On Saturday the 30th of May 2015, in a tiny little corner of Plaza Gardens Restaurant, Disneyland Paris creatives Françoise Barbier-Telmat (Entertainment Production and Creative Costuming Director), Katy Harris (Senior Show Director) and Robert Fienga (Orchestra Conductor) gave a 40 minute Roundtable Presentation about the new Frozen Summer Fun season.
The presentation was given to a very small group of fans, personally invited by Disney from countries all over Europe, as part of the Frozen Summer Fun Press Event. Fortunately, I was one of them. We were asked to prepare questions about the show, production and music aspects of the Frozen Summer Fun season. And I did. I actually wrote 18 and printed them out. But, in what can only be described as an act of inadequate self confidence, didn’t ask a single one!
What follows is a full transcript of everything that was said during the presentation, with all the French parts translated into English. Please be aware that there are inaccuracies and gaps, due to some of the dialogue being unintelligible.
Now, on with the presentation!
Katy: Well, I’m Katy, Katy Harris, Show Director here at Disneyland Paris since, I believe, 1993. Show Director since 2002. And leading this Frozen Summer Fun programme. We’ll do the introductions first, and then I’ll come back to tell you all about what’s going on.
Françoise: Hi everybody. I’m Françoise Barbier. I’m in charge of the production and costuming entertainment, since 10 years now. So that means the team which produce the show. Also the workroom to do the costume and decor and the costumer designer. So, big part of the story.
Robert: Hello everyone. My name is Robert Fienga. I work for the music department for the last 24 years as a music director in different projects, like the show that we’re all seeing tonight, the Frozen Sing-Along. And I am also in charge of all the live entertainment, live music in the park. […] And I also work for our special events, music projects for our special events. And I had the pleasure, and the honour, to work with Katy on this wonderful show.
Katy: So, Frozen. The Frozen Sing-Along is in Chaparral Theatre. I’m sure that you know, better than I do, that Chaparral has had a long history between our old shows; the last show that was in there was The Tarzan Encounter. So we have a legacy to keep going in that theatre. You will discover we’ve done a lot of work in the theatre; it’s not recognisable at all as the jungle anymore. We’ve transformed it into mountains. We’ve transformed it into a mountain environment, because we are really in the mountains outside of Arendelle.
Katy: It is a sing-along. So we have sing-along shows in California and in Florida that we looked at. But we really wanted to do something a little bit different with our sing-along, because we do have European guests. So already we have a language challenge. We decided that we wanted to do the show in two languages, so language specific. We wondered whether we should mix the languages in a show, mix languages in a song, and it really wasn’t working. So we decided we’re gonna go very language specific. However, for our guests who don’t speak French on a French show, we have the English subtitles, and we also have Spanish subtitles. So every show is basically, contains three languages, although the priority is for one.
“We wanted to go a little bit more theatrical. So we decided we wanted dancers, we wanted singers, we wanted actors.” — Katy Harris
Katy: So we looked at the American shows, we looked at the videos obviously, the sing-along videos. And we wondered what can we do that’ll fit into our venue, and also to our audience, to our guests. And we had a lot of discussions, and we decided we wanted to do something a little bit more theatrical. The space is so big, if we just had screens it would’ve been a little bit empty. So we wanted to go a little bit more theatrical. So we decided we wanted dancers, we wanted singers, we wanted actors, we wanted everything to be live. We wanted to give our guests the best opportunity possible for them to feel included in the show, and make it really interactive. And we know that for our European audiences, interaction doesn’t come naturally. We have to make sure that our audience feels comfortable so that they will interact. And I think we found the key. Honestly, I think we’ve found the key with this one.
Katy: So, the story of the show basically is that Anna is preparing a winter festival. So we’re in the mountains, preparing a winter festival, and she has hired the choir from the mountain next door to come down and sing for Elsa. And of course they’re going to sing Elsa’s favourite song for her. However, there’s a little bit of a problem. There’s been a snowstorm up on that mountain, and the choir can’t get here. So what are we gonna do? Well Anna […] has all of the ideas, and all of the solutions. She suggests that maybe all of our guests in front of us will become that choir. And then we can still do the surprise for Queen Elsa. So we entice and we ask everybody to help us, and we need to rehearse that choir.
