If you need a break from modern livin’, make sure to shed your weary load and check out Funko Games’ new twist on a classic Disney favorite with the recent release of A Goofy Movie Game. Based on the 90s cult classsic, A Goofy Movie, this family friendly game is a perfect way to relive some of your favorite movie moments, bringing to life some of the film’s most iconic moments and visuals.
The game features Goofy’s official family map, passed down from Goof to Goof, giving you the keys and making you and up to 3 additional players the opportunity to be the official navigator of the Goof Family Road Trip.
As you encounter various stops and destinations, you can earn points and rank up in the hopes of being the first to make it to the highly anticipated, sold out, and sensational Powerline concert in Los Angeles.
From start to finish, A Goofy Movie Game is a perfect addition to bring on your next big trip, being easy to play and fun for all ages. The game also includes quick play reference cards to remind you of special rules and objectives, as well as beautifully designed game pieces and icons that make the game a definite collectors item. For any diehard Powerline fans, make sure to turn the game board over, as it transforms into a stunning concert poster.
Yet, the best part of the entire game is the front board design, which is as mentioned above, is a perfect replica of the very map Max and Goofy used to trek across the country on their way to Lake Destiny and Los Angeles. What path will you take, and do you have what it takes to “stand out” above the rest? Check out some of the cool features below!
Includes 6 detailed character figures- Max, Goofy, PJ, Roxanne, Bobby Zimmeruski, and of course, Powerline
Travel across the road map game board to reach L.A.
Roll the giant gold, sparkly die to see where Goofy and Powerline go!
90s visual design captures nostalgia for the film.
Original card art depicts beloved locations and moments from the movie.
Don’t throw away your shot to catch one of the biggest Broadway hits of all time this fall at the Segerstrom Center for the Arts. The musical smash, “Hamilton”, has returned to Orange County for a limited run from September 28th to October 16th.
“Hamilton” does not disappoint, delivering a stellar performance that pulls on every heartstring and emotion, weaving a brilliantly performed tapestry of talent onto the stage in a way that can only be described as unforgettable!
Photo by: Joan Marcus
Coming from someone who has never had the opportunity to see this performance live and only being able to see the Disney+ release of the original cast recorded performance, “Hamilton” delivers, shaking and rattling the historic and legendary foundations of the production’s origins, satisfying in bringing the same energy, vigor, and unique qualities that made that original cast and production such an instant classic.
Photo by: Joan Marcus
It all comes down to the magnetic performance of Deaundre’ Woods as Alexander Hamilton. From start to finish, Woods encapsulates every element of what Hamilton represents, not throwing away any opportunity to bring the audience closer into the heart and mind of the title character.
Yet, the best part of his performance comes from the chemistry he sets on fire with the rest of his cast, navigating the larger than life persona of Hamilton with ease, still making room in the spotlight for the rest of his ensemble; especially looking at his dynamic with Donald Webber Jr, who brought in a wonderful performance as the infamous rival to Alexander Hamilton, Aaron Burr.
Webber Jr was the perfect foil to Woods, dialing in all the right elements to showcase the complex and complicated relationship Burr had with Hamilton throughout the fray of the revolution and construction of a new nation. In the end, he delivered a show stopping performance, slowly and patiently building you up to the final moments with a mixture of empathy and scorn. We cannot help but love every second of it!
Photo by: Joan Marcus
Regardless of some of the more serious and melancholic historical tones “Hamilton” has packed in, the laughs and whimsical moments are still plentiful, with many of the laughs coming from Paris Nix, who took the dual roles of both Marquis de Lafayette and Thomas Jefferson, as well as Jared Howelton for his dual roles of John Laurens and Philip Hamilton. We also cannot forget to mention Rick Negron’s King George, who in true ‘Hamilton’ fashion, brings down the house with non-stop laughter. Each of these remarkable players brings the charm and then some, making the show’s energy balanced and full of fun.
Though we have to save the best for last, as we cannot forget the where the spotlight may have shined its brightest. Morgan Anita Wood and Marja Harmon absolutely slay as Eliza Hamilton and her sister, Angelica Schuyler. Anita Wood took our breath away time and time again, while Marja Harmon’s Angelica left a lasting presence that was impossible to ignore. The core of “Hamilton” is the music, and hearing Anita Wood and Harmon’s renditions of “Satisfied” and “Schuyler Defeated”, it doesn’t take long for the audience to “look around” and find that every single note is a masterful tribute that creates a totally new experience each time!
It’s safe to say “Hamilton” is as popular and strong as ever, with the entire cast bringing their all in a limited engagement that is unlike any other. Whether you’re a “Hamilton” veteran, or have yet to see a performance, make sure to grab your tickets soon before this tour fades into the history books.
