*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 studion. (From Left to Right) Grasper (Tom Pletts), Sugar (Bonnie), an aging Wally Boag (“The Great One”), Frank Funster (Jim), and our ragtime pianist (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.”

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.

“Why Guided Tours Are Needed”

“Since the beginning of mankind, the fable-tellers have not only given us entertainment but a kind of wisdom, humor, and understanding that, like all true art, remains imperishable through the ages.” - Walt Disney

The popular Disneyland Guided Tour has always been especially recommended for “first time guests” or “limited-time visitors”. The reason is that “first-time guests” generally want to see everything, and make every minute of their visit count. Some guests visit Disneyland from near and far - from other states, and at times other countries, and perhaps may never be able to visit Walt Disney’s Magic Kingdom again in their lifetime. So, along the Disneyland Guided Tour, these special guests are taken on an exciting tour of “Disneylandmarks”, lead by a charming Disneyland Tour Guide who tells the fascinating story of the Magic Kingdom’s history and growth. The “safari through the unique lands of the Magic Kingdom” included the “sidelights of Disneyland as well as the highlights”! Whether you have been a first-time guest or a returning guest, you may have enjoyed a “personally guided tour of Disneyland” in the past. Now, I invite you to please step this way was we explore an abridged historical tour of what has been heralded as “A Wonderful Way to Explore Disneyland” - the Disneyland Guided Tour!

“‘Kings and Commoners’ Enjoy Disneyland Before Guided Tours”

Even before the Disneyland Show debuted to the public, every Guest received the V.I.P. treatment. Members of the press were often invited to visit Disneyland as a “sidewalk inspector” of the greatest construction show on earth (even before there were any sidewalks), in order to divulge the sights in store for readers of news journals and periodicals. Many of these members of the press (like Bob Thomas of Associated Press) were personally given tours by Walt Disney. For example, toward the beginning of her article “Walt’s Wonderland” (published July 10th, 1955), Florabel Muir mentioned, “I’ve just taken a tour of this unique, $17,000,000 wonderland that Disney beamingly refers to as ‘160 acres of happiness.’ My guide was the boss himself. Like a kid who’s got the toy he’s always wanted, 53-year-old Walt bubbled with boyish pride and excitement as he ushered me into his brand new world of make believe.”

When Disneyland first opened in 1955, the tradition of V.I.P. treatment of all Guests officially began, as “attendants and guides” would “clear certain areas of Disneyland in preparation for… ceremonies,” and directed members of the International Press to these areas. Subsequently, Walt Disney still personally (occasionally) took the lead in both caring for and responsibility of touring some VIP Guests around Disneyland. During Disneyland’s first fabulous decade, you may have seen Walt Disney personally set time aside to show his magic kingdom to such guests of note, as King Mohammed V of Morocco (1957), Richard Nixon and his family (1959), Prime Minister Jawaharlal Nehru of India (1961), the Shah of Iran and Empress Farah (1962), and many, many, others. Some V.I.P. Guests were family friends. Kay Malins (who once served as a Disneyland Guide) recollects how Walt and Lillian personally invited both of her parents (Rush & Inez Johnson of Marceline Missouri) to Disneyland, and spent the day touring them around his “Magic Kingdom.” It is clear, that since the beginning, whether you were “the President of the United States, the Shah of Iran, or the family from Dubuque, Iowa,” exploring Disneyland at the side of an official (and knowledgeable) Disneyland Guide has always been considered “a wonderful way to enjoy Disneyland”!

Pictured above, we see Walt Disney filling the role of Disneyland Tour Guide for (Mumbai) India-born actress Merle Oberon (pictured) and her guests Lord and Lady Dalkeith (outside of the scene)! Among other attractions, Walt was especially excited to show off Adventureland’s Indian Village to his guests! Below Walt and Lillian present Belgian King Baudouin with a memento (the official Disneyland flag) after personally touring him around "some of the more familiar rides" of the Magic Kingdom.

Now as time marched on, Walt became increasingly busy with many projects, and it wasn’t possible to personally give tours (like the one pictured) to all his VIP guests. In addition, ordinary Guests of Disneyland generally wanted to see everything, and make every minute of their visit count. Despite Disneyland’s revolutionary “hub and spoke” design, some guests may have (at times) felt a little lost while visiting the vast acreage of Walt Disney’s Magic Kingdom for the first time. Though Guide Books (which were printed as early as 1955) included “the maximum amount of information in a limited space which was available”, and Disneylanders (like the old-fashioned policemen) were “always available to answer Guest’s questions on a specific subject”, it is clear that Guests still needed assistance navigating and becoming familiar with Walt’s Park.

Even before Disneyland opened, the idea of a Disneyland Tour Guide was approached in an unlikely source - licensed merchandise. As early as 1955, the "Walt Disney's Disneyland Fun Box" by Whitman contained both a Game Board and a Card Game, featured several references to a Disneyland Guided Tour. The souvenir (sold from 1955-1965), predated the Disneyland Guided Tour Program by three years, and was still being sold by the Tencennial Celebration.

Of particular interest is one early “Donald Duck in Disneyland” Dell Giant Comic (first published in 1954) depicting Mickey Mouse, Donald Duck and friends meeting with a male Disneyland Tour Guide (years before the Disneyland Guided Tour Program came into existence).

It appears that Walt Disney was preoccupied, so he asked a Disneyland Tour Guide to show the gang around! As a sidelight, this seems to be the very same Tour Guide that makes an appearance on the cover of Walt Disney’s Fantasyland Game (manufactured by Parker Brothers in 1955). Anyhow, in this publication, the Guided Tour of Disneyland naturally begins in Town Square.

In response to guest’s needs, a program was started, which made possible “numerous special privileges, including guided tours of the park, reserved eating facilities at one of Disneyland’s fine restaurants, a group reservation for the Golden Horseshoe Show, a welcoming banner on Main Street and a special welcoming Concert by the Disneyland Band,”(according to The Disneyland News, Vol.1 ; No.8, page 3, published February 10, 1956). I would like to redirect your attention to the fact that a Guided Tour of the Park was offered to groups as early as spring-summer of 1956. The same publication elaborates : “All parties are met by a member of the Guest Relations staff at the Main Gate upon their arrival. They are then guided into Town Square, where an orientation and official welcome to Disneyland are given. Many times a conducted tour of the Park is prearranged. Normally the staff member will meet the group again at lunch or dinner to assist in any possible way.”

A few months later (by August of 1956), many “school groups and children’s groups” took advantage of this provision through the Disneyland Youth Services Department Lead by “Dorothy Mannes”, while the national and local “Convention and Industry Groups” were scheduled with the help of C.L. Blackburn. An article entitled “Customer Relations Department Provides Tour Services” ran in “The Disneyland News” (Vol.2, No.2 ; August, 1956 ; page 2). As you read the following excerpt, documenting this pivotal point in “Tour Service” history, note the terms “host service” and “guided tour” :

“The planned tour, a longtime favorite with travelers, is an increasingly popular way of visiting Disneyland… Advantages of planning a scheduled tour through the Park’s Customer Relations Department are many, Administrative details such as parking, ticket purchase, food service are taken care of and host service with guided tour is provided.”

This (of course) was a stepping stone to something much grander, and what would be heralded “a wonderful way to enjoy Disneyland” was soon in the works (within two years, that is)! For now, this Guided Tour of Disneyland would accomplish a specific need of visitors, all through the proven diplomatic and service-oriented leaders and otherwise valuable people of Disneyland!

Customer Relations Division polls and interviews would support “research and analysis to develop new ways and means to solidify Disneyland’s position as the number one tourist attraction I the nation.” The sum of these polls and interviews would reveal something very important about Disneyland guests! According to the article “The Disneyland Tour Guide Story” :

“Our continuing research indicated that there were many guests who were interested in having a guide to introduce them to our giant [then 70-acre] Disneyland stage. We found that these guests fell into several different groups : those suffering from freeway fright,…those who feel lost, …those from foreign lands, …those who don’t want to miss anything, …older people, …those in a hurry, …large families, …habitual tour takers.” Of these, about 53% were visitors who resided in California, while about 47% were visitors from “out-of-state”, by 1958, according to “Disneyland U.S.A.” (published 1958).

After a little investigation, Walt found that Cicely Rigdon was taking the time to help Guests plan their day, suggesting attractions and entertainment. Walt recruited Cicely to help create a team. With guests’ interests in mind, conference sessions were held (c. September of 1958) in the “Disney Room” of the Red Wagon Inn, and (under the direction of Tommy Walker) work began on offering a Guided Tour service. The earliest versions of Disneyland Guided Tour instructions would provide Hostesses with points of interest, as they lead their groups along the tour route (and its “stations”) through Walt Disney’s Magic Kingdom. These were drafted during the Fall of 1958 (c. September/October). In addition to Tommy Walker, several other individuals were involved, including :

Ruth Boehike, Bud Coulson, Ron D’Arcy, Van France, Carla Gammon, Pete Henderson, Evelyn Heupel, Larry Hutcheson, Donna Jackson, Bep Jones, Derry Kempf, John Killefer, Pat Kimbell, Pat Mc Cormick (who would serve as one of Disneyland’s original Guides, and later as Crane Bathroom of the Future Exhibit Manager) was involved in some capacity, Jack McDonald, Monty McGill, Ben Ohre, Mike Pickering, Jack Sayers (Executive Policy and Planning Committee Member ; Park Management Chairman ; Director of Customer Relations and its Guest Relations), Marty Sklar, Bill Skiles, and Dave Young.

Even while these final details of the Guided Tour Script were being hammered out, an advertisement was run in Vacationland (Fall, 1958) for “a new Fall-Winter service for tourists”. The aforementioned article “The Disneyland Tour Guide Story” continues : “After an extensive training program [which by this time included both orientation classes and a tour of Backstage areas], a small pioneering group began the guided tour program in September of 1958.” Yes, even those Disneylanders who were fortunate to have experienced the Disney University Orientation program (held five months before Disneyland’s premiere opening day) would now experience a new “orientation” with some of Walt’s personal philosophies, as well as the policies which would “create happiness” for visitors through the Disneyland Guided Tour Program.

As we will now see, the oft suggested Disneyland Guided Tour would upgrade “levels of service, quality, [and] values,” as well as meet guest’s changing needs. This would be accomplished by way of a guided tour administered by the proven diplomatic and service-oriented leaders and otherwise valuable people of Disneyland!

“ANNOUNCING! A NEW FALL-WINTER SERVICE FOR TOURISTS - DISNEYLAND’S GUIDED TOUR OF 1958”

Yes, by September 26th, 1958, preliminary drafts of the “Guided Tour Narration” were “shaping up” (this accomplished only after many Disneyland Inc., Guided Tour Conference Meetings). The drafts came to be broken down into “Stations” and related guest-focused responsibilities. Meanwhile, during the very same month (of September) Disneyland’s first Guided Tour was advertised in Vacationland magazine!

Disneyland’s Guided Tour of 1958 promised “an approximately 1 hour and 15 minute [to 1 hour and 45 minute] escorted Tour with an official Disneyland Host or Hostess as your guide.” During the tour, a Host or Hostess escorted groups of guests that were “limited in size [of approximately 25 people] for…maximum enjoyment”. Each of the famous lands was visited during the tour, including “Tomorrowland, blueprint of the future ; Adventureland, mysterious jungle wonder world ; Fantasyland, a dream come true for the young in heart of all ages ; Frontierland, pioneer realm of the early American West ; and Main Street U.S.A., where the years roll back to 1890 - 1910. Your Host or Hostess will answer your questions and tell you interesting facts about each of Disneyland’s five realms.”

The original 1958 Disneyland Guided Tour included :

•Admission to Disneyland

•A personally conducted Tour through each ‘land’.

•A scenic train ride in a ‘private car’ of the Santa Fe & Disneyland Railroad.

•You’ll see the breathtaking Grand Canyon Diorama, longest in the world.

•Journey up Main Street U.S.A. aboard a double-decked Omnibus for a glimpse of the leisurely life and atmosphere of America at the tour-of-the-Century.

•A cruise on the Mississippi paddlewheel steamboat ‘Mark Twain’ (or the 1790 sailing ship ‘Columbia’) on the Rivers of America in Frontierland. See Tom Sawyer Island, Indian Villages, Fort Wilderness, and wild life in natural settings as you travel on the first ships of their kind built in more than 50 years!

•An exciting trip across picturesque Rainbow Desert aboard the Frontier mine Train. Climax of your journey is beautiful underground Rainbow caverns, where multicolored waterfalls cascade, and you’ll view the stalagtites and stalagmites in all the colors of the rainbow.

•A full color copy of ‘Walt Disney’s Guide to Disneyland’, a permanent souvenir of your day at Disneyland.

PLUS One extra coupon that you may use for any attraction of your choice in Disneyland.

And once the Guided Tour is completed, guests had plenty of time and freedom to enjoy the many attractions, free shows and exhibits, shops, stores, and restaurants of the Magic Kingdom for as long they wished!