Katy: So that’s where we go into a sing-along section, where we sing all of the songs from the film as a rehearsal, until we get to rehearsing the song. And of course, all of our guests know Let It Go, and we know that that’s Elsa’s favourite song. So we all sing Let It Go, and it’s a very magical moment that I don’t want to unveil too much, because if you haven’t seen the show yet, I don’t want to spoil it for you. However, Elsa arrives for the festival, and Anna encourages the guests and the choir to sing one more time for her. And of course Elsa is very excited, very happy, and thanks Anna profusely for this wonderful surprise.
Katy: So we’ve kind of created a story around the sing-along, but it does stay essentially a sing-along. So we did a lot of work with music. Because of the videos, obviously you know the music on the videos is set. But we also wanted to add voices, we wanted to add chorus voices for the guests, to help our guests sing along. We did a lot of casting. “Let It Go” is not an easy song to sing. So we had a lot of casting that I’ll let Robert tell you a little bit about, how we did that casting process. And of course we had to transform the theatre. Not only did we have to transform the theatre physically with all of the scenery, but also with the costumes.
Katy: We have a very talented costume designer, Isabelle Antoine, who worked with us on this project. And we took an image from the film. I mean, you see a little bit behind you, the blues and the purples.
Katy: Basically, that image comes from one of the images in the film, where you see Elsa’s Ice Castle. We took that image and we posted it up in our office, and were like, “ok, how can we take inspiration from that, to find the costumes”? So we took the colour palette, and then Isabelle did a whole load of research into the Scandinavian designs, patterns, shapes, and also taking references from the film. And she came up with the most incredible costumes, I think, that just blend into the scenery. And I think physically and just visually it’s just stunning. So, how that came about, I’ll let Françoise explain. But, do you want to talk about the casting process a little bit?
Robert: Yeah, I can talk about the casting, and the music first. I will start with the music. There is always a challenge when you want to adapt, when you have to adapt, the music that people know from the film, obviously first all of the songs. But not only the songs. There is some music behind all the scenes of the film, that we usually call underscoring. And in the film all of this music was written and composed by Christophe Beck, which was pretty dramatic, because this film you know has a strong message, you know it’s all about who am I, and do I finally accept who I am? Is it, my powers are there, it’s a gift, but at the same time it can be a curse, and I have to deal with it and then go ahead with it. So that’s the message of the film pretty much. So in the film, from those moments, the music can be pretty dark, so that’s why it gives broader emotional impact, in what you see from the film. So how did we adapt that? Of course we have the songs, but between the songs we have some light underscoring which, you know, is always there while the action moves along.
Robert: So what we did, first, you know we did an incredible casting campaign in Paris and in London. And we came up with beautiful artists. And a lot of people ask me many times, you know, but there is a difference of the quality of the singers you find in Paris and in London, because in London they have of course the West End theatres that have been there for 100 years, and there is a huge business, and all the schools are there, and all those wonderful gifted artists that are getting great training over there. And what about in France? And I always tell them, it’s not the case anymore. You know we just improving and improving and we were very surprised at the quality of the French singers and artists when we cast them. And one interesting thing is, very fast we realised that both the cast in English and French could sing in another language. And that’s good, because it gives us more possibilities to mix people around and to make it fun for them, and at the same time a challenge, but it’s much better for us because we can have more possibilities of mixing different people, that we would not have been able to, to start with.
Robert: So, when you want to adapt the music from the screen from the film, to a show, there is some kind of tricks that you have to be careful of. You know, for instance, if you take it just as is, to the show, it wouldn’t work. There is one element that we decided to add, which really makes the link, which blends what you see on stage, makes the link with the audience. And we have re-recorded all the songs, in French, in English, and we use this as a, let’s say, a choir which sings the songs all the time, pretty much. We have an opening number which is based on the song “For the First Time in Forever”. Then we have a pretty big choir. And then, all the songs, we have that vocal element present there, which gives the dimension and which really fills in the whole theatre. So that’s probably the element that makes the link with the screen music to the show music. We have added this vocal element.
Katy: And how do we make it all happen?
Françoise: So, we have to change the stage. Before it was Tarzan on the stage, with trampoline, so that was super […] to change the structure to the big, very big work to change with the, really impact to the structure of the stage. Also, with the new screens, with some adaptation. So it was very big work to do, with new technology. And on the costume side, Isabelle work a lot, after the design and work with Katy on the concept, to find the fabrics. And all the fabrics were found in Europe, in France, especially in Lyon, where they did special fabrics for us, for this costume. And we use on this production also the new technology to print some design, for the singers, and some embroidery also for the dancers. So, each costume is different, with a specific design, and a study specifically for each dress. So that was very interesting, and very, I don’t know if I can say, not artisanal because we are now new technology, but it’s another way to be artisanal with technology, high-tech. And the big part of the costume are made on-site. So there is 50 people working on this workroom, to do this costume. And most of the costume, I can say, make a surprise. It’s a special effect. You can have some special effects also with the costume. So, I don’t say more.
