an exclusive visit with principal cast members, Joey Barreiro as ‘Jack Kelly,’ and Morgan Keene as ‘Katherine.’

We were excited to see all the exquisite attention given to even the smallest details that end up on the stage, from “grunging up” the NEWSIES’ 150 costumes by Wardrobe Supervisor, Gillian Austin to the presence of an actual antique 1200 lb. Chandler & Price printing press used in the show.

Production Stage Manager, Jeff Norman gave us a close up look at the fantastic set designed by Tobin Ost. The imposing three level set rises over 24 feet high and features three completely automated towers. Built of steel and aluminum, it weighs seven and a half tons. Its three towers can move 14 feet up and down stage, revolve 350 degrees and re-configure to create – among the show’s many locations – tenement fire escapes, a theatre’s backstage and the Brooklyn Bridge. The cast climbs 75 steps to reach the set’s nine distinct playing areas.

It was such a treat to see all the moving parts that come together so beautifully to bring this amazing show to life. The only thing missing from our backstage tour was the imaginative and unbelievable choreography that makes this show an absolute must-see.

Movie Review 'Alice Through The Looking Glass'

By

Joel Covey

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May 24, 2016

The whimsical zany characters of Tim Burton’s Alice in Wonderland have returned in Disney’s ALICE THROUGH THE LOOKING GLASS with a new director yet same colorful ‘bizarro’ cinematography and vivid stylization. The talented cast remains with a stronger emphasis on a plot focused around Johnny Depp’s Mad Hatter backstory and an equally as ridiculous new character Lord of Time played by the outrageous Sacha Baron. Alice, Mia Wasikowska, along with the rest of the over-the-top characters of Wonderland have returned in this sequel designed to be exactly what fans of the original would want. Alice Through The Looking Glass’s look and feel remains true to Tim Burton’s successful adaptation with the addition of a meaningful heartfelt story that can win-over the hardest critiques of the genre.

Director James Bobin, (THE MUPPETS, MUPPETS MOST WANTED), brings an Alice sequel that is to the ’T’ of what one should expect from this Disney sequel. A film shot almost entirely around green screens and endless visual effects and motion capture, can be challenging to not become too gimmicky while standing above the rest. Alice Through the Looking Glass excels in the genre with a theme that works to the style perfectly. There are endless amounts of gorgeously created scenery and gigantic action sequences that helps bring a broader appeal to those that may already not be a fan of the stylization. Still outlandish and strange, the movie is not for everyone, but an Alice movie probably should take some chances to fulfill the insanity quota the comes with the Alice characters. Just take a look at the animated film again.

Alice is once again seen not conforming to the societies social norms, but is faced to make a difficult choice between her father’s belongings and the families money. To find her answer she is chased back into the whimsical world of Wonderland or as some say, Underland. This time she must help save the Mad Hatter from losing all of his sanity in a tale that combines heart with several other subplots leaving interesting foot notes but a lack of investment.

Extreme close-ups of the Hatter and the Queen of Hearts brings some awkwardness, but helps prove that the filmmakers weren’t shy of taking chances. Johnny Depp shines again with an incredible performance that proves that he still can astonish with his acting. Helena Bonham Carter shows many sides of emotion in her Queen of Hearts character with a storyline that brings to light the reasoning behind the globe of a head and her hatred for just about everyone else. The incredibly animated animals of the tea party also return with more emotion than ever. Sadly, Anne Hathaway’s flailing and swaying of arms character remains just as annoying as before. Mia Wasikowska has more of a role model 19-year-old version of Alice that many girls should be looking up to. She’s more of a strong Dorothy of Oz demeanor than anything with the perseverance that she will accomplish her dreams no matter the obstacle.

The cast of Lewis Carroll’s creations gets a chance to shine more-so than the 2010 film, however it’s Time that helps this sequel chug along. No no… I mean Time is what this film needed. Wait, okay, the name of the character is Time, part man part Universes clock, and the writers get to have endless amounts of fun at the expense of his name and inanimate sense. Sacha Baron Cohen was the right amount of silly for this performance. Much of his inner workings were very intelligent. The meaning behind himself and much of his jokes were actually quite brilliant. This witty comedy pushed the movie forward whenever a lag began.

The film moves right along and packs a little punch. This is highly important in a near two hour film. Everyone I spoke to seemed to agree that Alice Through the Looking Glass is incredibly entertaining, yet still struggles to make much of an impact. To be frank, we just didn’t care about the story as it’s all in her a fake mystery land anyway, right? While the touching story of the Hatter’s is a more meaningful plot, it remains on a mute point to the rest of the Time plot that outweighs the actual meaning and mere moral of the story. The final 20 minutes gives a saving grace to an otherwise little invested backstory of much of the main cast.