Here’s a full look at your opportunities to catch “Hamilton” below:
On All Hallows Eve, 29 years past, a candle was lit by a virgin, unwittingly igniting a fervor and conjuring a spell everlasting with the release of Hocus Pocus. Now with almost three decades of loyal fans, the Halloween season couldn’t possibly be complete without the Sanderson Sisters. The film, which opened with a faint spark, would eventually become one of the most beloved holiday films of all time and capture the hearts of millions of mortals the world over.
Flying forward to the modern era of streaming services, countless legacy sequels. and non-stop media coverage of explosive releases like Top Gun: Maverick, it almost nonsensical not to wonder if the spell that helped lift Hocus Pocus to the status of pop culture classic could reignite the same ghoulishly delightful reception with a sequel all its own and craft a whole new reign for our favorite sisters of Salem. This Halloween season, we finally get our answer to that question.
Hocus Pocus 2 is spellbindingly spectacular, completing the impossible task of reviving the magic and mischief we all know and love from the original classic, all while weaving a new legend destined to become a spooky staple for generations to come!
It all comes from a beautiful concoction of nostalgic callbacks, new story direction, and a deeper dive into the very origins of what would become the legend of The Sanderson Sisters.
Bette Midler, Sarah Jessica Parker, and Kathy Najimy charge back onto the screen with the same comedic timing, charm, and essence we’ve come to adore from Winifred, Sarah, and Mary, making the viewer really question if any time has passed at all. They do not miss a single cue, bringing back peak performances that will release an overflow of pumpkin spiced flavored serotonin.
In many ways, not much has changed for the Sandersons, as they one again crash into the modern world with a hilarious sense of innocence, struggling to catch up to the rest of us here in the 21st Century, and along with that struggle comes comedic gold and plenty of very familiar slapstick chemistry that will leave you coming to a rolling boil of laughter. All the same, the sisters have learned the lessons of their past failings, wanting a shot at redemption and to take their vengeance out on the mortals of Salem with the power of song (Yes, it wouldn’t be Hocus Pocus without a musical number) and wickedly misplaced optimism.
There is definitely more than meets the eye of a very special spell book here, and with it, Hocus Pocus 2 avoids turning into a layered graveyard of fan service and tired gags that many legacy sequels have trekked upon.
Instead, the movie branches into a fresh and unique territory that contains plenty of new and diverse elements, making it as relevant as ever. Hocus Pocus 2 shines through the expectations and holds its own Black Flame candle up proudly without the need to heavily rely on what came before.
It does this in two ways, with the first being a subtle and brief glimpse into the Sandersons’ past, as well as some additional sprinkles of character development for our very well established witches. This new element adds to the rich tapestry of the legendary tale tastefully and without diluting the core of what made the sisters so special to us all in 1993.
To do this, Disney conjures up some fresh faces that bring the young Sanderson Sisters to life, each being a perfect mirror into their older counterparts. Taylor Henderson takes the helm as young Winifred, playing alongside Nina Kitchen as Young Mary, and Juju Journey Brener as Young Sarah. Each of them bring in the laughs and will leave you wanting more. Clearly, younger versions of our favorite characters seem to be something Disney continues to strike gold with and something audiences can all appreciate.
The second element that brings Hocus Pocus 2 home is the introduction of a brand new cast and stakes, taking shape through the brilliant talent of Whitney Peak, Lilia Buckingham, Belissa Escobedo, along with Veep star Sam Richardson and Toy Story 4 and Arrested Development alum, Tony Hale. That’s not to say there aren’t other fun cameos, including the ever talented Doug Jones, who reprises his role as the clumsy and friendly zombie, Billy Butcherson.
The true standout is Peak, who steals the show and creates a magic spell all her own, going toe to toe with the legendary Midler and company without any trouble fitting right in with the veteran ensemble.
Starring as Becca, Peak opens the door for a brand new twist that drives the film to new heights of emotion and feels. Peak isn’t alone in the battle, as she gets some help from Escobedo, who does a glorious job rounding out the final touches of this wonderful new team. Not to forget some fun moments with both Buckingham and Richardson, both who stand on their own in this incredible new team with a nostalgic “passing of the torch” vibe that would make Team Dennison proud.
There is plenty in store for hardcore fans of the original, and plenty of reasons for newcomers to join in the fun. Whether or not any other surprises await will be discovered when Hocus Pocus 2 flies into its debut on Disney Plus September 30th. Make sure not to miss the spooky event of the season!
“Kim’s Convenience” sweeps up a wholesome wholesale of dramedy with family, life, dreams, and pursuit of happiness. It’s finally time to checkout more Asian stories be told on both screen and stage. Any customer of TV’s “Fresh Off the Boat” and cinema’s “Everything, Everywhere, All at Once”, should instantly buy into the market of “Kim’s Convenience”. The show focuses more on the drama which helps the audience relate to the characters more when the punchlines are given that releases the tension. This timeless and relatable story is worth the full price of admission for any audience with an immigration background.
