*Some sources (as “Disneyland Admission Media Rides and Attractions Report, published 1971), also state August 25, 1955 as the soft opening date. Another publication states August 27, 1955.

“Your Role in the Disneyland Show” has been referred to Disneyland as “a gigantic outdoor ‘show’” where “any area open to our guests is considered part of our ‘set’ and ‘on stage’.” This would include any and all Stages set within that Stage.

“Setting the Stage”

Disneyland was a miracle of showmanship in many ways! The presentation of the Mickey Mouse Club Theater show on the vast DISNEYLAND “stage” was to be a distinct part of the Disneyland theater concept. Some of Marvin Davis’ earliest c.1953 drawings of “Mickey Mouse Mark” (to be constructed on some 50-acre plot), featured a “Theater Group” attraction building. According to the 1953 Disneyland Prospectus, page 5, “Mickey Mouse, the best known personality in the world has his Mickey Mouse Club Headquarters in Disneyland.” Though the Mickey Mouse Club Theater ended up situated in Fantasyland for most of its duration, that was not the original plan for its location. The same Prospectus continues, “Located on Treasure Island, in the middle of the river, a fantastic hollow tree and treehouse serves as the Club meeting place. The hollow tree is several stories high, with interesting rooms , and lookout spots for club members. There is a Pirate Cove with buried treasure on the Island. . .and direct from this location the Club presents the Mickey Mouse Club Television Show.” So, according to the original plans, the Mickey Mouse Club Theater would have been based on what came to be known as Tom Sawyer Island (in the middle of Frontierland’s Rivers of America)! Can you just imagine taking a raft to get to the theater?

Amidst his loose line work, Walt Disney Studio artist Bruce Bushman (who was also affiliated with Bradley & Kaye) suggested a Stromboli Puppet theater in an area inspired by Pinocchio’s village, a gravity-flow canal ride featuring Monstro the Whale, a circus midway-themed dining area entered through a towering clown arch, a sailboat in a lagoon, and remembering that “it was all started by a mouse,” his detailed designs also included a “Birth of a Mouse” show. [The Disneyland News, Vol.1, No.9 published for March 10, 1956.]

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. Knowing Walt’s audience, Bruce Bushman (who served as Art Director, for the Mickey Mouse Club television series) created a number of concepts for Disneyland during 1954. Early thumbnail sketches and other concept artwork seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. One of Herb’s projects was the design of a Mickey Mouse Club Theater with much added pomp and grandeur, while reflecting the feel and theme of the television variety show. Like some advanced “High Concept,” final designs were quickly generated and approved. Though the final product of the interior would look very different from this drawing, this particular dream would become a reality in 1955!

Next, architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

Air-conditioning controlled dust, and a practical mechanical application of the technology was essential in the attraction where projection equipment and film was used.

Soon, one authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., May 25, 1955) announced the working title as the “Mickey Mouse Theater,” with no further description or notations made about the attraction. This theater (where movies and stage acts would be shown) would come to be owned by Walt Disney Productions and be one of few attractions owned by another Disney organization and operated by Disneyland, Inc. for a 5% management fee.

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “Mickey Mouse Theater: It appears very doubtful that it can be completed by our opening.”

”Mousekartoon Time”

Despite Mickey Mouse and Minnie Mouse introducing the theater on the live telecast, July 17th, 1955, the Mickey Mouse Club Theater did not open its doors to Audiences until sometime thereafter. The Mickey Mouse Club Theater (variously referred to as “Mickey Mouse Club Cartoon Theater” and “Mickey Mouse Theater”), opened its doors (as 1 of 22 initial major attractions at Disneyland), during August of 1955. “The Story of Disneyland” (published 1955, by Disneyland Inc.) described the Mickey Mouse Theater as an attraction “where films for children will be shown.” Continuous 30-minute shows were one “B” Coupon, (or, 15¢ for children and 25¢ for adults).

To elaborate on this description of this unique theater, the 400-seat Mickey Mouse Club Theater was perhaps the very first theater to exclusively show cartoons (and “Mousekartoons” at that) in the all of the United States. The theater’s primary entertainment - “Mousekartoons” - was clearly indicted by the crest over the entrance. Like other Fantasyland attractions the signage of the Mickey Mouse Theater also featured a medieval-style Escutcheon, containing a Coat of Arms with Mickey Mouse Club logo, a projector, and a strip of film!

The initial 30-minute program included short films Lambert the Sheepish Lion, Out of Scale, The Big Wash and Squatter's Rights. Its main (and first) live attraction was the cast of the Mickey Mouse Club, who performed on the stage during that very first summer. All “Honorary Mouseketeers” were invited to the show - the Mouseketeers and Jimmy Dodd starring in cinematic productions like the 12-minute 3-D Jamboree. For those across the United States that only owned a black and white television, this was a rare opportunity to see your favorite Mouseketeers in glorious eye-popping Technicolor! During the first winter holiday season of 1955, a special “Holiday Show” was advertised in The Disneyland News (Vol.1 -No.6 ; published December 10, 1955).

This artifact (of the former Richard Kraft Collection) gives us an idea what the posters for “The Mouseketeers 3-D Jamboree” looked like, as they hung outside the Mickey Mouse Club Theater. The Mouseketeer graphic (featuring the heads of both a male and female Mouseketeer) was similar to the one used on television! Not advertised on this poster for the special Technicolor 3D film (containing footage of the Mouseketeers) was the Donald Duck cartoon “Working For Peanuts” and “Adventures in Music: Melody.” The innovative films included live action and animation and featured Chip and Dale, Donald Duck, and the Mouseketeers. In this way and others, the Mickey Mouse Club Theater of Disneyland would begin to synergistically work with Walt Disney Studios and keep the Disney characters before the public.

In 1956, George Mills Jr. was in a movie at the Mickey Mouse theatre showing the growth and development of Disneyland.

Products occasionally referred to the Fantasyland attraction. For instance, Jiminy Cricket (portrayed by Cliff Edward) made reference to “Mickey Mouse’s own theater” in the High-Fidelity recording of “A Day at Disneyland” with Walt Disney and Jiminy Cricket (published 1957).

The admission price soon saw a 5¢ raise. This new “B” Coupon (then 25¢ Adult Admission and 15¢ Child Admission) price of the show stayed consistent throughout 1956 and 1957. This was not extraordinary, as it was an admission price similar to that of another contemporary show (Keller’s Jungle Killers). The Mickey Mouse Club Theater was especially well worth the price on hot summer days, as the attraction was one of three air conditioned attractions in the Park (including TWA Rocket to the Moon and Slue Foot Sue’s Golden Horseshoe).

“Mousekartoons & Special Engagements”
The Mickey Mouse Club Theater more commonly, routinely presented 30 fun-filled minutes of Walt Disney’s Technicolor cartoon movies per showing. However, for the first Christmas Festival in 1955, a special seasonal holiday show was prepared. According to The Disneyland News (December 10, 1955): “‘The Night Before Christmas,’ starring Santa Claus himself, headlines the bill of four Walt Disney Productions cartoons. Costarred with Santa is Mickey Mouse in ‘Mickey's Circus’; Donald Duck with Chip'n'Dale in ‘Toy Tinkers and Goofy’ and Donald, who meets penguins and a walrus in ‘Polar Trappers.’ The Fantasyland Theater's Christmas season show follows the holiday atmosphere set by the park's Yuletime decorations. Admission to the full half-hour show is 25 cents or by use of one of the tickets in the ticket book. The theater is open from 11:30a.m. to 7:30 p.m. six days a week.”

Some of the cartoons screened were “3-dimensional color movies,” according to Vacationland (Summer, 1957). Double features of Walt Disney Productions’ other color short films often showed, like “Pecos Bill” and “Gaucho Goofy” (c. 1958).

The Mickey Mouse Club Theater was also utilized for the occasional photo shoots, special showings and events. During Disneyland’s second year of operation (in June of 1956), “foremost vaudeville and nightclub stars” briefly appeared in two-a-day vaudeville shows presented by the American Guild of Variety Artists (during their Ninth Annual Convention, held at the Disneyland Hotel). The Mickey Mouse Club Theater also briefly entertained the members of the “National Associating of Amusement Parks, Pools, and Beaches”, which Disneyland hosted from September 18-20 (Tuesday through Thursday), of 1956. As a “sidelight” one of the foremost members in attendance was the organization’s President, George F. Schott, who once served as advisor of Disneyland planning, construction, and operation. After two full days of exploring Walt’s innovative expansive theming, and original rides (like the Mine Train & AstroJets), “Thursday’s program included another look at Disneyland, a special showing at the Mickey Mouse Club Theater in Fantasyland of a film on the construction and story of Disneyland”.
Also in 1956, actress Spring Byington (of “December Bride) and child actor Bobby Diamond (of “Fury”) were photographed outside the theater (after watching some Walt Disney cartoons) for their 1956 “TV Radio Mirror” photoshoot at Disneyland!

By 1959, Joe Fowler was Vice President of Disneyland Operations Committee and Doc Lemmon of Disneyland Operations was overseeing Operators of Rides & Amusements (like the Mickey Mouse Club Theater), Livestock, Parking Lot, and Ticket Sellers.

In 1962, the Fall Orientation Film Series presented by the University of Disneyland was held at the Mickey Mouse Theater (on most Wednesdays thru Saturdays, from October 10th thru December 8th). These were special feature film presentations (with short films attached), for “all Disneyland, W.E.D. and Lessee Personnel, plus their families”(including those of the Disneyland Hotel, Gourmet and Hotel Shops), beginning at 7:30p.m. and ran until 9:15p.m. during those dates. Tickets were available at the Operations Office, Hotel Monorail, and Maintenance Office. Films screened included Walt Disney’s Pinocchio (October 10-12), Third Man on the Mountain (October 17-19), Davy Crockett and the River Pirates (October 24-26), Nature’s Half Acre (October 31-November 3), Moon Pilot (November 7-10), African Lion (November 14-17), Walt Disney’s Bambi (November 21-24), Babes in Toyland (November 28-December 1), and Cinderella (December 5-8).

A year before the theater was renamed, the Mickey Mouse Club Theater was also the location of exciting “live” recording of The Famous Ward Gospel Singer’s record album and concert, on April 18th, 1963. The concert (under the Direction of Gertrude Ward) contained a selection of 12 songs (including “Down By The Riverside”, “Something’s Got Ahold of Me”, “Never Grow Old”, “Dry Bones”, “I’m Getting Nearer”, “Shadrack”, “Deep Down In My Heart”, “He’s Got The Whole World In His Hands”, “Keep Your Hand On The Plow”, “Daniel Saw The Stone”, “We’re Marchin’ To Zion”, and “Come On In This House”). The record album was produced by Camarata, and distributed for home-listening through Buena Vista Records. Just before the curtains closed on the Mickey Mouse Club Theater stage for the final time, a print of Walt Disney’s Dumbo would be shown, during 1964. This was part of the University of Disneyland’s Disney Film Orientation Program, that made younger employees knowledgeable about Walt Disney’s classic stars that they may not be familiar with. Remember, this was long before the advent of widely distributed home-viewing formats (like the video tape) streaming services, or the internet, so average folks had no access to home copies of classic Walt Disney Productions short films or feature length films.

Though printed and distributed during the Summer of 1960, this Disneyland “B” Coupon still bears the original admission price of 20¢. Adult Guests would exchange these to view 30-minute cartoons, which ran from 11 a.m. to closing!

The Mickey Mouse Club Theater was situated on the west side of Sleeping Beauty Castle, between Snow White’s Adventures and the Welch Grape Juice concession.

The Mickey Mouse Club Theater offered a change of pace from the Mad Tea Party and Fantasyland’s other “moving” adventures. The air conditioned theater was especially inviting on a warm summer days.

The Mickey Mouse Club Theater would briefly cease operation during the winter season of 1962.

The Mickey Mouse Club Theater marquee advertises “Walt Disney’s Cartoon Carnival” in this Vintage View. When the Mickey Mouse Club Headquarters was temporarily set up in the Main Street Opera House, the venue would gain a slightly new look and a new name.

“Mous-Ka Puppets”

Puppeteers and their animated friends were a common sight in Disneyland during Walt’s era. Some participated in parades (like puppeteer Jack Shafton in Fantasy on Parade). There were others, like French puppeteer André Tahon, who performed six of his unique “E” Ticket musical fantasy Shows (with pre-recorded music) daily, April 6th through September 8th of 1963. John Zweers, Bob Mills, and Bob Baker were just a few more master puppeteers and performance artists to bring their shows to Walt Disney’s grand show - Disneyland! Before January of 1964, they would perform from the Fantasyland Theater Stage and another smaller stage which was located in Tinkerbell’s Toy Shoppe. Tickets for the former were available at the Fantasyland Theater Box Office and the Fantasyland Central Ticket Booth.

The original Mickey Mouse Club ended its televised run during the 1960s. It was then (in 1964), that Mickey Mouse Club Theater was renamed Fantasyland Theater. The old 400-seat “Mickey Mouse Club Theater” was now rehabilitated with 450 seats (to increase guest capacity). During operational hours, Disneyland guests still enjoyed Walt Disney shorts in the air-conditioned auditorium. Long before DVDs, and streaming services, the Fantasyland Theater offered a rare opportunity to watch Walt Disney Studios’ animated classic characters on a big screen (the way that Walt intended). Walt Disney Productions’ short films were shown here, as well as pieces starring the Mouseketeers of the Mickey Mouse Club.

One of the first films shown (in the summer of ‘64) was “Mickey and the Beanstalk” (billed as “Walt Disney’s Jack and the Beanstalk” on posters).

In late 1965 thru 1966, “Pecos Bill” returned for a double feature with “Rugged Bear” starring Donald Duck.

“Mickey Mouse presents ‘The Wonderful World of Wizardry’” at the Fantasyland Theater, for seven performances daily (from 12:00N-7:30pm), from December 26th, 1967 thru January 1st, 1968. “The majic show” featured “the wizardry of Mickey Mouse, Pluto, Goofy and Alice in Wonderland performing several famous illusions live on stage.” During this same winter period, both the White Rabbit and Mad Hatter made regular appearances at the Forecourt Fantasyland Theater, greeting guests as part of the Character Program, “throughout the Christmas Holidays” (daily between parades, from 9:00am to 11:45am). [“Disneyland Holiday Talent Master Schedule,” prepared for the period of December 16, 1967 through January 1, 1968]

Winnie the Pooh and the Honey Tree also ran during 1968. By that year the seating capacity has been expanded to a maximum of 452 guests (with a theoretical hourly capacity of 904). The following year (c. 1969), the Academy Award winning Winnie the Pooh and the Blustery Day came to Fantasyland Theater, accompanied by a stage show featuring the residents of the Hundred Acre Wood. One Disneyland Admission Media Rides and Attractions Report [prepared in April 1971, by Disneyland Research Department] divulged that 4,964,907 guests had visited the Fantasyland Theater during its hours of operation. During the early 1970s, a Cartoon Festival starring Mickey Mouse and Minnie Mouse introduced younger generations to the comedy duo, on the big screen - the way that Walt Disney intended them to be viewed. This Cartoon Festival continued throughout the decade, with other shows like the Disneyland Music Education Program’s “Fun With Music” (a c. 1976 live educational music-oriented show which taught children about “the most creative means of expressing our feelings thoughts, moods, and emotions” - music) appearing intermittently.

The Fantasyland Theater was also utilized for a variety of special events. Occasionally (during summers of the 1960s), the theater was used for staging the live bands of Grad Nite Humdinger shows. In 1966, the Employee Opinion Poll (conducted by Cal-Tech) was held at the Fantasyland Theatre. During the Winter-Spring (of 1966-1967), Cal-Tech conducted the Employee Opinion Poll from the Fantasyland Theater, the poll given to every person who worked for the Park at the time. During 1967, Card Walker orchestrated a special presentation from the Fantasyland Theater stage, for top theater chain owners across the country. Family Film Festivals soon included screenings of live action Walt Disney Productions like Return from Witch Mountain, Candleshoe, The Apple Dumpling Gang, and The Strongest Man in the World. On October 14 & 15 (Saturday and Sunday), 1978, a special two-day limited engagement showing of ‘The Three Caballeros’, “Walt Disney’s popular salute to South America” was featured at the Fantasyland Theater. One of the last screenings was a special early Disneyland Cast-only screening of the 25th Anniversary Birthday Commercial (for all who were involved - both in front fo the camera and behind-the-scenes) debuted Saturday, December 9th, 1980, 9:30a.m., in the Fantasyland Theater. Then, the Fantasyland Theater closed on December 20, 1981.

A special Mickey Mouse Club show (advertised on posters rather than the theater marquee) received top billing during 1964.

During early days of the all-new Fantasyland Theater, the admission price of the preceding Mickey Mouse Club Theater was retained - 25¢!

Short films Pecos Bill and Rugged Bear now showing at the Fantasyland Theater as a double feature!

In 1965, the University of Disneyland presented the Fall Film Festival at the Fantasyland Theater. Shows included the son of flubber, Bambi, kidnapped, the living desert, babes in toyland, and Savage Sam.

More than a decade after they were released, the Melody Time (1948) short Pecos Bill, and the Donald Duck and Humphrey Bear short Rugged Bear (1953) would play in a double-feature at Fantasyland Theatre!

We can vaguely see the marquee, which advertises a Winnie the Pooh feature.

The 18-minute film, A Visit to Walt Disney World was shown at the Fantasyland Theatre immediately preceding the festival attraction, Bambi on Friday, May 2, 1969 at 7:30 p.m.

Winnie the Pooh and his “Hundred Acre” neighbors and members of the Pearly Band (like clarinetist Jack Martin) perform for the audience at the Fantasyland Theater.

During January 8 to 21, 1973 the Fantasyland Theater was closed for a 2-week rehabilitation.

The “Sound Films” which played in the Fantasyland Theatre during this Cartoon Festival introduced Mickey Mouse to a younger generation who may have only known him from the New Mickey Mouse Club and his appearances in the Disney Parks. These limited time screenings included such timeless classics as “The Band Concert” (1935), “Through The Mirror” (1936), and “Mickey’s Trailer” (1938).

A Cartoon Festival starring Walt Disney’s Mickey Mouse and Minnie Mouse is held at the Fantasyland Theater.

Several 1930s Mickey Mouse short films would reintroduce Mickey and Minnie Mouse to an entire new generation that may have never seen a “classic mickey Mouse” cartoon on the big screen! This Cartoon Festival would continue into 1975 - during the American Bicentennial celebration held at Disneyland.

“Maintenance of Magic”

During each day, Disneyland Park Operations M-42 Machinists would, at least once, check all attractions in Fantasyland and discuss with each Attraction Lead and problems, defects, or any other feedback regarding the department. M-42 Machinists would also respond to all downs and delayed openings in the Fantasyland area whether or not it was mechanical. Upon arriving at an attraction, they would determine whether what the failure was. M-42 would determine which crafts were needed, determine an estimated time of repair, notify M-1 and assist with crafts when necessary.