It’s utterly beautiful. It’s elusive Underland experience is impressive, but strange at times. The mystery of their histories is interesting yet lost in so many other absurdities and those strange faces that stretch from one screen end to another. Alice Through the Looking Glass is nothing that you shouldn’t already expect however, but is that what the audience wants? Above anything else, the moral behind the story is clear and delivers the right message for moviegoers. While the film may become forgettable its deeper meaning may resonate in the viewer forever.

Blu-Ray Review: The Finest Hours

By

Shaun Beckerman

-

May 24, 2016

I’ve always loved films that delve into the psyches of the true heroes of our world. Not action heroes or superheroes, but the real people who make the tough calls and are willing to put their lives on the line for the greater good. I’m talking about people like Bernie Webber, the remarkable man behind the true story of Disney’s The Finest Hours.

In 1952, Bernie led what is regarded as the “greatest small-boat rescue in Coast Guard history.” When a record breaking storm hits off the coast of Cape Cop, two oil tankers are simultaneously ripped in half. This unthinkable event propels Bernie into a rescue mission to that seemed like nothing short of a death sentence. Having been assigned to find and rescue the crew of the SS Pendleton, Bernie would have to overcome giant waves, a lost compass and the constant threat of hypothermia. In doing so, he had to constantly weigh the risks and make life-or-death situations that ended up saving the lives of almost seaman on board.

Making things even more tense, the sequences of Bernie trying to find the Pendleton are intercut with the struggle of the Pendleton’s crew itself. Their struggle to stay alive is just as harrowing as Bernie’s struggle to find them. The filmmakers have crafted an extraordinarily tense environment where every decision could lead to the destruction of their ship. With no communication to the outside world, they don’t even know if anybody is coming for them, and they are forced to just try to survive while waiting for the inevitable.

A film like this wouldn’t work without a fantastic cast for the audience to identify with. Every character in the film feels true-to-life.Their journey is an emotional rollercoaster that the filmmakers masterfully use to bring the audience to the edge of their seat. Particular standouts are Chris Pine as Webber himself and Casey Affleck as Ray Sybert, the man forced into the role of caption after the destruction of their ship. Both men convey a steely resolve to survive that is captivating to watch.

On a technical level, the film is a little sketchy. By nature of the story, there has to be a lot of CGI, and while it’s perfectly serviceable, it isn’t always what I’d call believable. Far more effective is the set built for the Pendleton. Practically a character in and of itself, this is a breathtaking setpiece, shot with a masterful eye. This set looks to be several stories tall with a great deal of moving parts. Throughout the movie, as the set is flooded, I couldn’t help but think of the incredible craftsmanship that must have gone into developing a set such as this.

However, despite what works and doesn’t work on a technical level, this is a movie all about the characters and story, and on that level, it’s a complete success. The movie takes it’s time to get out to sea, allowing us to get to know these characters, especially the relationship between Webber and his fiance, Mariam. This is one of those aspects of the film that I would have believed to be crafted for audience manipulation, but in researching the true story afterwards, I was amazed at how accurate the depictions of these characters actually was.

Unfortunately, the recently released Blu-Ray is pretty bare bones. There is a 15 minute short look at the real Webber featuring interviews with several people who were there for the real event, and most fascinating, an interview with his actual daughter. The pride in her face is evident, and it’s a joy to watch her speak about her family. Other than that, there are two short deleted scenes, and while nothing special, they do show some incomplete FX work that really demonstrates how the film was made. Rounding out the disc are several features running 1-2 minutes that play up the real heroes of the Coast Guard, but don’t provide any insight into the film itself. I would have liked to have seen some behind-the-scenes Making-Of type features, but there are none to be found. Picture and sound are as great as expected.

The Story of How They Met – Deleted Scene

Overall, the film is far better than the extras would lead you to believe. This feels like a slapped together disc of a great movie. This film is truly inspiring. While there are several options for Bernie and his crew to back out and go home, they never do. It’s amazing that there are people among us just like this, and if nothing else, that reminder makes this a worthwhile film.

A Desperate Idea – Deleted Scene

Teaser Trailer for Disney's "Beauty and the Beast"

By

Robbie Bulus

-

May 23, 2016

Disney’s “Beauty and the Beast” is a live-action re-telling of the studio’s animated classic which refashions the classic characters from the tale as old as time for a contemporary audience, staying true to the original music while updating the score with several new songs. “Beauty and the Beast” is the fantastic journey of Belle, a bright, beautiful and independent young woman who is taken prisoner by a beast in his castle.