Laguna Playhouse opens its 2022-2023 season with the California premiere of “Kim’s Convenience”, written by Ins Choi and directed by Jon Lawrence Rivera. The most successful new Canadian play of the last decade, “Kim’s Convenience” is an ode to generations of immigrants set in a family-run Korean convenience store. Mr. Kim is a first-generation Korean immigrant and the proud owner of Kim’s Convenience for the past 30 years. He runs the business with his church-going wife.
Now he’s trying desperately to grapple with both a changing neighborhood landscape and the chasm between him and his second-generation offspring. His daughter, Janet, pursues a career in photography while his estranged son, Jung, is unhappy working at a rental car company. Since its debut in 2011, the play has been a proud recipient of numerous Canadian theatre awards. “Kim’s Convenience” latter translated into the hit Canadian TV series and featured on Netflix program of the same name headed by the original writer.
Yong Kim as “Appa” establishes a character dependent on his genuine instincts to survive the real world with stubbornness and pride. Janet Song as “Umma” flowers grace and carries a bridge between father and son. Susane Lee as “Janet” struggles to keep her sanity in the tug of war between generations. Clinton Lowe in multiple roles as “Alex”, “Rich”, “Mr. Lee”, and “Mike” puts on display a rolling range of talent and harmony. And Gavin Kawin Lee as “Jung” respectively.
Mr. Kim receives an offer to buy out his store; enough to retire. He faces the potential of change and searches what actions to take. Options present themselves, but not without their own series of setbacks. The interaction between parent and child show the generational gap that strain relationships. “Appa” is from another country with traditional culture and background. He is superficial when it comes to profiling his customers and neighbors.
Janet is born and raised Canadian who has a love/hate view of her father. He does not see how mocking her dreams devalues her self-worth. She is reluctant to his advances of teaching her how to run the store. Even when it comes to taking out the trash. It was also a powerful and scary-accurate moment to witness on stage the difficulty a clueless parent has when it comes to exchanging words like “thank you”, “sorry”, and “I love you” to their child. The conversations with “Umma” is refreshingly spoken in Korean with English subtitles projected on an overhead wall for the audience.
Towards the end, closure takes a forward step with the children. Jung returns to the store after many years away. I thought for a moment the show would end right there, but thankfully there was more. “Appa” had Jung spouting Korean history. I thought maybe one puzzle was to be the year Jung was born, but that was not the case. Perhaps that would have been too cheesy? Janet’s story arch felt more wholesome and authentic. Jung’s story arch was askew and remains as such in the end.
There wasn’t enough draw to pull me in. Maybe I missed the point of Janet’s story having an affect on Mr. Kim’s attitude toward Jung. The one act stage play is presented with no intermission and runs about an hour and twenty minutes.
Playing now and ready for checkout at your earliest convenience until Sunday, October 9, 2022 at 1 pm at the Laguna Playhouse, 606 Laguna Canyon Drive in Laguna Beach. Performances will be Wednesdays through Fridays at 7:30 pm; Saturdays at 2 pm & 7:30 pm; Sundays at 1 pm & 5:30 pm. There will be added performances on Thursday, September 29 at 2 pm and Tuesday, October 4 at 7:30 pm. There will no performance on Sunday, October 9 at 5:30 pm.
Tickets range from $50 – $75 and can be purchased online at www.lagunaplayhouse.com or by calling (949) 497-ARTS (2787). Group discounts are available by calling 949-497-2787 ext. 229. Prices subject to change.
The box office is open Mondays – Saturdays between 12 pm to 4 pm; Sundays open 2 hours prior to show time until 15 minutes after curtain. Open until showtime on all performance days.
Disney Music Group has teamed up with Tony Award®-winning Deaf West Theatre to release an American Sign Language (ASL) version of the Billboard chart-topping song “We Don’t Talk About Bruno” from Walt Disney Animation Studio’s Encanto, in celebration of International Day of Sign Languages, which was on September 23rd.
“The impact this film has on children cannot be dismissed. The majority of Deaf children are born to hearing families and sometimes the only exposure to the community and sign language is through videos like this. By working with Disney Music Group on expanding the access to one of their songs to the Deaf and Hard-of-Hearing communities brings us immense pride. We’ve previously collaborated with Disney Music Group on ASL videos for World Princess Week and Encanto’s ‘Surface Pressure,’ and are excited by our continued collaborative relationship advancing inclusion,” said DJ Kurs, Deaf West’s Artistic Director.