Ultimately, the Fantasyland Theater’s curtains fell, and its closed its doors for the final time. During 1981, construction would begin on a new adventure contained in Sleeping Beauty Castle complex’s East side, as part of New Fantasyland! We invite you to “please, step this way” , as we take one last look back at a very unique aspect of the Fantasyland Theater - the Disneyland Drama Club productions!

During the 1960s, hard working Disneyland employees were rewarded periodically with scheduled luncheons, family picnics, film festival screenings featuring popular Walt Disney Studios films, and field trips to fun and exotic locations. Industrial Basketball games, Volleyball tournaments, and softball leagues allowed for exercise and introduced a spirit of healthy competition and challenge. In addition, various clubs (focused on skiing, the arts, Christian fellowship, square dancing, to name a few) helped Disneyland’s employees bond and befriend each other. These opportunities to enjoy a little recreation with like-minded Disneyland Cast Members were all owing to one organization called the Disneyland Recreation Club (we’ll hear more about their origin below)!

But, did you know, that Disneylanders were seasonally treated to limited stage productions of plays presented from the Fantasyland Theater Stage, by the Disneyland Drama Workshop? It is very appropriate that we take a rather extended interlude to introduce our next Fantasyland Theatre- related subject, as it was most enjoyed among Disneylanders during the 1960s and the 1970s.

Some of the earliest evidence of staff-produced play productions on Disneyland property date back to the 1960s. Spring Tonics 1960 (a series of Disneylander-produced skits) was held on May 25th, 26th, and 27th in the Mickey Mouse Club Theater. About this time period, at least one other play production was performed. The granddaughter of a former Main Street Concessions Manager [a certain C. S.] recently shared her remembrance of this show in Disneyland : “Grandma performed in this theater. Grandma would sing and dance. She had a smile that just melted your heart. I can remember her reading her lines for the play she would be in, in the Mickey Mouse Club Theater. Grandma was in the play Arsenic and Old Lace.”

By 1962, the Disneyland Recreational Club supported a “little theater group” known as the Disneyland Players.
According to Tom Pletts (a latter member of the Disneyland Drama Club), “[The] Disneyland Drama Club…existed [a few years later] in 1966, very briefly. It was begun by executive Bill Carden, but ended after only one bill of one -acts at the Hotel.” This production featured several acts - ‘The Case of the Crushed Petunias’, ‘If Men Played Cards as Women Do’, ‘Escurial’, and ‘Separate Tables’ were each directed by a different Disneylander and starred a small, unique cast. Tom continues, “Bill had been transferred to another part of the company, I think, and he was the sole instigator. Fun while it lasted, though.”

Fast forward about five years, to 1971 - the heyday of the Disneyland Drama Workshop (or, Disneyland Theatrical Production Club). If you were lucky enough to have a family member who worked for Disneyland, you may have had the opportunity to visit Fantasyland Theater after hours for at least 1 of 16 total productions :

•The American Dame (1970)

•Greensleeves’ Magic (February 22-25, 1971) - the second Drama Workshop Production

•Chicken Ranching for Fun and Profit (May 24-26, 1971)

•Spring Tonics (1971) - a skit performed for the park’s summer banquet

•Bye Bye Birdie (November 1-4, 1971)

•Story Theater (January 8-11, 1972) including Henny Penny, The Elves and the Shoemaker, The Robber Bridegroom, The Fisherman and His Wife, and The Lion-Hearted Kitten

•Jane Eyre (scheduled for February of 1972, but unproduced)

•Rumplestiltskin (February 28, 29 ; March 1, 2, 1972)

•You Can’t Take It With You (May, 1972)

•Lil’ Abner (October 1972)

•Wait Until Dark (March 12-15, 1973)

•Story Theater (1973) - a collection of one acts

•How to Succeed In Business Without Really Trying (October 15, 16, 17, 18, 1973)

•Little Mary Sunshine (1974)

•And Then There Were None (1974)

•The Goodtime Dance Company (September, 1975)

•The Sound of Music (February 5, 7, 10-13, 1975)

•The Fantastics (1975)

•Tail of the West (February 3-5 ; 10-12, 1976)

•Come Blow Your Horn (c. 1976)

•The Boyfriend (1978)

•Damn Yankees (date unknown)

•Come Blow Your Horn (1987)

At times a production was scheduled, announced in LINE Magazine, but never produced. One such example was a production of Jane Eyre (which was considered during early 1972), but did not garner enough interest. A few of these were directed and written by Wally Boag, and each one starred a talented cast of Disneyland employees. Disneylander Earl Archer was a charter member of the Disneyland Drama Workshop and had been involved in every production since its establishment until (at least) 1974. If you worked at the Park during this era, I am sure you will see some faces that you recognize in the following sections!

The very first Disneyland Drama Club Workshop production was ‘The American Dame’, presented (appropriately) in the 400-seat, air-conditioned, Fantasyland Theatre! Alex Goldstab (a Disneyland Entertainment Manager), produced it just before relocating to support the newly established Character Department of Walt Disney World’s Magic Kingdom.

Alex Goldstab (Entertainment Division ; The American Dame Producer) sets the lights for the show. Tom Pletts recollects, “Having professional staff help us with our shows was a tremendous boost!” After the production was over, Alex Goldstab (Entertainment Division ; The American Dame Producer) left for Walt Disney World in Florida. He was missed by all who worked with him!

Kathy Bell (who isn’t listed among the program’s credits for The American Dame), was influential in this production.

Connie Lane (former Disneyland Ambassador of 1966, and Disneyland Drama Club member) recollects the production : “It was effervescent! We were doing a great show, in the Fantasyland Theatre and doing something that hadn’t been done before at Disneyland. The show was meant to be a study of American Womanhood. We all had several roles.”

“In the show, I did two or three sketches. In one, I was a pioneer moving west with my spouse. In another, I was making excuses for just being a passenger while my wife drove our car. Pleasant, fun stuff.”

-Tom Pletts

The American Dame cast member Tom Pletts has a conversation with cast member Pat Keener at the backstage makeup mirror.

The American Dame Cast Members Sharon Wimmer and Ann Cottrell in makeup.

The American Dame actor Bob Sendzik gets assistance with his makeup while backstage.

The Disneyland Drama Club production of The American Dame starred many familiar faces from around the Park. Here, Connie Lane (Disneyland Ambassador of 1966 ; Disneyland V.I.P. Hostess) readies for her part.

Connie Lane remembers : “I was able to wear one of Betty Taylor’s dresses for the show, [and] I was in heaven. [It was] off white ‘silk-looking’, lots of heavy beading, HEAVY! It took two dressers to help me fit it and secure the zipper…I was under strict orders not to get the hem dirty.”

Inside The American Dame program, an accompanying formal letter from Jim Heiss invites fellow Disneyland Cast Members to join the Disneyland Drama Club of the University of Disneyland. The letter concludes with a special pre-show thanks to all Disneyland Cast Members of the D.R.C. (Disneyland Recreational Department) and the Disneyland Costume Department for their support of this production.

Sherry Nelson was scheduled to perform, but incurred some sort of illness or injury that prevented her from being involved. Before the opening performance, Sherry sent her well-wishes to the cast and crew of the Disneyland Drama Club’s production of The American Dame.

The American Dame also starred Disneyland Drama Club President Jim Heiss (background) and Jim Adams (foreground), both in supporting roles.

A pioneer and his wife moving West with his spouse, portrayed by Pat Keener (left) and Tom Pletts (right).

The Pioneer’s Wife (portrayed by Pat Keener), holds the reins on the schooner as the couple heads West!

Pat Keener making sure everyone’s awake.

Suezanne Fisher

Johnny Buckner

The Preacher Scene including (left to right) : Greg Silva, Jim Adams, Suezanne Fisher, Sherry Nelson, and Gloria Clark (bottom right).

Sharon Wimmer and Sandie Schumacher

Gloria Clark in The American Dame.

By 1971, John Buckner had replaced Jim Heiss as the Disneyland Drama Workshop President. Now that the Disneyland Drama Club’s production of The American Dame had been produced as a smashing success (owing to its Disneyland cast Members), work began on casting two major plays to be produced during the following year. Word of this was heralded throughout the lands, courtesy of the Disneyland Recreation Club. In addition to these productions, the troupe also performed for Cast Members at the “Summer ‘71 Kick-Off Dinner.”

Many of the stars of the previous production (The American Dame) returned to support this second Disneyland Drama Club production of “Greensleeves’ Magic”.

The previous Disneyland Drama Club production borrowed many costumes from the Entertainment Costume Department. Now, many costumes were made special for Disneyland Drama Club’s 2nd production - “Greensleeves’ Magic”! Here, Jim Adams receives a costume measurement and alteration.

Connie Lane as The Queen and Jim Adams (foreground)

This artwork has been attributed to renowned Disneyland portrait artist Chuck Boyer. If you’re not familiar with the name Charles Boyer, its likely that you’ve seen his work hanging around Disneyland. Charles Boyer would go on to produce many visual tributes to parades and performers of Disneyland - from the Disneyland Band to the Royal Street Bachelors. During the 1980s, Charles produced many pieces to advertise seasons of Circus Fantasy and Fantasy On Parade. For now, Charles Boyer would support the Disneyland Drama Club with artwork utilized for their programs and posters.

“It’s hard to imagine Bonnie as a villain ever. I just don’t remember the plot well enough to visualize her in that role. But there I am in the picture with her(in the striped shirt, as the bashful sailor). Disneyland Ambassador Carol DeKeyser is the laughing one on the left. Ambassador Connie Swanson is the blonde in gold satin, upper middle, character Jim Adams is just below her (in character). On the far right, the redhead in a red vest is the founder Jim Heiss. Next to him is the wonderful Pat Keener…Oh, the guy above Jim : Bob Beardsley, who played Greensleeves!”

-Tom Pletts

(1) ?, (2) Carol DeKeyser Masters, (3) Craig Carmen, (4) Betty Bell, (5) ?, (6) Tom Pletts, (7) ?, (8) Suezanne Fisher (the Hills Bros. employee who directed this production), (9) Connie Swanson Lane, (10) Bonnie Barrilleaux (a “Golden Horseshoe hoofer”), (11) Jim Adams, (12) ?, (13) Patricia Keener Chandler, (14) Alan Oldham, (15) Chuck Robertson, (16) Jim Heiss, (17) Phil Chilcote, (18) Bob Beardsley, (19) ?

With this production, it became a tradition to meet the audience (and autograph their playbills) after each show. Straight thru the crowd, Suezanne Fischer greets guests between the Fantasyland Theatre and Mad Tea Party Cups.

The “not-so-evil” Bonnie Barrilleaux (as The Evil Duchess of Greensleeves’ Magic) strikes an “Evil Pose” for a guest’s camera.

Bonnie Barrilleaux (as The Evil Duchess in Greensleeves’ Magic), greets guests in a not-so-evil manner.

Pat Keener after the show.

Pat Keener (who played Miranda) and Connie Lane (who played The Queen) pose for a photograph near the Fantasyland Theatre entrance after the show.

Suezanne Fischer (who played the role of Matilda) takes some time to autograph a program for one of her fans.

It became a tradition to autograph Playbills of younger guests after productions.

“Greensleeves’ Magic was nearly taken out of the Park to entertain more kids, but wasn’t Disney’s material.”

-Tom Pletts

The Fantasyland Theater house was packed, but did not exceed the occupancy limit.

Accolades from the writing department of Disneyland’s own in-house periodical publication for employees.

Again, Disneyland’s own portrait artist Chuck Boyer would provide artwork for another program cover. Disneyland Drama Club Alumn Tom Pletts remembered, "He was very kind to our little drama group.”

But what was this third Disneyland Drama Club production about? Cast Member Tom Pletts (who portrayed “Grasper Quick”) recalled the Plot this way : “The villain Grasper Quick was going to foreclose on Widow Blues’ chicken ranch unless her daughter, Sugar Blues, married him. Sugar’s boyfriend and hero, Victor Virtue, and his friend, cheerleader Frank Funster vainly try to help. Sugar attempts to bribe Grasper by sending him all the eggs ; but, since he’s been secretly feeding her chickens gunpowder (don’t ask), they blow up his mansion (off stage, of course). It’s all sprinkled with running gags and a catchy tune or to. Fun stuff.”

Cast member Tom Pletts continues : “It’s kind of a ‘Vaudevillain’ comic melodrama, and is only 30 minutes long (for audience turnover). Its title is ‘Chicken Ranching for Fun and Profit’…or, ‘Many A Man Has Gone to the Dogs Chasing a Chick’. Authorship is credited to Wally Boag, Fulton Burley, and Bert Henry. Jerry King, the regular [Golden] Horseshoe drummer provided the rim-shots for us ; Rod Miller, the Coke Corner pianist, played excellent ragtime to keep the mood. I still get pumped for a show start when I hear ‘Maple Leaf Rag’!”

Ben Sherman and Bonnie (Sugar) get some direction while sitting in the dining area of the Golden Horseshoe Theater.

Pat (Widow Blues) and Bonnie at rehearsals.

Johnny Buckner (Victor Virtue) and an unidentified book worm look over their scripts.

The following photos were taken at one of the “Chicken Ranching” performances held inside the Golden Horseshoe Saloon. The show also ran in the Fantasyland Theatre, but we don’t have any current “Vintage Views” available.

Tom Pletts remembers, “In the foreground, you’ll notice Pat Keener, the Widow Blues, reading a ‘mort-gage’ (as Wally preferred).”

Tom Pletts recalls, “I’m hiding behind a ‘bush’…”

Tom Pletts continues, “…and in the midst of a chase scene, Funster makes us play a game. Too much fun.”

(From Left To Right) : Bonnie as Sugar Blues, Tom Pletts as Grasper Quick, Johnny Buckner as Victor Virtue, and Jim Adams as Frank Funster the “Yell Leader”.

We asked Tom Pletts about this funny looking prop to the stage left, and he excitedly exclaimed : “That’s a ‘Chicken Trophy’! I don’t remember if it was employed in the show other than as a prop. It just got called that because it looks like a gold-plated rubber chicken!”

[Photo: Courtesy of Tom Pletts]

Tom couldn’t help but share this related memory : “Here’s a Chicken Ranching For Fun And Profit mini-reunion during the gathering for Fulton Burley’s memorial at the studio.” Upon celebrating the life and humor of Sir Fulton Burley, the cast members of the melodrama “Chicken Ranching for Fun and Profit“ (a special performance in the Golden Horseshoe), assembled for a group photo. From Left to Right – Grasper Quick (Tom Pletts), the heroine Sugar (Bonnie), “The Great One” - the writer/director (Sir Wally Boag), Frank Funster the cheer-leader (Jim), and the ragtime pianist orchestra (Rod Miller).

“The Show Goes On”…

Where the two previous Disneyland Drama Club productions had a limited run during one week, “Chicken ranching For Fun & Profit” was perhaps the first production to be extended. Tom Pletts (who portrayed the character of “Grasper Quick”) recollects : “The company decided to present our show to the public one night a week through the summer, and then for Private Party nights in the fall. AGVA limited the number of performances unless we joined their union ; so the Park shut us down after 50+ shows.”

(Artwork by Tom Pletts)

The very first “Spring Tonics” appeared May of 1957! The show was described as “a combination pep rally and an annual review, their inspired madness provided a satiric reflection on the Disney Way,” according to an article published in Disneyland LINE (Vol 12, No. 29 ; July 17, 1980).

The 1958 Spring Tonics was known as the “Annual Brain Wash at the Mouse House” with special scripts written by Disneylanders. Van France coordinated the show, Bud Coulson was the MC, and Jack Sayers presented the “brainwash” portion of the show (with more than a few interruptions by Trinidad). Vesey Walker and the Disneyland Band, Wally Boag, Don Novis, Betty Taylor, the Golden Horseshoe Girls and orchestra were highlights of the program. Memorable acts included Frank Heidemann pickin’ oranges in ‘52.

In 1961, Disneyland employees attended the Annual “Spring Tonics” show in the Mickey Mouse Theater and heard a special talk given by Joe Fowler, Disney Vice-President, after the performances.

But according to Backstage magazine (published Summer, 1965), the tradition of “Springtonics” (a spoof of Disneyland operations, as presented by the management) had completely disappeared by the year 1965. Bob Penfield briefly mentions fondly remembering these very “Springtonics in the Mickey Mouse Theater - a skit that was a spoof of everything and it was put on by management,” to Disneyland LINE (Vol.25, No.28). Now (two decades later), it looks as if “Springtonics” had been revived. If you’re wondering what the “Spring Tonics ‘71” show was all about, Tom Pletts has your answer :

“Spring Tonics was a pre-summer kick starter for Disneyland employees in the early years. Wally headlined a cast that did cute sketches about Park Operations, and got everyone in the mood for the season. Our show merely revived it, with Wally’s help. It was performed on the Tomorrowland Terrace stage (I think) at the same time as our Golden Horseshoe melodrama, so I didn’t get to be in it or see it. But I drew the program for it…‘71 Spring Tonics revived an early Disneyland tradition. ‘72 we performed skits for the park’s summer banquets, for leads.”

Tickets for this employees-only production were sold through the Disneyland Recreation Club.

Jim Adams (with his head down) and Bonnie Barilleaux (on the right)

Left to Right : Unidentified, Lee Lomask (Stage Manager), Anita Trammell (as Ursula Merkle), hard-working Fantasyland Graveyard Working Leader Rhonda Treischel (as Rosie Alvarez), Bruce Langford (as Conrad Birdie).

Earl Archer (in plaid on the right).

This issue of Backstage Magazine featured other articles of contemporaneous events (Disneyland’s first Country Music Spectacular, Bear Country development and construction, and the opening of Walt Disney World) which helped understand the era that this production of Bye Bye Birdie was performed. These exciting updates gave us an inside sneak peek at what would surely be the Disneyland Drama Club’s most anticipated production to date!

Bob Jani (who much live Disneyland and Walt Disney World entertainment of the 1970s has been acredited) was invited to attend the Disneyland Drama Club production of Bye, Bye, Birdie. Due to conflicting scheduling arrangements, he could not make it, and sent this letter to Ted E. Buxton of Disneyland’s Publicity Department.

Jim Stewart (who played the part of Harvey) recalls being a part of this Disneyland Drama Club production :

“Man, this brings back memories.