Katy: Gonna whet your appetite to come and see the show later.
Katy: So, do you have any questions, ‘cos I’m sure you do?
@DedicatedToDLP: How rigorous was the approval process? Obviously you’re using Frozen which is the Walt Disney Pictures property. How free were they in you using their images and music, and changing it to what you wanted to do?
Katy: As far as the images are concerned, we’ve taken the clips from the film. We don’t touch the actual videos at all, obviously. We have a lot of collaboration with the film producers, as every Frozen product that goes out in the whole of the global Disney sites, there is a kind of synergy link with the producers of the film, because it’s obviously such a hot property, and we work very well with them. They saw everything, we shared things with them, they shared things with us. They shared imagery with us, design notes. We had design notes that they’d used on the actual film that we were able to take and we were able to adapt and use for our scenery. So yes, it was a very constant and fluid discussion with them. And they’re gonna come over at some point, soon I hope. And I hope that they’ll be proud of what we accomplished with it, because I think that we certainly have stayed true to the world of the film, and just enhanced that property even more.
@MickeyFantasmic: Question maybe more for Robert. Every Frozen segment which we’ve ever seen in the last two years, from World of Color to Dreams, has always had a strange mix of music in it. Meaning in World of Color you see a lot of music, and a lot of water, a lot of power to it. Dreams is much more softer and visual. This is a sing-along and sometimes you really don’t want to hear the choir, because the audience are not exactly wonderful guests to sing. Sometimes instead you want to place the actor for it. How did you mix it and change it, if you did, when compared to everything else which has ever…
Robert: That’s a good question. And my first answer will be, you have to look at the live situation as it is, and every show is different. So every time we have to adapt, and we will adapt. So first, number one, use things on stage. Use the artists and singers on stage. So, that comes first. And from that we are mixing, balancing everything. So, how will the audience interact and answer with the sing-along? What audience will we have on that show? And where will we position, you know, the back…
@MickeyFantasmic: You’ve got a mixer I suppose. Someone…
Robert: Yeah, our sound engineers are there. And then, every show might be different. The idea is to make sure that everything is planned, so you have the solo artists singing, that we can have the audience participating to the songs, ‘cos this is the aim of the game here. […] And so far, that’s what I was saying before, that all the vocal parts that we’ve added to the show, make that link. So it is up to us to make sure that the link is right there, and that nothing, you know, just takes over. So it’s not mixed anymore.
(Start of translation from French to English)
French Fan: I have a question for Robert. Overall, how long did it take to create this show?
Robert: I think Katy is best suited to answer […]
Katy: It was very quick for this show. We knew last summer that we wanted to do something Frozen-related. We didn’t really know what. We went through lots and lots of ideas, but I think we stopped at version 48 of the concept. So you can see we went from 1 to 48 before settling on that we have today. Many changes along the way.
Françoise: Even after 48.
Katy: No, after that we changed the script.
Françoise: After that there were adaptations.
Katy: Then, for script writing, we’re on version 26 today. And there will be more, I don’t think we’re done. But it was roughly a year from “What do we want to do?”, and honestly for that show that was quick. It was, I think it was November…
Françoise: Five months.
Katy: …when we really stopped and said, “that’s the show”. And that’s very, very quick. The work on the Chapparal Theatre had already started, because we knew that, in the future, we would need to do some work on that theatre anyway. But it was very quick.
Françoise: It took a year. The idea to do this show came a year ago, and then, the work started at the end of summer, and after that production was very, very quick.
French Fan: Were you much more motivated to do this show rather than the Tarzan one, for instance, since Frozen is so popular with everyone?
Françoise: On what level? Motivation for us, for working on it, or with respect to the choice…?
French Fan: For you.
Françoise: I think that, essentially, motivation runs through our veins. And we were very motivated for Frozen, but if there had been another project, on another project… I think the strength comes from the production teams, their motivation level is extremely high. And it has to be! Because, to create a show in five months, absolutely everyone has to be very, very involved.