Featuring an all-Deaf Colombian and Latinx cast, this signed video adaptation of the song “We Don’t Talk About Bruno” utilizes both American Sign Language (ASL) and Colombian Sign Language (LSC, Lengua de Señas Colombiana) to add additional layers of authenticity and poetry to the song.
The sung English lyrics were translated into ASL and CSL by a team of Sign Language Choreographers who worked through the text to find the best and most accurate translation into sign and once complete it comes together into a seamless ballet of sign and music.
The video features Nataly Barahona (Pepa), Andres Otalora (Felix), Donna Valverde (Mirabel and Abuela), Jasmine Garcia (Isabela), Joseph Rocha (Camilo) and Andrea Rodriguez (Dolores). The principle creatives include Donna Valverde and Nataly Barahona (ASL Choreographers), Andres Otalora (Director of Photography), and Austin Balaich (Editor).
The Encanto Original Motion Picture Soundtrack features eight original songs by Academy Award-nominated, Tony® and Grammy®-winning songwriter/composer Lin-Manuel Miranda (“Hamilton,” “Moana”) with an original score by Academy Award-nominated composer Germaine Franco.
The R.I.A.A. Platinum-certified soundtrack held the No. 1 position on the Billboard 200 album chart for 9 non-consecutive weeks and the R.I.A.A. 3x Platinum-certified song “We Don’t Talk About Bruno” topped the Hot 100 chart for 5 weeks. The soundtrack and song held the No. 1 position on the Billboard 200 and Hot 100 simultaneously for five consecutive weeks.
Founded in Los Angeles in 1991, Tony Award®-winning Deaf West Theatre (Artistic Director, DJ Kurs), engages artists and audiences in unparalleled theater experiences inspired by Deaf culture and the expressive power of sign language, weaving American Sign Language (ASL) with spoken English to create a seamless ballet of movement and voice. Committed to innovation, collaboration, and training, Deaf West Theatre is the artistic bridge between the Deaf and hearing worlds and a trusted resource for authentic storytelling and casting in film, television, and video projects.
Projects include: A fresh and thrilling new adaptation of Oedipus at The Getty Villa, the groundbreaking production of Fidelio with the Los Angeles Philharmonic and Gustavo Dudamel; The Solid of Life of Sugar Water by Jack Thorne; Our Town, in a co-production with the Pasadena Playhouse; Edward Albee’s At Home at the Zoo, in a co-production with the Wallis Annenberg Center for the Performing Arts; Spring Awakening the Musical, which transferred from Inner-City Arts to the Wallis and then to Broadway (three Tony Award® nominations including Best Revival of a Musical).
American Buffalo (Los Angeles Times “Critic’s Choice”); Cyrano, a co-production with the Fountain Theatre (Los Angeles Drama Critics Circle Award for Outstanding Production); Big River the Musical (Los Angeles Drama Critics Circle and Backstage Garland awards for Best Musical in its L.A. premiere, a Tony Award® nomination, and four Drama Desk Awards on Broadway); Pippin, produced at the Mark Taper Forum in a co-production with Center Theatre Group; Sleeping Beauty Wakes, also a co-production with Center Theatre Group, presented at the Kirk Douglas Theatre; Oliver! (Ovation Award for Best Musical) and A Streetcar Named Desire (Ovation Award for Best Play).
In 2005, Deaf West Theatre was selected to receive the Highest Recognition Award by the Secretary of Health and Human Services for its “distinguished contributions to improve and enrich the culture lives of Deaf and hard of hearing actors and theater patrons.
One of the many star-studded panels at D23 Expo this year was the joyful and very specifically named “A Celebration of Disney Animation’s Encanto — Technology Powered by AT&T 5G”
Hosted by Tamron Hall, this panel of filmmakers included choreographer Jamal Sims, Adassa (Dolores,) Clark Spencer (President, Walt Disney Animation,) Carolina Gaitán (Pepa,) Diane Guerrero (Isabela,) producer Yvett Merino, Mauro Castillo (Félix,) writer/director Jared Bush, and Wilmer Valderrama (Agustín.)
Highlights:
Sims on the process of choreographing “We Don’t Talk About Bruno:” “It started with conversations with our directors, producers…talking about the story. For me, that’s where I connect. I have to know what the story is and what story I’m telling through movement…I really wanted to make sure that if the words went away, the movement would tell the story, you know, and so that was really important to me.”
While songwriter Lin-Manuel Miranda could not be there in person, he joined the panel virtually through the magic of AT&T 5G.
Miranda: “I’m trapped in Bruno’s tower…and if you remember, they never really explained how Mirabel got down from there?” Bush: “Shh! Shh!”
Asked how he got involved with the project, Miranda said he had heard “rumblings” about a Latin-themed Disney animation piece while he was working on Moana, and told anyone who would listen that it was something he had been preparing for all of his life–“put me in that room!”