Despite her fears, she befriends the castle’s enchanted staff and learns to look beyond the Beast’s hideous exterior and realize the kind heart and soul of the true Prince within. The film stars: Emma Watson as Belle; Dan Stevens as the Beast; Luke Evans as Gaston, the handsome, but shallow villager who woos Belle; Oscar® winner Kevin Kline as Maurice, Belle’s eccentric, but lovable father; Josh Gad as Lefou, Gaston’s long-suffering aide-de-camp; Golden Globe® nominee Ewan McGregor as Lumiere, the candelabra; Oscar nominee Stanley Tucci as Maestro Cadenza, the harpsichord; Gugu Mbatha-Raw as Plumette, the feather duster; six-time Tony Award® winner Audra McDonald as Madame Garderobe, the wardrobe; Oscar nominee Ian McKellen as Cogsworth, the mantel clock; and two-time Academy Award® winner Emma Thompson as the teapot, Mrs. Potts.

Directed by Oscar® winner Bill Condon from a screenplay by TBD based on the 1991 animated film, the film is produced by Mandeville Films’ David Hoberman and Todd Lieberman with eight-time Oscar-winning composer Alan Menken, who won two Academy Awards® (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three-time Oscar winner Tim Rice.

“Beauty and the Beast” will be released in U.S. theaters on March 17, 2017.

Genre: Live Action Musical
Rating: TBD
U.S. Release date: March 17, 2017
Running time: TBD

Cast: Emma Watson, Dan Stevens, Luke Evans, Kevin Kline, Josh Gad, Ewan McGregor, Stanley Tucci, Gugu Mbatha-Raw, Audra McDonald with Ian McKellen and Emma Thompson
Director: Bill Condon
Producers: David Hoberman, Todd Lieberman
Executive Producers: Jeffrey Silver, Thomas Schumacher, Don Hahn
Screenplay by: TBD
Based on the
1991 Animated Film

Music by: Alan Menken
Lyrics by: Howard Ashman and Tim Rice

Extra! Extra! Newsies Arrive in OC

By

Joel Covey

-

May 18, 2016

The talented acrobatic singing paperboys of New York from the Disney cult-classic film are now onstage at Segerstrom Center for the Arts in Costa Mesa until May 29th. This wildly popular upbeat musical has been bringing joy to theatergoers since its inception in 2011. There is no doubt Newsies is well deserving of its two Tony Awards for Best Choreography and Original Score. Disney legend Alan Menken and director Jeff Calhoun along with the rest of Disney Theatrical have teamed up to bring to stage something fans were craving for nearly 20 years. NEWSIES THE MUSICAL hits the stage running with one showstopper after the next. It’s a show filled with a plethora of bursts of high-flying dance numbers and songs you’ll be humming for an entire week. You’ll think there is nothing more they could do to impressive you and then the next song starts. NEWSIES contains nothing but pure adrenaline and joy until the lights come up!

Set in 1899 New York City, NEWSIES tells the story of Jack Kelly, a charismatic leader of the cities ‘newsies’, who only desires for a better life far from his troubled adolescent years on the streets of New York. Surrounded by the poor youth of the turn of the century, Jack rallies his boys against the ever powerful Joseph Pulitzer and William Randolph Hearst from their price hikes of their distribution of ‘papes’ at the expense of newsboys.

Inspired by the real ‘Newsboy Strike of 1899’ where newsboy Kid Blink led a band of orphan and runaways on a two week-long strike, Jack gets the rest of the boys to go up against the greedy Pulitzer with the help of new paperboy Davey and his younger brother Les. Along the way he gets a little help from a young reporter, Katherine, who may have a few tricks up her sleeves. However, it will take the support of all the Newsies to take down Goliath.

The stage version contains most songs from the film including the overall overture and theme “Santa Fe” to the powerful juggernauts of “Carrying the Banner”, “Seize the Day” and “Once and for All” along with seven brand-new songs by the original team. Also added for the tour is “Letter from the Refuge”, a brand new solo number for the now less featured newsboy, Crutchie. I couldn’t imagine this show without this added piece.

One cannot review NEWSIES THE MUSICAL without mentioning the most talked about change to the stage adaptation. While generally true to the film with a few songs omitted, the stage production writes out Jack’s original love interest Sarah Jacobs and the New York Sun reporter Brian Denton (Bill Pullman) who helped bring light to their cause. The two are replaced with new love interest Katherine Plumber, an overly sarcastic news reporter that serves as both purposes to the former.

While Jack Kelly’s character is played nearly identical to that of the film and lead by Joey Barreiro who carried the show well, the character of Katherine Plumber is absolutely rubbish. I wont put too much blame on Morgan Keene, who had a tough spot to fill. The character is written with such disgust toward Jack that she never comes off as kind. Her rude sarcasm and annoying undertones left toward Jack are downright irritating and uncharismatic. There was nothing redeeming about this character except that she had a heart to help with the ‘newsies’ strike.