Robert: And also, the fact is that it’s a new adventure. When doing this beautiful job, we’re always […]: “OK so, we did Tarzan, but now, the question is ‘What’s next?’”
(End of translation from French to English)
Françoise: Maybe come back to the English?
Spanish Fan: Let me try in English. As I’m people from Spain, I would like to know if you have thought of a Spanish version? […] So first, if you have thought in the moment to do a Spanish version, like we have in Playhouse Disney, in the beginning?
Katy: It’s possible. It’s possible. We don’t have it at the moment. Already, getting two versions out was quite a challenge, because of the video. And unbelievably the difference in format of video, between the American format and the French format. Even if we had the American-Europeanised format of video, to make them compatible and synchronise with the music, was challenging. So to add a third language right now was a little bit too much for us. But who knows, if there’s enough demand, it’s certainly something that we never close the door on. We would be able to do it, technically, but it also would mean more casting challenges for us as well.
Spanish Fan: The second question is […] I remember in Playhouse Disney, you know, Spanish people we like to participate and everything. And for the rest of Europe, we are not like Americans. So maybe I’ve seen some shows where the guests should participate, and those shows doesn’t work very well. So I don’t know if you think that it will be a success, if other people will participate, in this kind of? Or, if you in any occasion have you thought of doing a show different, without the sing-along?
“Our European audiences don’t interact as easily as the domestic parks. But we have to find the key to that right balance.” — Katy Harris
Katy: We did. We did think about it. The idea and request was to have a sing-along. The popularity of this film leads itself to a sing-along, and not necessarily just a theatrical version. So, we really wanted to combine the two, and I think that that’s what we’ve achieved with this show. And I think, having seen a couple of preview guests yesterday (shows with guests that we invited just from the park), I was actually very impressed at the level of interactivity. It’s different. It’s different to other shows where we have, “everybody put your hands in the air”, and “everybody sing-along”. There’s something about Frozen. There’s something about the Frozen songs that everybody sings. And it’s the children, OK? Let’s be honest, it is the children. But because the children are singing, the parents will know it. So everybody is actually singing, and everybody is participating, and the kids watch the DVD over and over and over again. So, I think Frozen is this one where the interactivity, for our European audience, is easier. But yes, I mean, I totally agree with you. Our European audiences don’t interact as easily as the domestic parks. But we have to find the key to that right balance. And that’s what I hope we’ve achieved.
Robert: And we also, if I may, you know, the emotion of the song Let It Go. If you take Let It Go, you know, and you take it out of the context, and other people will say “oh again, Let It Go, I just can’t stand anymore when they sing Let It Go”. But when you put it back in the environment, you know, suddenly you’ve got that emotion because of that strong message, and in the film it’s the same. So, when you have seen the film, when you are very touched/moved by the Frozen world, all of a sudden, when the artists start to sing the song, your memory goes back to the first feelings that you had when the song was presented in the film, and the particular moment, you know, building up all the story, and at this moment she has to say something. So all of a sudden, it’s not a song by itself, you know, out of the film or out of the show. It really takes place in a concept, and it has a strong meaning. That’s why there’s something so special about the show. We feel that string attached all the time.
(Start of translation from French to English)
French Fan: Thank you for this presentation. I have a quick question. First of all, about the Marketplace, about what was done… Honestly, it’s a great success, there are so many details. Anyway, I love it. That being said, I have a question. We can see, on the sketch here to your right, that there is a kiosk. Does that mean that, in the years to come, if Frozen Fun continues during the summer, you plan to use this kiosk to, maybe, have a band and create a whole square around it where people could eat, in order to continue beyond the show with, for instance, the musicians who are […] during Coronation Day, to use the same costumes, etc. Is it possible, in the future, to see that area being developed to make the whole thing more dynamic?
Katy: You know I told you that we have 48 versions of the concept, and ideas, and so within those 48…
Françoise: That was number 25.
Katy: Within those 48, yes, I think that was around number 20. All those ideas are kept in drawers, ready to come out at the right time. I don’t know when that will be, or if we’ll get there, but absolutely, we are ready to do everything. We really wanted to do a test this year, to see how it would work. And it was also because of the timing. Five months of production was a very short time to do everything we had in the drawers. But we have many more ideas. Maybe in the future. We don’t know.
French Fan: So in fact, this year is more of a test, and so if it works…
Katy: It’s a beginning.