After a brief discussion about the difficulties of making a film together but apart during COVID times, Miranda reflected on the influences of the time: “…to piggyback on what you said about making this during the pandemic. It’s not lost on me that the two biggest sort of chart hits were ‘Surface Pressure’ and ‘We Don’t Talk About Bruno.’ I wrote those in April and May of 2020, like at the height of this thing. I was living with my in-laws.‘Surface Pressure’ is about how do I keep my family safe? at the bottom of the day, and ‘We Don’t Talk About Bruno’ is about what are we allowed to talk about in front of your mother?…So I think some of that secret sauce is why that resonated with people. I think we all went through versions of those two questions, like how do we live with each other when we’re all under one roof? and how do we stay safe?“
Valderrama on seeing his character for the first time: “…You were in that room and your character pops up and it hits you in the heart so incredibly. It just goes wow that’s…that’s me, and that’s gonna be me forever. It’s a beautiful gift, and only Walt Disney Animation Studios has the capability to bring that magic to all those actors. And the memories that we remember growing up with, now we can provide to our kids. It’s unbelievable.”
The rest of the cast had similar emotional responses to their characters, and often found they shared goals and dreams with them. From Isabela’s need to let go of perfection, to Pepa’s ability to allow herself to feel whatever she feels in the moment, to Dolores’ soft-spoken, centered nature, they all found elements of themselves in the characters as well as aspirational traits they wished to take from the characters.
A special event was then announced: “ENCANTO AT THE HOLLYWOOD BOWL.” For two evenings, November 11 and 12, the Encanto cast will reunite to perform songs from the film in an immersive concert experience with a live orchestra and 50-person ensemble. The cast will include Stephanie Beatriz (Mirabel Madrigal), Carolina Gaitán (Pepa Madrigal), Olga Merediz (Abuela Alma Madrigal), Jessica Darrow (Luisa Madrigal), Diane Guerrero (Isabela Madrigal), Adassa (Dolores Madrigal), Angie Cepeda (Julieta Madrigal) and Mauro Castillo (Félix Madrigal.) Chris Howe and Jamal Sims will direct, and the orchestra will be conducted by Anthony Parnther.
Tickets go on sale at 10:00 a.m. PT on Friday, Sept. 23. American Express® Card Members can purchase tickets before the general public beginning Sept. 20 at 10:00 a.m. PT through Thursday, Sept. 22, at 10:00 p.m. PT.
The panel ended with a rousing sing-along of “We Don’t Talk About Bruno,” perhaps giving a taste of what lucky concert-goers will experience at the Hollywood Bowl in November.
Along with all the big announcements and the famous celebrities and the historical insight D23 Expo has to offer, one of its big draws has traditionally been the fabulous musical performances that often close out individual presentations or even the Expo itself. This year was no exception.
As one of the big closing acts of the 2022 D23 Expo, guests were treated to “Disney Princess–The Concert Live at D23!” a special, condensed version of the popular touring show, starring SyndeeWinters (Broadway’s ‘Nala’ in The Lion King, Hamilton,) IsabelleMcCalla (Broadway’s ‘Jasmine’ in Aladdin,) Anneliesevan der Pol (That’s So Raven, Raven’s Home,Broadway’s final ‘Belle’ in Beauty and The Beast,) and Susan Egan (Broadway’s original ‘Belle’ in Beauty and the Beast, ‘Meg’ in Disney’s animated feature Hercules) as the four Disney princesses.
Rounding out the cast were Music Director, Benjamin Rauhala (Fiddler on the Roof, The Secret Life of Bees) and performing the part of all the princes, Adam J. Levy (Moulin Rouge, Waitress.)
The group performed a wide range of Disney songs from classics such as Snow White to Beauty and the Beast to Moana to Frozen with huge animated backdrops, broken up with personal anecdotes about each woman’s experience as a Disney Broadway princess.
Even a non-Disney film got in there (still a princess.)
While each princess (and prince) got their own solo spots in the show, the real magic came from their group numbers of powerhouse harmonizing, particularly in their opening number “Starting Now” and “Into The Unknown.”
It was a magical hour of beautiful voices and glittery dresses that any fan of Disney music would enjoy.
MagicBands were one of the biggest pieces of Disneyland news was missing from this year’s Disney Parks and Resorts panel at the D23 Expo and it looks like we finally got the 411 on the future of MagicBands and MagicBand+ coming to the Disneyland Resort with this latest update from the Disney Parks Blog!
Though a definite release date has not yet been shared, the blog teases a fall release for the newly upgraded MagicBand+, which just recently debuted at the Walt Disney World Resort.
Disneyland Resort fans will soon get to enjoy the same perks as their Florida parkgoers, which allow them to access theme park tickets, Genie+ reservations, as well as give them the ability to get access to their Photopass photos with the flick of a wrist. Whether or not MagicBand+ will work with Disneyland Resort Hotel key access and park purchases are yet to be determined based on the report.