I started at Disneyland at the end of summer 1971. I worked at Club 33 as miscellaneous kitchen help. I worked with the [Disneyland] Drama Club during my stint in the park. The play that I was involved with was ‘Bye, Bye Birdie’.  I still have my Bye Bye program, signed by many of the cast members. The director Greg Silva did an awesome job. Also, Van, the choreographer did a great job, and when I would get frustrated was so good at motivating me to do my best. I accomplished far beyond what I thought I could do. Many of the props and stage sets I was able to get from my Drama Teacher at Orange High School where we had performed the same play twice. I played several parts, as well as worked on the shows program.

I had a lot of fun with the part, even though I was told I was typecast. Was also on the television crew, and worked with publicity. The silk screen for the front cover as due to an error when I had the programs printed. Greg Dymkowski stepped up to bat and worked on this project for the silk screening. It was such a fun project and had a ball doing it.“

As you look over the pages of the program for the Disneyland Drama Club production of “Bye, Bye, Birdie”, note the sheer size of the cast and crew involved (especially in comparison with previous productions “The American Dame” and “Greensleeves’ Magic”).

Both “Jane Eyre” and “You Can’t Take It With You” were scheduled as Disneyland Drama Club “Coming Productions”, but only one of these will generate enough interest to become a reality. Still this future production was still moths away, and (though not advertised here) another exciting production - “Rumplestiltskin” - would come along first!

At least one guest wrote a letter of thanks to the Disneyland Drama Club, for their production of “Bye, Bye, Birdie”.

During the late 1960s and 1970s, the Disneyland Recreation Club was a supporter of many of Disneyland’s own “in-house” extracurricular employee organizations - softball leagues, chess clubs, christian clubs, and many more! The Disneyland Drama Club was appreciative of all the support that it’s members received from the Disneyland Recreation Club, that the President often expressed thanks by way of letters like this one.

If you ever had a role at Disneyland during the first 50 years (or so), then you likely were admonished at some time to “know your D.R.C. council.” With all this talk about the D.R.C., you may be wondering just what it stands for. If you were only a guest of Disneyland, then you may have never heard of the D.R.C., or Disneyland Recreation Club. The Disneyland Recreation Club was formed only a “few months after the drawbridge of Fantasyland Castle was lowered,” according to a column by Bob Penfield (published in Disneyland LINE, Summer of 1965).
The D.R.C. owes its existence to several individuals including Van Arsdale France (of the University of Disneyland), Jan Ayers (of Group Insurance), and others.

It was one of many clubs (or, organizations) comprised of Disneyland Cast Members at the Park and the Hotel (all persons became members of the DRC when they began their employment with Disneyland). Y’know, a wise Mouseketeer once sang, “A good clean sport, a good clean mind will do a lot for you!” Holding a high value to those ethics may be one reason why the company itself, would financially sponsor recreation and entertainment for its employees (or, DRC members).

1956: For instance, the First Annual “End of Summer” Dance in honor of part time employees (who “improved every phase of the Park’s operation”) was held September 7th, 1956 (and these “Via Con Dios Dances” became a tradition during the first decade). The Disneylander periodical (published by the Disneyland Recreation Club) preserves information on many of these events. The First Annual Disneyland Christmas Party was held on December 10, 1956. “The originator and arranger for basic detail was your Disneyland Recreation Club. The council Felt honored and privileged by the success of this party.”

1957: During May of 1957, Iris Schuller (of Latin Imports at the Disneyland Hotel), hosted a series of six self-improvement classes for women (e.g. Makeup and Hair Styling, Walking and Posture, Figure Control and Co-ordination, Personality and Charm, Voice and Diction, and Wardrobe and Color Co-ordination). By 1957, the DRC sponsored a Basketball Team, Bowling League, Softball Team (the first team in the Industrial “A” League of Anaheim to complete a season undefeated), and Toastmasters Club.

1958: Tournaments of the very first Disneyland Golf Club were organized. Futurama Bowl in nearby Garden Grove hosted bowling tournaments. The first meeting of the Gun Club was organized and held in January of 1958. The Garden Grove Women’s Club hosted the very first Sweetheart Dance on February 14th, when Disneylanders were encouraged to have a Date Night of their own.

1959: The following year (in the Winter of 1959), the D.R.C. sponsored the “Ben Hur” Theater Party - four busses carried 219 Disneylanders and their friends to a theatrical showing of the newly released Ben Hur. Many of such outings were subsequently scheduled.

1961: The D.R.C. Spring Frolics party awarded prizes like a color TV. The DRC 1960-61 Bowling League reached a grand climax at the Annual banquet held at the Garden Grove Elks Club. Trophies were presented to 29 individuals and the sponsors of the Silhouette team, the league champions. Hills Bros.' team finished in second place followed by Chef's Linen in third.

By the summer of 1965, the D.R.C. had supported a Disneyland Masonic Club, “the Gun Club, the Chess Club, Golf Club, Bowling, Softball, Basketball, the Square Dance Club, the Riding Club, and the Intra-Mural Slow Pitch Softball League, which was almost always dominated by supervisors,” according to Bob Penfield, in Disneyland LINE (of Summer, 1965).

A number Disneyland employees ran for DRC office, in order to be elected as the fortunate few who volunteer for the particular responsibility (and pleasure) of planning, organizing, and working recreational events that their fellow Disneyland Cast Members would enjoy! The DRC came to have a President (like Bob Phelps, c.1968), a Vice President, a Treasurer, a Chairperson, a Club Advisor, a Secretary, a Social Advisor, and a Sports Advisor. Weekly meetings of the D.R.C. council would be held at the University of Disneyland (usually, in the morning, weekly) and suggestions for new clubs would be passed before the D.R.C. Council. These were not managed by the DRC, but merely suggested for their approval and support. If you liked skiing, bowling, mountain climbing or golfing, there was a Cast Activity Club for you. Thanks to the D.R.C., Disneyland had a Basketball Club, a Bowling Club, Chess Club, a Golf Club, a Gun Club, a Intra-Mural Slow Pitch Softball League, a Riding Club, the Trap and Skeet Club, a Softball League , an American Sign Language Club, a Christian Fellowship Club, a Square Dance Club (called the “Disneyland Squares”), a Disneyland (ballroom) Dance Club, the Disney Animated Film Club, the Anglers Club, a Disneyland Chapter of the Weight Watchers Club, and many more recreational organizations to choose from. And, who could forget the annual Disneyland Canoe Races? Many (fellow cast) members of these clubs would shine bright with stellar talent that would have otherwise been unnoticed, if not for these clubs (who knew Vesey Walker or Ray Van De Walker liked to golf?). Again, these clubs would not have existed, if not for the approval and support of the DRC!

In turn, the various Disneyland Recreational Club occasionally supported and helped promote events for organizations held within the Park! For instance, in 1969, the Disneyland Hotel Embassy Room hosted the Disneyland Recreational Club Christmas Dance (featuring a buffet with prizes), on December 14, 1969, from 8:00 p.m. to 1:00 a.m. Then, there were those aforementioned “Disneyland Squares” (of over 150 members, including their club founder, resident barber, and “caller” Don Drew), who helped welcome near 12,000 guests to “Disneyland’s Country Music Spectacular” held October 16, 1971. Despite a little rain, the event was a big success, and paved the way for the “Country Music Night at Disneyland”. Though the Disneyland Squares membership would triple, allowing them to become self-supporting, and not relying on D.R.C. funds through the 1970s, one must recognize that this all started with the immense support of the Disneyland Recreation Club!

The DRC Federal Credit Union was established in 1968, originally housed in room 287, on the 2nd floor of the Administration Building (on the Harbor Boulevard side). Within just 3 short months, it had grown to more than 500 members, turning payroll deductions into loans for employee members.

The Disneyland Recreation Club also published the “Disneylander” for employees of Disneyland, Inc. This publication was followed by the quarterly Disneyland Backstage magazine, which was co- published by the D.R.C. and the University of Disneyland.

By November of 1972, The Center opened (with its Quiet Room, Credit Union, Group Insurance Offices, Career Planning and Placement, and other facilities). You may recollect enjoying a coffee of hot chocolate at The Center while enjoying a few moments of quiet or watching a few minutes of television while taking a break. The Disney University Manager’s Office was also located at The Center. But more importantly (and on track with our topic), The Center became the location where Disneyland Cast Members would sign up for Disneyland Recreation Club events.

The face of the Disneyland Recreation Club Council Board changed frequently, with new members joining the Disneyland family annually (and of these, DRC Chairperson Candidates appearing on the DRC Election Ballot, hoping to win a spot on the Council). These lucky individuals would continue to support the “new sign-ups”, hear and approve the new suggestions for clubs, or handle and track the discount tickets sold for concerts, games, and other D.R.C. sponsored events. Perhaps you recollect scanning the pages of “Disneyland LINE” magazine for the “DRC Calendar of Events”, or contacting the Center for more information. Without a doubt, the most memorable ticketed events (arranged through the DRC through the years) include the DRC Annual Family Picnics, the Annual Christmas Parties and Dances (like the one held in 1964 when Wayne Van De Walker attended with Diana Reed), the Annual Canoe Races, those DRC summer softball leagues (about 800 Disneylanders supported the men’s and women’s divisions during the summer of ‘77 alone) and annual outdoor feasts, the trips to Dodger Stadium or excursions to Hawaii, and that time tickets were made available to see Disneyland Alumni “Steve Martin In Concert” (during December of 1977)!

As we recall his words of wisdom (published in Wisdom magazine, December of 1959), we’re sure that Walt would have continued to approve of these activities (sponsored by the D.R.C.) which help Cast Members to “get away from the grind” : “I have had fun on the job. I have never have been able to confine that fun to office hours.”

Ultimately Cast Activities was formed to “organize all Resort-wide Cast events, activities and recognition programs including Sports Leagues, Spirit of Disneyland Resort, Service Awards, Little Monsters, Family Holiday Party, Cast Film Screening and Canoe Races.”

Barnett Ricci, the Park’s chief choreographer, directing movement

Barnett Ricci demonstrates movement.

Barnett Ricci (Disneyland Entertainment Show Choreographer) blocking the Feast Scene.

Barnett Ricci teaching Jim how to dance

Barnett Ricci sits with our conductor Phil Slep, and his ‘orchestra’

Bonnie and Jim rehearsing

You may have seen these flyers hanging around the D.R.C. during 1972.

Tom Pletts (in looking over this Disneyland LINE article) recalled : “Ben Sherman, by the way, also produced ‘Chicken Ranching [for Fun & Profit]’. His Park job was managing and producing Character events, parades, & such. Smart guy, and very nice. He’s become a writer.”

Jim Adams rehearsing his role of Rumplestiltskin.

Tom Pletts remembers : “That’s Earl Archer, wielding the ax. There was a Fantasyland break area behind the theater, which was used for make-up, costumes, relaxing, and fooling around.”

Here, a few miscellaneous cast members of Rumplestiltskin pose for a photograph while backstage.

Don Payne (who portrayed the Prime Minister) forgot all about a particular element of his costume until he saw this Vintage View : “The Prime Minister was dressed in a green, brocaded robe…I had completely forgotten that I wore a bald cap for that part! Threw me…until I saw the enlarged image.”

“The Sound Department was interesting as to who was responsible for what and when. They tried to explain it, and it all worked well ; but all I knew was that some were IATSE (the Studio Union) and some weren’t. Really good guys, though!

They were so generous with their time and expertise so we could have proper lighting. The Mill worker too, helping us build sets ; and the Wardrobe folks offering costume solutions. Of course, some of us worked with a number of them on various attractions and venues. They were all knowledgeable and to know. I don’t remember the name of the man in the horizontal stripes, but I was always confident things would go well when he was around.”

-Tom Pletts

Now, I would like to direct your attention to the diverse job descriptions of the Rumplestiltskin cast. Many of these Disneyland Cast Members did much more in their personal lives than work for Disneyland and appear in Disneyland Drama Club productions. For example Penny Peters (had four years of Food Service up to this time and) currently worked at the Plaza Inn and the Inn Between. Unbeknownst to most, these amazing Cast Members also have another life away from Disneyland, and for Penny Peters (a CalState Long Beach graduate with a BA in psychology), she is a teacher of the emotionally handicapped in Tustin.

Note the announcement of the next Disneyland drama Club production “You Can’t Take It With You” at the bottom of the page.

Connie Lane (then, V.I.P. Tour Guide and 2nd Disneyland Ambassador) portrays the “Special Guest Narrator” of the story.

Pictured here is Jim Adams (Character Dept.) as the lead character Rumplestiltskin. Don Payne recalls : “I built Rumplestiltskin’s beard…which Jim Adams wore for each performance. The beard was built with a liquid latex base and crepe hair. I had made the base very thick so the appliance would last for all the performances. That sucker was DURABLE!”

Don Payne shared these recollections of the background of Jim Adams (the Disneyland Character Dept. employee who portrayed Rumplestiltskin in the Disneyland Drama Club production) : “You’re looking at Jim Adams (Character Department) as Rumplestiltskin! According to a long-time friend, “Jim had been a gymnast in High School and could do amazing flips and moves.” He worked in the Character Department, and later at the Golden Horseshoe! With friend Don Payne, the duo wrote, produced, and directed the “Annual Main Street Easter Walking Race” which was used for years even after they both left Disneyland.”

Bonnie Barrileaux (a Slue Foot Sue’s Golden Horseshoe Revue Can-Can Dancer, an assistant, and Disneyland park choreographer) and Jim Cox.

Tom Pletts remembers : “There were several things that impressed me : Jim Adams’ exuberance and talent, which was infectious! Phil Slep’s musical direction, Barnet Ricci’s grace and patience with the choreography, Ben Sherman’s handling of the cast and crew and all the details, and my discovery that I’m a klutz at dancing.”

The official title of the Disneyland Drama Club’s next production was announced here, including its cast members, and showtimes.

The Disneyland Drama Club was so grateful for the support of the Disneyland Recreation Club, that they personally invited the current D.R.C. Council Members to the show. Pictured, is a copy of one such Admission Letter for “You Can't Take It With You”.

Present members of the Disneyland Recreational Club were invited to attend the Disneyland Drama Club’s production of “You Can’t Take It With You”.

Again, the production value and size of cast and crew increased (as compared to the previous Disneyland Drama Club production of Rumplestiltskin).

(Rows, Left to Right) :

Row 1 : Kim Rinabarger, Jim West, Anita Trammell, and Lee Lomask

Row 2 : Ken Neufeld, Bonnie B., and Tony Salvagio

Row 3 : Jim Adams and Connie Lane

Row 4 : Tom Pletts

Row 5 : Pete Parise and Pat Keener

Row 6 : Tom Sullivan, Jim Cox, and Kathy McGuire

Row 7 : Terry Verdicia, ?, Mike Lorenz, and Betty Stromquist

Jim Cox’s (in the makeup chair, backstage) receives some treatment to his hair for his portrayal of the character of Boris Kolenkhov.

Ken Neufeld “works his magic” on the floor, Jim Cox on top of him, Anita Trammell horrified, and me in the cardigan, making gestures.

Neufeld, Cox, Adams, Pletts, Lane, Kathy McGuire and Ted Buxton

Adams, Trammell, Neufeld, Lane, and Pletts

Bonnie B and Tony Salvagio (standing in the back) ; (Seated Left to Right) Jim Adams, Connie Lane, Anita Trammmell, Ken Neufeld, and Tom Pletts

Left to Right : Rhonda Treischel (whose brother Kevin Treischel also played a minor role as one of the “Cronies”) and Randy Pangborn (as Daisy Mae and Li’l Abner), and Richelle Bowe (a “Dogpatch” Wife) rehearse.

Not pictured above, was Betty Bell (15-year employee of the Merchandising Division) who in her spare time constructed and decorated the sets for the Disneyland Drama Club productions, including Lil’ Abner. She also provided make-up for the casts (“for which she received the Drama Workshop’s ‘Stellar Award’”), according to Disneyland LINE (published Wednesday, November 8, 1972).

(1) Jim Heiss, Suezanne Fisher and her friend.

(2) Sheron Snyder and Johnny present a Stellar Award to Pat Keener for her performance of Essie

(3) Sheron Snyder presents Jim Cox with a Stellar Award for his performance of Boris Kolenkhov

(1) Ted Buxton and Ken

(2) Jim Adams cracking up Sheron, John, and everyone else.

(3) Kevin Treschel and sister Rhonda.

(1) Betty Bell receives her Stellar Award for her makeup work in “You Can’t Take It With You”, while Ken Neufeld and Pat look on.

(2) Sheron and Johnny present a Stellar Award to Connie Lane for her performance of Penny Sycamore in “You Can’t Take It With You”.

(3) Phil Slep receives a Stellar Award award for Musical Direction of “Bye Bye Birdie”, while Connie applauds.

(1) …”For the use of costumes in ‘Bye Bye Birdie’ - Tom Jacobson!”

(2) “Peaches” Keener, Johnny B. and Ken N.

(3) Kathy McGuire and Rhonda

(1) Sheron

(2) Rosie Alvarez with Rhonda Treischel, while Rhonda receives her award for her performance in “Bye Bye Birdie”.

(3) Suezanne presents Ted Buxton with a special Stellar Award for Publicity and Programs.

Tom Pletts receives a Stellar Award for his performance of Martin Vanderhoff (Grandpa) in “You Can’t Take It With You”.

On December 13 and 14, 1972 the Drama Workshop began casting for ”Wait Until Dark.” Casting was performed in the Center, with production taking place in late February of 1973, and rehearsals beginning soon after.
Disneyland Drama Club production Cast Member Tom Pletts recollects the next Disneyland Drama Club production for its very different tone, which was produced (oddly enough) during the year of the “Walt Disney Productions - 50 Happy Years of Family Entertainment” celebration at Disneyland. Tom recalls :

“It was definitely a thriller. In fact Park management first vetoed our doing it, and only relented because it wouldn't be presented to the public. It had been a recent hit movie, based on the original play. Audrey Hepburn played the blind lady, and Alan Arkin was the villain in that film. I hadn't seen it though. The extreme tension is what prompted us to opt for screen credits in lieu of a curtain call at the play's end.

I can’t remember how often we signed [autographs] after shows, but we always met the audience after our shows. Except once. After “Wait Until Dark”, we hid in a break room. That play ended like a movie, with credits on a screen, and no curtain call. To do that, we established the screen with an opening prologue sequence. It was different.”

“Add Bonnie Barillieux to the cast list for Wait Until Dark. In the play, her character is just a corpse offstage, and is only referred to; but we used pictures of her in a prologue sequence, so we could establish at the beginning our use of the screen that would also display our closing credit photos. Clever? Bonnie was used to playing the heroine, but in this one she was stealing drugs from Jim Adams' character. (I avoided using the obvious play-on-words.) In the prologue, we showed her being chased through LAX, and handing the drug-filled doll to a perplexed Greg Dymkowski.”

