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I spent a day trying Disneyland's oldest rides. Here's what I found

I spent a day trying Disneyland's oldest rides. Here's what I found

But, having tasked myself with checking out the original Disneyland rides, I now find myself standing before one of its most iconic attractions, the spinning tea cups of the Mad Tea Party. Under jaunty hanging lanterns, the oversized pastel cups and saucers bearing playing card insignias spin frantically, as brave, green-faced parents clutch giggling toddlers to their chests.
Shuddering, I realise I'm about to fail my mission before it even begins. No way am I risking my lunch on that – give me a looping rollercoaster any day. Ditto the beautiful King Arthur Carrousel, with its 68 hand-carved bobbing horses dating back more than 90 years (making it technically the oldest ride in the park) – I'll leave the spinning things to the little kids.
Instead, I head to the towering faux-brick turret housing one of three original 'dark' rides in Disneyland – Snow White's Enchanted Wish. Like most of the original rides, this one has undergone several incarnations since 1955; originally entitled Snow White's Adventures and minus the actual visage of the original Disney princess (the riders themselves were meant to be Snow White, escaping the clutches of the evil queen), it was renamed in 1983 as Snow White's Scary Adventure, adding spooky elements and jump scares.
In 2021, however, more new visuals, animatronics and laser projections were added, which, along with the new name, give the ride a cheerier, more family-friendly – and dare I say bland – tone.
Far more thrilling to both children and adults (in my opinion) is Peter Pan's Flight, following the adventures of JM Barrie's Lost Boys as they interact with fairies, pirates, mermaids and crocodiles. Boarding an ornate flying sailboat, riders soar over London and Neverland, the twisting journey over stunning neon visuals creating a real sense of magic and wonder.
In 2024, it was announced that Peter Pan's Flight was to be updated to correct racial stereotypes of Tiger Lily and her Native American family in the ride, following a similar change last August in Disney World's version of the ride.
Another original Disneyland attraction that has recently been politically corrected to remove what was described as 'negative depictions of native peoples' is the Jungle Cruise in Adventureland.
I board the river boat at night, just before the fireworks and with no queues to contend with; and while the skipper's commentary is muffled due to a microphone problem (which negates the whole point of the ride really, since it's all about the 'dad jokes'), I find the animatronic animals en route rather charming, especially the elephants and the chest-thumping gorillas. The war party of 'natives' and tribal dancers of old are certainly not missed, with a storyline that is now more inclusive and less racially insensitive.
Opening day in 1955 did not go off without a hitch, by all accounts. The Mark Twain Steamboat (now Riverboat) was so overcrowded it got stuck in the mud; while Casey Jnr Circus Train – primed as the park's first roller coaster – was immediately closed for safety reasons. It started carrying guests in its more gentle form two weeks later, with the Matterhorn Bobsleds (currently under restoration) becoming the first official roller coaster in 1959. Dumbo the Flying Elephant was also supposed to be an opening day attraction, but due to design issues (the grey elephants were too heavy), it launched a month later on August 16, 1955.
Another ride that has recently been adapted to incorporate more modern sensibilities is Tiana's Bayou Adventure – aka, the old Splash Mountain, which I was surprised to discover was not an original Disney ride, but in fact opened in 1989.
The log flume's themes inspired by Uncle Remus stories and the 1946 Disney film Song of the South had always seemed problematic, leading me to believe it had been conceived in less enlightened times; but the reimagining based around the 2009 animation Princess and the Frog is a refreshing, fun adaptation, with nighttime scenes from a bayou, Mardis Gras celebrations, a New Orleans jazz soundtrack and an unbelievable soaking, especially if you're the sucker in the front seat.
Walt Disney once said that 'Disneyland will never be completed, as long as there is imagination left in the world.' While there will always be a buzz and excitement about new, technologically-advanced attractions, the vestiges of Disney's original vision – albeit updated to accommodate more magic as well as contemporary ways of thinking – have an important and nostalgic place in the granddaddy of all theme parks.
The originals
The 10 original rides at Disneyland still operating today are:
Mad Tea Party
King Arthur's Carrousel
Mr Toad's Wild Ride
Snow White's Enchanted Wish
Peter Pan's Flight
Storybookland Canal Boats
Jungle Cruise
Autopia
Mark Twain Riverboat
Disneyland Railroad
The details
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More beauty than beast in new production at Perth's Crown Theatre
More beauty than beast in new production at Perth's Crown Theatre