Though some other fun surprises await, including interactive features that will allow the wearer’s band to interact with the park, shows, and entertainment spectaculars, such as World of Color over at Disney California Adventure Park. A new interactive experience will also debut in Star Wars: Galaxy’s Edge. The Batuu Bounty Hunters interactive quest will guide visitors of Black Spire Outpost, finding virtual bounties across Batuu. When you find your bounty, you will be able to use an impressive augmented reality thermal viewer that guests can find in the Play Disney Parks App, revealing who’s hiding in the shadows. If you are successful in your quest, you will be able to visit local guild master Raga Bua to collect your bounty!
More interactive experiences have been teased, so stay tuned Disneyland fans! More news will come with an official release date, exclusive designs, as well as more activities guests can look forward to unlocking once MagicBand+ comes to Disney Parks. Exciting is hardly the word we would choose, as we cannot wait to welcome MagicBands to the Disneyland Resort. SoCalThrills will keep you updated as news develops!
As the leaves begin to change color and slowly fall to the ground, jackets and sweaters find their way out of the closet and back out in the chilly, open air, and the return of Halloween just days away, it’s safe to say the holiday season isn’t far behind.
The highly anticipated and ever popular series is back by Igloo Books, featuring 24 unique, inclusive, and special stories connecting to all corners of Disney’s most powerful and memorable tales. Each day, a new story will be unwrapped, giving fans of all ages a chance to let their imagination take flight and relive incredible adventures with their favorite Disney characters. We’ve had a chance to take a sneak peek into holiday future and can safely say you will not be disappointed in what’s to come!
Our favorite finds when opening our holiday presents were stories featuring new and iconic Disney characters from the latest popular releases like Raya and the Last Dragon, Luca, Onward, and Turning Red. That’s not to say there aren’t plenty of Disney classics coming along for the ride. Mickey, Minnie, and the whole gang return in some wonderful yuletide tales and tagging along include the likes of Peter Pan, Dumbo, Pinocchio, and so many more!
Holiday Spoilers Below for those who want to see what’s inside this year’s collection!
This is Igloo Books’ fifth year of publishing the Storybook Collection Advent Calendar series, and in 2021 sold 950,000 copies (across the series) worldwide. For 2022 they are continuing the Disney, Disney Princess, and Marvel advents, and are introducing Disney Calendario de Adviento which is entirely in Spanish. Each calendar includes 24 mini storybooks to unwrap from December 1st through December 24th and are great reusable products which can be enjoyed year after year, making a fantastic holiday tradition for families to cherish together.
Disney’s Storybook Collection Advent Calendar 2022 Full List:
1. Mickey’s Christmas Memories
2. The Jungle Book: It Takes Two
3. Disney Bunnies: The Secret Clubhouse
4. Disney-Pixar Turning Red
5. Lady and the Tramp: Baking Up The Right Tree
6. Toy Story 4: Officer McDimples on Duty
7. Disney Villains: Coup at the Zoo
8. 101 Dalmatians: Fire Pup of the Day
9. Incredibles II: A Day Out with Mom
10. Winnie the Pooh: What Good Friends Do Part I
11. Winnie the Pooh: What Good Friends Do Part II
12. The Lion King: The Great Cub-House Search
13. Finding Dory: Who Needs a Hug?
14. Raya and the Last Dragon: Training Tuk Tuk
15. Dumbo: Timothy’s Big Day
16. Luca: A Gift for Giulia
17. Disney Villains: Fortune Teller Fiasco
18. Robin Hood: Castle Rescue
19. Disney Villains: Secret Potion Commotion
20. Inside Out: Hotheads
21. Peter Pan: An Adventure for Wendy
22. Onward: Mighty Mom
23. Pinocchio: Figaro’s Day Out
24. Mickey’s Christmas Magic
We cannot wait to dive into the pages of each of these books and are excited for the holiday fun ahead. Make sure to grab your very own copy before they fly off the shelves.
Mel Brooks’ Young Frankenstein electrifies the stage with shocking sets, sharp wit, and hair-raising talent. Breakneck pacing keeps the show on its toe-tapping dance shoes. A laugh a minute storm of hilarity that will have you in stitches and taking your breath away. La Mirada lifts the brainchild of one of America’s treasured icons to new stimulating heights. The musical is presented by La Mirada Theatre for the Performing Arts & McCoy Rigby Entertainment.
Frederick Frankenstein, grandson of the infamous inventor Doctor Frankenstein, reluctantly inherits the family estate in Transylvania. With help of a hunchbacked sidekick named Igor and a lab assistant Inga, Frederick finds himself following in the mad-scientist tradition of his ancestor, creating a monster for this century.