Even during the first year, some attractions which guests experienced during the escorted tour varied. According to Main Gate handbills published for the Fall-Winter of 1958, the tour had increased from “approximately 1 hour and 15 minutes” to an “approximate 1 hour and 45 minute” experience. By that time, the tour had come to include the “famous Jungle River Cruise in Adventureland, where life-like hippos, alligators and gorillas rule, and lush tropical plants and flowers flourish,” and a “Space Trip to the Moon in Tomorrowland.” Still, the Disneyland Guided Tour was truly a fantastic way for the “first time visitor” or the returning guest (“from more than 100 foreign ports of call”) to experience the unusual, different, and unexpected side of Disneyland, at only $3.00 for adults, and $2.00 for children ages 3 to 12!

The first group of eight Disneyland Tour Guides were “only female Guides,” (according to “Guest Relations - Exceptional Guest Service” by Rebecca Visca of Guest Relations, published in Disneyland LINE, Vol.27 ; No.35), and of particular note is Disneyland Tour Guide Carla DeVillez. Carla bears the distinction of giving the very first Disneyland Guided Tour, during September of 1958, under Tommy Walker’s direction! Her example would help mold the program for years to come, and many guides would follow in her pioneering footsteps. If you’ve ever wanted to ask Carla what it was like, her experience of leading the first Disneyland Guided Tour Group was first published in “A World of Smiles” (a publication, produced in limited quantities for the Guided Tour Program Staff of 1965).

Carla shares : “In this I started my career as a Tour Guide in 1958, having been selected from the employees already working in the park. I was selling souvenirs in Guide Booth #1 when Larry Hutcheson (Hutch), asked me if I'd like to join this experimental program. It was not definite at that time whether or not there'd be a guided tour of Disneyland, but Guest Relations wanted to experiment with the possibility. There were five of us asked from various jobs in the park. Donna Partin, who you all know as #1 Hostess, Bep Jones, a ticket seller, Bill Skiles and Pete Henderson, two young comedians performing at Plaza Gardens, (better known now as Hub and Bub on the Mouse Mouse TV Show) and myself. Can you imagine Disneyland with only five guides? And boys, too!

We had meetings and meetings and meetings. We had eight weeks of training sessions. We learned about the park from stem to stern. We went out on our own and asked questions all around of the various foremen and supervisors. We had a horticultural tour. We had to ride all the rides. I remember one particularly interesting session. It was on a Monday or Tuseday when the park was closed. We all came in and Bob Reilly took us into Nature's Wonderland and we saw how the dyes were mixed with waters, we saw the various pumps on the Fantasyland side of the ride, and were instructed as to how the Caverns operated.

Then the big day arrived. Hutch said, ‘Come on, Carla, let's go out to the gate and get some guests to take the first guided tour.’ It was strictly complimentary. I was very nervous. We approached two families who consented to give it a whirl. At this time we were using a kind of megaphone, or voice gun. It wasn't loud enough in a noisy place and was too loud in a quiet place. None the less, we had a gay tour. I was, of course, anxious to show off my vast knowledge of the Magic Kingdom, so I filled those poor folks full of facts and figures. I believe the tour took a little more than 3 1/2 hours. We didn't have the Monorail or Submarine in those days, but we did take the following rides: [Santa Fe & Disneyland Railroad] Train, {Double Decked] Omnibus, Jungle [River Cruise] , Mark Twain, Alice in Wonderland (or other ride in Fantasyland, it was left up to us), and the [Rocket to the] Moon Ride. When I returned from that first tour, of course, everyone wanted to know all about it. We spent another week working out bugs and finally the tour ticket went on sale.

We planned for every possible incident in Guided Tours except one. We were drastically understaffed. That first day literally everyone took a tour. Tommy, Hutch, Secretaries, Managers, Directors, — anyone who set foot in City Hall took a guided tour. Needless to say, we grew rapidly and today we are one of the most successful departments in the entire park.”

The Disneyland Guided Tour was offered in coordination with a Metro Coach Depot promotional package, to attract local Los Angeles area residents. The package included MTA’s line 58D direct to Disneyland from Los Angeles Metro Coach Depot (at 6th and Main Street). The highlight of the package was the inclusion of a wonderful one-and-a-half-hour tour of Disneyland’s five lands, lead by one of Disneyland’s Hostesses, who were ready to (according to advertisements) dispense “all the behind-the-scenes facts.” The entire package cost $5.72 for Adults, and $3.10 for Children (under 12 years old). By this same time, the most knowledgeable and informative Disneyland Guides would also learn the MTA bus schedules to Los Angeles “by heart”!

As a “sidelight”, I especially love Chip’s use of a pointer, which predates Disneyland Tour Guides’ usage of the riding crop by a couple of years.

The first Disneyland Guided Tours of 1958 (led by a group of eight Guides), were a success! According to Fall-Winter schedules published and distributed during the following year (of 1959), the Disneyland Guided Tour service had been “acclaimed for its personalized convenience by more than one-half million visitors during the Fall-Winter season last year.” Now, even “more guests [were] wanting guided tours than there were guides to serve them” (according to the article “The Tour Guide Story”). In the following months “Volunteers [seven of them] were recruited from all divisions to help fill the demand,” and what was first a “new Fall-Winter service for guests” would become “a wonderful way to enjoy Disneyland” for guests!

Soon, Vacationland (spring of 1959) divulged the success of the Guided Tour, stating: “Public Opinion Polls conducted continuously at Disneyland reveal that fully 100% of Magic Kingdom guests who have taken the Tours found them extremely interesting and informative! Comments about the Guided Tours from Disneyland guests have ranged from ‘wonderful’ to ‘thoroughly enjoyable.’ Almost unanimously, people interviewed said they would ‘highly recommend’ the Tours to their friends.”

All involved were not content to “rest on their laurels” and only a month after the first Disneyland Guided Tour debuted, the official “Guided Tour Narration” (for the duration of the 1 hour, 45 minute tour) was still in development. Scripts dated October 10th, 1958 detail the “Steps” (like “Meeting the Group and Departure” and the “Ominibus”).

At this time, Disneyland was receiving many telephone calls daily, so it was decided to establish a Public Relations Department (later referred to as Disneyland Guest Relations), under Director Jack Sayers and Assistant Director Tommy Walker). A program was formed to accommodate large groups of guests, and conventions of (200 to 5000) guests at a time. Soon (c. September of 1959) this department was staffed by new Tour Guides Anne Mae Wing and Cicely Rigdon (who was initially hired to sell tickets at the Main Entrance in 1957, and had transferred to Guest Relations, in September of 1959). The Department was now comprised of a few of the eight original Disneyland Tour Guides, and a few others (while Carla DeVillez would remain, Pat McCormick was promoted to manager of the Crane Bathroom of the Future). In fact (in September of 1959), “Cicely and Anne joined the program, along with 27 other girls and 3 boys,” according to “A World of Smiles” (published 1965). “Back then…Guest Relations was actually a combination of Entertainment and Public Relations”, according to Disneyland LINE, (January 22, 1981, Vol.13, No.3). While not leading Tour Groups, Disneyland Tour Guides would now (under the nighttime management of Bob Norie) assist with “Customer Relations” by answering telephone calls that would come into the Park.

As far as Guided Tours were concerned, what originally began as a seasonal service provided by a select few (as Tommy Walker, Donna Partin, Bep Jones, and Carla DeVillez) invited by Larry “Hutch” Hutcheson, had soon grown into a department of 32 Disneyland Tour Guides (29 females, and 3 males) - all of the Disneyland Customer Relations Department - by late 1959. Yes, in addition to all the girls (like Anita McKee), there were male Disneyland Tour Guides during 1959. In fact, as a “sidelight”, I would like to add that future comedians Pete Henderson and Bill Skiles (mentioned earlier, by Carla DeVillez) were Disneyland Tour Guides during 1959. Anyhow, the winter holiday season gave Maggie Albright the opportunity to host most of the Disneyland Tour Guide staff at a Christmas party held at her Santa Ana Canyon home, during December of 1959.

Soon after her transfer to Guest Relations, Cicely Rigdon began to make observations and “have an idea” (or two), as she recollects to Disneyland LINE,“After I became a Tour Guide, the thing I thought was really needed was better training for the program. Anybody could walk through the Park and find their way around ; they didn’t need a guided tour for that. But there was so much to say about what made this place tick ; there were so many stories about what was involved in building Disneyland. That’s what I thought the Tour Guides should be talking about. We should be storytellers,” [Disneyland LINE, Vol. 16, No. 13 ; March 29, 1984]. The article continues : “Cicely became the lead and eventually the supervisor of Guest Relations”.

By the time this Vintage View (above) was captured, the Disneyland Guided Tour Program grew to a “staff of 35” when Arlene joined, according to “A World of Smiles.” Here, we see one of Disneyland’s own “storytellers” (and an expert “on the past, present and future of Disneyland”) standing poised near one of the Fantasyland UPT Concession Stands and the construction barrier of the Storybook Land Canal Boats.

As a “sidelight,” we must make special mention of a Disneyland employee named Barry Lane, who was hired (by Ralph Quick) as one of the few male Disneyland Tour Guides, during April of 1960. (Yes, there were male Tour Guides in the beginning.) According to Vacationland published for the spring of 1959 (only months after the first Guided Tour) commented: “An official Disneyland Host or Hostess is your guide for your Tour.” Less than two years after the program began, it had grown to include “a combination of men and women”, according to the article “The Tour Guide Story”). Barry worked for two and half months in this capacity, before transferring to another role in the Park. He describes the experience of attempting to memorize a script that was approximately nine pages long, with only one opportunity to perform a trial Tour before being put on the stage. As this was the case, Barry described the feeling of being “lost” during his very first tour. Just when Barry was fitting into the role, something happened that would change his career with Disneyland. During June of 1960, the Disneyland Guided Tours was on hiatus for the summer (as was done back then), and at this time it was decided that male Tour Guides would be discontinued until further notice. Barry had become one of the last male Disneyland Tour Guides to be hired during the formative era of Disneyland’s seasonal Guided Tour service.

Though this was the end of an era for the Disneyland Guided Tour service, things were now looking up for Barry Lane. He continued to work for Disneyland, was re-cast as both as a Jungle River Cruise Host, and cast for a role aboard the Mark Twain. Later, while fulfilling a role at Slue Foot Sue’s Golden Horseshoe, Barry had several encounters with Walt Disney. It was also here (at the Golden Horseshoe), where Barry would meet Connie (a Disneyland V.I.P. Hostess), and the two would eventually become husband and wife!

Guides occasionally waited for guests outside Disneyland Main Entrance Gate. “Back then… Guided Tours were not given during the busy summer months,” according to Cicely Rigdon (for the “It Takes People” spotlight, published in Disneyland LINE, Vol. 16, no. 13). Here, a Disneyland Tour Guide is dressed in her cape for cold winter weather, as she waits to welcome a Guest outside the Disneyland Main Gate on a damp morning.

Disneyland Tour Guides of the early 1960s initially met the “outlined factors…for [all] Disneyland employees” (See “Facts About Employment With Disneyland for The 1962 Summer Season”, below). But Disneyland Tour Guides were essentially the face of Disneyland (in a way not expressed by ride operators, merchandise employees, or concession workers). This is attested to by Two Wonderful Ways to Enjoy Disneyland (published 1961). The publication described the Disneyland Tour Guide this way : “Being well versed in the lore of Disneyland, this interesting and attractive young woman will give you insights and information that will add greatly to the pleasure of your day at Disneyland.” Since this was what guests expected, Cicely Rigdon’s Guided Tour Program would further develop leaders, by building upon Disneyland’s present standards and practices to assure this higher standard was met. Soon, these Hostesses were molded into exemplary role models that would both capture and reflect the Spirit of Disneyland! “Just as the imprint of the famous Castle means Disneyland to so many people, so should the imprint of Disneyland's courtesy and good cheer on the part of its hosts and hostesses mean Disneyland.”

In interview with Parade Magazine (published March 26, 1961, for The Advocate, Baton Rouge, Louisiana), Tommy Walker described the results of these refined methods upon those that were cast (that is, interviewed, voice-tested, selected, and trained) for the role of what was (briefly) referred to as the “Disneyette” :

“We interview about 10 girls for each one we hire. When we look for… [sic] her personality and warmth and genuine regard for people. We don’t care if she’s 18 or 30, single or married. Does she speak clearly? Does she smile? Can she project her voice? If a girl is multilingual that’s an advantage. Right now we have girls who speak French, German, Spanish, Japanese, and Arabic.

‘When we accept a girl’, Walker adds, ‘we put her in our training school for two weeks. She’s give a Disneyland dictionary, full of factual data on all the sites, rides and exhibits. She studies this carefully, then memorizes answers to the questions most frequently asked - for example : How large is Disneyland? How many employees? How much did it cost?’” In the rare event that a Tour Guide did not know the answer to a guest’s question, she would not provide false information, but respond politely : “I don’t know, but I’ll find out for you.”

Tom Walker continues : “The girls meet among themselves to discuss common problems, such as what to do with women who need to feed their babies, or what to o about people who go into a restroom and never come out, or what to do about people who get lost.”