Françoise: It’s more than a test. It’s really… First of all, this transformation, because you remember how it was before, that was already a challenge. To know if we could transform, and how, this design and the level of detail. So there was this notion of time, of duration, to get it done, which was so short that we wanted to do it in an area where we could have the advantage and deliver a high quality product. And it’s true that we were committed to developing this area in synergy with catering, to be able to find Frozen items there, to buy them, and also with Princesse d’un jour (Princess for a day). So for us it was really about synergy work, and that often takes longer than putting on a show, where the focus in only on the show. We really wanted to have the idea of the marketplace, like a real one you can fine on a village square. So the idea of expansion is there, but this is more than a test. Here, we really wanted to give ourselves the means of creating something alive, something that exists.
Robert: But to go a little further with your question and to speak about music, you know when you watch films such as Brave, with music by Patrick Doyle, you realise that if you use traditional music, folk music, it has a very, very, very strong emotional impact. It enables you to have , beside the songs, because the songs are one thing , to have a very, very strong musical signature. And that is what we have here, and we’ll be able to use this traditional Nordic music, which is very, very beautiful, and closely linked to the visuals of the film and the show.
(End of translation from French to English)
@MickeyFantasmic: Question for Katy, if possible? It feels […] you redid the Critter Coral, you did the show, there’s a new segment of Dreams coming out. It feels the park is moving more towards what the asian parks do (Hong Kong and Tokyo), events throughout. This is the first time in Paris in 10 years in which something is going on throughout the park. Was there an input for […] to kind of expand it from just getting something back on stage in Paris, which the park absolutely needed, and expanding it to the whole park a little bit, like Spring throughout, Frozen throughout?
Katy: Absolutely. As a season, you know, we have our Christmas season, we have our Halloween season, we started our Spring season. We wanted to start to create the Summer season. And I think, as a season, you have to have more than just one venue. So, you know, we’ve spread it out as much as we can throughout the park. And maybe in the years to come that might grow, however we take our Summer season. But yeah, it’s definitely a desire of ours, to take it in more than one specific venue.
Katy: And as with every season, you kind of have your “leadership” element, which is obviously the sing-along this year, and the marketplace area, and everything else is the supporting players. You’ve got your leading stars, and then you have your supporting players. So they make it all come together.
Françoise: And I think that it’s really the way to have an atmosphere different, throughout the year, and really that with more visibility for everybody. So that’s why we want really to be link between the show on stage and the event in the park.
@MickeyFantasmic: It works wonderfully in Tokyo, it could work here as well.
@DedicatedToDLP: With there being a whole Frozen area, do you think there’s some expectation that people will be able to meet characters, and why was the decision made for there not to be character meet and greets over there?
Françoise: That’s a very good question.
“Instead of letting our guests queue to see specifically Anna and Elsa, we would bring Anna and Elsa to our guests.” — Katy Harris
Katy: Well, yes. We tried that at Christmas and we had extremely long queue lines, extremely long queue lines. It will be like, I don’t know, queueing up to meet Michael Jackson or somebody. It was just crazy. So we took the decision that, actually, instead of letting our guests queue to see specifically Anna and Elsa, we would bring Anna and Elsa to our guests. So we have our royal promenade, the royal welcome, that will happen several times during the day, where they’ll actually parade through the park, so all the guests who wish to see them can. And then obviously they get a little bit more proximity at the sing-along. Right now we don’t have a time and a date, to be quite honest, to let Anna and Elsa meet the guests up close and personal. But I think that with everything else that’s going on, even if there is an expectation, I think we’ll have many opportunities for the guests to actually meet the characters, and see the characters throughout the day.
@DedicatedToDLP: And then you keep that exclusive for the Christmas season, so rather than it being something all year round, you’ve got those different reasons to keep coming back.
(Start of translation from French to English)
@RadioDisneyClu: In French.
@RadioDisneyClu: Will the village of Arendelle be open all year?
Katy: The Marketplace?
Katy: No, it will be for this season only.
@RadioDisneyClu: OK. So afterwards it will close and there will be nothing until…
Françoise: It will come back with Frozen.
@RadioDisneyClu: OK. At Christmas, maybe?
Françoise: It’s in the drawers.
Katy: That’s for Christmas. Let us do summer first!
French Fan: And about the performers, will there be many shows per day? Will they be able to keep up?
Katy: Yes, yes, yes, yes. We have…
French Fan: Are there many teams?