Sydney Morning Herald

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  • Sydney Morning Herald

More beauty than beast in new production at Perth's Crown Theatre

There was more beauty than beast represented in the Perth personalities who adorned the red carpet for Saturday's Beauty and the Beast premiere at Crown Theatre – and the same could be said for the show. At the final opening for a national tour attended so far by 1.2 million Australians, anticipation and nostalgia built right from the prologue voiced by Angela Lansbury (Miss Potts in the original Disney animated feature) and the opening glimpses of a jaw-dropping set that required 23 trucks to get to Perth and a team of 70 to unload them across thousands of hours. Faithfulness to the original continued; there is no danger of a modern reimagining in this saccharine-sweet production, which despite the vocal prowess of Belle (Perth-born Shubshri Kandiah) and the Beast (Brendan Xavier) unfortunately is slightly lacking in truly memorable numbers in the context of a 2.5-hour run time. The obvious exceptions are of course Be Our Guest, a showstopping number bringing all the production's technical might including projected backdrops of dancers' onstage patterns, milked to the max through an extended tap finale with 2400 lights; Belle, which shows off a French provincial town created with 30 tonnes of flying scenery and 50 tonnes of automation and staging; and Beauty and the Beast, simply and touchingly rendered by Jayde Westaby as Mrs Potts. The character of Gaston has more prominence than in the film and the charismatic Jackson Head brings excellent comedic value to it, with a ridiculous Jim Carrey vibe. To the extent that the gent on one side mentioned the resemblance at interval and the gent on the other was unable to prevent himself Googling Jim Carrey pictures during the performance, distracting us somewhat from Olivier Award nominee Matt West's excellent choreography displayed to full effect in Gaston (fun fact, the song's cast clink mugs 800-plus times). Despite being centred around the love story of Belle and the Beast the production's real emotional punch somehow comes not from them or even the relationship between Belle and father Maurice (Perth-raised Rodney Dobson) but from the enchanted castle objects whose attachment to humanity is, like the Beast's, dropping away with each petal from the magic rose. Lumiere (Rohan Browne), Cogsworth (Gareth Jacobs), Mrs Potts and Madame the wardrobe (Alana Tranter) are the heart of the show, providing pathos as well as laughs and magic (Lumiere's flames are real; Mrs Potts' spout smokes; Tranter's squeals are pitch-perfect comedy). Eason Ma was sweet as Chip the cup, head inserted into the side of the cup, body cleverly concealed in the stage furniture, though truth be told the disembodied head was at times striking me as a little on the weird side of cute. Particularly next to the larger-than-life Gaston, clearly an audience favourite, the Beast is somewhat disadvantaged. His role swings from suddenly roaring too loud and upsetting the other characters, to playing the fool for laughs, lacking the dark, conflicted tragedy this role could otherwise represent. Perhaps more height and bulk in the costuming would have made him a more imposing figure, but perhaps also would more attention given to parts of the show that feel rushed.

More beauty than beast in new production at Perth's Crown Theatre
More beauty than beast in new production at Perth's Crown Theatre