According to Disneyland LINE (published Wednesday, March 28, 1973), “Other credits should go to Ben Cossart, Ted Buxton, Arlene Underwood, Bob Irvine, Gary Carlson, Phil Chilcote, Chuck Roberson, Jim Cox, Jane Cline, and Lee Lomask.”

Mike Lorenz and Chuck Hilburn as the two con men.

Mike Lorenz and Jim Adams (portraying the “Drug Dealer”) for the Disneyland Drama Club production of "Wait Until Dark".

Greg Dymkowski and the “blind” Pat Keener portraying “The Victims”. Tom Pletts recollected : “To do the role, Pat learned how the blind function, by attending a school for the blind.” Accoding to Disneyland LINE (published Wednesday, March 28, 1973), “The Braille Institute was the technical advisor.”

Chuck’s character conning Pat’s character in this scene.

“Wait Until Dark” Director Tom Pletts remembers : “From the few rehearsal schedules I've kept, and my recollections, each production took about a month or so to put together. Rehearsals were planned around the Park's hours, the availability of the stage, and the cast members' (literally) work schedules. We'd squeeze in an average of 15 rehearsals. Wait Until Dark had close to 30!”

Pat being conned by phone.

Jim’s character persuades the con men to do their job.

Jim Adams’ character enters ominously.

The “blind” Pat moves quickly down the stairs.

By the end of its run, the exciting and suspenseful “Wait Until Dark” saw an audience of more than 1,500 Disneyland Employees. Accoding to Disneyland LINE (published Wednesday, March 28, 1973), “Since this was the workshop’s first attempt at performing a heavy dramatic piece, all of the accolades they have received are even more meaningful.”

“A Rare ‘Vintage View’ of Little Mary Sunshine”

(Photo : Pat Keener and Tom Pletts)

Cast Member Tom Pletts remembers :  “Little Mary Sunshine…was the last show I had any involvement with, and [worked with] some new people I hadn’t worked with before. I just remember it was fun. I don’t remember much about the plot - It had a mountie, an Indian, a lecherous dignitary (me), and Pollyanna, and it seemed so farcical. I’d actually seen UC Irvine’s slick production of it earlier, as it was their first play.”

Stars included Janice Knowlton (Mother Superior). If you performed in this musical, we would love to hear your story.

Tom Pletts recalled this production : “‘Tail of the West’ is/was a vaudeville-styled melodrama, with a chorus and production numbers. The story: after the townsfolk extol the virtues of Homestead Heights, their new Marshall and his deputy find a name for their horse by doing a Lone Ranger sketch and dance (it's hard to explain). The heroine's grandfather loses the deed to his ranch (and the town's water rights) PLUS the hand of his granddaughter in a silly poker game with the villain (me). The deputy is talked into a shootout with Blackberry, but neither wins; so the heroine steals back the deed from the villain's pocket. After a strobe-light chase scent involving nearly everyone, she finally hides it! So he attempts to get it back by torturing her, poking swords through a trick box with her inside. The hero arrives in the nick of time, of course, and he engages the villain in a slow-motion sword fight (really). The town then rejoices, all of the romances are resolved and the audience applauds. This was performed in the Fantasyland Theatre to give us more room for the dance numbers. My assigned mate was the deplorable Sludge, which was played by the actually delightful Pat Keener.”

Earl Archer and others prepare for a table read.

Vocalist Rhonda Treischel (of Fantasyland Merch) is sitting second from the left.

*(“Disneyland Rides & Attractions and Attendance Report,” 1981)

One can easily slip into the jargon of “ride,” but at Disneyland there is a "story behind the story" of every attraction, every attraction is a living experience for the guest. Disneyland ride-through attractions or adventures have officially been defined as an “individual show, ride, or exhibit designed to produce an entertaining Guest experience. Disney attractions stir the imagination, enliven the senses, and provide the participants with positive, innovative entertainment, which is the essence of the DISNEYLAND Show.” It is important to review the story of the attraction, tell the story, explain it, and create interest. This is the story of Flying Saucers.

The presentation of the Flying Saucers show on the vast DISNEYLAND “stage” was to be a distinct part of the Disneyland theater concept. “Please step this way,” as we explore the story of how other-worldly Flying Saucers descended upon Tomorrowland for half-a-decade.

“Blue Sky for a Bumper Ride”

The idea of a “bumper ride” had been around since Disneyland’s design and development phase. Why, back in 1954, Bruce Bushman created concept art for “Duck Bumps”, a water-based Donald Duck-themed Fantasyland attraction (that would have possibly been situated somewhere near the “Pink Elephants” and the “Mad Tea Party” attractions). The vehicles would have been distinctly unlike most at Disneyland - individually-controlled by Guests. Soon, Popular Mechanics (December of 1954) even made mention of “Donald Duck boats” among the landmarks of the Disneyland project.

Meanwhile, Herb Ryman created the iconic “Aerial Over Disneyland” concept drawing! A contemporaneous document called “The Disneyland Story” was produced (on September 3, 1954), in order to tell the story of what guests would experience upon entering Disneyland and Tomorrowland. After a detailed 2-page description of the Rocket to the Moon attraction, the document plainly states : “We will have other outer space rides that we will develop as the Park progresses.” Further, Walt Disney himself, on the eve of Disneyland’s first day of operation, promised that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” Disneyland opened, and though “Duck Bumps” never materialized, Tomorrowland debuted with one major space adventure - TWA’s Rocket to the Moon and its Rocket Pylon!

Tomorrowland soon came to house many other outer space-themed adventures - from the AstroJets to Space Station X-1 - and (as Walt promised) another truly “out of this world” adventure was to descend upon Disneyland!

Remember that Walt Disney had earlier said : “Disneyland will never be completed. It will continue to grow, always adding new things to provide its visitors with exceptional and entertaining attractions.” In Walt’s eyes, Disneyland was “like a piece of clay,” because if there was something he didn’t like, he wasn’t stuck with it. He could reshape and revamp it. After years of personally reshaping and revamping, Walt divulged: “I’m not the perfectionist anymore. It’s my staff - they’re the ones always insisting on doing something better and better.”

Nets overhead may have been intended to keep out any unwanted waterfowl.

Bob Gurr who (had a hand in the design of many Disneyland vehicles) came up with the “ornamental design” of the Flying Saucers (pictured in the patent figure facsimile above). He remembered : “In those days, everybody had a hovercraft project. It was a neat idea…a ‘big buzz’ at the time, and a lot of people were working on some form of hovercraft project simultaneously….Arrow’s concept of moving the motive force out of the vehicles to underneath the floor was a novel idea…I was now recognized by the United States government as a ‘Flying Saucer Inventor’, a title which placed me in good company with all the other flying saucer crack pots of the time.” Other artists like Wilson “Bill” Martin (who had left 20th Century Fox, to work on Walt Disney Productions’ Disneyland project in 1954) made contributions to the design of the project, Bill’s former talents as art director applied to the attraction.

“The Science of ‘Science Fiction’ - Engineering The Flying Saucer”

These four fleets (of 16) alien vehicles were not unidentified, but (in fact) on the “creative menu” and manufactured by a very terrestrial (earthly) company called Arrow Development (of Mountain View, California) and National Research Associates Inc. Utilizing Arrow for the project was practical, as Arrow Development had (from 1953 to 1955) both researched and developed many of the ride systems, tracks, and vehicles for many of Disneyland’s Opening Day attractions. This Ed Morgan and Karl Bacon (founders of Arrow Development) accomplished through their own streamlined engineering process. Utilizing Arrow Development was also convenient, as Walt Disney Productions had purchased 1/3 of Arrow Development in 1960. As for National Research Associates Inc., they had been in the business of developing air-cushion systems for the United States Army and the Marines. Now, technology that was good enough for military applications, would (by Ed and Karl) be applied to Walt’s next addition to his vision of Tomorrow!

Now, the saucers would not truly fly, but operated in an arena that was not too different from an air-hockey table. Disneyland Vice President Joseph W. Fowler revealed (in “Disneyland News”, Vol.1, No.1, 1961) that “‘Disneyland has been experimenting with the Flying Saucers in Northern California for some months. Because of the air-cushion principle involved, we have kept the tests completely under wraps. However at this time we can reveal that each saucer will be a self-contained unit in which one guest pilots his own ships in free flight.” According to Roger Broggie : “We had figured that we could move a two-thousand pound payload if we had an air jet below with valves that allow air to come up through holes in the floor.” The Flying Saucers were capable of “catching some air” - when the weight was perfectly centered, air beneath the saucers was capable of blowing the vehicles up to 8 inches off the ground! Otherwise, guests controlled the vehicle utilizing the round handles, and tilting their body in the direction they wanted to travel.

Notable scientist Willy Ley (who was once a technical consultant for Tomorrowland) once commented: “I consider it possible that we can get visitors from space, but I do not think flying saucers are it.” Despite Dr. Ley’s scorn of the though of flying saucers, some six years after Disneyland opened, official Press Releases heralded : “Flying Saucers are reported heading toward Disneyland. No figment of the imagination, flying saucers are destined for the Park, to become one of Walt Disney’s latest attractions for the 1961 season”, according to Vacationland (Summer, 1961). Those who would recollect seeing Bruce Bushman’s c. 1954 concept drawings of “Duck Bumps” (a Fantasyland attraction which never fully materialized), would realize that seven years had transpired since that original concept. It had now been both re-worked and re-themed, and a form of the original attraction idea was finally becaming a reality!

“First on Earth - Flying Saucers”

Joe Fowler (Disneyland Operations Committee) oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial relating to the Flying Saucers. Soon a yellow and white construction barrier appeared with a sign depicting an "Astrogram" reporting “Flying Saucers… First on Earth.”

Like something out of War of the Worlds, flying saucers were making waves, over the radio when Chief Engineer John Wise gave a talk on local Radio KNX regarding the new Flying Saucer adventure. Promotional media also made mention of flying saucers at Disneyland. For instance, during 1961, “Anaheim... Future Unlimited” was published by the Anaheim Chamber of Commerce. Inside, the words of Marty Sklar (of WED Enterprises) referred to: “Tomorrowland, home of Flying Saucers, America's first monorail train, rocket ships and submarines.”

Yes, Walt Disney’s newest $400,000 attraction (of a $2.5 million expansion) allowed Guests to “fly” one of 64 air-cushioned Flying Saucers by themselves (or together with a friend), over 16,000 square-feet of Tomorrowland-scape! The Flying Saucers at the Disneyland Spaceport were located in a little nook of Tomorrowland (not far from other flight-based adventures)!

Unlike other individually-controlled attractions (like the Autopia vehicles or the Motorboats), the Flying Saucers were not tethered to a track or guide rail. Apparently one of the few things that could hinder their flight was water (see above).

A Flying Saucers attraction poster was designed by Rolland Fargo Crump, who is most famously known for his contributions toward several of Walt Disney Productions’ 1964/1965 New York World’s Fair exhibits and attractions (in addition to some pretty “far out” artwork).

High over Main Street, “Disneyland ‘61” Banners advertised Tomorrowland’s newest “extra-terrestrial” additions, including the Disneyland-ALWEG Monorail System and the Flying Saucers!

In August of 1962, Lloyd Richardson, Larry Clemmons, Joe Marquette, and Jack Leppert (of the Walt Disney Studio) filmed and shot scenery of the Flying Saucers for Studio Production #3185. “Balloons” and “beach balls filled with air” were requested. It was also requested that “all saucers…be in operation at the [sic] same time,” and for “ride operators who know how to fly saucers dressed as guests.”

On August 30, 1962, their account describes how they “arrived at the Flying Saucer ride in Tomorrowland and surveyed until 2:00. Half of the Flying Saucer ride was closed due to our production from 2:00 to 3:00 (1 hour). The laborer (Baker) delivered us 100 blown up balloons and 10 blown up beach balls. With the Saucers in the dock or loading position, we put all the Balloons and Beach Balls in with the guests. We then started the ride up. We immediately lost all of the Balloons. We were only able to capture limited footage of the balloons in with the ride. We were taking footage of the guests with the Beach Balls on the Flying Saucers. Crowd reaction shots of the gallery and one brief shot of the cameraman in the Flying Saucer.” You may have seen the final footage later on some Wonderful World of Color Episode.

In addition to press releases, some magazines (like Amusement Business) spotlighted Disneyland’s newest adventure in the columns of their periodicals.

In advance of the opening, The Disneylander contributor Joe Fowler commented: “A brand new 1961 attraction that will begin to operate soon is the Disneyland Flying Saucer adventure. Just what the impact of this ride will be on our guests imaginations is anyone's guess, and we'll have to wait a few more weeks to know the full story. We feel, however, that we may have another Matterhorn Bobsled on our hands when it comes to queue lines.”

For immediate press release, the preceding image of Space Girl gaining a little altitude, accompanied the following caption in numerous news journals :

“‘Space Girl’ Donna Fox (left foreground) takes to the air in Disneyland’s newest - Flying Saucers. The single passenger ride is motivated by air blasts coming from the many circles on the floor. Passengers weight directs craft in the direction of lean combined with control handles which cause spin. The Disneyland Space Station had its opening 8/14.” It was not unusual to see the Disneyland Cast of Characters riding aboard Flying Saucers. Do you remember seeing Vesey Walker directing from the Disneyland Spaceport, while the Disneyland Marching Band performed sets while riding aboard Flying Saucers?

Many notable Disneylanders supported the Flying Saucers stage at the Disneyland Show, including “55er” Homer Holland and Ron Hemminger (c.1966).

By the October of 1962, the Flying Saucers was operating with all 64 Flying Saucers, exclusively during weekends. This was common during winter operating schedules.

Similar in style to the “Walt Disney’s Autopia Car Exhibit” Free Exhibit, one of the Flying Saucer vehicles was put on display for guests’ viewing pleasure, or a “Fun Foto” opportunity!

During an era when the Douglas Moonliner I would begin to tower over the Tomorrowland Skyline, the Flying Saucers would dominate the terrestrial area of Tomorrowland!

Ride along with family.

While listed in the Coupon Book as a “E,” the Flying Saucers was closed weekdays during the winter season of 1962-1963, operating only on weekends.

In 1965, the cost of admission for piloting your very own Flying Saucer to thrills and fun was exactly one “D” coupon, or 60¢ - the same fare required to charter a bobsled down the icy slopes of the Matterhorn, or to board a Mine Train for an excursion through the magnificent Rainbow Caverns!

Ride along with a friend!

Hover over Tomorrowland-scape on your own!

Apparently, the Flying Saucers were fun for kids of all ages! (Fun Fact - According to Disneyland Holiday magazine, Winter 1957 - 1958 : “among visitors to Disneyland adults outnumber children 3 1/2 to 1.”) This accounts for all the adult Flying Saucer pilots pictured!

Notice the loading area in the background of the previous photos. Guests never need set a foot onto the blue textured area. When the ride time transpired, a mechanical “boom” would sweep across the field. This would corral the fourteen Flying Saucers into the Loading Area, while releasing another set of fourteen Flying Saucers for a few minutes of fun!

Though enjoyable, the Flying Saucers required a great deal of maintenance, especially on hot days. But for a moment, let’s take another look at these most memorable (and positively “identifiable”) “flying” objects, during a time when Flying Saucer sightings were a daily occurrence in Tomorrowland!

Guests chose "flight patterns" by shifting their weight.

…and that’s something to cheer for!

Media (above) depicted the Flying Saucers while another page teased: “Walt Disney and his ‘imagineers’ at WED Enterprises - the team that created Disneyland and four major shows at the New York World's Fair--are now at work on the boldest, most ambitious of future developments: design of a New Tomorrowland. To research ideas for this exciting project (scheduled to open in Summer, 1967) Walt and his creative staff visited Houston, Huntsville and Cape Kennedy, discussing the latest Space Age wonders with America's astronauts and scientists -including Dr. Werner Von Braun. In New Tomorrowland, guests will experience the sensation of racing through distant space. A towering structure will serve as spaceport and theme center. And a unique new ‘People Mover,’ the WEDway, will carry guests on a scenic tour - even weaving in and out of new exhibits by some of the foremost companies in American industry.”

A contemporaneous mural depicts Goofy (in a spacesuit), near the site of the “Rocket Flight Attraction” building (also referred to as “Space Voyage” in early documentation). Goofy appears to be puzzled by the presence of an unidentified flying object before him.

“THE UNIDENTIFIED FLYING ROCKET ATTRACTION”

Internal materials printed in 1966 revealed that “Immediately following Labor Day this year, the Flying Saucers will be taken out and then relocated later under the new space attraction… Space Ride - A new thrill adventure similar in principle to our Matterhorn Bobsleds, where guests will soar through space and around and through a mountain some 200 feet in height.”

Though a “Rocket Flight Attraction” was planned to open during the early 1960s, the Flying Saucers were still detailed on souvenir maps (See Map Excerpt, Late 1960s). Disneyland Plot Plans produced during this era depicted the path of a future Wedway through the area of the Flying Saucers’ Loading Zone, indicating a potential future for the attraction.

“CLOSURE”

Walt once divulged, “When we consider a new project, we really study it. And when we go into that new project, we believe in it all the way.” [“Walt Disney Productions Annual Report to Shareholders and Employees Fiscal Year Ended October 2, 1965”]

All together, the interactive Flying Saucers operated a good half-decade - from 1961 to 1966. According to the Walt Disney Archives, “more than 5 million guests took flight in Disneyland’s Flying Saucers - that’s almost 1 million guests per year.” In fact, the exact total of guests aboard the Flying Saucers was 5,313,882 (according to a study taken in 1971).

Years later, a “Rocket Flight Attraction” (which would allow guests to soar in a different type of vehicle), and a new entertainment venue called the Tomorrowland Stage (adjacent to the soon-to-be Space Mountain Amphitheater) opened in its place. That particular “Rocket Flight Attraction” would “land” inside Space Mountain on May 27, 1977. By this time, the Flying Saucers had long since vanished (on September 5th, 1966) in favor of the upcoming “New Tomorrowland” project!

The Flying Saucers was once considered a “future project” for Tomorrowland at The Magic Kingdom. The Flying Saucers did have a legacy (of sorts), as their aesthetically appealing design would even go on to influence the shape of the enormous structure that housed Space Mountain!

Flying Saucers and alien encounters nearly had a legacy in tableaux envisioned by Marc Davis, for the Disneyland Railroad and in an original experience planned for the Tomorrowland PeopleMover.

The Flying Saucers lived on through occasional exhibit displays (like the Walt Disney Family Museum; pictured above) and exclusive & limited-edition merchandise (pictured below).

Far in the future (by 2008), the name would live on with a shop known to Disneyland Cast Members and Guests as “Flying Saucers Hats”.

Tomorrowland Flyin-Saucers were available in red, blue, yellow, and orange, retailing at .59¢ each. The toy was “engineered and made of unbreakable plastic” to fly “straight, curves, circles, skips.”