During that same year of 1961, most girl Guides worked “a six-hour day at $2 an hour, five days a week”. Not withstanding this, Tom Walker concludes : “The Disneyettes describe their job as “the dream job of all time’.” Clearly, the 40 “on duty” Disneyettes were developing the necessary skills to help guests “enjoy Disneyland in such a wonderful way” by 1961 - all thanks to careful screening and the new additions to the Disneyland Tour Guide Program! Clearly, Disneyland Tour Guides (and Disneyettes included) have always been much more than just an “attractive” face! Attesting to this fact, is the account of one guest (as retold by Wally Boag, c.1965 Backstage Disneyland Editor) : “The sight of a very watersoaked Tour Guide being escorted over to Wardrobe to receive dry clothes and a new hair-do. We found out later that she had jumped into the big river to rescue a small tot that had fallen in…” [Backstage Disneyland, Vol.4 No.4]

By 1961, the Disneyland Guided Tour was celebrating its fifth year running, and had entertained visitors from more than 100 foreign countries. Vacationland comments, “several of the attractive young ladies who conduct the unique two-hour safari are linguists, with four different foreign languages represented among the group.” According to Vacationland (Spring, 1962), “many of the girls speak two or more languages. Included in the staff are young ladies who can converse in Spanish, German, French, Norwegian, Danish, Hungarian, Portuguese, and Japanese. When a visitor enters Disneyland for a Guided Tour and finds someone who speaks his or her language fluently, the experience is a heartwarming one, for both Guide and the foreign visitor.” According to Bob Matheison “supervisor of the tours” (in an interview with Vacationland magazine), even when the tour was long over, Disneyland Tour Guides would “get letters from all over the world thanking them for their courtesy in answering questions” (no doubt in their “mother tongue”). By 1961, the two to two-and-a-half hour Disneyland Guided Tour (by one of Disneyland’s 22 - 60 multilingual Guides) was one of “two wonderful ways to enjoy Disneyland” (the other being the “Big 10” and “Jumbo 15” ticket books). The value and price of the Disneyland Guided Tour had improved in quality and (appropriately) admission increased slightly, to $5.00 for Adults (12 and over), and $3.00 for children (under 12).

The following year (1962), Disneyland Guest Relations was led by Mr. Donald Novis (that certain “golden tenor” of the Golden Horseshoe Revue)! By this time, Ben Harris (of Disneyland Production) was involved in interviewing Tour Guide Applicants, and also performed speech auditions for Disneyland Applicants (which included some Disneyland Tour Guides). By this time, the group of Disneyland Tour Guides had grown again, in many ways.

Marty Sklar (according to his recollection) wrote a new script “to inaugurate the Disneyland Guided Tours… in 1962.” This was (as he said) “in an effort to understand the guest experience firsthand,” and so Marty led the first tour himself. “The second and third tours were led by Dick Nunis, director of park operations, and Jack Lindquist, the head of marketing.” As Marty described: “when we sat down afterward to review the reactions of our guests, we had input from the operators about how it functioned and the marketers about how to sell it, plus of course my own comments and revisions based on the direct reactions, observations, and timing I had experienced in leading the first Disneyland Guided Tour.”

Now, the Disneyland Guided Tour scripts or “spiels” were 11 pages long, and included a tour of five “top attractions and rides,” according to one c.1962 brochure. It seems that Hostesses would require ears like Mickey Mouse and a retentive memory like Ludwig Von Drake. Each Hostess would be a walking talking encyclopedia. It was said that “these young ladies are well acquainted with all the background information about Disneyland to add to the enjoyment of your visit.”

By this time, Ben Harris also worked with the Disneyland Tour Guide Supervisors to check the narration of Tour Guide spiels, develop promotional material for the Tour Program, and help shape the Tour Training Program. For instance, after the extension of the Disneyland-ALWEG Monorail to the Disneyland Hotel, Ben Harris (Production Department) began to have regular meetings with Chuck Currier over a new special project that would commence a Hotel Tour Program. Ben described his work with the Tour Guides on one particular day (Wednesday, April 18th, 1962) this way : “met with Chuck Currier and discussed [the] Tour Program from the Hotel. Chuck talked with the Guides and gave a brief rundown of the Hotel activities and answered their questions. He is presently preparing writer information concerning the Hotel, its different shops, and special activities, which can be incorporated into the Tour Training Program. Chuck was most cooperative and expressed great interest in the Tour Program at the Hotel.”

In addition to all this, the Disneyland Guide was now expected to “put herself in the place of the hundreds of persons she may come in contact with in a single day, and be prepared to answer any questions put to her, no matter how difficult they may be,” according to Vacationland, published 1962. Among the Disneyland Tour Guides (during 1962), were those who were fluent enough to translate the script (and answers to those difficult questions) into even more languages than in 1961 - including English, German, Norwegian, Spanish, French, Hungarian, Greek, Danish, Flemish, Japanese, and Chinese! As an added Guest Service, “altogether they speak 11 different languages,” according to Donald Novis in “The Happiest Job I’ve Ever Had” (published in the Long Beach Independent, October 8, 1962). The number of the exceptional Disneyland Guided Tour staff had also grown to support peak periods of Disneyland guests with “62 girls in the summer, 26 in the winter.” Some of these (c. 1962-1963 Tour Guides) included Theresa and Reiko. Finally, during December of 1962, Tour Guides assisted the Candlelight Procession.

The Disneyland Tour Guides 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 Disneyland Tour Guides 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.

After all the polishing, it was high time that the most exemplary Disneyland Tour Guides - “the creme of the crop” - were praised through a new tradition - the “Disneyland Tour Guide of the Year” award established in 1962! Iris Umemoto (1962), Reiko Cox (1963), Diane Darnell (1964), and Suzanne Fuller (1965) were among the first to have such a distinguished honor bestowed upon them (and by Walt himself, at that). These new annual traditions of accolades and other constant praises bestowed upon all of Disneyland’s Tour Guides would only continue to groom the growing group of “cheerful, friendly, well-built, knowledgeable” Disneyland Guides into true leaders in the field of Disneyland Guest Service!

As the “grooming” continued, so did the screening. By 1962, Chuck Whelan (of Disneyland Personnel) divulged that “one job in six is for a female,” according to an article by Al Carr (published May 12, 1963, in the Los Angeles Times). Considering this, it seems that the odds of being selected to become one of Disneyland’s Tour Guide Hostesses had decreased by the early 1960’s, but in actuality the odds of being selected increased from the years 1961 to 1962. According to comparative statements made in Parade Magazine (published March, 1961) and Vacationland magazine (published Fall, 1962), the odds went from one out of every ten, to “one out of every four or five applicants is hired” for the role.

“‘IT’S BEEN MY PLEASURE’ - THE GUIDE’S GUIDE!” - Disneyland Tour Guides have always been carefully screened - given a voice test and personal interviews. According to Vacationland (Fall, 1962), only “one out of every four or five applicants is hired”. Once hired, the hires were given a copy of these inspirational guides for Disneyland Guides - “It’s Been My Pleasure”!

“‘Hello.’ We’re glad you made it through the obstacle course which we more generally refer to as our employment procedure and have now officially joined us as a tour guide.

This guide for guides is designed to help you orient yourself in your role in our Disneyland show…an introduction to your training program which will be an easy and pleasant experience…like boot camp in the Marines.

We debated about the title, and finally arrived at ‘It’s Been My Pleasure’ as being most definitive for your part in our cast.

As a tour guide, you’ll have an opportunity for a most rewarding personal relationship with our guests. If you properly fulfill your role…and we know you will…you will receive many a heartfelt ‘thank you’ from the guests in your group.

A ‘thank you’ is a rewarding acknowledgment of appreciation from those you help and serve…verbal expression of the fact of a job well done.

Since it is your role to help and serve others, a ‘thank you’ from a guest will give you a feeling of fulfillment and satisfaction for which the most logical rejoinder is ‘It’s been my pleasure.’

We know you’ll have the opportunity to say ‘It’s been my pleasure’ many times …and that you’ll enjoy a memorable and satisfying experience as part of our Disneyland cast.”

-Introduction to “it’s been my pleasure”, The University of Disneyland, c. 1960s

A slightly later updated version of “It’s Been My Pleasure” reflects the newest fashion of the Disneyland Tour Guide on the cover! As a sidelight, the phrase was created by Dorothy Manes (of Youth Activities).

Now according to one sanctioned publication: “some would say the training booklet sets a standard for employee-guest relations impossible to achieve. But kings and commoners alike who have visited Disneyland would disagree. Seemingly ‘impossible’ things are does as a matter of course at Disneyland.” [“Walt Disney Disneyland,” pages 58, printed by Officine Grafiche Arnoldo Mondadori - Verona; first published 1964]

“International Guideudveksling” - During 1963, Disneyland Guest Relations was under the new management of Bob Wormhoudt. That year, Disneyland would participate in its first annual Tour Guide Exchange Program! These opportunities to become “Goodwill Ambassadors” were truly edifying for participants of both parties involved. During the very first year, Disneyland exchanged Chief Disneyland Hostess Donna Partin with a park that helped inspire Disneyland (and according to Walt’s observation of its “courteous employees,”was “what an amusement park should be”) - Tivoli Gardens!

In 1964, Disneyland engaged in the program again. A Tour Guide Press Party (with refreshments) was held in the Tour Guide Lounge, May 13th, 1964, and Disneyland Hostess Carole Tully (“Miss Disneyland 1964”) was sent to Copenhagen, Denmark, while Tivoli Gardens Tour Guide Hanne Plath was (one of such Tivoli Gardens Guides) sent to Los Angeles. As part of the exchange, Hanne spent almost two months with Carole Tulley, as they toured her around Southern California, flying to the New York World’s Fair with Walt. Then Hanne and Carole went to Copenhagen (where Hanne departed). Then Carole travelled to London, Paris, Rome, Stockholm , and Lappland and then back to Copenhagen again.

As a “sidelight”, I would like to recall a familiar artifact and memento of this occasion. The story goes : “Upon arrival, Hanne had a gift for Walt.” Here, Ed Ovalle (Walt Disney Studio Archivist) introduces us to the trinket personally given to Walt Disney by Hanne Plath (a Tivoli Gardens Tour Guide, taking part in the second exchange program with Disneyland’s Tour Guide Program). The Royal Copenhagen Porcelain Factory was renowned for their porcelain authorized reproductions of Edvard Eriksen’s the Little Mermaid statue in Copenhagen, Denmark. Walt (who had an affinity for the works of Hans Christian Andersen) no doubt cherished the hand-crafted replica, showing it off inside his “working office” at the Walt Disney Studios in Burbank! And so a replica of this statue would even come to rest near Walt’s final resting place.

The program was a success, and “Senior Hostess” Donna Jackson would be sent to Copenhagen in 1965, in exchange for Ida (?) of Tivoli Gardens.

By 1964, the Disneyland Guest Relations Department consisted of Bob Wormhoudt (Manager), Ruth Scofield (Department Clerk), Cicely Rigdon (Assistant Supervisor), Anne Daniel (Lead Tour Guide), Maggie Albright (Chief Hostess of the Mickey Mouse Club Disneyland Chapter), Donna Partin (Chief Hostess), Nora O’Keefe (City Hall Receptionist), and Ruthe Homer (Information Letters Clerk). As a sidelight, it is worth mentioning that while proven exemplary and capable, all of these leaders exhibited the tendency to stray from the idea of self-importance, remembering that “the only ‘Mr.’ here is ‘Mr.Toad.’”

“An Assured ‘Fit’ For The Role“

Disneyland Tour Guides were often referred to (or, “billed”) as “pretty” and “attractive.” Partially responsible for this was their reputation for a high standard of “dress and grooming,” in which the Cast Member costume has played an essential role since the beginning.

Since the beginning, Disneyland Tour Guides perpetuate the Disney Look - Representing the Company Brand.

A complete set of appropriately themed apparel (both garments and accessories) has had the power to help audiences easily identify the Cast Members belonging to an area or position. Basically, the costume contributes toward effecting the Disneyland show in a non-verbal way. In this case, assuring that the applicant ‘fit’ the role of Disneyland Tour Guide.

Since 1961, a pre-employment check was made to ensure that the applicant’s Wardrobe size was accurate. This requirement was not a form of discrimination, but mainly due to budget (as early Disneyette costumes - as all Disneyland costumes - were generally only produced in a particular range of sizes). These requirements applied to all Disneyland employees (many of whom worked under Union jurisdiction by the early 1960s).

One edition of “Your Role in the Disneyland Show” speaks of costumes: “The actors and actresses in our Disneyland Show wear ‘costumes,’ each of which has been specifically designed to reflect the role one plays in the show. ‘Uniforms’ are worn in the Military Service and by the local high school football team, but not ‘on stage’ at Disneyland. Take pride in your ‘costume’ it is designed to add to your natural attractiveness and means you are part of the show.” Great care was taken in designing the Guided Tour Wardrobe costume. According to “A World of Smiles” (published 1965), “many colors, designs, and shapes - that is the history of tour guide uniforms.”