The Age

time17 minutes ago

  • The Age

More beauty than beast in new production at Perth's Crown Theatre

There was more beauty than beast represented in the Perth personalities who adorned the red carpet for Saturday's Beauty and the Beast premiere at Crown Theatre – and the same could be said for the show. At the final opening for a national tour attended so far by 1.2 million Australians, anticipation and nostalgia built right from the prologue voiced by Angela Lansbury (Miss Potts in the original Disney animated feature) and the opening glimpses of a jaw-dropping set that required 23 trucks to get to Perth and a team of 70 to unload them across thousands of hours. Faithfulness to the original continued; there is no danger of a modern reimagining in this saccharine-sweet production, which despite the vocal prowess of Belle (Perth-born Shubshri Kandiah) and the Beast (Brendan Xavier) unfortunately is slightly lacking in truly memorable numbers in the context of a 2.5-hour run time. The obvious exceptions are of course Be Our Guest, a showstopping number bringing all the production's technical might including projected backdrops of dancers' onstage patterns, milked to the max through an extended tap finale with 2400 lights; Belle, which shows off a French provincial town created with 30 tonnes of flying scenery and 50 tonnes of automation and staging; and Beauty and the Beast, simply and touchingly rendered by Jayde Westaby as Mrs Potts. The character of Gaston has more prominence than in the film and the charismatic Jackson Head brings excellent comedic value to it, with a ridiculous Jim Carrey vibe. To the extent that the gent on one side mentioned the resemblance at interval and the gent on the other was unable to prevent himself Googling Jim Carrey pictures during the performance, distracting us somewhat from Olivier Award nominee Matt West's excellent choreography displayed to full effect in Gaston (fun fact, the song's cast clink mugs 800-plus times). Despite being centred around the love story of Belle and the Beast the production's real emotional punch somehow comes not from them or even the relationship between Belle and father Maurice (Perth-raised Rodney Dobson) but from the enchanted castle objects whose attachment to humanity is, like the Beast's, dropping away with each petal from the magic rose. Lumiere (Rohan Browne), Cogsworth (Gareth Jacobs), Mrs Potts and Madame the wardrobe (Alana Tranter) are the heart of the show, providing pathos as well as laughs and magic (Lumiere's flames are real; Mrs Potts' spout smokes; Tranter's squeals are pitch-perfect comedy). Eason Ma was sweet as Chip the cup, head inserted into the side of the cup, body cleverly concealed in the stage furniture, though truth be told the disembodied head was at times striking me as a little on the weird side of cute. Particularly next to the larger-than-life Gaston, clearly an audience favourite, the Beast is somewhat disadvantaged. His role swings from suddenly roaring too loud and upsetting the other characters, to playing the fool for laughs, lacking the dark, conflicted tragedy this role could otherwise represent. Perhaps more height and bulk in the costuming would have made him a more imposing figure, but perhaps also would more attention given to parts of the show that feel rushed.

Ryan Gosling and faceless alien wow crowd at Comic-Con
Ryan Gosling and faceless alien wow crowd at Comic-Con