This model was once offered exclusively through the Disneyana Shop in honor of New Tomorrowland expansion of 1998.

Disneyland was a miracle of showmanship in many ways! The presentation of the Slue Foot Sue’s Golden Horseshoe show on the vast DISNEYLAND “stage” was to be a distinct part of the Disneyland theater concept. The pride of Frontierland - Slue Foot Sue’s Golden Horseshoe - was a revue such as was shown in an old-time western saloon. On July 16th, 1955, a private event for Participant corporate sponsors of Disneyland was held at Slue Foot Sue’s Golden Horseshoe. The following day (on July 17th, 1955), guests of all ages were finally invited to “come on in” and dine in Disneyland’s own elegant & authentic 1867-era saloon (1 of 22 initial major attractions at Disneyland - and a free one at that)! The only catch - reservations were taken on a first come, first serve basis. The attraction was especially popular on hot summer days, as the show building was one of three air conditioned attractions in the Park (including Fantasyland Theater and TWA Rocket to the Moon). It was predicted that Slue Foot Sue’s Golden Horseshoe would be capable of serving a capacity of 800 guests per hour. The same report also accounted Slue Foot Sue’s Golden Horseshoe as one of Disneyland’s eating facilities which was predicted to contribute to accommodating “15,000 persons daily, hitting a peak of 60,000 o holidays and week-ends…” and one of “twenty restaurants and snack bars, capable of saving 8,000 hourly,” at least according to “Building A Dream” (prepared by the Disneyland, Inc. Public Relations Department).

As with all Disneyland Hosts and Hostesses hired during 1955, each employee of Slue Foot Sue’s Golden Horseshoe was “hand-picked by Disneyland officials with qualifications including disposition, general attitude and appearance. Each new Disneyland employee was required to attend ‘orientation classes,’ part of a training course in Disneyland policies, to become acquainted with the Disneyland way of life,” according to “Building A Dream,” prepared by Disneyland, Inc. Public Relations Department, c. June of 1955. Five months before the premier opening of Disneyland, the Disney University Orientation program was held to instruct each Disneylander (including those fulfilling roles at Slue Foot Sue’s Golden Horseshoe) in some of Walt’s personal philosophies, as well as the policies which would “create happiness” for visitors!

Many of these employees served refreshments and light snacks to guests, while they enjoyed a “community sing” once led by those “pastel-clad singing waitresses” (the costumes which were designed by the legendary Hollywood costume designer Jack Muhs). Food service equipment was provided by Coast Distributing Company of Los Angeles (who ran a “Congratulations” message to Walt Disney and Staff in “The Disneyland News”, Vol. 1, No.2 ; August 10, 1955). During the mid-1960s pre-show, guests joined the singing waitresses in rousing renditions of such favorites as “‘Down By The Old Mill’, ‘My Blue Heaven’, and many more well remembered memories.” During this same era, Bartender Joe Wong usually sang a song he claimed “was learned at his mother’s knee - ‘When Irish Eyes Are Smiling’”, according to Vacationland magazine [Fall, 1964].

(Courtesy of Barnebys)

“Setting the Stage”
According to “THE DISNEY THEME SHOW - an introduction to the art of Disney outdoor entertainment: Volume II”: Of all the guests’ senses that come into play at Disneyland, the most difficult response to predict was taste. If 70,000 guests were to arrive on a single day, there would probably be 70,000 different ideas about food. Generally speaking, Disneyland food locations fall into three categories - sit-down restaurant service, “buffeteria,” and fast-food categories. The most extensive theming has always been found in the sit-down restaurant locations but all locations were housed in authentically motified facilities.

Early thumbnail sketches and other concept artwork seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process.

While many artists contributed, the talented Herbert Ryman is of note. Herb had joined the Disney Studio in 1938, after Walt saw a public show of his work in New York. (Herb's paintings were being exhibited with those of another up and coming artist, Andrew Wyeth.) Herb Ryman acted as art director for such films as Fantasia and Dumbo, but had left Walt Disney Studios in 1946 and (by 1953) was employed by 20th Century Fox. However, Walt reached out to Herb and during one weekend (September 26 & 27, 1953) a historic drawing of the Park was produced.

The very concept of a western-era-themed floor show was not new to the Anaheim area. In fact, before Disneyland was even annexed to the City of Anaheim, Knott’s Berry Farm’s Birdcage Theater (a recreation of the namesake theater of Tombstone, Arizona) provided visitors with an hour-long musical and comedic “old fashioned melodrama.” So, Walt would need some particularly distinct elements, if his own Frontierland theater was to be set apart. In 1954, conceptual artwork began to be produced for what would be billed “the pride of Frontierland” - an old-west style saloon! “Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“

Sam Mc Kim began working for Walt Disney's W.E.D. Enterprises (now Walt Disney Imagineering) in 1954, as an imagineer, doing the original sketches for Frontierland and the Golden Horseshoe Revue. As we approach, we notice a few things about Sam McKim’s circa 1954 drawing, that compare with the fully realized version.

•The Name : At some point during the conception and construction, the saloon was simply called The Golden Horseshoe (though it was later changed to Pecos Bill’s Golden Horseshoe, and finally Slue Foot Sue’s Golden Horseshoe). One authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., by May 25, 1955) listed “official and authorized nomenclature” of Disneyland, confirming “the name of Pepsi Cola’s bar is Slue Foot Sue’s Golden Horseshoe.” This name that stuck (for years to come), and was emblazoned over the entrance of the establishment!

•The Date : Though some Disneyland guide books will “date” the thematic setting as situated during the year 1867, the realized sign above the door would read 1871.

•The Sponsor : The last thing that we gather from details in the drawing, is that Pepsi-Cola had no doubt firmly agreed to sponsor the attraction by this point.

•The Direct Inspiration : “Walt had big plans for his saloon and he enlisted Imagineer Harper Goff to create a saloon ‘Calamity Jane herself would walk into.’ Little did Walt realize he was talking to the set designer for the saloon of the 1953 musical, Calamity Jane, starring Doris Day. Walt got exactly what he asked for—a replica of the saloon Calamity Jane did step into! One minor detail was added and that was Walt's private box, which is lower level, stage left.“ Sam McKim based the design of Slue Foot Sue’s Golden Horseshoe directly on the Deadwood City Golden Garter Saloon!

Like some advanced “High Concept,” final designs were quickly generated and approved.

Next, architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

The Golden Horseshoe Building was a one and two story wood and steel frame building containing several store rooms, the Golden Horseshoe Restaurant and a food stand. Various front treatments Include log, board and batten wood siding and stucco. The rear portion of structure was comprised of stucco. The structure had a concrete foundation and nearly flat graveled built-up composition roof. Floors of the stores are concrete and oak plank. Wall treatments include wood paneling and sheetrock. The Golden Horseshoe has an elaborate orate interior with a two-story ceiling height and a horseshoe shaped balcony. Floors are oak and linoleum and the walls and cellings are sheetrock with expensive paper on the walls. There is a stage at one end. There are four terrazzo floored restrooms with a total of 46 fixtures, 13,436 square feet, Balcony: Pendleton Store, 1,059 square feet, Golden Horseshoe 2,320 square feet and second floor comprised of 2,320 square feet. In 1958, the entire structure was appraised and valued at $277,000.

“Newbery Electric Corp. took the rapid electrical con-structión of Disneyland in stride. The electrical installations were supervised by Roy J. Gruendler, manager of Newbery's Orange County district office located at 1335 Santiago Ave, Santa Ana.”

Interior and fixtures were to have the authentic flavor of a saloon of the 1840 era. Even these interior props were scrutinized by Walt and those designers responsible for the Show Quality. Herb Ryman recalled how “Walt joined us… and we went into the Golden Horseshoe. I don’t know whether anyone has ever told you or not about the furnishings of the Golden Horseshoe. Just before the Golden Horseshoe was ready, Walt asked about the whiskey bottles on the back bar. I said, ‘They are the bottles of the turn of the century. I think it has a very good feeling of authenticity. Walt said, ‘We’ve got to change the labels on those bottles.’ When I protested, he said, ‘Herb, there are going to be a lot of people coming here. I would like it if they didn’t see anything that anyone could disapprove of.’ So we changed the bottles.”[“Working With Walt - Interviews With Disney Artists” by Don Peri]

The olio is a large, descending canvas curtain made popular in vaudeville theater. It’s usually adorned with a mural or local advertising also known as an "Olio Drop." The Pecos Bill-themed stage olio was designed by Marc Davis. One of arc’s conceptualizations in pencil is featured on page 8 of “Marc Davis: In His Own Words.”

The custom (and authentic) wardrobe of Hosts and Hostesses was likely provided by Warren Ackerman’s House of Uniforms (yes, “uniforms”), then located in Beverly Hills, California.

While all of these details were being completed, television crews were preparing to utilize the roof of the Golden Horseshoe for at least one camera location of the live telecast.

This original Art Data Sheet of Slue Foot Sue’s Golden Horseshoe by Sam McKim was sold by Walt Disney Imagineering.

(Courtesy of Van Eaton Galleries)

Walt Peregoy (most known for his later radical backgrounds of Walt Disney’s 101 Dalmatians) created this thumbnail and color study of the Golden Horseshoe stage, c. 1955! The curtains (and even exterior bunting) was manufactured by the craftsmen and craftswomen of Walt Disney Studios’ Drapery Department.

Walt Peregoy seems to have made a number of these drawings, sometimes featuring the cast of Slue Foot Sue’s Golden Horseshoe Revue as well as the remarkable Golden Horseshoe Orchestra!

The Golden Horseshoe was prepared to host a celebration for the first Engineer and 14 operators of the Mark Twain at 11:30 PM, on July 4, 1955. On July 13th, 1955, (four days before Disneyland’s big opening gala), Walt and Lillian shared their personal 30-year milestone with their family and friends - and it was commemorated from the stage of Slue Foot Sue’s Golden Horseshoe! A very special performance was given on the stage - the first-ever Golden Horseshoe Revue. After the show, anniversary cake was distributed.

(Pictured : Walt and Lillian Disney’s 30th Wedding Anniversary Invitation ; Courtesy of The Walt Disney Family Museum)

Pictured (above), is the invitation sent to Ron and Diane (Disney) Miller, in honor of Walt and Lillian Disney’s 30th Wedding Anniversary. Pictured (below) are a few famous photographs of the happy celebrants!

(Courtesy of The Walt Disney Family Museum)

These images (captured July 13, 1955) show Walt & Lilly (as well as their daughter Sharon) at their anniversary party.

A person coming to Disneyland would soon be able to enjoy world renowned free shows, such as Monsanto's Hali of Chemistry and home of the future, Bell Telephone's Exhibit, “America the Beautiful,” and Pepsi-Cola's Golden Horseshoe Revue.

Paint is important. The “Master Color Book” is the Bible for color selection at Disneyland, maintaining a catalogue of 4,000 shades of color. The book contains color specifications for every land, building, exhibit, and prop which requires paint maintenance. It insures that Disneyland will always have the same bright colors selected by the art directors who designed the attraction. In addition to the Master Color Book, there is a standby supply of ready-mixed paint available for touch up work. Thousands of cans of paint are stored in a special room which sounds like a walk through of Disneyland. Each can is labeled with names. Disneyland painters repainted every prop in the Park every two years. By 1969, the sign was one of 20,000 signs of various sizes and shapes and colors that needed to be maintained in their original condition.

(Pictured Above : Lois Nelson’s Golden Horseshoe Poster, from the Collection of Lois Nelson. As a side note, these poster designs were later used as souvenirs by the Frontierland Print Shop and Old Time Print Shop.)

Like Walt Disney, Miriam Lois Nelson (Sept. 21, 1919 - August 12, 2018) was born in Chicago. She began tap dancing at an early age, and at 14 years of age, moved to New York with her family. Miriam never believed that she would go on to dance in six Broadway musicals, before marrying, and receiving a seven-year contract with Paramount Studios. From there, she assisted and co-choreographed many dance numbers for feature films and television broadcasts.

But Miriam’s biggest break (for which she would be most remembered), was when she was hired to choreograph the dancers involved in the live televised opening of Disneyland in July 1955. Choreographing the 90-minute extravaganza was no easy task. Cameras would cut to locations throughout the different lands, where a cast of hundreds performed complex numbers in smaller groups. For example, Disney Parks historians mention that her contributions to that event included orchestrating an appearance by “Davy Crockett” starring both Fess Parker and Buddy Ebsen.

Even more, Miriam’s work included choreography of the original Golden Horseshoe Revue show in Frontierland which debuted on July 13th, 1955! According to Miriam Nelson (former Disneyland Choreographer), “one group did three or four shows during the day, and another group did them during the night, and then I was asked to put the two groups together, like they were one big group.” Miriam’s Golden Horseshoe Revue was so popular, that it was later performed outside Disneyland for a special occasion. Miriam recollected, “I took them all to Washington, and it was the Foreign Correspondence Dinner for President Nixon at the time.”

Slue Foot Sue’s Golden Horseshoe Revue often cast a variety of performers in the script’s diverse roles. This souvenir Golden Horseshoe Poster suggests that even Disneyland opening day & parade choreographer Lois Nelson, even performed as one of the Golden Horseshoe Dancers during a special engagement.

Miriam would go on to choreograph other iconic shows like Fantasy On Parade, and even the original Main Street Electrical Parade.

The Orange County Register published a fantastic interview with Miriam, which can be viewed by clicking HERE .

Along the banks of the Rivers of America…in the heart of Frontierland…sits Slue Foot Sue’s Golden Horseshoe!  Let’s take a closer look!

We’re coming in close to Frontierland, “where Frontier Street meets the river. Here travelers from near and afar gather to enjoy the entertainment and refreshments of this famed establishment”.

While guests make their way through Frontierland’s major junction, there’s plenty of entertainment afoot inside the Golden Horseshoe and even overhead. Do you see that fellow in the roof? He just may be planning to rescue the Golden Horseshoe’s receipts from the dastardly “Villain”.

Meanwhile, guests line up around the corner, to secure their reservation for a meal and a show!

No 1871-era saloon is complete without a c.1867 37-star United States flag on its roof!

This post-United States Civil-War era flag recreation, included the state of Nebraska beginning in March of 1967.  Since Colorado was added next, (in 1876), we can date the Golden Horseshoe’s old west setting between 1867 and 1876! As a “sidelight”, Hortie-Van also provided numerous flags, banners, and other types of decoration to Disneyland over the years. If you recall banners flying over Main Street U.S.A. (heralding some event) chances are, that Hortie-Van helped provide it!

The interior was sure authentic-looking - down to details like “gilded wall paper”, and the “carved wooden accents.” Long before Frontierland had its “Mile Long Bar”, the Golden Horseshoe Saloon was known for its “biggest little bar in the world.” Harper Goff, Sam McKim, and many other artists and craftspeople were responsible for the interior design and final elegant decor of Frontierland’s 1896-era iconic saloon down to its ornate tables and brass-ringed bar.

THE ORIGINAL CAST : Since the beginning, Atmosphere Entertainment complimenting the theme of areas is staged to entertain Disneyland Guests on an immediate and personal level. A variety of live shows entertained Guests throughout the day. The main attraction of Slue Foot Sue’s Golden Horseshoe was “Slue Foot Sue’s Golden Horseshoe Musical Revue,” which was reckoned as a Free Show, presented by Pepsi-Cola, “all the way from St. Louis.” While Walt “loved corn,” the show featured multiple Western-style performances (from the crimson-curtained stage)! The Golden Horseshoe Revue had “something for everyone.” You were sure to enjoy plenty of good music, plenty of laughs, Can Can girls, Slue Foot Sue, that famous character Pecos Bill, and (of course) Pepsi-Cola - the original featured drink!

According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “In its early years, Disneyland did not have the atmosphere bands that are used today. In fact, in 1955 there was only the Disneyland Band and the small band in the Golden Horseshoe.” [Disney Facts Revealed by Dave Smith, 2016] In 1955, the original old west Vaudeville show began with Jack Watson’s pre-show & audience warm up - a banjo sing-a-long! Pastel-clad waitresses and the Golden Horseshoe Orchestra would lead in renditions of favorites like “Down by the Old Mill Stream” and “My Blue Heaven.” Then the main show would start - an astounding 45-minutes long, and performed five times daily, beginning just fifteen minutes after the park’s opening! “A troupe of artistes” and “a grand constellation of stars” was headlined by Miss Judy Marsh (As Slue Foot Sue, Sweetheart of the Frontier), Mr. Donald Novis (radio star of “Fibber McGee and Molly” fame, as the Silver Toned Tenor), and Mr. Wallace Vincent Boag (as the Traveling Salesman and versatile comedian). Not to be outshined, are those talented Golden Horseshoe Girls - Shirley Towers (Seattle native and former professional dance instructor), Glenda Guilfoyle (a former Radio City Music Hall Rockette & network television dancer), Gloria Watson, and Susan Reed (a horseback rider by nature)! Glenda was soon replaced by Julie Browder. These five glamorous and lovely young ladies added the spice of beauty, while livening up the audience for the opening and big finale! “An efficient orchestra under the capable direction of Professor LaVere,” with dances and Terpsichore by Miss Theresa Allen, original lyrics by Mr. Tom Adair, and versions and renditions of songs by Mr. Charles LaVere enhanced the show! Cards placed on the tabletops contained the program, and came to ultimately include the lyrics to every main song on the program, so that the audience could sing along!

After the overture played, a rousing opening of “Hello Everybody” was performed by the entire cast of the show. Following this, a “repertoire of renditions” started off with“Bill Bailey” - a solo by Miss Judy Marsh. Next, that “silver-toned tenor” Mr. Donald Novis performed “Dear Old Donegal” (an “Irish Ditty”), “Leprechaun Lullaby” (a Refrain), and the Stephen Foster tune “Beautiful Dreamer” (assisted by a Chorus of four familiar Southern Belles during the latter). Next, Wally Boag offered a change in “tone” with a comical song - “What Have We Here.” Then, Judy Marsh was back on the stage for two more songs - “Riverboat Blues” and “A Lady Has to Mind Her Ps & Qs”. Lastly, “Pecos Bill” entered the stage to a tune that led into the rip-roaring closing number performed alongside high-stepping Can-Can dancers to the tune of Offenbach’s Can Can (sung by the entire cast of the show)!

ADDITIONS : According to “The Spirit of Disneyland” (prepared by Walt Disney Productions in 1984), many activities were on a “week-to-week contract… outstanding ones” that “indicate the tentative nature of the times: The Golden Horseshoe Revue. Retained on a two-week contact.” The entire Golden Horseshoe was a raging success with audiences, proven by long lines, full reservations, and packed houses most every day! Big changes were soon in store that would define the “musicomedy” show that everyone would come to love!