Emmy and Golden Globe winner Sally Struthers of “All in the Family” fame plays housekeeper “Frau Blücher” with stirring flashes of instinctive talent. It’s vividly clear that performing courses through her veins. A.J. Holmes as “Frederick Frankenstein” and Wesley Slade as “Igor” make the perfect duo with their chemistry igniting pristine comedic timing and flair. Maggie Ek as lab assistant “Inga” and Sarah Wolter as Dr. Frankenstein’s fiancé “Elizabeth” are bursting at the seams with credible accents, evocative movement, and rousing vocals.
Trent Mills brings “The Munster” to life from dangerous dim-wit to humble being. Gregory North plays the duo role of “Inspector Kemp & The Hermit”.
The original Broadway production did not have a long lifespan before ending its New York run. Thankfully the show went under the knife, and with a few switches, cuts, and new parts, resurrected with a fresh breath of life. Marginalized songs and dialogue disappeared, replaced, and reordered creating a tighter pace to keep the show flowing with little to no dead or wasted space thus drawing the story closer to the audience.
The Broadway version strayed away from what made the movie maintain its timelessness and into areas of the brain that went numb. This new London version triumphs and overpowers the original with boundless ease. With the switch flipped, the definitive version of the musical is now uncovered exposing its true glory.
The Southern California premiere of the revised London version of Mel Brooks’ Young Frankenstein, book by Mel Brooks and Thomas Meehan, music and lyrics by Mel Brooks, original direction and choreography by Susan Stroman, choreography by James Gray, musical direction and conducted by Benet Braun and directed by Jeff Whiting. Many creative team members come from professional backgrounds, including the original Broadway production of this show.
Dig in to Mel Brooks’ Young Frankenstein playing on select days now until Sunday, October 9, 2022 at La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd in La Mirada. There will be an open-captioned performance on Saturday, October 1 at 2 pm. Talkbacks with the cast and creative team will follow after performances on Thursday, September 22 at 7:30 pm and Thursday, October 6 at 7:30 pm. Please note: For mature audiences – with a sense of humor! Contains mature humor, adult language, and sexual innuendo and situations.
Hosted by RuPaul’s Drag Race‘s Nina West, this presentation celebrating the 30th anniversary of The Muppet Christmas Carol was one of the fan favorites of the entire Expo. The panel of artists present included Brian Henson, the director, Polly Smith, the costume designer, Paul Williams, songwriter, and Dave Goelz, puppeteer for Gonzo and many others in the Muppet pantheon.
Highlights:
The idea for The Muppet Christmas Carol actually came from Henson’s agent Bill Haber, founder of CAA.
It was initially developed as a TV movie for ABC, but Jeffrey Katzenberg read it and stole it from them to remake it into a feature film for Disney.
The film is often voted (particularly in Great Britain) as one of the most faithful of the Christmas Carol adaptations, partly because of their decision to include Gonzo as Dickens, which opened the door to including a lot of the book’s prose.
When Williams got the call from Henson to do the songs, he immediately felt a parallel between the redemptive story of Scrooge, who was addicted to greed, and his own struggle at that time to quit alcohol. “Talk about timing. This guy has gone through in literature 100 years or whatever, what I’m going through this month!”
One source of discontent with the film had always been the loss of the ballad “When Love Is Gone” (sung by Belle, Scrooge’s fiancee, at the point of dissolving their engagement.) Henson revealed that Katzenberg requested it be removed because during a test screening, he saw four children leave for the bathroom and decided it didn’t play well to them. After a long discussion, Henson agreed that it could be removed from the initial theatrical release, if it was re-inserted into every version afterwards, such as home video, etc.
When it came to replace the song, however, it was discovered that the negative for the footage had inexplicably been lost and despite searching for it for over two years, it was never found.
What has been found, however, is a copy very close to the negative which has been used to put the scene back together, and on December 11th, under the “Added Extras” section, viewers can watch the Full Length version streaming on Disney+.
As a special treat, Disney legend Jodi Benson made an appearance to sing “When Love Is Gone” for the occasion.
The entire film was shot indoors on a stage so that they could use forced perspective to make all the streets seem longer…which was a relief to Henson who had not had much prior experience filming on location.
Henson on discussing Scrooge with Michael Caine: “He said ‘I think the only way I can play this, is if I never react to anything with the Muppets as is there if anything out of the usual. I’m gonna play it like I’m playing opposite the Royal Shakespeare Company.'”
Goelz on his thoughts about the film: “Like Brian said, none of us knew if we could do this without Jim. But luckily, most of the team, like Jerry Juhl, had a huge part of this and we were able to carry on and do a wonderful, wonderful, heartfelt story that really celebrated the spirit of giving that was characteristic of Jim. We all knew him as a really incredibly generous person. Kind, high-spirited…The way we wanted the world to be. So in a way, for me anyway, this was making a movie about the way we want the world to be.”