• 1958 (Winter) - The original Disneyland Tour Guide “uniforms” (yes, they were occasionally referred to as such) were simple and “tartan-less” - “white skirts and sun hats with green blouses,” according to “A World of Smiles” published 1965. This was because “the first Tour Guide costume consisted of whatever the Cast Member wore in their regular job (Disneylanders including Attractions Hosts and administration employees made up the first corps of Guides).”

• 1959 (Winter) - Another somewhat contemporaneous (yet, later) image shows one Tour Guide wearing a collared shirt and dark-blue colored skirt (without a tartan pattern), as well as a dark Pendleton blazer. “Shortly into the program, Lulu Miller in Wardrobe came up with a uniform consisting of a red Pendleton blazer and blue skirt for the gals, red blazer and blue pants for the guys.”

• 1960 (Winter) - By the winter of 1960, the “Disney look” of the once (c. 1961) -billed “Disney-ettes” consisted of a one-piece, plaid patterned woolen “jumper” dresses. This garment would be combined with a “red leotard,” in a look that would first become associated with the appearance of the Disneyland Tour Guide! Though on a first-name basis with Tour Group guests, the ensemble did not include a name tag or pin - only a Disneyland patch! Still, the inclusion of plaid would lead to great things a few years later. During the winter 1960, the Disneyland Tour Guide costume also acquired the addition of red capes for cold weather days.

According to one source, “By 1960, an early plaid prototype consisted of a pinafore, including a fashionable red beanie and gloves! Plastic nametags and the famous ‘D’ pin had nor get been created. Instead, an embroidered patch with the castle logo and the title of ‘guide’ denoted the Cast Member as an official host. This prototype lasted about a year and in 1961, evolved into the costume we know today. It was a collaborative effort between Park managers, Costuming and WED Enterprises (later Walt Disney Imagineering). The distinct influence of Scottish dress, combined with a riding uniform, made it a very unique costume. The ‘look’ was very recognizable and was a style not already used in the Park. This theme allowed the Guides to ‘jockey’ to each land and fell the stories of the Park. Wait even referred to the girls as Guest Jockeys!”

• 1962 - the look of Disneyland Tour Guide costume had changed to one that would become enduring and iconic - similar to that of horse jockeys or polo players! According to an article published one year later in the Long Beach Independent (October 28, 1962), “The Tour Guides wear scarlet capes, white shirts, scarlet vests, plaid skirts, red socks, blue riding caps and they carry riding sticks - for pointing out the sights, not whacking visitors.” Owing to this new wardrobe, the Disneyland Tour Guides were often referred to as “Guest Wranglers”. The cape was the only element of the previous costume incarnations that was retained. Of special note is the Disneyland Tour Guide “plaid” tartan which had also changed, since the original “Pendleton plaid” dresses. Around 1961, the specific tartan that would become associated with Disneyland Tour Guides for years to come was selected and approved!

In recent decades, Disneyland Tour Guide costumes have retained a plaid tartan (though the pattern now flows a slightly different direction on the cut of the skirts). In addition, a secondary color (navy blue) forces the contrasting warmer colors to “pop”. Against this color scheme, the essential accents, like buttons, castle pin, “D” pin, and most-important name tag, stand out to the eyes!

“WHAT CLAN ARE YOU FROM?” - Disneyland’s “clan” of Disneyland Tour Guides is clearly identifiable to the many Disneyland Cast Members and guests that are familiar with Disney Park’s various “tartans.” This is a close-up of actual current “Disneyland Tartan.” The true-life name of the Disneyland “plaid” pattern is true Royal Stuart Tartan (also referred to as “Queen’s Royal Stuart Tartan” as it is the same personal plaid of Queen Elizabeth II). It debuted during the Tencennial year of 1965, the same year that Guided Tours moved next to City Hall. When other Disney Parks would open (from EPCOT Center to Tokyo Disneyland), each of their Park’s “plaid” would feature a differing style as well as a name of tartan that would separate the wearer (and Guide) from those of other Disney Parks!

It’s a FACT that each and every Disneyland Guide acquires one of these Sleeping Beauty Castle pins (and wears it proudly) after Tour Day One is complete! The next time you take a guided tour of Disneyland, you may notice this “little beauty” over your personal Guide’s riding cap.

Another early 1960s addition to the Disneyland Tour Guide “uniform” (yes, they were occasionally referred as such in the early years of Disneyland) was the distinguished “D” pin! The original pins were manufactured by the N.S. Meyer Company of New York (founded in 1868, and maker of military insignia). Each original Disneyland “D” Guide Pin was comprised of gilded sterling silver, and plated in 14 karat gold. In addition, each pin design bears the likeness of Tinkerbell sprinkling pixie dust from her wand over the iconic Sleeping Beauty Castle. It’s a fact that once the applicant is approved to give Guided Tours of Disneyland, they are administered one “D” pin.

“It seems the Royal Stewart plaid and "D" pin effectively conveyed a presence of heritage, pride and honor as the official hosts and storytellers of Wait's Magic Kingdom. The Tour Guide Costume is truly a Disneyland Classic.”

While Guides wore metal badges, Disneyland Cast Members wore metal badges with just a number until plastic nametags replaced them in 1962.

The N.S. Meyer Company would go on to produce pins for Guides, Hosts, Hostesses, and Guest Relations Cast Members of the Magic Kingdom in Walt Disney World, in Orlando, Florida.

Disneyland Tour Guide emblem design heavily influenced those of other Disney Parks Guest Relations to come. One example is this (now retired) Euro Disney (or, Disneyland Paris) Guest Relations Tour Guide pin (above), featuring Tinker Bell sprinkling pixie dust over Le Château de la Belle au Bois Dormant (or, “Castle of the Beauty in a Sleeping Wood”).

”Guides and The Disneyland Look”

You may have heard of the Disney Look. Every detail of a neat, natural appearance (including grooming, etiquette, and wardrobe) was to be maintained to the official standards of Disneyland. These appearance guidelines were eventually outlined in The Disney Look handbook.

Long before this publication, Cicely Rigdon put into practice a system of checks to assure proper use of cosmetic makeup and reassure that the Guide’s skirt was of proper length. After receiving their first wardrobe “fitting,” these became a daily occurrence before each shift began. To quote Cicley Rigdon’s poem “Golden Rules” (published in “A World of Smiles”, published 1965) :

“Because we want the best for you

Pink lipstick, girls is just tabu.

And if you wish to look your best

Leave all the hardware off your vest.

The hat looks best straight on the head,

Clean and repair shoes on the feet you tread.

No nail polish Disneyland says to us

And eye make up NO, sir please don’t fuss.

And if you don’t want to see a cop

Please don’t steal another’s crop.

Remember girls we love you dearly,

And mean it really quite sincerely

But rules are made for one and all

And for my sake do not fall.

For Tour Guides never never shirk their duty

After all they have natural beauty.”

Within these boundaries and guidelines, the wardrobe of the Disneyland Tour Guide has changed in some ways through the years - from its founding in 1958, to its formative years of the early 1960s, and beyond! The design grow to become more than just “functional” (meeting the specific needs of this Disneyland Cast Member). The ensemble would eventually change into a distinct with aesthetics that would visually separate Disneyland Tour Guides. This so-called “Disneyland Look” (or “Disney Look”) would help guests readily distinguish a Disneyland Tour Guide from other Disneyland employees (including concessions, merchandising, and ride operators)!

By the 1970s, the Disneyland Tour Guides had the pleasure of wearing more than plaid. In addition to guiding Tour Groups through Walt Disney’s Magic Kingdom and assisting with Guest Relations, Annual Fashion Shows (sponsored by the Disneyland Recreation Club) became a tradition. In fact, by 1973, Disneyland Tour Guides were modeling popular designs by Lido Fashions during the “I Am Woman” Fashion Show! On very rare occasions, Hostesses wore tasteful and fashionable ensembles while guiding organized groups or special V.I.P. guests through Walt Disney’s Magic Kingdom. Few conditions like extreme weather conditions (e.g. Code 90, extreme wind, or rain) permit proper adjustments to the costume. If a costume was damaged or spoiled, the working lead was contacted.

While on the subject of “the Disneyland Look” I am also reminded of a few words published in one c. 1981 Disneyland Orientation Book which reads : “As a result, the Disneyland Look became world famous ad established a trend for many other enterprises. Preserving this image has not been easy. Hair and clothing styles have changed radically from year to year. Right now, as you read this, there is probably some new grooming trend emerging. And we all feel pressure to conform to contemporary standards. But Disneyland is NOT contemporary. It is yesterday, tomorrow, and fantasy. And our costumes and appearance must fit those themes.”

Guides wait to meet guests near Disneyland’s Entrance and Ticket Booths! We wonder if the gentleman in the photo on the right is Disneyland’s first Public Relations Host Bob D’Arcy, Bob Norie (eventual night-time Guest Relations Supervisor), or Mr. Leinburgher (the “Tour Guide Glee Club Director”).

Now that the Disneyland Tour Guide has her costume in place, and the proper appearance, the Disneyland Guided Tour is almost ready to begin! At this time, the Disneyland Tour Guides takes the “opportunity to meet each person individually”. At this time, tickets were collected from each person as they entered Disneyland’s staging area. In the remaining meantime (before the tour departed), Hostesses took the opportunity to mingle with their guests and establish a “friendly atmosphere”.

Tour Guides would enter their group and gather the guests’ attention (even in non-verbal ways). The current Guided Tour Manual states : “Use those eyes. Make regular eye contact with each of your guests during the tour.” The beginning of the recommended Guided Tour Narration generally begins with a formal and proper introduction towards the guests. “My name is Connie [last name]. I will be your Hostess for your tour through Walt Disney’s Magic Kingdom. As we are a first name organization here at Disneyland, please call me Connie. I really enjoy introducing Disneyland to our guests, especially if I feel that I’m adding a little to your enjoyment, so if you have any questions while we are on the tour please feel free to ask me.”

All this could seem a little “Animatronic” (that is, “routine”) in delivery, if not expressed naturally. So, it still continues to be of the utmost importance for Disneyland Tour Guides to “have fun in [their]… role, and express it.” Yes, it is crucial to make eye contact, carry a pleasant facial expression, and maintain positive body language while interacting with guests, for this has a bearing on the Disneyland show! As Dick Nunis encouraged Disneyland Hosts and Hostesses : “It is essential that we preserve the informal friendliness which is the basic tradition of the Disney organization. It takes a happy crew to produce a happy show.” But even more, remember where this happiness springs from. Like Walt Disney said in 1955 : “It is you who will make Disneyland truly a magic kingdom and a happy place for the millions of guests who will visit us now and in future years… In creating happiness for your guests, we hope that you will find happiness in your work and being an important part of Disneyland.” [“Your Guide To Disneyland,” Form No. T-1-5-55, published by Disneyland, Inc.]

Connie (pictured above) must have done this in an exemplary way, because three years later she was selected to become the second Disneyland Ambassador to the World!

Display and usage of “First Names” is a Disneyland tradition since before the 1955 opening. Around the Walt Disney Studios in Burbank, Walt and Roy implemented an unusual policy where their employees called them by their first names. Walt Disney’s own Assistant Lucille Martin recalled that “Walt was very personable” remembering that “he wanted me to call him by his first name. I was used to saying ‘sir.’ Particularly with Walt, I kept saying, ‘sir.’ And he would say, ‘No, Walt.’ So one day he gave me a little drawing, showing a little girl marching, with a placard that said, ‘Down with sir.’”

“Your Role in the Disneyland Show” states: “It's been a tradition at Walt Disney Productions to call everyone by their first name. When Walt opened the Park, he wanted to ensure this same informal and friendly atmosphere so first names have always been used at Disneyland.” Van Arsdale France remembered: “I'd always called bosses by last. names with a solid ‘Mr.’ until I got to know them. Here it was the policy… subliminally enforced to call people by their first names, especially Walt and Roy.” This first name policy was one of Walt’s personal philosophies which was impressed upon Disneylanders through Orientation handbooks published c. 1955 by the Disney University.

An article published in Disneyland LINE (Vol. 12, No. 29 ; July 17, 1980) accounts this particular tradition of “First Names”, among the “radical concepts” that would distinguish the “Disneyland Model” from those of other amusement parks. By the Tencennial, instructional books prepared for those serving as “Ambassadors of Happiness” at the New York World’s Fair issued the reminder: “It is not Mr. Disney... It's ‘Walt.’”

All Disneyland Cast Members would be issued a name tag and it was worn with pride. Since the Disneyland Guided Tours conception and establishment (in 1958), Disneyland Tour Guides have been part of a “first name organization,” as founded by Walt Disney. This meant that Disneyland Tour Guides would wear their (Disneyland Wardrobe-issued) names tags clearly displayed to guests on their uniforms.

The first “name badges” (or “nameplates”) were brass, which required some regular maintenance. On this note, Disneylander Bob Penfield had his brass name badge gold plated, so that he wouldn’t have to polish it every day. These held both the Disneyland Cast Member’s name and Cast Member’s employee number.