Though the four chorus girls (Shirley Towers, Glenda Guilfoyle, Gloria Watson, and Susan Reed) continued to Can-Can for the first year of the Golden Horseshoe Revue, a defining moment came (in 1956), when the role of Slue Foot Sue was filled by Betty Taylor. Supported by Martha Lewis (during the evening performances), Betty would continue to refine the character for a grand total of 45,000 performances. New “high falutin’ gals” of the Golden Horseshoe were added through the years. By 1963, April Tatro, Tina Olson, and Judy Michaels were among the line.

By September 28, 1958, the Golden Horseshoe Revue was accounted as a DISNEYLAND, INC. Park Asset valued at $423,496.

Disneyland Entertainment Director Chuck Corson recalled that the Golden Horseshoe Revue was the No. 1 attraction, when he came to Disneyland in 1959. The Revue was so popular, that (in 1964) the cast was shipped to the Bahamas, in order to perform the Show there. By 1964, Joe Wong had joined the pre-show, portraying the Bartender. According to Vacationland (Fall of 1964), “He usually sings a song he claims was learned at his mother’s knee - ‘When Irish Eyes Are Smiling’.”

During this time (from July 17, 1955 - September 30, 1982), the five-a-day show had made 15,000 performances by the Fall of 1964 (despite the New York World’s Fair drawing some Disneyland family members to the East Coast, including Jerry Rosen Golden Horseshoe Supervisor), a record breaking attendance of 17,000 performances for approximately sixteen million guests by 1966, and more than 41,000 performances over 23 years. The previous figures only account for appearances at Disneyland, as the Golden Horseshoe Revue would make a few rare performances “Off Stage” (e.g. their appearance at the Cal Arts Ball held at Walt Disney Studios, on May 7 & 8, 1966). During this time, Wally Boag was supported by understudies Dick Hardwick and Bert Henry.

The Frontierland Cast Members certainly epitomized a process that Walt called “Performance Excellence” - encouraging Cast Members to strive to excel each day in the fulfillment of their individual roles and responsibilities in an environment consistent with defined Disney behaviors. The Cast Members were continually challenging themselves and each other to try new methods of working more effectively and efficiently.

Teamwork was regarded as essential in accomplishing these efforts. Unseen, Disneyland Sound Mechanics and Projectionists are perhaps the best hidden of the craftsmen in Maintenance. They are truly “backstage” and you'll find them behind curtains (as at the Golden Horseshoe).

Proof of this was observed by Disneyland’s 15th Anniversary Birthday, when the (now 30-minute) show had seen a whopping 21,000 performances. Some songs (like Slue Foot Sue’s “I Don’t Care”) would be omitted, while others (like “Won’t You Come Home, Bill Bailey”) became mainstays. By 1971, Fulton Burley had developed the “Horseshoe Owner” character into a principal member of the cast. Pepsi-Cola would sponsor occasional pre-shows (like Doc Adams and Claude Dog, c. 1978), and variations of the show (like Pecos Bill’s Wild West Revue, c. 1981), which ran on the stage.

Wally Boag made his final appearance on Disneyland’s Golden Horseshoe Saloon stage, January 28th, 1982. Soon after, Pepsi-Cola ended their sponsorship on September 30, 1982. In 1995, Wally Boag was named a Disney Legend for his legendary performances and Disneyland contributions (from 1955 to 1982). Fulton Burley (a Golden Horseshoe tenor since 1962), Thurl Ravenscroft, and Betty Taylor (who played Slue Foot Slue from 1956 to 1987) were also named Disney Legends during the ceremony.

We say this “tongue in cheek”,  but the upper floor generally offered a “clear” view of the Golden Horseshoe Stage!

The Golden Horseshoe Dancers welcome you : “Hello everybody, we’re mighty glad to greet you - here at the Golden Horseshoe!”

That “silver-toned tenor” - Donald Novis, and those “gorgeous Golden Horseshoe Girls” perform a routine, with a melody written by “Professor” Charles LaVere and lyrics by Tom Adair!

(Excerpt from Disneyland Holiday, Winter, 1957-1958)

By this time, Pepsi - Cola’s Golden Horseshoe Revue performed five times daily (2:00 pm, 3:30 pm, 5:00 pm, 6:30 pm, and 8:00 pm). The 40-minute old west-style show starred that “silver tongued tenor” Donald Novice, Betty Tailor, and the “Clown Prince” Wally Boag!

Though you could periodically meet “that famous barber shop quartet” - the Main Street Mellodiers (Mellomen) down on Main Street, they were known to make a few appearances at the Golden Horseshoe. Another vocalist quartet that made Golden Horseshoe appearances (beginning in 1959) was the Dapper Dans (pictured).

“Welcome to the Golden Horseshoe. Let the fun begin!” A light and gay free stage show with singers and comedy stars is featured at Pepsi-Cola’s Golden Horseshoe Revue! Colorfully costumed Can Can Girls provide lively numbers (including the finale) for the old western variety show!

No show would be complete without those talented Can Can Dancers that Pecos Bill “had roped up in Paris”, and brought “back to dance for you and me”!

“The show is mighty spicy, we thought we ought to warn ya’…each chorus girl is a raving beauty.”

The role of the capricious Can Can Dancer involve a lot of practice and training, as it was one of the most physically exerting Entertainment roles. A testament to this fact is the famous “jump-split” (pictured), which was performed in the chorus line! Other dances included a Waltz performed at three-quarter time.

Slue Foot Sue sings the final lyrics of her song - “‘Bill Bailey, won’t you please come home?”

“I’m Bill Bailey. I’ve come home.” The “roughest, toughest, root’n, toot’n, shoot’nist cowboy in the whole wide world” has just made his entrance on Slue Foot Sue’s Golden Horseshoe stage!

During 1955, Donald Novis (“the silver-toned tenor”) was personally responsible for persuading Walt Disney to personally interview Wally Boag co-write and perform in the Golden Horseshoe Revue. He was originally hired for a two-week stint, but was hired as lead performer. Wally’s Pecos Bill and Traveling Salesman characters would be influential to injecting humor into more than 39,522 performances of Slue Foot Sue’s Golden Horseshoe Revue. During 1955, Donald and Wally were also co-emcees featured on a new mid-day half-hour “Magic Kingdom” radio show, broadcast (from 11 to 11:25, from Monday through Friday), originating from within Disneyland. “Starting at the Golden Horseshoe, they tour all of the Park’s lands, meeting and chatting with interesting visitors from all over the country who enjoy the Magic Kingdom’s many attractions”, according to The Disneyland News (Vol.1-No.6 ; published December 10, 1955). During the “Golden Key to Disneyland” segment, families are selected at random to win the “Golden Key to Disneyland” (which entitled the family to free admission).

During this time, “Bert” (Albert) Henry Renner was hired as a loyal substitute for Wally Boag, from 1955 to 1976. Wally trusted Bert so, that he sent him to the Magic Kingdom in Florida, in order to support and train the cast of the Diamond Horseshoe Revue at Walt Disney World.

Guests enjoy plenty of good music, plenty of laughs, Can Can girls, and that famous character Pecos Bill! Old Bill’s the roughest, toughest critter west of the Alamo! He’s also the fastest draw in the West. Pecos asks the audience, “Wanna see it?” After freezing, he asks…

“Wanna see it again?”

By 1961, Wally had recently made more than 20 guest appearances on local and national TV including the Ed Sullivan Show. Sometimes the stars of film, television and stage came to Wally. For instance, Eddie Sherman (of the Honolulu Advisor) published the following account (for Monday, November 4, 1963) : “At the Golden Horseshoe Revue, the newsmen were treated to a special surprise. Julie Andrews (of B’way’s ‘My Fair Lady’) was called out of the audience to duet with comedian Wally Boag. Julie has recently competed her first film - for Walt Disney - titled ‘Mary Poppins’.”

According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “Wally Boag, the comedian at the Golden Horseshoe, wrote the script for the Enchanted Tiki Room and he happened to be bald. One of the funniest parts of the show was when Wally removed his toupee.” [Disney Facts Revealed by Dave Smith, 2016] This may be the reason why it is said, that “Herr Schmidt… has no hair.”

Jim Quigley (of Payroll) remembered: “Another time, I had an impromptu water pistol fight with Wally Boag as I stood in the wings of the Horseshoe. Wally thought that I was unarmed as he fired first... imagine his astonishment when I 'let him have it' back!”

DID YOU KNOW : Wally Boag used almost 250,000 balloons during the first 11 years of the show.

According to the account of Wally Boag in “Homecoming- Destination Disneyland” by Carlene Thie: “After the park had been open for a few months, Walt signed a contract with ABC radio to produce a daily program called ‘Your Happy Holiday.’ We would find a family on its way into the park in the morning and ask them to be guests on the show. After they'd been in Disneyland for a couple of hours, we'd have them come over to the Horseshoe so I could ask them questions about what they'd seen (I was the emcee). It also gave us an opportunity to feature various celebrities who were in the park that day. We had plenty of them. President Eisenhower was in the audience one day and I called his grandson up on the stage and gave him the balloon animal. As he was going back to his seat, I handed him a bunch of balloons and said, ‘Here, give these to your grandfather and show him how to make an animal. It'll make him a big man in the neighborhood.’ I guess Ike liked the gag he laughed.”

Wally Boag was well-known for his “fun and ‘hi jinks’” as Pecos Bill or the Traveling Salesman! According to Vacationland (Fall of 1964), “In his balloon blowing antics, Boag creates animals and shapes beyond description. He has used almost 225,000 balloons in the nine year old show. On the day after Christmas in 1961, Wally had little girl on stage with him, showing her his balloon tricks. ‘Now,’ quipped Wally, ‘go back and show it to your grandfather. It’ll make him a big man in the neighborhood.’ The little girl’s grandfather, sitting front row center in a spasm of laughter, was President Dwight D. Eisenhower.” Only three years later, Wally (or, the “Traveling Salesman”) had “used almost 250,000 balloons in the 11-year show,” according to Disney News magazine (published for the Fall of 1967). In interview with Carlene Thie, Wally once recalled that Walt “knew my act better than I did and he often had suggestions about how I could improve it. On day he said to me, ‘Why don’t you package those balloons and sell them at the bar after each show.’ So, I did and I sold a ton of them.” [“Homecoming - Destination Disneyland” by Carlene Thie] Wally’s balloons continued to create tangible memories for Guests through Merchandise and Show.

Clearly guests were well familiar with the Traveling Salesman, but Wally occasionally filled other roles at Disneyland. He portrayed “The White Hunter” while riding atop an elephant, but was surprisingly absent from the “Golden Horsehoe” Float, in the “Disneyland ‘59” parade and pageant. Former Disneyland Cast Member Steve Vosburg especially recollects one of Wally’s amazing feats performed while portraying another iconic character : “One of my Fondest Memories was the 4th of July night when Wally Boag played Uncle Sam on the Tomorrowland Stage. He sang and danced to Yankee Doodle Dandy and at 47 years of age still managed to throw a back handspring in the middle of the routine wearing that Uncle Sam suit!!!... I was a young 18 year old gymnast back then and could throw back handsprings in my sleep, basically a simple move, however, I would never had attempted one while wearing a suit coat.”

Another guest (Sue from Atascadero, California) once recalled : “Back on Memorial Day weekend either in 1965 or 1966, as a teenager, a girlfriend and I saw ‘The Golden Horseshoe Revue.’ We went back after equipping ourselves and had a squirt gun fight with the man portraying Pecos Bill. He and the woman playing Sluefoot Sue were perplexed but played along. The piano player that day said that it was the funniest thing he ever saw. I have wondered for years if those actors and piano player remembered that.” [Disney Facts Revealed by Dave Smith, 2016]

Refresh yourself with food, beverages, and entertain yourself with multiple daily Western-style performances from the crimson-curtained stage!

Donald Novis was “one of America's most versatile entertainers as co-emcee of the American Broadcasting Company radio program ‘Walt Disney's Magic Kingdom,’” according to the Disneyland News, published December 10, 1955.

“Donald, a veteran of more than two decades on the boards and behind the mike, might to day be employing his talents on a college athletic field if it hadn't been for a chance contest he entered while in college.

Donald orginally planned to be an athletic instructor but a radio singer competition sponsored by Atwater Kent caught his atten-tion.

The competition, which took a full year to decide, offered a $6,000 first prize and Don, who had been singing his way since high school days in his home-town of Pasadena, saw an excellent opportunity to cash in on his talent.

Some 63,000 entrants tried out with him but when the music had cleared Donald was the win-ner. Contract offers poured in so fast he "forced" says he was almost to become an entertainer.

The prestige that winning the Kent Contest gave won a contract at Los Angeles Coconut Grove where he stayed some 18 months, still a record for a single act.

During the middle 1930's Novis appeared on the New York stage - in such productions as "Jumbo, with Jimmy Durante, and later on network radio with Morton a Downey in a program that be came known as the "Battle of the Tenors."

Later Novis was a regular on the "Fibber Magee" radio program and in recent years has toured Australia with a musical comedy show.

Donald met Walt Disney more than 20 years ago. Both are members of the Legion of Honor of the De Molay, a distinction shared by only a dozen other show business people.

When the call came from his old friend to star in the first Golden Horseshoe show at Dis-neyland, Don was more than glad to accept. He now says his Disneyland association is one of the happiest of his career.

Donald is married and the father of two girls, Carol Jean, 16, and Leslie Katherine, 12.

His wife, the former Dorothy Brad-shaw, he met in the cast of ‘Jumbo.’

The British-born, Pasadena-“

Betty Taylor, Donald Novis, and the gorgeous Golden Horseshoe Can-Can Dancers perform the introductory (and welcoming) acts as well as the reprisal lyrics of the Golden Horseshoe Revue’s theme! Though Donald Novis’ “vocal stylings set the standards for cabaret singers and he is credited with introducing such lasting hits as ‘Little Girl Blue’, ‘Charmaine’, ‘Sweet and Lovely’ and ‘My Romance’”, around these frontier parts he is well-known for co-writing the Golden Horseshoe Revue script, and performing in the show from 1955 to 1964.

The 10,000th performance of the Golden Horseshoe Revue was commemorated with a Wonderful World of Color episode, that was also released theatrically! You may be amazed to find that this special was not recorded inside Slue Foot Sue’s Golden Horseshoe at Disneyland! There wasn’t room for the big bar room brawl, and the Indian Number, so a set was built at the Walt Disney Studios.

“Walt had grown up in the days of vaudeville, the inspiration for many of television's early stars, such as Milton Berle, Sid Caesar and the many performers on ‘The Ed Sullivan Show.’ Walt combined vaudeville, TV, and his beloved Disneyland in a 1962 ‘Walt Disney's Wonderful World of Color’ episode called ‘The Golden Horseshoe Revue.’ The show was a celebration of their 10,000th performance, and starred Annette, Ed Wynn, and the cast of the Golden Horseshoe Revue at Disneyland Park - Wally Boag, Fulton Burley and Betty Taylor. Annette was growing up and wanted to sing a ‘sexy’ number, so we wrote her an old-fashioned tune called ‘Hang A Lantern In Your Window.’ When the boys in the Golden Horseshoe started booing, she ripped off her prim-and-proper skirt and went into a razz-ma-tazz song-and-dance routine called ‘Mister Piano Man.’ It was quite a new look for everyone's favorite Mouseketeer - the ‘girl next door’ Annette. The film was released theatrically as a featurette in Europe in 1963, and in the United States in 1964.”

Al Jolson, Jimmy Durante, Eddie Cantor, Édith Piaf, and others sang duets atop Ed Wynn’s Piano Bicycle. Ed Wynn even rode his piano bicycle on “The Ed Wynn Show”, and performed his vaudeville routine with Dinah Shore (in 1949). More than a decade later, Wynn would again tune up his mobile instrument for a television special. Ed would accompany Betty Taylor in a rendition of “Tea for Two”, in “The Golden Horseshoe Revue” (a 1962 episode of Disneyland).

Ed Wynn’s Piano Bicycle also inspired a vehicle driven (and played) by Rod Miller for the Disneyland 35th Anniversary Party Gras Parade. A similar bicycle-propelled player piano also made an appearance at Walt Disney World Magic Kingdom.

Years later, (thanks to the granddaughter of Ed Wynn), Ed Wynn’s Piano Bicycle came to be part of “The Walt Disney Archives - 50 Years of Preserving the Magic” exhibit at the Bowers Museum (pictured).

Slue Foot Sue (Betty Taylor) sings solo.

The Golden Horseshoe Girls perform a waltz is performed in three-quarter time.

This is followed by a “capricious Can-Can.”

Those gorgeous Golden Horseshoe Dancers perform a rousing chorus line for their number! This promises to be one “scintillatin, syncopatin, gay ninety show”!

Dear Old Francis Fulton Burley (of Disneyland Entertainment and Talent) welcomes the audience to the Golden Horseshoe!

Fulton Burley was a native of Kincardine, Ontario, Canada. He is most remembered as the co-host of the Golden Horseshoe Revue, and his rendition of “Clancy Lowered the Boom” was an audience favorite! His talent for captivating an audience would allow Fulton to take part in special events outside of Disneyland. Don Payne (a contemporary Golden Horseshoe Revue Cast Member) remembers just a few of Fulton’s Disney-related contributions :

“He came into the show in 1962, when Donald Novis had to retire for health issues. Wally brought him in. They had previously known each other when they were under contract with MGM.”

According to Vacationland (Fall of 1964), “His rousing renditions of ‘Clancy lowered the Boom’ is a special fan favorite of many. His by-play with Wally Boag usually sees Burley come out on the short end.”

Don Payne continues : “Fulton stayed with the Revue until the show’s run ended…[Fulton] also, did three national, promotional tours together for Buena Vista’s re-release of Dumbo, Pinocchio and 101 Dalmatians.”

You can still hear Fulton’s voice inside Disneyland today as Michael, the parrot - one of the emcees of Walt Disney’s Enchanted Tiki Room.

Yes, those are Can-Can girls performing on Main Street U.S.A.! The iconic and record-breaking show was commemorated with this parade float and unit during the Disneyland 25th Anniversary parade in 1980!

Disneyland Drama Workshop put on stage show productions for employees and their families. Former Disneyland Drama Workshop alumn Tom Pletts recalls, “From the few rehearsal schedules I've kept, and my recollections, each production took about a month or so to put together. Rehearsals were planned around the Park's hours, the availability of the stage, and the cast members' (literally) work schedules. We'd squeeze in an average of 15 rehearsals.“

Many of these were performed from the Fantasyland Theater stage (which is why you’ll find a compendium rarely-seen photos of the Disneyland Drama Workshop’s 16 total productions inside our Fantasyland “Vintage View” Gallery)!

Former Disneyland Cast Member Tom Pletts gives us the following rare description of Wally Boag’s “Tail of the West" :

[The Tail of the West]…”is/was a vaudeville-styled melodrama, with a chorus and production numbers.