Katy: Six shows during the week and twelve shows during the weekend, and we have two casts per day when we do twelve shows. And for some, like the singers, we have three casts per day.
French Fan: Oh, twelve?
Katy: Twelve, yes.
Robert: That’s a lot of shows.
Katy: We did the maths, I think that, with 1,300 seats in the theatre, we’re on […]
Katy: 15,000, yes.
Françoise: Yes, 15,000.
(End of translation from French to English)
Katy: 15,000 guests a day. That’s a lot of guests.
@DedicatedToDLP: Is it a ticketed system or is it first come first serve like Tarzan used to be?
Katy: No. Yep, just come on up. Come on up.
(Start of translation from French to English)
@RadioDisneyClu: I have a question for you. The costumes for the Guest Flow that were created for the Arendelle show, are they exclusive to Disneyland Paris, is there no inspiration from another park?
Françoise: No. They were created for this show here.
@RadioDisneyClu: OK. Because I thought there was a resemblance with the costumes from Meet Mickey Mouse in California. In their shape.
Françoise: Then we have common source of inspiration…
@RadioDisneyClu: But in any case they are wonderful.
Françoise: But it’s possible. But no, no, this costume was really developed for this show, in order to really have this idea of immersion.
@RadioDisneyClu: Yes, because it’s very rare for the Guest Flow to have costumes.
Françoise: Because our hosts are important for the guests, so we really wanted to have them participate in this show.
@RadioDisneyClu: OK, thank you.
French Fan: And in Tokyo, I saw that there are Frozen, Olaf and Elsa topiaries. Is that planned for Disneyland Paris maybe, later?
Katy: I don’t know. For now, we’re not… we haven’t really looked into what comes next. But we always look at what’s happening in the other parks. We share a lot, anyway, so we’ll see.
Katy: You’ll come and see the show later?
Françoise: Do you have any other questions?
French Fan: Can I ask you a question? It’s a question […] the time for the manufacturing of the costumes. Because there’s the sketch, then the tests and […], did you encounter any particular difficulties when developing those costumes?
French Fan: When developing those costumes. Did you encounter any particular difficulties? Because you apparently said, if I understood well, that there will also be special effects in the costumes for the end of the show. So, if it’s new, there must have been constraints…
Françoise: Ah yes, but that’s… There are always constraints when creating costumes. There is a special effect, indeed, at the end, but that’s not what gave us the most trouble. No, that’s… the difficulties are more in terms of looking for fabric, that’s why we went into manufacturing. It’s more about time difficulties. That is to say, when you start manufacturing a costume, you are, that’s it, the clock is ticking. That’s when we’re faced with big challenges in terms of timing. I would say, I think that’s the biggest difficulty we encountered. To choose the fabrics, to choose the prints, and to be able to fit it all in the schedule. […] because, once the drawings have been, I would say, commonly accepted or approved by everyone, we already have, when the drawing is done by the designer, we already have in mind what type of fabric, what colours, the colours have of course already been picked. So for the production part, the idea of time is often the most challenging for us. But we have suppliers who help us a lot because when we’re working on prints or embroidery, because we don’t make them here, that’s when we have interesting collaborations or partnerships with the people we work with, who help us find solutions, who are ready, who involve themselves a great deal in the project.
@RadioDisneyClu: To get back to the show, how many hours of rehearsals were needed to achieve this?
Katy: We didn’t… for the show, we didn’t get much rehearsing time.
@RadioDisneyClu: Yes because I think that you were still auditioning in March.
Katy: We had fifteen days.
@RadioDisneyClu: OK. Did it take place straight on the stage?
Katy: Ten days in a studio.
Françoise: Not that bad.
Katy: Ten days in a studio and five days on stage. So it was very quick, very, very quick. And with so many artists. And it was a new creation, so when you’re reviving a show, fifteen days seems great, but for a new creation it goes very quickly. Honestly, the cast was great. They didn’t stop, we didn’t get any breaks during the day, and they were with us until the end, never any problems, always full of energy. A truly fabulous cast.
@RadioDisneyClu: To find so many good… I saw the show yesterday and it’s true they’re great singers. Was it complicated to find singers?
Katy: We saw a lot of singers.
Robert: What is complicated is to have what is called the Triple Threat, meaning they have to be good singers, good actors, and they have to dance relatively well. And in the end you realise that the difference lies in the capability, I would say the capability of the artist to project emotions… that comes from acting. And then of course the whole thing takes shape. That’s difficult. You can have very good singers who don’t communicate as well as other people who might not sing as well, but who manage to express much stronger emotions. That’s what we’re looking for.