But soon (in 1962), plastic Nametag, “name badges” (or “name tags”) were introduced. [As a sidelight, there is a wonderful collection of Disneyland Name Badges at name tag museum.com] The Disneyland Guided Tours Name Badges were made distinct - diamond-shaped (similar to the one pictured in the title block of this section), while later ones (c. 1967 on onward) were oval-shaped (pictured below). Unlike modern Disney Parks Name Badges, these early Disneyland Guided Tours Name Tags carried no “home cities or home towns,” no countries or states of origin, and no space for service award pins - just the employee’s name!

According to a special issue of Disneyland LINE (published June 15, 1978), July 5th, 1978, was a historic day for Cast Member Nametags, as new oval-shaped Disneyland “Mickey Tags” (featuring the likeliness of Mickey Mouse for the first time ever) were distributed along with employee paychecks (and thereafter distributed by the Entertainment Costuming Department). This was fitting, as by this time, Mickey Mouse was not only “one of the most recognized symbols that ever existed,” but the most-beloved representative of the Walt Disney Productions corporation. At the same time, “Service Award Tags” (featuring a space for one service pin) not bearing the likeness of Mickey Mouse were also available. Both of these Name Tag styles were to be worn by all employees throughout Walt Disney Productions. You may have had the pleasure of receiving yours, right from the hands of Mickey Mouse, as a part of some new and ceremonious Disneyland and Disney Parks “tradition!”

Guests of Tour Groups eventually wore nametags as well! While meeting the group, Tour Guide Hostesses encouraged guests to fill out his or her own Identification Badge with their name and present home state. This helped the Tour Guides and guests to mix, and worked to establish a friendly atmosphere.

By 2000, the organization was still a first name organization and the Cast Image and Appearance Manager at Creative Costuming and guidelines assured this aspect of the Disney Look - that Name Tags were still worn with pride on the left shoulder area. Name Tags could feature the hometown city, state, country of a Cast Member. Name Tags could also hold up to two pins, including the Service Pin, Partners in Excellence Pin, or the 1971 Opening Team Pin, in addition to pins representing language skills, represented by up to two Language Pins).

Disneyland Guided Tour Identification Tags were provided for every member the Tour Group, free of charge. You may notice that the Disneyland Guided Tour Identification Tags (like the ones pictured below) have occasionally come in different shapes. The original Guided Tour Identification Tags were triangular-shaped. These were manufactured in different colors (like red, yellow, or blue). This was in the event that one Guided Tour Group becomes mixed with another Guided Tour Group on some of the rides. These tags would help a Disneyland Tour Guide to quickly identify the guests in his or her Tour Group.

According to the current Guided Tour handbook : “In the first ten years or so, these were in the form of triangular hang tags. Different colors were given out on different days of the week. Colors included green, blue, yellow, orange, and black, and red.” The Disneyland Tour Guide would attach a similarly colored hang tag to her crop, for the benefit of the guests in the Tour Group. These tags would become a tradition, with “Disneyland- The Happiest Place on Earth” brochures (prepared 1960, by Walt Disney Productions for Group Services) mentioning that “Identification Tags for every member of the group are available free of charge.”

This is the view as we prepare to depart from the Guided Tour Gardens Gate. Now, we are “leaving the world of today, entering the world of the turn of the century - Main Street, U.S.A. - [circa] 1890 to 1910.” If the Guided Tour began at the Main Gate, the inscription on the plaque over the tunnel was read aloud, before the Tour Group headed through the tunnel to the Railroad Station or Omnibus Station (depending on operation).

In the early days of Disneyland (c. 1958), Guides would start the official Disneyland Guided Tour by taking them to Station 3 to the right of the Entrance Tunnel (where a map of Disneyland was located). The purpose of this stop was to inform the guests of where they were headed, as well as which attractions they could expect to see through the coarse of the Guided Tour.

In recent years, a Braille Map has been installed in Town Square (just outside Tour Gardens). This map enables all guests (even those visually impaired) to know what to expect along their Guided Tour of Disneyland. Some years ago, with the help of my young friend Belle (pictured right), we were able to enact this scene!

A Tour Group begins their tour in Town Square, on Main Street, U.S.A.

A Disneyland Tour Guide stands in Town Square, ready to cross Main Street with guests. In addition, Great Moments with Mr. Lincoln (which had opened two years prior to capturing this Vintage View) resulted in a new “stop” along the Guided Tour of Disneyland.

Near the Central Plaza (or, Disneyland “Hub”), a kindly and informative Guide helps her group across the street. Though we don’t see any dangling identification tags, we presume that this couple may be enjoying Disneyland via a V.I.P. Tour!

On Main Street, near Coca-Cola Refreshment Corner.

“Please move toward me, so we do not block the footpaths…This section of the Park represents America from the Revolutionary War to the final taming of the great Southwest - Frontierland.” - Guided Tour Narration Excerpt, c. 1958.

What you are about to see (in the preceding and following Vintage Views) are rare sights indeed! Disneyland Tour Guides meet briefly outside Slue Foot Sue’s Golden Horseshoe in Frontierland. Generally, “chatting with other Tour Guides when On Stage…[or] turning your back on a guest” was discouraged. Of course, Disneyland Tour Guides would conduct Orientation Tours for new Hosts and Hostesses, so there is a high likelihood that is what is happening here.

Here, Disneyland Tour Guides meet outside the Adventureland Bazaar, perhaps while one Tour Guide’s group is aboard a Jungle River Cruise boat. There is no doubt in our mind that these two Disneyland Tour Guides are not engaged in a personal discussion, but rather some engaging group discussion involving the guests.

While Disneyland receives many informative letters about the appearance of Hosts and Hostesses, guests could be distracted by minor things like “a missing button, a spot on a costume, a dangling bobby pin, or an untucked shirt,” according to one reminder on personal appearance. Fortunately, the latter rarely happens thanks to what you see in the previous Vintage View - Cast Members supporting the Disneyland show and treating each other like VIPs by “showing respect for everyone, regardless of job, race, religion, or age.” The beautiful proceeding c. 1963 photograph (excerpt) of the Tour Guide Waiting Room accompanied an article describing an average “Tour Guide’s Day.” In particular, it’s a typical day in the life of Disneyland Tour Guide Jan (possibly Jan Parker, formerly of Hawaii). The article begins with a rare description of what occurs around 9:30 am, in “a lounge-type room” in the Disneyland Backstage. “Lockers line one wall, mirrors on another. On the wall hangs a sign : ‘Smile, you’re on television.’ Several attractive young women are making last minute adjustments in hair styles, shoeshines, and hat straightening. These are Disneyland Tour Guides, starting a typical day in the Magic Kingdom. They are preparing to go ‘on stage’ to make your visit to Disneyland, a never-to-be-forgotten one.” This scene proves what Walt acknowledged: “Everything here at Disneyland and the Studio is a team effort.”

I like how despite being a part of such an “attention-demanding” profession, they are extending the same courtesies and respect toward each other as they would extend to guests Onstage, “regardless of job, race, religion or age.” As a “sidelight,” this image reminds me of a specific excerpt from yet another manual [The Nature’s Wonderland Story - Operations Procedures”] : “The odds are that you won’t be courteous to our guests if you start the day by elbowing other Host or Hostess in front of the wardrobe mirror. We practice courtesy with each other. This leads to our being, as they say in the movies, ‘A happy crew,’ and ‘a happy crew’ has little trouble passing this happy contagion on to our guests.”

With that principle in mind, we return to the aforementioned Vacationland (Winter/Spring ; 1963) article, which ends this way :

“But what about Jan. Well, she’s back at the lounge, combing her hair, or polishing her shoes, or chatting with the girls, or looking for the answer to one of your questions. But she won’t be gone long because after a quick break for lunch, she’ll be back at Town Square, ready to meet and greet new visitors to this land of Magic Entertainment.”

This same year (1964) Dick Dyer joined the staff of supervisors leading the Disneyland Guides during the summer. Just inside the Frontierland Stockade, a Disneyland Tour Guide and presumably a guest of her Tour Group pose for a commemorative photo near the Flag Pole and American Humane Association Plaque.

Basil and Leola make a memory with their Disneyland Guide near the Submarine Lagoon and Monorail Station with its Speedramp!

Hostesses were reminded to never turn their back on a guest while taking tickets and using a counter. Even in the case of a bilingual tour group requiring an interpreter, Hostesses spoke to the guest. This was a job which must be done, but attention to the guest was their first concern as demonstrated by Alice Shinmoto (above).

“Disneyland is People,” and this is especially evident through the friendly and courteous examples of the Disneyland V.I.P. Hostesses and Disneyland Tour Group Guides like Alice (pictured above). For this reason, Disneyland Hostesses (and Hosts) of this “people to people production” were often spotlighted in advertisements, in brochures, and within the pages of Vacationland. The “People” pages of Backstage Disneyland magazine would continue to occasionally familiarize Disneyland Cast Members with fellow Guest Relations Hostesses like Anne Daniel (1964), Rita Walther of West Germany (1966), Shelia Mallory (1977) or Linda Cope (1977).

Speaking of the Disneyland Tencennial Celebration… the role of the Disneyland Tour Guide had become even more defined and refined by the year 1965! A special meeting of the Disneyland Customer Relations Department (Ben Harris, Bob Wormhoudt, Cicely Rigdon, D. Dyer and the Guest Relations Staff) was held on August 29th, 1965. The subject of the meeting were the “Guest Relations requirements.” According to “A World of Smiles” (published 1965), this, was owing to Tommy Walker (for the creation and continued growth of the program), Bob Wormhoudt (Disneyland Guest Relations Manager, 1963), Bob Norie (Disneyland Guest Relations Nighttime Supervisor), Cicely Rigdon (Disneyland Guest Relations), and Dick Dyer (Disneyland Marketing).

Disneyland Tour Guides were frequently featured in publications intended for guests, often introducing Guides by their first name, like Theresa (a native of Switzerland, pictured above), who joined the Disneyland Tour Guide staff c. 1962-1963.

“A World of Smiles ‘65 - Dedicated to the Summer Tour Guides 1965” was published in a limited quantity for the staff of Disneyland Guest Relations (and those Disneyland Cast Members affiliated with the Disneyland Guided Tour Program). The publication was intended as a retrospective bringing “memories and a proud recollection of the Tour Guide Program.”

A couple of pages focused on the “progress” of “yesterday.” Four entire pages contained photographs of almost 82 Tour Guides. A few Tour Guides were distinguished. For example, “the busy four” (Reiko, Arlene, Theresa, and Trudy), who select girls for the tours, Main Gate Service and for buses, and “form the tours in the garden, and keep the show going with a smile.” “The tabulating two” (Jill Young and Pat Fairchild) who tabulated surveys and produce the results via typewritten reports for a full eight-hour day.

Reiko Cox (pictured above) was a new Tour Guide for 1962, equipped to deliver the tour script in Japanese. Her story is briefly told in Backstage Disneyland (published December of 1962).

Tour Guides sure knew how to relax and have fun! Back in 1965 (alone) the “Red Socks” were the victors of employee softball games (“topping the league”), against other teams (including Jungle, Submarine, and Marketing). “Even first timer, Cicely, was able to drive a few runs,” according to “A World of Smiles.”

Then (during July of 1965), the “Tour Guides… became the guided,” on “a trip to the Walt Disney Studio and WED.” That particular tour included a stop by the set of Lt. Robinson Crusoe (where Dick van Dyke appeared) and then watching Fred Mac Murray and Vera Miles practice their lines for “Follow Me Boys.” Finally a visit to WED revealed “what Disneyland’s future look will be… [including] the miniature of the Blue Bayou.”

Finally, “in a test of physical skill and coordination, the Tour Guides captured the women’s trophy in the recent canoe races. Lead by captains, Dalores Bramblett and Suzi Palomares, and the steering skill of Dale and Larry, the Great Tour Guides encircled Tom Sawyer’s Island in four minutes and thirty-one seconds. Storybooklanders and Ticket Sellers took, consecutively, second and third places. The outstanding group of rowers included such greats as ; Jill ‘Jump’ Young, ‘Radiant’ Rita Walther, ‘Beautiful Barbara Bennett, ‘Lovable’ Lynn Heuke, ‘Exciting’ Erica Jeide, Cheri ‘Stroke’ Lender, ‘Marvelous’ Marcia Miner. In the cheering section, special thanks goes to ‘Amazing’ Arlene Tafoya.”

This Backstage Excerpt proves that “it takes people,” as these six Disneyland Tour Guides (and others) were responsible for enveloping and mailing some 4,500 copies of Backstage Disneyland to readers! Disneyland Guest Relations Hostesses also were personally assigned to attend to V.I.P. and celebrity guests for the debut of Fantasy on Parade.

The “People” pages of Backstage Disneyland magazine would continue to occasionally familiarize Disneyland Cast Members with fellow Guest Relations Hostesses like Anne Daniel (1964), Rita Walther of West Germany (1966), Shelia Mallory (1977) or Linda Cope (1977).

Guests sure love taking photographs of their Tour Group Guides like Disneyland Tour Guide Marge. About the same time that Marge was a Hostess, 1,365,000 Guided Tour Tickets had been used from the program’s beginning until the Spring of 1966, according to a statement by Carl Freeberg (Admissions Department Manager), in Backstage Disneyland (published Spring, 1966)! About this time Guides had many additional responsibilities, including issuing Surveys to Guests.