The story: after the townsfolk extoll the virtues of Homestead Heights, their new Marshall and his deputy find a name for their horse by doing a Lone Ranger sketch and dance (it's hard to explain). The heroine's grandfather loses the deed to his ranch (and the town's water rights) PLUS the hand of his granddaughter in a silly poker game with the villain (me). The deputy is talked into a shootout with Blackberry, but neither wins; so the heroine steals back the deed from the villain's pocket. After a strobe-light chase scene involving nearly everyone, she finally hides it! So he attempts to get it back by torturing her, poking swords through a trick box with her inside. The hero arrives in the nick of time, of course, and he engages the villain in a slow-motion sword fight (really). The town then rejoices, all of the romances are resolved and the audience applauds. This was performed in the Fantasyland Theater to give us more room for the dance numbers. My assigned mate was the deplorable Sludge, which was played by the actually delightful Pat Keener.”

Former Disneylander Tom Pletts shares a few exclusive memories from the Disneyland Drama Workshop’s production of Chicken Ranching for Fun and Profit. You’re looking Disneyland Cast Members just sitting around in the Golden Horseshoe during an early read-through rehearsal (and perhaps a final rehearsal approval). From left to right : Ben Sherman and Bonnie (Sugar) ; Pat (Widow Blues) and Bonnie; Johnny Buckner (Victor Virtue) and an unidentified book worm. These shots were unseen by anyone else until now. As he looks over his photos, Tom expresses, “They're still a little raw, but they evoke very fond memories.”

Tom Pletts adds, "He [Chuck Boyer] was very kind to our little drama group.”  Of course, Tom is referring to Chuck’s contribution of the program’s cover art.  I wasn’t involved with that show, and can’t remember any specifics about it. As for posters or marquees, there wouldn’t be any for regular guests to see, and the FL Theater didn’t have a marquee. ‘Chicken Ranching’ might have had a poster in front of the Golden Horseshoe, since it had some public performances.”

“The Plot : The villain Grasper Quick was going to foreclose on Widow Blues’ chicken ranch unless her daughter, Sugar Blues, married him. Sugar’s boyfriend and hero, Victor Virtue, and his friend, cheerleader Frank Funster vainly try to help. Sugar attempts to bribe Grasper by sending him all the eggs ; but, since he’s been secretly feeding her chickens gunpowder (don’t ask), they blow up his mansion (off stage, of course). It’s all sprinkled with running gags and a catchy tune or to. Fun stuff.”

“It’s kind of a “Vaudevillain" comic melodrama, and is only 30 minutes long (for audience turnover). Its title is “Chicken Ranching for Fun and Profit”…or, “Many A Man Has Gone to the Dogs Chasing a Chick”. Authorship is credited to Wally Boag, Fulton Burley, and Bert Henry. Jerry King, the regular Horseshoe drummer provided the rim-shots for us ; Rod Miller, the Coke Corner pianist, played excellent ragtime to keep the mood. I still get pumped for a show start when I hear ‘Maple Leaf Rag’!”

-Tom Pletts, (Grasper Quick)

LEFT : Chicken Ranching For Fun & Profit Ticket Concept Art, c. 1971

RIGHT : In the foreground, you’ll notice Pat Keener, the Widow Blues, reading a mort-gage (as Wally preferred).

“I’m hiding behind a ‘bush’…”

Jim was well acquainted with playing eccentric characters on the Golden Horseshoe stage. Alongside Bev Bergeron (who had trained under Wally Boag’s original understudy Bert Henry), Jim had begun to substitute for Wally Boag. He continued to do sub for Wally from 1970 to 1982.

Bonnie Barrileaux was familiar with the Golden Horseshoe stage, as she was also a Golden Horseshoe Revue Can-Can dancer. Additionally, she was an assistant, park choreographer, working as Barnett’s Ricci’s assistant.

“…and in the midst of a chase scene, Funster makes us play a game. Too much fun.”

-Tom Pletts.

(From Left To Right) : Bonnie as Sugar Blues, Tom Pletts as Grasper Quick, Johnny Buckner as Victor Virtue, and Jim Adams as Frank Funster the “Yell Leader”.

Tom Pletts shared “a Chicken Ranching mini-reunion, during the gathering for Fulton Burley's memorial at the studio. L to R: Grasper (me), Sugar (Bonnie), an aging Wally (the great one), Frank Funster (Jim), and our ragtime pianist Rod Miller.”

During 1954, Walt was searching for participants to lease shop and both quick service and table service restaurant spaces at Disneyland, in order to help generate the necessary capital to fund construction of Disneyland. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities.

To iterate, Pepsi was one of five major concerns to hold a lease with Disneyland for strictly advertising purposes. Among these concerns were the Santa Fe Railroad, Bekins Van and Storage, TWA, Richfield Oil Company and Pepsi Cola. These did not occupy space but have their name displayed at certain places that were advantageous for the advertising of the product or service they sold.

Several of these “reliable old firms” sponsored the “abundance of restaurants devoted to pleasing all tastes and all budgets,” according to “The Story of Disneyland,” published 1955. Jim Powell, president of Pepsi-Cola Bottling Company of Los Angeles, was an enthusiastic supporter of Disneyland.

So while the main goal was to create happiness, income was provided to Disneyland Inc. to support the construction and growth of Disneyland. For example, in 1958, Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

Slue Foot Sue’s Golden Horseshoe was operated by Disneyland, Inc. and sponsored by Pepsi Cola Co. You may recall that the original attraction was occasionally billed as The Pepsi-Cola Playhouse featuring the Golden Horseshoe Revue. Later shows were billed: The Golden Horseshoe Revue and the Pecos Bill Wild West Show, c. 1991, sponsored by Pepsi-Cola from 1955 to September 30, 1982! “Welcome to Disneyland” maps (published as early as June of 1955) invited guests to enjoy the “longest little bar with the tallest glassful of pop.” When opening day finally arrived, cola sales at the Park were at a high due to a recent plumbers strike and resultant non-operational drinking fountains.

An article in the Disneyland News (August, 1955) mentioned that Jim Powell (then president of Pepsi-Cola Bottling Company) was “an enthusiastic supporter of Disneyland.” For instance, the Pepsi Cola Co. contributed food to the First Annual Disneyland Christmas Party on December 10, 1956. Don Kendall (Pepsi-Cola Vice President) was also a regular supporter of the show, and Walt was so appreciative that he gifted to him one of Sam McKim’s original designs of the Golden Horseshoe.

From 1955 to 1982, Pepsi-Cola’s name was emblazoned on theater posters, signs and banners hanging over the entrance, and even across the stage curtains. In addition “the tallest glass of pop” - Pepsi-Cola was a constant feature on the menu. The Golden Horseshoe’s official beverage complimented the “wrapped sandwiches and chips.” Pepsi’s corporate logo was featured on Golden Horseshoe souvenirs, but most important, Pepsi was kept on tap at the bar!

Visitors (during the 1950s) were periodically given tin lithograph buttons like this one, to commemorate their experience at the Golden Horseshoe Revue presented by Pepsi-Cola! These 2-inch buttons (emblazoned along the edge with “Casa El Salvador ‘Farabundo Marti’”) were manufactured in San Francisco, California, but that’s another non-Disney-related history lesson for another time.

The synergistic relationship between the institutional lessee and Disneyland was beneficial. The Pepsi-Cola Company yielded some revenue for Disneyland Inc. - $39,000 for the fiscal year ending September 29, 1957 and $39,000 for the fiscal year ending September 28, 1958.

By October of 1959, the company was (1) of over sixty-eight other firms playing a vital part in the team effort to bring happiness to Disneyland’s Guests. Some were small, specialized individual operators; some were huge companies such as Swift & Co. - the Bank of America - United Paramount Theaters (which you hear as UPT) - Carnation - Richfield - General Dynamics - Crane - and many others. These companies used the park to publicize their wares, leased space in the Park to sell their wares, and Disneyland collected advertising fees from them.

At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage. Sure, Slue Foot Sue owned the establishment, but Pepsi-Cola was really running the show! Pepsi-Cola also sponsored the UNICEF Pavilion and It’s a Small World at the New York World’s Fair of 1964 and 1965. (Image Courtesy of Van Eaton Galleries).

Two decades later, reservations (on a first-come, first-serve basis) are still required for the popular Frontierland attraction!

“You’ve got a lot to live, and Pepsi’s got a lot to give!” How about a refreshing foamy mug of Pepsi, Diet Pepsi, or Mountain Dew? When Pepsi-Cola began sponsorship of Slue Foot Sue’s Golden Horseshoe, Pepsi-Cola (and Pepsi products Diet Pepsi and Mountain Dew) cost 15 cents (small) and 25 cents (for a large). Lays and Fritos originally cost 10 cents per serving. Prices changed little in the next fifteen years according to the menu (pictured above).

In addition to sponsoring the Golden Horseshoe, the Pepsi-Cola Company sponsored “New Year’s Eve at Disneyland.” The radio program was pre-recorded and cut to a record containing a special broadcast. The records were intended to be aired from December 26, 1967 to December 31st, 1967. The program was “one-half hour of musical fun and excitement, presented by your local Pepsi-Cola Bottler.” Highlights included sounds of Disneyland entertainers (like Betty Taylor as Slue Foot Sue and the Saxophone Quartet) in addition to “a nostalgic revue of Pepsi commercials from back in ‘32 right down to today’s lively ‘Pepsi-Cola Cold Theme.’” The record also featured the debut of the newest “Pepsi Pours it On” jingle.

Each of these records was never intended for sale, but distributed through Pepsi-Cola Bottling Company Western Divisions and their local area radio stations.

Pepsi was still “proud to be served at the happiest place on Earth,” during the 25th anniversary year, even looking “forward to many more successful years of association with Disneyland.” [Disneyland 25 “Happy Birthday to a Dream” Advertising Supplement; published January 20, 1980] But ultimately, Disneyland Participant Affairs and Disneyland Participant Pepsi-Cola could not negotiate a new cooperative agreement to maintain their ongoing relationship at this Location, and another “old reliable firm” would step in to sponsor the Show.

Soon after Pepsi-Cola ended their sponsorship of Slue Foot Sue’s Golden Horseshoe Revue (on September 30, 1982), Eastman - Kodak would briefly sponsor The Golden Horseshoe Revue from October 1, 1982, until April 30, 1984. The pre-show warmup, included Kodak instant picture-taking demonstrations for selected guests as souvenirs. “Kodak is excited with this opportunity for identification in the world's first outdoor recreation theme park,” said William K. Pedersen, a Kodak assistant vice-president and director of marketing communications services.
By this time, a second show (Pecos Bill Wild West Revue) had begun running c. March of 1981, concurrent with the Golden Horseshoe Revue. Perhaps owing to this, Dick Hardwick was hired as an understudy for Pecos Bill, and would take over the roles of Traveling Salesman/Pecos Bill upon Wally’s retirement. Dick would even move to Florida in 1983, so that Bev Bergeron could train him to be a replacement for Wally Boag (who was soon to retire). During this time, Dana Daniels was brought in to sub for Dick Hardwick’s roles of Pecos Bill and the Traveling Salesman.

Two years after Eastman - Kodak’s sponsorship concluded, the original Golden Horseshoe Revue would finally end its record breaking run (July 1955 - October 1986), on Sunday, October 12th, 1986. It was the longest running show in history at 42,921 performances (according to the Guiness Book of Records). By 1981, the show had already become the longest running production (at 39,000 performances in 27 years; seen by nine million guests) and this statistic was announced in Kodak press releases distributed before November of 1981. Now by 1986, with five performances daily, the show came close to 50,000 performances. Dick Hardwick would return to the Golden Horseshoe stage to perform in the last show of the Golden Horseshoe Revue with Betty Taylor, Fulton Burley, and Jay Meyers. Former Lead Don Payne sentimentally laments, “The Revue was co-created by Boag, Walt, and a few others. Walt LOVED that show and was a frequent audience member. A lot of hearts were broken when management closed the show after 30+ years of success. Folks still remember, and ask about, the Golden Horseshoe Revue.”

For a moment, (with the help of our friend Don), let’s transport ourselves through the doors of Slue Foot Sue’s Golden Horseshoe, for one final show! Your reservation is waiting for you!

“Hello everybody (from Maine to California), this is the Golden Horseshoe!”

“As the Golden Horseshoe Band plays an overture (led by Vince Rossi on piano), the Golden Horseshoe Dancers perform a rousing musical greeting!”

After Slue Foot Sue and The Boss perform a duet, the Golden Horseshoe Dancers begin to perform, when they’re interrupted from the audience! The Traveling Salesman says, “You look like a million dollars up there!” The Boss responds, “You’ve never seen a million dollars!”  The Traveling Salesman retorts, “That’s what I mean.  You look like something I’ve never seen before.”

Don Payne performing in the Golden Horseshoe as a sub for the great Wally Boag and the incredible Jim Adams, April 4, 1980.

The Salesman joins The Boss on stage and they perform a few bits together. After brief banter, the Salesman begins to hawk his wares. “Got a sick friend here…he just flew in from Knotts Berry Farm.” (He holds up a rubber chicken.)

The Boss leaves the stage and the Salesman launches into a magic act. A volunteer from the audience was selected. The Salesman asks the child to hold his wand, which goes completely limp, as the Salesman turns away. The salesman begins to register the laughter from the audience, and states to wonder what is causing such a commotion.

Turning, the Salesman sees the broken wand hanging limply in the child’s hand, and sobs, “She broke my wand!”

After things simmer down, the Salesman thanks the child for helping out, and hands the child an “all-day” sucker.

”I’d like to present you with a little gift to say ‘thank you’ for helping me with my magic.  Your dentist asked me to give this to you.”

After the child leaves, the Salesman slides his carpet bag off stage. Lastly, the Salesman turns to the audience and sternly says, “I want you folks to always remember one thing…”. Just then, the band abruptly takes over, while the salesman begins to mouth unheard words. The band suddenly stops playing, and it’s evident that the Salesman isn’t saying anything at all.

The Salesman leaves the stage and the Boss comes out, encouraging the audience to applaud. Slue Foot Sue enters and the comedic musical sequence “Pecos Bill” begins.

The Pecos Bill tune continues, telling the story of “the roughest, toughest critter” in the whole wild west.

Pecos takes to the stage and says, “I have the fastest draw in the West. Wanna see it?” A gunshot is heard, and Pecos hasn’t moved a muscle. “Wanna see it again?”

The song tells of how “the toughest critter west of the Alamo” roughed up some bad guys. “Once a band of rustlers stole a herd of cattle, but they didn’t know the herd they stole was Bill’s! When he caught them crooked villains, he knocked out all their ‘fillins’, and that is why there’s gold in them there hills!”  In acting out that last line of the song, The Boss gives Pecos a slap, and several “teeth” fly out of Pecos’ mouth.

The teeth-spitting (in reality, Lima beans) ensues, …and continues!

The Golden Horseshoe Band launches into a rendition of Stormy Weather, and the point Stormy Weather reaches that lyric, Pecos pulls two squirt guns and lets the audience have it!

Pecos holsters his guns and decides to roll a cigarette. He pulls out a tobacco pouch and a cigarette paper, and begins to make quite a show of pouring the tobacco onto the paper! As Pecos moves to lick the paper with his tongue, Slue Foot Sue (singing the lyrics), does a sweep with her arms, and Pecos licks her finger instead of the cigarette paper.

Perplexed, Pecos looks around, shrugs, promptly pops the cigarette paper into his mouth, and chews!

Pecos briefly exits the stage while the Pecos Bill number finishes up. By this time, the audience was usually in hysterics. This was a fast-paced, multi-leveled comedy routine set to music - the comedy bits leading into (and building upon) one another.

Slue Foot Sue launches into “thanks” and “goodbyes” to the audience, after which she brings The Boss out for his curtain call. She then brings out Pecos, who is wearing an extremely ugly gorilla mask. The audience cracks up.

Slue Foot Sue has no reaction to the mask, so Pecos takes it off, only to reveal a silly-looking “goon” mask!  When Slue Foot Sue has no reaction to the “goon” mask, he removes it, revealing a smiling face! At that, Slue Foot Sue lets out a scream, and the curtain falls!

From 1955 to1986, a total of seven individuals portrayed Pecos Bill (including Wally Boag, Jim Adams, Dick “Handpicked” Hardwick, Dana Daniels*, Kirk Wall, Don Payne, and Ron Schneider. When Wally Boag and Ron Schneider** went to Florida to help establish the Diamond Horseshoe, there was a need to fill his seasoned and iconic roles of Pecos Bill and the Traveling Salesman. So, who was the best in the role? We caught up with Don Payne (former Golden Horseshoe Jamboree Cast Member) who shared the surprising answer :

“Jim [Adams] had been a gymnast in High School and could do amazing flips and moves. We worked together in the Character Department... and later... in The Golden Horseshoe Revue…Jim, and I, had similar career paths at Disneyland: Character Department; Special Events Staff; National Promotional Tours for Buena Vista; Actors; Writers; Producers; Shows; Parade Staff and as subs for Wally Boag…In my opinion... Jim is the greatest Pecos Bill... standing just behind the great, founding Pecos... Mr. Wally Boag... the greatest Pecos of them all!”

*Dana Daniels’ performance of Pecos Bill and the Traveling Salesman may be viewed HERE.

**Ron Schneider’s final Golden Horseshoe performance can be viewed HERE. He subsequently went on to portray a more memorable role of the Dreamfinder in EPCOT Center!

Jay Meyer was hired as a substitute for Fulton Burley’s Emcee and Irish Tenor, performing from 1972 to Sunday, October 12th, 1986.

Former co-star Don Payne remembers : “Jay Meyer was a permanent substitute for Fulton Burley. Jay had a long, successful career. He sang on the old Milton Burle Show as one of the ‘Texaco Men’, and you can see him performing as one of the singing busts over the headstones in The Haunted Mansion attraction. He was always a great gentleman, and generous performer. It was a pleasure to work with him. Jay passed away on January 18th, 2008. He is missed.”

Jay Meyer was immortalized as the voice of one of the singing busts in the Haunted Mansion.

Former Golden Horseshoe Revue Pianist Richard Allen fondly remembers this reunion and tribute :

“We had a reunion show - in this picture is: Georgeen Whitney, Chris Stevens, Shelly Nichols, Deedee Bozikis, Shelby Grimm, Arlene Dragonn, Lana Devore and Richard Allen (me). I had a beard at this show. Nobody cared.

What was amazing about the reunion show is everyone remembered all the music and dance moves. It was pretty amazing. I don't recall if the can-can girls did their cartwheel. I think maybe Deedee did. Dana spit beans, of course. I remember the show we did after it closed, I was still finding beans on the stage months later.”