@RadioDisneyClu: It’s true that it’s very nice. I thought it was very interactive, even compared to the shows in the States, I thought it was even more interactive here than in the States.
Katy: It’s different.
@RadioDisneyClu: But I don’t want to spoil the show.
Katy: It’s different, yes.
@MickeyFantasmic: We’ve already seen it.
@RadioDisneyClu: Has everyone already seen it?
French Fan: And Katy, I wanted to ask you, if you were also involved in the part in Dreams! that’s going to be changed, with Frozen?
Katy: Yes, absolutely.
French Fan: Isn’t it going to be a bit redundant with the exclusivity of Disney Dreams! of Christmas? […] Don’t you think?
Katy: No, it’s, you’ll see the short Frozen part within Dreams!, it happens naturally. And it’s, we don’t reuse the entire Frozen part from Disney Dreams! of Christmas. We don’t reuse all of it. Here, in Disney Dreams!, there’s only “Let It Go”. So it’s just one sequence. We took Brave out for the Summer season, and Elsa comes to replace Merida in the show just for two months. But yes, I don’t think it’s the same kind of ambiance at all as the Christmas show. I’m not worried, I think it’s OK. I think it works very well. And there’s also the fountains before Dreams!. Don’t miss that. Fifteen minutes before Disney Dreams!.
Françoise: And they’re not Frozen?
Katy: Huh? They’re Frozen, they’re Frozen! I’ve spent some very, very cold nights.
@RadioDisneyClu: For the season, for the Summer season, will there be some new merchandise especially for Frozen, or will it be products that we could already find in the parks?
Katy: Honestly, I don’t know, but I think yes. I think that for every season, anyway, we have have new products…
Françoise: There are new products.
Katy: So it’s a renewal of everything that is […] in the shops.
Françoise: For collectors, don’t hesitate to buy them!
@Disney_ParisEN: Everything that’s merchandise-related, it’s really the Merchandise teams that worked on it, so I can answer. If you have any other questions on this subject, you can go through me […].
(End of translation from French to English)
@MickeyFantasmic: Thanks for bringing a stage show back.
Robert: Our pleasure.
(Start of translation from French to English)
Françoise: Our pleasure, yes, yes. That’s really, we’re very happy to be able to open this show today.
Katy: And especially on Monday.
@RadioDisneyClu: Were the sing-along tests that took place in 2014 in Videopolis a deciding factor for this this season?
Katy: It was interesting. We certainly took elements of what we learned during those tests. An important lesson was that having songs sung in two languages at the same time just isn’t possible. We clearly understood that. But it was interesting to see how the guests reacted, actually.
@RadioDisneyClu: Was it very difficult, because I often hear that Europeans tend to interact less than in the other parks?
Katy: That’s true, that’s true. But you need to, in fact I think it’s just about how you…
@RadioDisneyClu: You have to lead them…
Katy: Lead them. I think that’s what it is.
Robert: How to present it to them.
Katy: Yes. You have to give them the option.
Robert: There has to be more than just saying: “OK now you’re going to sing the song.”
@RadioDisneyClu: And it’s true that…
Robert: But we learned a lot of things during the sing-along in Videopolis. For instance, we realised that when, in a song, you switch from one language to another, you really break the emotional aspect and the story itself of the song, which in one language may not always say exactly the same thing. In the Spanish version, for instance, there’s… Of course, the people who adapt the songs do their job very, very well, it’s not translation, there’s, there’s a story. Always the same, but expressed differently. You have to be able to keep that.
French Fan: But for Tarzan it worked very well, with Phil Collins who sang…
@RadioDisneyClu: Ah yes. Phil Collins!
Robert: Yes, exactly, but in that case, Phil Collins was in control. Here it’s not the same thing.
French Fan: I heard that he would put a pencil in his mouth to sing in Spanish.
Françoise: And that’s enough?
Katy: OK, is that it?
(End of translation from French to English)
@Disney_ParisEN: Any last questions? No? English?
Katy: Well, thank you. Enjoy your day. See you at the show later.
Robert: Have fun.
Title Photo by @KrisVandeSande
Additional Photos by @CafeFantasia
Voice Memo by @CafeFantasia
Additional Voice Memo by @DedicatedToDLP
English Transcription by @CafeFantasia
French Transcription and Translation by @Mangsney
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