Hostesses were instructed to “not visit with other employees while on work station.”

Approaching “its a small world.” During 1967, more than 200,000 guests experienced a most-memorable visit to Disneyland, through the eyes of one of Walt Disney’s personal representatives!

This Vintage View impresses many facts, including “until you are Backstage… You are always On Stage.”

Guests (“Hank, the girls, and Gail”) with their Disneyland Tour Guide. By 1968, Donna served as Chief Hostess under Mary Jones (Public Relations Rep.) and Bob Wormhoudt (Public Relations Manager).

This same year (of 1969), some of the staff of Guest Relations fulfilled the role of VIP Hostesses for celebrities attending “Herbie Day” at Disneyland (also referred to as “Love Bug Day at Disneyland”). For instance, Connie Swanson tended to Dean Jones (star of the “Herbie” franchise).

Truly all who come to this happy place will find : “We love to entertain kings and queens, but at Disneyland every guest is a VIP.” (Walt Disney’s Disneyland - A Pictoral Souvenir and Guide, c. 1963). Yes, Disneyland Hostesses have always taken the lead when it comes to active interaction with guests of all ages and backgrounds (and especially children), as evidenced in this Vintage View.

Willie proves that a smile was essential, and a genial and friendly personality was the Disney style. Disneyland Tour Guide Willie demonstrates the art of ‘Guest Wrangling’ with her guests - a FIRS group!

Disneyland Hostesses (and not just Disneyland Ambassadors to the World) occasionally supported events outside Disneyland. For instance, as far back as April of 1964, Ben Harris (of Production) travelled to Grauman’s Chinese Theater in order for a “picture survey for future promotions.” Very soon thereafter, Disneyland Hostesses (like Wendy Sayers and Chris Bishop) began a Disneyland tradition when they appeared at the premier of Walt Disney’s £2,600,000 film Mary Poppins at Grauman’s Chinese Theater on August 27th, 1964.

As far back as April 12, 1964, Ben Harris of Disneyland Production visited Grauman's Chinese Theatre to picture survey for future promotions. The postcard image (above) was photographed in 1967.

It may be hard to see from this vantage (above), but (if you look closely) you can see the many Disneyland Hostesses that supported the world premier of Walt Disney’s Jungle Book at Grauman’s Theater in Hollywood, California, on October 18th, 1967! As a “sidelight,” the event (attended by the Disneyland Guides) was the first “Family Premiere” for a Walt Disney Production (for underprivileged children of the Los Angeles area), with proceeds benefitting the animal acquisition program of the Greater Los Angeles Zoo Association. Later, while “touring for the Carnation promotion, Mickey Mouse and a Disneyland hostess… [were] greeted by Governor of Arizona, Jack Williams, at the Arizona Retail Grocers Convention,” according to “A Report To Disneyland Lessees, Summer ‘68.” A Disneyland Hostess “Emily” appeared alongside the Osmond Brothers in the c. 1970 “Disneyland Showtime” episode of “The Wonderful World of Disney.”

Disneyland Tour Guides occasionally engaged in Promotional Tours for Walt Disney Studio feature films & new Disneyland attractions. Promotion of the Country Bear Jamboree (June 13, 1972), with Don Payne (Wendell), Joan Valent (Disneyland Tour Guide), Mike Neumeister (Shaker), and Dick Dyer (Director Disneyland Marketing).

Santa Maria City Parade June 3, 1972, Joan Valent (Disneyland Tour Guide) and Wendell Bear promote the opening of the Country Bear Jamboree!

In addition to all these responsibilities, the staff of Disneyland Guest Relations also knew how to relax! New traditions were added, like the Guest Relations Annual Banquet which offered an opportunity for relaxation, refreshment and bonding with fellow Hostesses and Hosts (during the early 1970s, about 200 attended these department functions).

From the 1970’s thru the 1980’s, the annual Tour Guide Cookbook (in which Guest Relations Staff submitted recipes), allowed Guides to share their creativity with fellow Disneyland cast Members who purchased copies. Perhaps you recall pleasing “you palate with such treats as Mango Ice Cream, Hungarian Spatzle, Chilighetti, Peach Yam Bake, or even Harpo’s Quiche.” (Thank you, Alicia Tello, Kathy Pitarra, Sherri Mason, and Judy Abel.)

All the while, Disneyland Guided Tours and V.I.P. Tours never ceased!

Van Arsedale France recalled: “‘Old Timers’ still remember what we called ‘The Spring Tonics,’ a morale builder for permanent cast members. Although it was fun, it was a serious attempt to improve morale by bringing some serious problems out in the open and laughing about them.”

Actress Sandy Duncan portrayed a Disneyland Tour Guide in the “Christmas in Disneyland” television special of 1976!

During 1941, Walt Disney became known as an ambassador of goodwill when the government organization Coordinator of American Affairs encouraged him to visit Latin American lands and make new friends. Walt not only select 15 of his artists to come along for the adventure, but his friends Donald Duck, Goofy and a few other animated stars.

Since then, Walt became renown as an “International Ambassador,” representing the United States and Walt Disney Productions before other peoples and in other lands. This was especially true during 1964, when Walt Disney was well represented at the 1964 season of the New York World’s Fair not just in-person, but by Walt Disney Productions-produced exhibits and displays, but by Walt Disney Studio Employees and Disneyland Hosts and Hostesses. The term “employee” was frowned upon, guides clarifying: “We are not ‘employees’… each of us is an ‘Ambassador’ or an ‘Ambassadorette’... official representatives of happiness.”

Some Disneyland Guest Relations Hostesses and Disneyland Tour Guides were among these “Ambassadors of Happiness” representing the park at the 1964/1965 New York World’s Fair. As a “sidelight” Cicely Rigdon fondly remembered her trips to the World’s Fair alongside Walt Disney. Regardless of the role they performed within the Walt Disney Productions family, all who were chosen to represent the Park in New York or anywhere else in the world were to perform their roles as “Ambassadors of Happiness!”

Walt’s pal Mickey Mouse exemplified the spirit of Disneyland and has likewise been referred to as an ambassador - the “Ambassador of Happiness” as Disneyland’s official greeter, according to Vacationland (Summer, 1963). This is a role Mickey has fulfilled since 1955, including during his visit to the 1964/1965 New York World’s Fair. In 1958, Mickey Mouse began to be assisted in this role of Ambassador by the Disneyland Tour Guides. This tradition has resulted in the Disneyland Resort Ambassador - “an official representative of the Cast that reflects and promotes Disney ideals and communicates the Disney philosophy to the world. The role of the Disneylands Resort Ambassador enhances the magic to our Guests, our Cast Members, and our community.”

The end of 1964 was also the beginning of the celebration year of “Disneyland’s First Fabulous Decade”! With that, another distinguished role in the Disneyland show would lighten Mickey Mouse’s role further, when the Ambassador Program was established thanks to the creative mind of Jack Lindquist (and original Guide Cicely Rigdon serving as Ambassador Program Administrator)! The program (and role of Disneyland Ambassador) was certainly not a beauty competition in search of “the prettiest” Tour Guide or Hostess, and it wasn’t absolutely based on the accruement of facts and knowledge. The program would search (foremost) for someone who had a special (even, exemplary) “special feeling for Disneyland”…someone who was proud to represent Walt Disney and his imaginative dreams that have brought so much happiness to countless people around the world! Gwen Welsh [a c. 1970s Ambassador Program Coordinator] perhaps best summed up the role this way (to Disneyland LINE) : “It’s a year of hard work…self-improvement, wearing a genuine smile until it hurts, remembering at all times that you are Disneyland to the people who see you, and then finally its achieving those few minutes of a sudden glow you feel inside that tells you what you are doing is good, right and fun, because you’ve let people know that Disneyland is just that - good, right, and fun.”

With that, I invite you to please step this way (imagining yourself in attendance at a sort of “Ambassador Tea”), as we explore the following section. The following portion of the gallery has been dedicated to the role of the Disneyland Ambassadors, featuring some highlights (and “sidelights”) from their service to Disneyland (and diplomatic envoys the world) through the years!

1965 : Julie Reihm (Casaletto) was chosen “Miss Disneyland” 1964, (the First Disneyland Ambassador), in honor of the 10th Anniversary of Disneyland, in 1965. The “Walt Disney Productions Annual Report to shareholders and employees” (for the fiscal year ending October 3rd, 1964), reported : “As ‘Miss Disneyland,’ she will play an important role in the Tenth Anniversary observance throughout 1965. Miss Reihm will travel to most of the 50 United States and many foreign lands. Current plans call for a European tour followed by trips to South America, Canada and the Far East. She will meet people from all walks of life extending an invitation to the many special Tencennial events at Disneyland and bringing a personal touch of Disneyland to those she meets.”

And so Disneyland’s Tencennial Ambassador, Miss Julie Reihm carried the Disneyland spirit of happiness around the United States and many foreign countries (across Latin America, Asia, Australia, and Europe) assisting Walt Disney in making both domestic and international appearances. Julie co-starred with Walt Disney himself, in the “Disneyland 10th Anniversary” episode of Walt Disney’s Wonderful World of Color, first aired 1965. Julie recollects (to a c. 1977 Disneyland LINE reporter) : “The highlight of my year was to see Walt smiling from ear to ear about a new idea - a new project, and feeling his boyish excitement. He was a genius of an artist.”

Owning to these appearances, Julie had the pleasure of meeting many wonderful contributors (like Mary Blair and Rolly Crump), and see many attractions in development (like the “Museum of the Weird” which became the “Haunted Mansion”). The First “Ambassador to the World” also travelled to “Europe, Canada, Mexico, Australia, New Zealand, Japan and throughout the United States,” according to “The Disneyland Diary”.

Julie was even transformed into a “cutout” paper doll (ask your parents about these), featuring both of the outfits she wore for the filming of the “Disneyland 10th Anniversary” episode.

The "Walt Disney's Vacation in Disneyland" A Gold Key Comic, (Published 1965) was a tribute to Disneyland’s “first fabulous decade”! The comic featured stories starring Donald Duck, Mickey & Goofy, Scrooge & Gyro, the Big Bad Wolf, Daisy, Minnie, Grandma Duck, Clarabelle, and Scamp with Chip n Dale. Of course the setting of all of these stories was the Disneyland Stage, and various thematic elements based upon popular Park adventures. Inside the cover, were quite a few images “Celebrating Disneyland’s Tencennial”, including this brief paragraph introducing Miss Disneyland, Julie Reihm to the world (pictured above)!

Julie was highlighted in this newspaper supplement excerpt (published some time during Disneyland’s Tencennial celebration, and before the end of Julie Reihm’s term as Disneyland’s first Ambassador). In a few words, she briefly shares what serving as Disneyland Ambassador to the World has meant for her!

According to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives), years after having the pleasure of serving as Disneyland Ambassador, “she is now Julie Reihm Casaletto, living with her husband in Virginia. She returned to college after her year as the first Disneyland Ambassador and never rejoined the Disneyland payroll, henceforth only returning to Disney for occasional special events. She was named a Disney Legend in 2015.” [Disney Facts Revealed by Dave Smith, 2016]

1966 : Ambassador Connie Jean Swanson (Lane) “toured the West Coast and other areas of the United States, plus Scandinavia, South America and Canada,” according to “The Disneyland Diary”. Among many aspects of her service, Ambassador Connie Swanson presented Premier William Andrew Cecil Bennett with the official flag of Disneyland during December of 1965! Connie (who was featured in a photoshoot with Walt, at Walt Disney Studios) once recalled (for c. 1977 Disneyland LINE) being part of what she called “the Old School of Disney” - “people who grew up in the shadow of Walt and experienced his fire and insight.”

1967 : Marcia Miner was first Ambassador to the World at Disneyland! For instance, when the 53rd Rose Bowl competitors visited Disneyland, Marcia helped host the Purdue Boilmakers and the USC Trojans. When Emperor Haile Selassie of Ethiopia was visiting Southern California in April, in order to deliver a speech (and receive an honorary degree from the university), Ambassador Marcia Miner (Phillips) welcomed him to Disneyland (on April 23rd), and personally chauffeured him down Main Street U.S.A. in a parade, aboard one of the Horseless Carriages.

She departed for the 20-day, 18-city tour celebrating Snow White and the Seven Dwarfs’ fifth release.

Marcia Miner also welcomed convention and trade show delegates from across the nation to Anaheim’s $15 million Convention Center which opened July 12th, 1967. Marcia can be seen in numerous advertisements published in a full-color nine page supplement appearing in “The Look” on June 13, 1967. Her contributions helped promote the “new” Disneyland (of the last three years) and its corporate sponsors in a magazine (the largest of its kind) circulation of eight million (that is, 40 million readers)!

However, Marcia also travelled the United States of America during her term.

Press Photo Caption : “For the City of Anaheim, California, the Disneyland family welcomes convention and trade show delegates from across the nation to the new $15 million Convention Center to be completed in time for its grand opening July 12 this year. Goofy left, with Disneyland’s World Ambassador Marcia Miner, Mickey and Pluto are next door neighbors in Walt Disney’s Magic Kingdom.”