We can dissect this adjusted plot line to no end, but overall I think it’s best to mention that Jack’s original love interest was clearly and afterthought in the film feeling pushed and hurried. The addition of Katherine could be nice if she was a more endearing counterpart. However, Denton the reporter is sorely missed with his devoted support for the boys as well as the bigger subtext of taking down the behemoth newspaper conglomerate that had such political power. Plus, there’s less of focus on Jack’s desire to have a caring family like Davey had in the film.

NEWSIES THE MUSICAL doesn’t have much to pick apart though. It’s a giant ensemble cast of incredible talent that somehow seems to outdo themselves with each dance number. The new adjusted storyline works, and works well, but it’s the strong musical numbers and amazing dance numbers that shine. All the ‘newsies’ are incredibly fun to watch with moments of astonishment as each choreographed routine gets bigger.

The whole production is meant to wow. Stage design is unique and LARGE with gigantic moving parts that surely will leave you impressed. The lighting, costuming, staging, and overall production value will just have you blown away. Even the curtain call is engaging and an act all on its own. This is non-stop fun that never tries to take things too seriously or push too much of a political undertone. The show could very easily add a large subtext but instead focuses on one boys dream to make things right with his band of brother.

Fans of the film can’t miss this production and theatergoers of all ages shouldn’t skip this refined and pristine show. Every number, every note, every dance step hits its beat. No flaws in the songs adaptations or characterization except for those previously mentioned. Be prepared to cheer with everything you have, these performers deserve it.

NEWSIES THE MUSICAL is now playing at Segerstrom Center for the Arts in Costa Mesa until May 29th. Visit scfta.org for more information!

Universal Studios Hollywood First-Look, Making-of-Video at “The Walking Dead” Attraction

By

Robbie Bulus

-

May 18, 2016

Universal Studios Hollywood reveals a behind-the-scenes look into the making of its new permanent walk-through attraction based on AMC’s record-breaking television series, “The Walking Dead,” and announces that the eagerly-awaited experience will debut on Monday, July 4, 2016.

The captivating two-minute video features insightful commentary from Greg Nicotero, executive producer and director of “The Walking Dead” as he tours his LA-based special effects studio, KNB Efx, which is responsible for masterfully creating the show’s—and now the attraction’s—realistic decaying walkers.

“After six years of working on ‘The Walking Dead,’ we have a great opportunity to take ‘The Walking Dead’ out of the studio, off the soundstage and into an attraction at Universal Studios Hollywood where guests can come face-to-face with walkers,” said Greg Nicotero.

He continued, “It’s very exciting to be able to make the attraction as 100 percent authentic as possible. We’re getting the chance to utilize molds that were created specifically for the show and translate them into parts of the attraction. We’re creating animatronic walkers that guests will be able to see…it’s never been done before….it’s one-of-a-kind, state-of-the-art….and I can’t wait.”
Universal Studios Hollywood has worked collaboratively with AMC’s “The Walking Dead” for years as a signature “Halloween Horror Nights” maze. This newly enhanced venture will take the highly sought-after experience from a seasonal, limited time offering to an exciting 365-day opportunity, raising the bar for themed walk-through attractions.

To ensure authenticity of the attraction, Universal Studios Hollywood is partnering with “The Walking Dead’s” creative team, including Greg Nicotero and KNB Efx to develop prosthetics, utilize original molds and painstakingly apply paint and detailing to attraction walkers. The integral involvement of the creative team will not only inspire the emotional connection fans experience, it will be among the attraction’s key distinguishing characteristics that will define it as a living representation of the show.

Coupled with authentic walker make-up effects, sophisticated animatronic walkers, substantially more detailed set design and costuming, and highly recognizable props replicated from the series, “The Walking Dead” attraction will deliver an uncompromised realistic environment that brings guests even further into the most watched show in cable television history.

The “The Walking Dead” attraction will be located within an entirely new, custom built structure, situated within an expansive building complex just inside the theme park’s main entry. Due to the intense nature of this experience, the attraction is not recommended for guests under the age of 13.
The past five years have been a remarkable time for Universal Studios Hollywood as the destination embarked on an unprecedented revitalization that has substantially altered over 75 percent of its familiar footprint to effectively characterize it as an entirely new theme park experience. The introduction of the all-new “The Walking Dead” attraction continues the theme park’s unparalleled investment in its ambitious epic transformation.

AMC’s “The Walking Dead” depicts the story of survivors in a post-apocalyptic world overrun by hordes of terrifying flesh-eating walkers. It is the #1 show on television among adults 18-49 for the last four years and will debut its seventh season this October.

Socalthrills.com

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