You Oughta Know that I came into this a huge fan of Alanis Morissette’s catalog already, but honestly was unsure what to expect. I’ve loved her music since 1996 when I was too young to be able to comprehend any of her lyrics on a relatable level. How can you flawlessly combine Ms. Morissette’s lyrical heartbreak and hopefulness into one cohesive story? Well, they’ve done it. Diablo Cody has weaved Alanis Morissette’s amazing work into a relatable story for many people.
Jagged Little Pill the Musical, playing now at the Pantages Theatre in Hollywood, tells the story of an average American family who is dealing with life’s challenges that are more common than many are comfortable admitting: striving for a “perfect” social media image at all costs, addiction, racism, bisexuality, and sexual violence.
Mary Jane Healy (Heidi Blickenstaff) is, at face value, the cliché all-American TV mom. MJ is somewhat conservative, meets her friends for Soul Cycle, and sends a family Christmas letter every year highlighting everyone’s achievements. Her husband Steve has an amazing job where he spends perhaps too much time but can provide for them, and they have a biological white son, Nick (Dillon Klena), and an adopted Black daughter, Frankie (Lauren Chanel).
Though the image for social media is amazing, what lies beneath is Mary Jane’s struggle with addiction to painkillers after a car accident and unresolved personal trauma. Frankie is not only Black in a white suburban family, but also queer and trying to juggle her challenges with her mom who continues to see Frankie’s non-binary love interest Jo (Jade McLeod) as one of her platonic “girl friends” and “doesn’t see color”.
Nick got into a great college to his family’s delight, but it was more his mother’s dream school than his own. Things in their family begin to unravel as MJs addiction becomes harder and harder to hide and Nick witnesses his classmate Bella get sexual assaulted at his first high school party and does not have the emotional tools or life skills to stop it in the moment. Frankie, who was also at the party, finds Bella’s to be a cause worth fighting. MJ’s conflict avoidance in favor of the perfect image conflicts with Frankie’s strong values and willingness to stand up for what she believes in through protest.
Heidi Blickenstaff (Mary Jane) is an absolute legend. MJ’s internal struggles are demonstrated early on in her performance of “Smile” which was a hauntingly beautiful performance. “Forgiven” was visually and vocally amazing, but Uninvited was the most chillingly beautiful number Blickenstaff performed. Her vocal performances were both strong and vulnerable, truly embodying who MJ is. Dillon Klena’s performance of “Perfect” was heartbreaking.
His character’s pain under the pressure of his parents was truly felt. Lauren Chanel (Frankie Healy) has a fantastic singing voice and great comedic timing. But the true stand out for me, and I think everyone in the audience, was Jade McLeod (Jo). Their performance of “You Oughta Know” was so intense and raw that they received a mid-show standing ovation. Across every song they had, McLeod stood out as a passionate performer.
The sets, direction, and choreography in this show were stunning, and nothing like anything I’ve ever seen. The set is minimal, consisting of some neon lights, three moving video screens, and a few practical sets like chairs and benches, as well as multiple protest signs used throughout the show for causes like Black lives, women’s rights, etc. The chorus danced a lot in the background of scenes, but two core dancers seemed to come in focus as if to represent MJ’s addiction hovering over her.
This came to a head in one of the most interesting pieces I’ve ever seen in a musical, “Uninvited”. The lyrics were rewritten to make sense in the story, and the combination of Blickenstaff’s warm vocal performance and the choreography was mind-blowing. The number portrays MJ physically fighting with another version of herself which ultimately represents an opioid overdose. Between the consistent rock beat of the song, and the intensity of the choreography, this moment left me sitting with my mouth agape.
The band was set on stage, above the players on a riser. The lighting was designed in such a way that you could not always see them, and they could be highlighted when the music came to a crescendo. Conductor Matt Doebler did an amazing job maintaining the pace and accompanying the passionate vocal of the performers who seemed to favor the passion over the ideal cadence—not a bad thing at all.
Overall, this show is a message about a changing world, about empathy, and about being able to advocate for yourself and others. For some, the subject matter and opinions in this musical may be a bit upsetting, but it truly is an honest and raw look into the struggles many people are grappling with every day. It was beautiful, heartbreaking, and dark, yet also hopeful that people can grow and learn no matter their age or upbringing. Thank U to Alanis Morissette, Glen Ballard, and Diablo Cody for bringing this experience to all of us, I believe we are all better for it.
The Los Angeles premiere of the Tony and Grammy Award-winning musical Jagged Little Pill at the Hollywood Pantages Theatre is now performing until October 2, 2022. Tickets are available at www.BroadwayInHollywood.com.
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