Marcia also had time to promote Walt Disney’s Disneyland for this campaign, and even donning a space helmet for the opening of McDonnell Douglas’ Flight to the Moon (photos published in Disney News magazine, during the Fall of 1967).

1968 : The finalists - Carla Blank, Jeannie Heaton, Peggie Fariss, Marcie Pickler and Sally Sherbin (all between the ages of 18 and 25) - met in Town Square and were presented bouquets of flowers. Then, the multi-lingual Sally “Sausha” Sherbin (a former Tour Guide and Carousel of Progress Hostess) was selected to represented the Park (and some 5,000 “Disneylanders”) as Disneyland Ambassador to the World. After being presented to the Anaheim City Council (and being named “Anaheim’s World Ambassador”), the Orange County Board of Supervisors named her “Orange County’s Official Ambassador.” One of her first duties came as she represented Walt Disney and Disneyland (as well as Anaheim and Orange County, California) in the Miami Orange Bowl Parade honoring “The Wonderful World of Color of Walt Disney”!

While at home, Sally had the pleasure of escorting several notable individuals! Sally escorted Florida Governor Claude R. Kirk, who had hosted her during the Miami Orange Bowl Parade. Sally escorted Laos Crown Prince Vong Savang (personally driving him around the Park). About this experience she recalled a “most embarrassing” moment to Disney News (Winter, 1967-1968): “‘The prince couldn’t speak English, but I knew French and we were so engrossed in conversation that I missed my turn driving the lead car and ran over Goofy’s foot - stalling the car on his long shoe, that is!’ Later, Prince Savang smilingly awarded Sally a Laotian good luck charm for being ‘the best driver in Disneyland’.”

Sally made a “guest appearance at… [the] Carnation Fun and Flavor Sweepstakes program. Altogether with Mickey Mouse, Sally and other members of Disneyland’s staff made more than 100 appearances on television, radio, and in-person at local supermarkets to assist the Carnation campaign,” according to “A Report To Disneyland Lessees, Summer ‘68.” This was a three-week-long promotion tour of the west, requiring a lot of traveling and appearances. Sally remembered one of her biggest challenges to “Disney News” (published Winter 1967-1968): “Probably the most challenging thing I’ve found is maintaining my enthusiasm on a 12-day tour, from city to city, from radio to TV station. Keeping myself in the same semblance that I started the tour with is the toughest…I love every minute of it, though.”

After the Carnation-Disneyland campaign, Sally left for New Zealand in order to help “inaugurate New Zealand Airlines and become that nation’s guest for a week.” Sally recalls, “One of the most exciting things I ever did was drive to Aukland from Tauranga, a 120-mile trip that involved driving on the left side of the road through a country that looked like something out of a fairy tale - it was all forests and hills.”

Sally also escorted Swedish Princess Margaretha during her visit to Disneyland. Sally also toured the South Seas, and even visited children’s hospitals during her term.

1969 : Shari Bescos (Koch) helped Host “Herbie Day at Disneyland.” Shari was also part of the Fantasy on ParadeTitle Unit (riding with the Guest Parade Grand Marshall). She soon travelled western states (like Oregon, Arizona, and California), and even helped judge a California Junior Miss Contest. Shari Bescos also travelled to “major Eastern cities, seven South American countries and such Far East destinations as Japan, Thailand, the Philippines, and Honk Kong,”according to “The Disneyland Dictionary.”

1970 : During mid-November of 1969, twenty-year-old Catherine Birk (a Paris, France native), was selected to become the new Ambassador to the World! Catherine was a fairly new employee (hired April of 1968). She was the last Ambassador to represent the company as a whole, because Walt Disney World would open the following year (with its very own Ambassador). Catherine remembers several highlights from her unique Ambassadorship this way :

“I was fortunate to travel in the U.S. I also spent 3 months traveling to 12 European countries.” As a sidelight, these countries included Ireland, France, Denmark, Spain, Switzerland, Germany, Belgium, Norway, Holland, England, Scotland, and Sweden. Catherine continues: “I met with a number of dignitaries in addition to making personal appearances, [and] providing TV and radio interviews. I hosted many special visitors st Disneyland. The most memorable and exciting was spending a day with Buzz Aldrin (a few months after his walk on the moon!) and two Russian cosmonauts [Major General Adrian G. Nikolayev and Vtali Ivanovich Svastyanov ; during October of 1970]. Something I will never forget.”

Catherine had the opportunity to tour Europe during her Ambassadorship.
This is all very impressive, but Ambassadors weren’t just the face of Disneyland to international dignitaries. They also visited schools, senior centers, and hospitals, bringing joy and inspiration to the young, the old, and those that could not make the journey to Disneyland. On this very special note, Catherine Birk (1969 Disneyland Ambassador) shared one of these particularly memorable moments with us : “I visited many hospitals visiting children and bringing Disney characters with me to cheer them up. It wasn’t easy to see so many children struggling so much. I remember one paralyzed girl who had spent a long time in the hospital without ever speaking…until Mickey and I walked into her room. She smiled with such joy and said ‘Mickey Mouse’! All the attendants and nurses were crying. And so was I.”

The Original Press Caption (with a misspelling of Catherine’s Name) Reads : “Touring Soviet Spacemen, escorted by U.S. Astronaut Col. Edwin (Buzz) Aldrin, posed with Mickey Mouse and Disneyland ambassador Kathy Burke as they visited the famed amusement park at Anaheim, Calif., yesterday. Left to right : Maj. Gen. Adrian G. Nikolayev ; Aldrin; Vitali Ivanovich Sevastyanov ; Mickey and Kathy Burke. A sign behind the space trio read : “Moon Flight.”

1971 : Marva Dickson (Thomas)

1972 : The first time you met Emily Zinser Benedick may have been when she co-starred with other Disneyland Cast Members in “Disneyland Show Time,” aired 1970. Now, Emily became Disneyland Ambassador on November 26th, 1971, and was immediately busy with many responsibilities. One of her first local duties (during late December), was to give a personal tour of Disneyland to Kristy Lee, Queen of the 64th Portland Rose Festival. During the second week of January 1972, Emily made her first trip to Walt Disney’s Magic Kingdom.

The following artifact [by the previous owner’s description] is “a vintage notecard inscribed in ballpoint pen and signed by Emily Zinser... the official 1972 Disneyland Ambassador.

Here, Emily sends a ‘thank you’ note to Ben Harris, a member of the Walt Disney World Ambassador selection committee (and previously, on the committee for Disneyland's Ambassadors).”

[As a sidelight, Ben Harris was a former Disneyland employee who operated the trains of the Santa Fe & Disneyland Railroad, including the Viewliner Train of Tomorrow. He went on to become assistant to Disneyland Entertainment Director Tommy Walker, and for seven years he served on the early three-person panels to select ‘Miss Disneyland’, an early form of the Disneyland Ambassador Program. By 1972, Ben briefly relocated to Florida in order to support the realization of Walt Disney World. At some point before Ben Harris departed from the company, he was instrumental in the arrangements made for Disneyland Ambassador Emily Zinser’s stay during her East Coast Ambassador training program.]. [After returning home], Emily thanks Ben for the resort's support in hosting her for her first visit to Walt Disney World following the October 1971 grand opening.]

“The card was sent to Ben's attention at the Polynesian Village resort but was forwarded to his new office at the Contemporary Resort Hotel. Notably, the card's design was later used by Disneyland to promote the park's 20th Anniversary season in 1975.”

On January 15th, Emily was Grand Marshall in a parade celebrating the tenth anniversary of Villa Park (a neighboring landlocked community of Orange County). The humanitarian work of Disneyland Ambassadors would continue for a number of years. In 1972, Ambassador Emily Zinser would visit patients of an orthopedic hospital along with her friend Mickey Mouse. During the Fall of 1972, Jim Hicklin (of KMPC Radio’s Airwatch News Reporter) welcomed his first honorary flying bear (Liverlips of Bear Country) aboard his helicopter. Disneyland Ambassador Emily Zinser, Mickey Mouse, Wendell, and Shaker were on hand for the celebration and small ceremony in honor of the flying reporter. Emily also hosted events for Disneyland employees, like the Lead Foreman “End-of-Summer-Dinner”, held during the Fall of 1972, for more than 2,000 Food Service Division Park Employees. April 8th, 1973, Emily also hosted the special opening of The Walt Disney Story (presented by Gulf Oil), meeting with the late Walt Disney’s wife - Lillian Disney Truyens!

1973 : Bonnie Drury Cook was named Disneyland Ambassador (representing Disneyland and Walt Disney Studios), on November 16th, after which she would appear in the Macy’s Thanksgiving Day Parade in New York, on November 22nd and the Orange Bowl in Miami, Florida. Bonnie’s first tour was of local television stations in Bakersfield and Fresno, after which she was featured on local news broadcasts. Bonnie made many official visits - to Japan, Taiwan, Hong Kong, Philippines, Thailand, Singapore, Indonesia, and Australia, but one of her most memorable experiences happened in California. Bonnie had the pleasure to collect Toys For Tots on the streets of San Francisco (starting at 4am) aboard a fire truck, and hold a koala bear in her arms. Another notable experience occurred when she had the pleasure to serve as Hostess to the Queen of Thailand. After her year as Disneyland Ambassador, Bonnie went on to serve as a programmer for a local independent television station.

1974 : Carol DeKeyser Masters got her start in the Foods Division in 1970, working at Carnation Plaza Gardens. Carol first applied in 1973, was chosen as a finalist for the title. Upon not being selected that year, she decided to try again, and was selected as Disneyland’s 1974 Ambassador to the World. Carol had the pleasure of helping inaugurate Disneyland’s newest attraction America Sings! During 1974, Carol DeKeyser would go on to “extend friendship and special greetings from Disneyland all over the world”. When President Gerald Ford’s son John visited Disneyland, he took a ride aboard Dumbo with Ambassador Carol DeKeyser. Upon reflection, Carol especially felt rewarded over visiting youngsters in the children’s hospitals, alongside Mickey Mouse, and bringing the young children a smile. After her Ambassadorship, Carol would go on to serve the Park as a Club 33 Hostess for a time.

1975 : Kathy (Smith) Hall hosted the first ruling Japanese monarch - Emperor Hirohito. She recollected memorizing so many things - who every one of the visiting dignitaries were, where each of them would sit, and even the Latin names of all the plants and trees in Disneyland (because the Emperor was a renowned botanist). She recalls constantly memorizing regulations, laws and facts during her term. Kathy would go onto serve as Market Development Specialist for the Magic Kingdom Club.

1976 : Christina Schendel Walker (1976 Disneyland Ambassador) held the title during a very special time in Disneyland history - that of Disneyland’s celebration of the American Bicentennial! She went on to a career as a Marketing representative. When asked about her favorite Walt Disney quote, she often replied, “He was once asked what his favorite creation was, and Walt replied, ‘A smile on a child’s face’”, according to Disneyland LINE. Sometime after her service she had the opportunity to share a scrapbook of her globe-trotting adventures in the Ambassador Program (persevered in newspaper clippings and photos) with fellow Cast Members in the Center!

1977 : From the castle moat, actress Julie Sommars heralded Susan Donald Edwards (attractions Hostess in Tomorrowland) as 1977 Disneyland Ambassador to the World. A luncheon at Main Street Plaza Inn offered member of the press to formally meet the newest Ambassador to the World. After the official ceremonies, Susan Donald rode in a carriage (drove by Day Sechler, Area Supervisor of Disneyland Pony Farm) down Main Street U.S.A., part of a parade held inter honor. In November Susan was off to Walt Disney World to train alongside Debbie Bennett (the newest Walt Disney World Ambassador), and then the duo headed back to Disneyland for their west coast Training. Television and radio interviews, good will visits to hospitals (including a meeting with the Oregon State Governor) along a Washington/Oregon tour, and community celebrations (like Disneyland’s Japanese Festival), are just a few examples of Ambassador Susan Donald’s activities! Susan had the pleasure to act as Hostess to some of Walt Disney’s personal friends like Mervyn LeRoy, and even traveled to Manilla to promote The Shaggy D.A., and took a good will trip to Tokyo Disneyland!

1978 : On Friday November 11, 1977 (at 11 a.m.), four Disneyland Ambassador to the World Finalists assembled at Walt Disney World, for Disneyland’s 14th Ambassador to the World selection ceremonies held in Cinderella’s Castle Forecourt. Actress Sandy Duncan (The Cat From Outer Space) presiding as “Mistress of Ceremonies”. Tricia Clark, Raellen Lescault, Gail McKenzie and Laurel Whitcomb were participating finalists. Entertainment included singing and musical arrangements performed by the Disneyland Band and the Kids of the Kingdom.
Ambassador Raellen Lescault Weiler was selected as Disneyland Ambassador, and during the months of November and the first week of December, she and Walt Disney World Ambassador Vicki Jaramillio enjoyed three weeks of extensive training together at Disneyland and Walt Disney World in Florida. Ambassador Raellen Lescault Weiler travelled to New Zealand to promote Walt Disney Studios films being released there! She and her traveling companion (Goofy) made several presentations to various dignitaries on behalf of Walt Disney Productions. Raellen toured Portland, Oregon (including Pendleton Woolen Mills, Mt. Hood, and the U.S.S. Sterett) after which she was named Honorary Grand Marshall of the Portland Rose Festival for the Grand Floral Parade.