The Advertiser

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  • The Advertiser

Ryan Gosling and faceless alien wow crowd at Comic-Con

Comic-Con got a lot of Ryan and a little bit of Rocky at a panel on Project Hail Mary, the forthcoming film that's equal parts space adventure, real-science deep-dive, broad comedy and relationship drama. "What's up Hall H!" a giddy Ryan Gosling in a trucker hat and flannel shirt shouted to the crowd of more than 6000 at Comic-Con's biggest venue. Amazon MGM Studios showed the opening five minutes and several other slightly unfinished scenes from the first third of the film, seven months before its planned release. (Spoilers for that section follow). It included an extended glimpse at Rocky, the stone-shaped and faceless alien who becomes Gosling's mission partner as they attempt to save the universe from ecological disaster. Phil Lord, who co-directed the film with Chris Miller, said the relationship between the two beings stuck alone together in space represents the central theme. "If the universe depended on it," Miller said, "can adult men make friends?" Rocky is already a cult favourite for readers of Andy Weir's novel, and is sure to be a future staple of Comic-Con cosplay. Gosling said he got on board immediately after reading Project Hail Mary in manuscript form, and was only partly kidding when he called Weir, who was sitting next to him, "the greatest sci-fi mind of our time". "I knew it would be brilliant, because it's Andy, but nothing could prepare me," Gosling said. "It took me places I'd never been, it showed me things I'd never seen, it was as heartbreaking as it was funny." Gosling plays Ryland Grace, a middle school teacher and underachiever drafted for the mission. The opening five minutes show a gloppy, long-bearded, amnesiac Gosling as he awakes in a pod. He climbs out, confused. He finds other people in pods who are clearly dead. Then he finds a window and learns he's in space. He gives a mealy-mouthed scream of "Where am ?!" The movie represents the return to directing, and return to space, of Lord and Miller for the first time since they were fired and replaced by Ron Howard by Disney and Lucasfilm from 2018's Solo. Like The Martian, the movie goes heavy on the science but takes the messy, kitchen-sink, everything-is-comedy approach Lord and Miller used in films like The Lego Movie. "This movie is not a Mac, it's a PC," Lord said. "It can be beautiful, it just can't be pretty." Comic-Con got a lot of Ryan and a little bit of Rocky at a panel on Project Hail Mary, the forthcoming film that's equal parts space adventure, real-science deep-dive, broad comedy and relationship drama. "What's up Hall H!" a giddy Ryan Gosling in a trucker hat and flannel shirt shouted to the crowd of more than 6000 at Comic-Con's biggest venue. Amazon MGM Studios showed the opening five minutes and several other slightly unfinished scenes from the first third of the film, seven months before its planned release. (Spoilers for that section follow). It included an extended glimpse at Rocky, the stone-shaped and faceless alien who becomes Gosling's mission partner as they attempt to save the universe from ecological disaster. Phil Lord, who co-directed the film with Chris Miller, said the relationship between the two beings stuck alone together in space represents the central theme. "If the universe depended on it," Miller said, "can adult men make friends?" Rocky is already a cult favourite for readers of Andy Weir's novel, and is sure to be a future staple of Comic-Con cosplay. Gosling said he got on board immediately after reading Project Hail Mary in manuscript form, and was only partly kidding when he called Weir, who was sitting next to him, "the greatest sci-fi mind of our time". "I knew it would be brilliant, because it's Andy, but nothing could prepare me," Gosling said. "It took me places I'd never been, it showed me things I'd never seen, it was as heartbreaking as it was funny." Gosling plays Ryland Grace, a middle school teacher and underachiever drafted for the mission. The opening five minutes show a gloppy, long-bearded, amnesiac Gosling as he awakes in a pod. He climbs out, confused. He finds other people in pods who are clearly dead. Then he finds a window and learns he's in space. He gives a mealy-mouthed scream of "Where am ?!" The movie represents the return to directing, and return to space, of Lord and Miller for the first time since they were fired and replaced by Ron Howard by Disney and Lucasfilm from 2018's Solo. Like The Martian, the movie goes heavy on the science but takes the messy, kitchen-sink, everything-is-comedy approach Lord and Miller used in films like The Lego Movie. "This movie is not a Mac, it's a PC," Lord said. "It can be beautiful, it just can't be pretty." Comic-Con got a lot of Ryan and a little bit of Rocky at a panel on Project Hail Mary, the forthcoming film that's equal parts space adventure, real-science deep-dive, broad comedy and relationship drama. "What's up Hall H!" a giddy Ryan Gosling in a trucker hat and flannel shirt shouted to the crowd of more than 6000 at Comic-Con's biggest venue. Amazon MGM Studios showed the opening five minutes and several other slightly unfinished scenes from the first third of the film, seven months before its planned release. (Spoilers for that section follow). It included an extended glimpse at Rocky, the stone-shaped and faceless alien who becomes Gosling's mission partner as they attempt to save the universe from ecological disaster. Phil Lord, who co-directed the film with Chris Miller, said the relationship between the two beings stuck alone together in space represents the central theme. "If the universe depended on it," Miller said, "can adult men make friends?" Rocky is already a cult favourite for readers of Andy Weir's novel, and is sure to be a future staple of Comic-Con cosplay. Gosling said he got on board immediately after reading Project Hail Mary in manuscript form, and was only partly kidding when he called Weir, who was sitting next to him, "the greatest sci-fi mind of our time". "I knew it would be brilliant, because it's Andy, but nothing could prepare me," Gosling said. "It took me places I'd never been, it showed me things I'd never seen, it was as heartbreaking as it was funny." Gosling plays Ryland Grace, a middle school teacher and underachiever drafted for the mission. The opening five minutes show a gloppy, long-bearded, amnesiac Gosling as he awakes in a pod. He climbs out, confused. He finds other people in pods who are clearly dead. Then he finds a window and learns he's in space. He gives a mealy-mouthed scream of "Where am ?!" The movie represents the return to directing, and return to space, of Lord and Miller for the first time since they were fired and replaced by Ron Howard by Disney and Lucasfilm from 2018's Solo. Like The Martian, the movie goes heavy on the science but takes the messy, kitchen-sink, everything-is-comedy approach Lord and Miller used in films like The Lego Movie. "This movie is not a Mac, it's a PC," Lord said. "It can be beautiful, it just can't be pretty."

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