More than just a pretty face, and a fast set of legs, these effervescent Can Can chorus dancers had true talents that empowered them for greater things! Can Can Dancer DeeDee Bozikis had her start as a Golden Horseshoe Can Can dancer back in 1978. She eventually went on to work in Assistant Stage Management. Shelly Nichols (who was both a can can dancer and lead singer for the Golden Horseshoe, as well as Calamity Jane in the Pecos Bill Wild West Revue) became the choreographer/show director for “The All American College Band” at Disneyland.

After the Golden Horseshoe revue closed on Sunday, October 12th, 1986, the Golden Horseshoe was temporarily closed and put under rehab, with an estimated premier on November 1st, 1986. A new proprietor (Miss Lilly Langtree) was in charge of the establishment portrayed by the multi-talented Miss Judi Wallace (who was previously cast in the Golden Horseshoe Revue)! Miss Lily Langtree was supported by Sam the bartender, for comic relief. It was at this time, a new show was created - the Golden Horseshoe Jamboree which ran more than eight years - from November 1, 1986 to December 18, 1994. There were many other talented individuals involved in this production. For instance, dancer Tobi Longo (daughter of original Golden Horseshoe Can Can Dancer, Rikki Lugo) carried on her mother’s legacy, performing amazing “jump splits” in the chorus line.

Don Payne recollects : “As one of the few Cast Members who performed in both the [Golden Horseshoe] Revue and the [Golden Horseshoe] Jamboree, it has always been my opinion, based on audience responses, the Revue was the better, more popular show. The Revue was a loosely formatted, Vaudeville-style show that allowed for ad lobbing and more spontaneous comedy. The Jamboree was more of a scripted, structured, off-Broadway-musical approach. It was staged very tightly, in comparison with the Revue. For the audiences…and the performers…lighter…more fun. Just one man’s observation.” WATCH Don Payne’s Golden Horseshoe Jamboree performance HERE, and after the show, return for more behind-the-scenes Golden Horseshoe fun!

Don Payne as Sam the Bartender in Disneyland’s Golden Horseshoe Revue

Sam works the audience.

One of Sam’s Cowboys adds to the fun!

Sam meets a Fiddle Player (Dennis Fetchet) who wants to join the House Band.

The Cowboy Barbershop Quartet

The Cowboy Barbershop Quartet Singing 4-part harmony for “Home on the Range”

Miss Lilly arrives at the Golden Horseshoe Revue.

Lilly and Sam meet in the center of the audience.

Lilly does a drum solo from the stage.

Lilly and Sam (Don Payne) on stage for the Opening Dance Number.

Dance Number Finale.

Dance Number Finale

Sam’s all “washed up”, but he wants to be part of Lily’s Traveling Show Troupe. So, he auditions with a washboard act.

Washboard act finale

In another attempt to join Lily’s show, Sam introduces his new act - a sound effects version of Old Mac Donald’s Farm (with audience participation on stage)!

The Sound FX wagon acts up.

Lily bets Sam that she can make more money than he can by auctioning off Sam’s junk from the Sound FX wagon…starting with his rubber chicken.

Sam and Lily perform “The Belly Up To The Bar” Number.

In yet another attempt to impress Miss Lily, Sam rolls out a large Indian Drum and launches into another act.

Sam : “Chance.”

Lily : “What?”

Sam : “Chance.”

Lily : “You mean ‘How’.”

Sam : “Me know How. Me want Chance.”

This leads the audience into participating in a chant that turns out to be “It Don’t Mean A Thing If It Ain’t Got That Swing”.

Belly Up To The Bar Boys Number

Lily’s solo act

Lily and Sam on stage.

Lily challenges Sam into proving Sam’s Cowboys can dance better than her Dancing Girls.

Sam’s Cowboy Dancers - Billy, Ned, and Joe.

Sam’s Cowboy Dancers.

Lily’s Dancing Girls - Fiona, Wanda, and Roxy!

Sam watches Lily’s Golden Horseshoe Jamboree act from the floor of the Golden Horseshoe Saloon.

Sam gets jealous as Miss Lily flirts with gentlemen in the audience.

During the show, Lily entertains Tex Beneke. Tex was part of the Glenn Miller Orchestra and was the featured vocalist on such hits as “The Chattanooga Choo-Choo”. In 1946, after Glenn Miller died in World War II, Beneke took over the Miller Band and helped it rise to increasing popularity. He was a personal friend of our ‘Lily’. Tex’ band would also perform in Disneyland during the 1980s.

Sam tries to disguise himself as a Can-Can Dancer to sneak into Miss Lily’s Golden Horseshoe Jamboree act. Now, he just needs to prove that he “can” dance!

In one final attempt at joining Lily’s Dancing Troupe, Sam sneaks into the Can-Can Dancer’s Line in a badly designed disguise.

Closing Number

Closing Number

Backstage (or “Back of House”) at the Jamboree…”Sam” and “Lily”, act silly with stage props!

Backstage at Disneyland’s Golden Horseshoe Jamboree show, Don’s daughter Amy tries on the wig that Don wears when Sam tries to sneak into the Can-Can Dancer’s Line.

We recently had the privilege to peruse Bobby Babcock’s personal collection at RWB Props. You may recollect seeing innumerable Disneyland props. Among these, we found one of the oversized Pink Police Gazette props that was used in the original Disneyland Golden Horseshoe incarnation of “The Girl on the Pink Police Gazette” number. This piece was so popular that it was soon included in the Magic Kingdom’s Diamond Horseshoe Revue!

Before his Disneyland days, he worked on the crew of feature films (one fellow Disneyland employee remembers him mentioning “Five Easy Pieces” (1970) starring Jack Nicholson). Now, Bobby was running one of Disneyland’s most popular entertainment venues! After Ralph Adams (the first Backstage Manager for the original "Golden Horseshoe Revue") retired, Bobby Davis became the second Backstage Manager.

Bobby Davis may not be a household name (like Wally Boag, Betty Taylor, or Fulton Burley), but his behind-the-scenes contributions were crucial to the comedic timing of jokes and success of the overall show! Former Golden Horseshoe Cast Member Don Payne recalled Bobby’s responsibilities this way :

“He kept the stage cleaned up (from Pecos’ teeth, loose tobacco & squirt gun water) and the the occasional, broken shade from a kicked footlight. He ran the board for sound and lighting, helped The Traveling Salesman don the Pecos chaps, hat and gun. Handed us the squirt guns during the show. Kept the props in good order... and supplies on hand. Kept the gun loaded and ready to fire. He had his hands full during each performance.”

PICTURED (Above) : Former Golden Horseshoe Jamboree pianist Richard Allen (right) and Dana Daniels (left) take a moment with Backstage Manager Bobby Davis. Richard Allen remembers : “This is me several years ago - backstage - that's Bobby Davis, stage manager for years. He drove a motorcycle to Disneyland every day until he died.”

Many entertainers performed from the Golden Horseshoe stage. In 1958, sound engineers (like Chuck Britz) preferred the closed Golden Horseshoe hall to the open air of the Plaza Gardens when recording “Let’s Dance at Disneyland” by the Elliot Brothers and the Disneyland Date Niters.

The internationally famous Clara Ward Singers performed here during the summer of 1962, then at Dixieland at Disneyland. They were met with “such enthusiasm” that they were brought back for the summer of 1963 (where they performed for a live recording at Fantasyland Theater). The Ward Gospel singers came back to delight young and old audiences at the Golden Horseshoe, performing from December 16th thru 30th, 1967 (with December 24th & 25th off). [“Disneyland Holiday Talent Master Schedule,” December 16, 1967 to January 1, 1968]

The Show didn’t end with the Golden Horseshoe Revue! The Golden Horseshoe was billed as a “Western theater featuring a variety of live shows.”

The “Your Happy Holiday” radio show was broadcast live from The Golden Horseshoe from 1955 - 1956. During Date Nite of 1957, the Golden Horseshoe was one of four locations hosting live entertainment and the stage for the Frontierland Strawhatters.

On select “Frontier Nites,” (every Tuesday in Frontierland), visitors enjoyed square dancing on the Golden Horseshoe dance floor. The Milliner’s Guild Fashion Show was held on the Golden Horseshoe Stage (December 6th, 1959). The First Frontier Nite at Disneyland offered square dancing at the Golden Horseshoe Cafe, on Tuesday nights through the summer season of 1961.

Performers like the Ward Singers entertained guests from the stage during Disneyland Date Nites during the 1950s and 1960s. Arvon Dale and His Orchestra performed here during Disneyland’s 2nd Annual Grad Nite (in 1962). The 5th Annual New Years Eve Party (held Monday, December 31st, 1962 thru Tuesday, January 1st, 1963) brought the Clara Ward Singers to the Golden Horseshoe Stage. The Ward Singers (while principally performing at places like the Thunderbird in Las Vegas) subsequently returned to Disneyland and made many appearances on the very same Golden Horseshoe Stage, during Grad Nite 1964 and 1967, and “Spring Fling” of April 6th, 1968.

During 1965, Walt Disney sent his personal jet to New Orleans in order to transport pianist Sweet Emma and her bandsmen to the Golden Horseshoe in Disneyland. The famous Firehouse Five Plus Two (Ward Kimball on trombone, Danny Alguire on trumpet, George Bruns on tuba, Eddie Forest on drums, Don Kinch on trumpet, Billy Newman on banjo, George Probert on soprano sax, and Frank Thomas on piano) performed from the Golden Horseshoe Revue Stage during for the 6th Edition of Dixieland at Disneyland, on October 1st, 1966! They returned to the Golden Horseshoe Stage the following year for the seventh edition of Dixieland at Disneyland, with K.O. Eckland on piano.

September of 1972, brought Country-Folk Jamboree (on Sundays) and All That Roaring Twenties Jazz. November 26, 1972 through May 26, 1973, “Class of ‘27” presented a “Roaring 20’s revue at the Golden Horseshoe.” The Revue was performed four times nightly, featured comedy film, the Banjo Band, and starred Sonny Helmer and The 23-Skidoo Girls.

During the Disneyland Bicentennial Celebration (of 1975-1976), “Class of ‘27” returned, presenting the “roaring twenties entertainment” highlighting a unique American sound. This show was performed evenings (at 7:30, 8:30, 9:30, and 10:30 p.m.), and was so popular that it was brought to the stage of The Magic Kingdom’s Diamond Horseshoe Revue!

The 1970s and 1980s brought many acts and characters to the stage (usually during weekend evenings) - like The Front Page (during Disneyland After Dark; December of 1970).

The Yahoo Revue (December 26 - 30, 1978) starred Miss Goldy, Handpicked, Bob, Dick, Li’l Nugget, and the Gold Dust Twins, and introduced Audiences to “the word for tonight” - “Orange blossom special.”

Then there was The New Seekers (in 1978), The Rhythm Brothers with Terry Robinson (a 1930s-era jazz show) during January of 1986, Country/Folk Jamboree, Teddy Buckner and His Band, The Big Thunder Mountain Boys, the Pinewood Pickers, Mariachi Guadalajara, All That Roaring 20’s Jazz, Silvia the Singing Spinster, New Dixie Rebellion, Jeff Ruff on Banjo, Farley the Fiddler, the Thunder Ranch Juggler, and even Santa Claus appeared on the Golden Horseshoe Revue Stage. It was all part of Disneyland’s “Big Night Time Show”!

One of the most memorable of later acts has been Billy Hill and the Hillbillys (pictured in 2002, above)! Billy Hill and the Hillbillies generally performed from the Golden Horseshoe Stage (with the exception of the occasional rainy day). During the late 1990s, they would perform nine shows weekly (divided between two days). Later, they could be found on the Big Thunder Ranch Stage during select times. Pictured above, are Mario Hildago (banjo), Kirk Wall (lead guitarist and emcee), Evan Marshall (who played mandolin with the band full time from 1993 to 2004), and John Marshall(bass) - the founder of Billy Hill and the Hillbillies, circa 1990!

The Golden Horseshoe also hosted events for Disneyland Cast Members. Former Disneyland Cast Members (of the late 1970’s and early 1980’s) may recall attending one of the Annual Historical Perspectives presentations (starring guest speakers like Former Disneyland President Jack Lindquist or Walt Disney Imagineering President Marty Sklar) recalling memories of the Park’s early days.

Former Golden Horseshoe Jamboree Pianist Richard Allen remembers : “After the Jamboree. This show played twice a week when the Billy’s were off. It ran over 5 years. This is the show I did after the horseshoe closed. I ended up working several years in the park after that last performance.“

The 25-minute Golden Horseshoe Revue Tribute was included a couple of Golden Horseshoe Jamboree acts, but it had little to do with the previous Golden Horseshoe Revue show. Miss Lily (rather than Slue Foot Sue) hosted the show and worked the audience. The catchy opening number “Hello Everybody” was a variation of the Golden Horseshoe Revue’s. However, it was followed by “A Good Man Is Hard to Find”, “Belly Up to the Bar”, a “Can-Can” dance, and a variation of the Golden Horseshoe Revue’s closing number, that were more similar to Golden Horseshoe Jamboree numbers. A few brief lines made reference to Walt Disney’s feelings about the Golden Horseshoe Saloon, and where he preferred to sit. But, the non-musical, comedic numbers (like the traveling salesman and Pecos Bill) were non-existent. In fact, none of Wally Boag’s performances were attempted during this salute (perhaps out of respect for “the clown prince of Disneyland”). Still, the limited time magic offering of The Golden Horseshoe Revue showcased live musicians, phenomenal Can-Can Dancers, and live singers, under the direction of Randy Rojcik (Sr. Show Director)! WATCH the short, official Disney Parks advertisement HERE.

The Golden Horseshoe menu has changed much over the years. By 1981, Slue Food Sue's Fancy Fixin's included the Tenor's Topper (sliced corned beef served on rye bread), Comic's Cambo (sliced roast beef with barbeque sauce served on a roll), and the Dancer's Delight (sliced picnic-style ham served on a roll). Pecos Bill's Rib Ticklers and Thirst Quenchers included the brownie, chips (Doritos, Cheetos, Fritos, Potato Chips), and sodas (Pepsi-Cola, Diet Pepsi-Cola, Mountain Dew).

Since the beginning, the Four Keys of the DISNEYLAND Show (operating priorities in presenting the DISNEYLAND Show) have been present - Courtesy, Safety, Show, and Efficiency. Guided by these Four Keys, are Walt Disney Imagineers, who are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures.

During January 2 to 21, 1973 the Golden Horseshoe was closed for a 3-week rehabilitation.

In this modern age, there’s still a 37-star flag over the roof of the 1870s-era saloon, and the Golden Horseshoe has a slick new coat of paint, to boot! In 2008 (under the “Frontier Legends Diversity Initiative”), WDI master plans entertained the concept of an efficient, safe, courteous, new show “reconcept” and new menu.

Sadly, the name Slue Foot Sue may be forgotten by most guests who enter the Golden Horseshoe, but her spirit lives on through the new proprietor of the saloon!

Since “Slue Foot” Sue’s retirement, there’s a new owner and operator of the Golden Horseshoe. Meet MISS LILY - the new proprietor of the Golden Horseshoe!

All fixtures were placed in their correct motif and many light fixtures of Disneyland were authentic antiques. Character lighting was themed to the area to enhance the overall appearance and complement the interior, such as a chandelier or kerosene lamp. These added to the show, but didn’t necessarily create enough illumination for operation.

LIGHT magazine (July and August 1956; published by the Large Lamp Department of General Electric, 1956) “shed some light” on the illumination. “The Golden Horseshoe, replica of a famous saloon and gambling hall, but now dispensing nothing stronger than a popular soft drink, is wired and lighted in an authentic manner throughout. A stage, in decor of the late '80s, with golden cans on the stage for foot-lights, but supplemented by a complete system of modern stage lighting provides for a show four times daily... featuring ‘Slue Foot Sue’, with songs and dances of yesterday.” This replica of a “frontier saloon, has exposed lamps and wiring characteristic of early days. 60-watt lamps in enclosing globes around sides, 100-watt in chandeliers. 3 rows of 10 R-40's, with color caps, over stage.”

The Private Boxes on the upper level are usually closed to the public, but guests may sit in the Private Boxes on the lower level.

If you’re like Walt’s brother Roy, perhaps you enjoy a front-row table. But these Private “Box” Seats afford an up-close vantage of the show unlike any other. According to Wally Boag’s recollections, “the lower box, stage left,” was likely Walt’s favorite place to enjoy the show [seen on the other side of the stage, above]. In interview with Carlene Thie, Wally once recalled: “Whenever he arrived at the Park and parked his car behind City Hall, we’d get a call letting us know that he was on property and to reserve his box for him because he would stop by sometime during the day to see the show. And he was a great audience.” [“Homecoming - Destination Disneyland” by Carlene Thie] Reservations are no longer required for the Private Box Seats, but it’s best to arrive early if you would like to sit here!

Over the decades, Disneyland has come into the possession of various automatic and manual music reproducing instruments including music boxes, player pianos, organs, nickelodeons, calliopes, and orchestrions. Upstairs at the Golden Horseshoe you may find an antique Seeburg “upright piano built 1910,” according to “Did You Know” (published by Disneyland in 1991). You may recall also seeing this Seeburg Upright Grand Piano at the Market House during the 1990s.

By 1969, these were 2 of 15 old-time band organs and pianos at Disneyland, some of which dated back to 1890. There just weren’t any replacement parts for these rare antiques. So, ARCADE MAINTENANCE performed the necessary versatile, creative, and inventive mechanical repairs.

Many of those same 19th century-style details fill Frontierland’s opera house, though the interior color scheme has been altered a bit.

If you would like to read more about the Golden Horseshoe, it’s my pleasure to recommend adding Marcy Smothers’ “Eat Like Walt - The Wonderful World of Disney Food” to your personal Disney Home Library! Therein, Marcy has extensively researched and finely crafted a small section of a chapter dedicated to “Walt Disney’s Disneyland - Frontierland” If you would like to bring the magic of Disneyland restaurants and concessions to your dining room table, “please step this way” toward www.eatlikewalt.com where Marcy has shared a few recipes for memorable Disneyland menu options, so you too can “Eat Like Walt.”

Coca-Cola is the new sponsor of the fabulous Golden Horseshoe! To accommodate your thirst, you’ll find plenty of Coca-Cola brand beverages on tap while you enjoy the new show. Speaking of shows, I’ve always wondered what it would be like to perform from the Golden Horseshoe’s stage…

A VERY brief retrospective before Field Guide Beth gets handpicked and wrangled into a performance on the rootinest, tootinest, stage show that ever was!

The Golden Horseshoe Saloon tradition lives on through the Lucky Nugget Saloon at Hong Kong Disneyland where Guests can dine on Fish & Chips, Chicken Nuggets & Chips, Salads, and Desserts.