For the first time ever, Raellen and four Ambassadors served as commentators along the route of Disneyland’s Traditional Old-Fashioned Easter Parade of 1978. Raellen also had the pleasure of meeting the Prime Minister of Denmark, the King and Queen of Malaysia, and the Royal Family of Nepal. During June she hosted the Ambassador of Bangladesh, the Swiss Ambassador’s wife and daughter, and the Prince of Thailand. Raellen also assisted with a Disneyland LINE article (published August of 1978), about the Disneyland Bakery, and she had the pleasure of modeling the light-weight and comfortable Pendleton Woolen Mill’s new sheer wool line in a photo advertisement published in Vacationland magazine during the Spring of 1979.

These informational brochures did more than pique Cast Member curiosity in the starring role, but they also served as year books, containing some photographic highlights for the previous still current Disneyland Ambassador.

Pictured Above : Disneyland Cast Members considering applying for the role of Disneyland Ambassador would fill out this form to attend the Ambassador Informational Tea held at Disneyland University.

1979: Leona cohosted the Walt Disney World Golf Classic alongside three other Ambassador finalists. After returning home, Leona Dombroske was named 1979/1980 Disneyland Ambassador in a special ceremony at Space Mountain Theater! She served during the Disneyland 25 Family Reunion celebration year, and according to her statement recorded in a brochure (during 1980), “I attended many affairs here in the Park, and had the opportunity to work many departments, such as adverting, promotions, publicity, public relations, participant development, community affairs, employee relations, and entertainment.” All of this work was carried out amidst four international trips, meeting so many different people, and spanning 67,000 miles by half of her year! By then she had travelled to New Zealand. Leona also visited the Alkmaar Cheese Market, Heineken Brewery, engaged in a television interview at the Flora-Disney Theater (in Amsterdam), and toured a working windmill (in Holland) via KLM Royal Dutch Airlines. Leona also made two trips to Singapore (one aboard Singapore Airlines’ inaugural flight from LAX to Singapore), stopping over in Honolulu, Tokyo, Guam, Hong Kong, and Montreal. Back home, she had the privilege and honor to visit children confined to local hospitals, help musician Count Basie celebrate his 75th year, welcome new Disneyland Participant Polaroid (manufacturer of her new Polaroid camera which she brought along in her journeys), and speak at the Disneyland Annual Community Service Awards ceremony and banquet!

1980 : Disneyland LINE (August 14, 1980) advertised “You could be the 1981 Disneyland Ambassador to the World.” This year’s Ambassador Nancy Englert Murray had been with Disneyland since 1973. She presented highlights of her year at the Ambassador Tea event held August 25 thru 29, 1980. During her ceremony, the 22-year-old Tomorrowland attraction hostess was presented a bouquet of flowers by The Black Hole star Joseph Bottoms.

1981 : “Four Hostesses were named finalists” in the “1981 Ambassador to the World Program on Tuesday, October 7. Entertainment Division Hostess Donna Hogle (of Huntington Beach), Guest Relations Hostess Roberta Nedry (of Garden Grove), Adventureland Foods Hostess Naomi Otsubo (of Fountain Valley), and Guest Relations Hostess Willie Van Der Zwaag (of Ontario) travelled to “Walt Disney World for the Walt Disney World Golf Classic before returning to California for that breathtaking moment when” the 1981 Ambassador to the World was announced on November 5th. The 1981 Disneyland Ambassador - Willie Vander Zwaag (Burckle) had previously been selected as a Tour Guide of the Year finalist in 1978 and 1980. After hard work and patience, Willie Van Der Zwaag (of Ontario, California) was named the 17th “Emissary of Goodwill” in a ceremony taking place Wednesday morning, November 5th, 1980. Presiding over the ceremony was actor Elliott Gould, Mickey Mouse, and 1980 Ambassador Nancy Englert to “pass the crop”. Past Disneyland Ambassadors “Connie Lane, Sasha Sherbin, Sheri Bescos Koch, Marva Dickson Thomas, Emily Zinser, Bonnie Drury Cook, Carol DeKeyser, Christina Schendel Walker, Susan Donalds Edwards, Raellen Lescault, and Leona Dombroski” appeared according to Disneyland LINE (Vol.12, No. 46 ; published November 13, 1980). Trumpeters from atop Main Street Station, a performance of “It Takes People” by the Kids of the Kingdom, and a colorful balloon release signified the crowning of the 17th “emissary of goodwill”, and new Disneyland “Ambassador to the World”! Willie welcomed heads of state and dignitaries to Walt Disney’s Magic Kingdom. As Ambassador to the World, Wille Van Der Zwaag even welcomed Elaine, a new 1800 lb. chestnut Belgian mare foal as she arrived at Disneyland Circle D Ranch.

1982 : Joanne Crawford was announced As the newest Disneyland Ambassador on the cover of Disneyland LINE (Vol.13, No.44, November 5, 1981). She Was visited by Walt Disney World 1982 Ambassador Jeanne Thiele (during the Ambassador Training Program), and then swiftly departed for her tour of Walt Disney World in early December. During her Ambassadorship, Joanne visited Walt Disney’s hometown of Marceline, Missouri, visited young patients of a Minneapolis hospital, appeared on one of Portland’s local Channel 8 News broadcasts, would travel from Singapore to Germany, and even appear at the White House!

As a sidelight, Cicely Rigdon (who had been with the Guest Relations Department for 20 years by now, and was acting Guest Relations Area Stage Supervisor) became Ambassador Coordinator of the Ambassador Program in 1982. According to Disneyland LINE (Vol. 16, No. 13 ; March 29, 1984), she had “travelled all over the world with our Ambassadors and Mickey Mouse.” This was a role that Cicely fulfilled (alongside 13 Ambassadors) from 1982, until her retirement in 1994. After her retirement, Cicely was honored with a window above the Disney Showcase Shop which reads “Ambassador Finishing School ; Cicely Rigdon ; Instructor.”

1983 : Disneyland Ambassador Mindy Wilson (Fisher) described her activity during 1983 to Disneyland LINE writers. During November of 1983, Mindy helped ready Ellen for her Ambassador training, presented a live Christmas tree to the people of Los Angeles, visited schools celebrating Mickey Mouse’s 55th birthday, and acted as a master of Ceremonies for “our Distinguished Service Awards Banquet”. She adds, “In December, our Family Christmas Party, ‘Operation Christmas’, the opening of the Disney Glendale Theater and our Candlelight Ceremony kept me very busy.” Mindy had the opportunity to meet Mrs. Disney, tour New Zealand and Australia and meet New Zealand’s Prime Minister Brian Muldoon, and meet Delegations from the People’s Republic of China. She also participated in the opening of New Fantasyland and Tokyo Disneyland. There is no doubt, that “each day has brought a new experience”, according to Mindy!

1984 : Ellen Coleman (Marchese) (an age 21 Tour Guide in Guest Relations), was chosen to be the 20th Ambassador of the World! Ellen was a resident if Whittier, California, a graduate of Cal State Fullerton, and a major in communications.

1985 : Melissa Tyler (Wackerman) was on hand Saturday, August 24th, to welcome Disneyland’s 250-millionth guest (three-year-old Brooks), and parents Bruce and Connie Burr.

1986 : Barbara Warren served as the magic kingdom’s 22nd emissary - Ambassador to the World! She spread goodwill while acting as the park’s official hostess, escorting visiting dignitaries, traveling through the United States and abroad, and serving as Disneyland’s official spokesperson!

1987 : Kendra Howell

To be selected as a Disneyland Ambassador Semi-Finalist was no small thing, and even these exceptional runners-up of Disneyland’s Cast Members were appreciated!

This page of the “Ever Wonder” brochure (published 1988) is dedicated to Disneyland Ambassadors of years past! It is most personally enjoyable to note the change of fashion - from plaid green patterns, to those patriotic “mod” designs (around the American Bicentennial), and then back to those fashionable Pendleton plaids (i.e. coats and skirts) yet again!

1988 : Ambassador to the World Carolyn Long served during the second season of Disneyland State Fair, hosting the Miss America runners up, as they visited Disneyland in honor of their home states! Carolyn enjoyed meeting famous Cast Members and learning about the company during her term. Highlights of Carolyn’s Ambassadorship included meeting Michael Eisner at Walt Disney Studios, travelling to Discovery Island, and (alongside Walt Disney World Ambassador Susan Anderson Kuhnlein and Tokyo Disneyland Ambassador Miwako) visiting the historic Asakusa District in Japan!

1989 : In 1989, Ambassador Wendy Freeland Schoeman would visit Mercy Hospital in Williston, North Dakota, where she would introduce patients (like young Matthew Peterson) to Mickey, Minnie, and Goofy. Her schedule was full of so many additional humanitarian events. In Line (August 4, 1989 ; Volume 21, Number 31), she shared just a few of these thoughts :

“The past few months have been exciting and busy! In May, the Creativity Challenge awards ceremony took place at Videopolis, where students from the Orange County area were recognized for their talents and fine arts. Disneyland also was the stage for the Children’s Miracle Network Telethon, which was viewed nationwide and, for the first time this year in Russia and China.

In June, I participated in the Portland Rose Festival where I had the opportunity to ride in the Rose Parade and attend festival events. In July, I traveled to Minneapolis for the Aquatennial.

Recently, I was the official Hostess to the President of Portugal, Dr. Mario Soares, as he visited Disneyland. The President and his wife were extremely nice and had a delightful day in the Magic Kingdom.”

1990 : Jennifer Faust had the pleasure of presenting Joe Montana (San Francisco 49ers Quarterback) with a special trophy of Mickey Mouse wearing a No. 16 jersey.

1991 : The 1991 Ambassador finalists were announced in Disneyland LINE Vol.22, No.36 (published September 7, 1990). Jill Ornelas Dowd was announced! Disneyland Ambassadors around the world (Disneyland Ambassador Jill Ornelas, Disney World Ambassador Kerry Kalus, Tokyo Disneyland Ambassador Ayari Nakamura and Euro Disney Ambassador Sabine Marcos) gathered for the Walt Disney World Resort 20th Anniversary! Jill was featured on the cover of Disneyland LINE (Volume 22, Number 44) published November 2, 1990.

1992 : Ambassador Suzanne Palmiter Campbell (21 years old) served as the 1992 “Ambassador to the World” - the 28th Park Ambassador! She was announced by Jack Lindquist, with a ceremony held at the Magic Kingdom in Anaheim, and was featured on the cover of Disneyland LINE magazine (November 1, 1991 ; Vol. 23, No. 45). Suzanne was a former Critter Country Restaurants Hostess, Lead and Trainer. She was a Disney University Leader, escorted dignitaries, spoke on radio and television, and traveled through the United States and abroad. But perhaps her most memorable honor was representing Disneyland at the April 12th opening of Euro Disney in France!

1993 : Ambassador Finalists (Kathryn Byrne, Sacha Jackson, Wendi Waldron, and Kathleen Mitts) were chosen from among Disneylanders during the fall of 1992. Kathleen Mitts was chosen!

1994 : Bonnie Delehoy

1995 : This year saw a Disneyland Ambassador Team of three selected - Gerry Aquino, Julia Onder Bannon and Michelle Tryon. Of very special note in 1995, was the honoring of Cicely Rigdon with a Main Street Window over the China Closet. The honor was well earned, for Cicely’s efforts in developing the Tour Program, managing the Ambassador Program, in addition to other contributions to the magic of Disneyland Guest Relations. The window reads: “Ambassador Finishing School, Cicely Rigdon, Instructor.”

1996 : The Disneyland Ambassador Team of four consisted of Chris Allen, Gina Armendariz, Janet Tanasugarn, and Heather Thompson Putnam!

Pens like this were created for Disneyland Ambassador Team Members like Janet Tanasugarn.

1997 : Ten Ambassador Finalists were chosen on October 25, 1996 - Gary De Vaughn, Cathie Milam, Mitch Henyan, Christina Mc George, Jeff Sekido, Heather Beach, Robyn Schatz, Isabel Lopez, John Van Winkle, and Geryl Anderson. Once final selections were made, the 1997 Ambassador Team was announced in a ceremony on Wednesday, November 20th! Mickey and Disneyland President Paul Pressler announced the Disneyland Ambassador Team during November of 1996 - Robyn Schatz Sarvis (Guest Services), Christina Mc George DeFrancesco (Disneyland Pacific Hotel), and Cathie Milam (Guest Relations).

1998 : Oscar Carrasco, Dorothy Stratton

2003 : Matt Ebeling

According to one source, these pins were awarded by Ambassadors, to Disney Parks Cast Members upon achieving their 20th year of service. We are in currently search of more information about this pin.

1999 - 2000 : Dorell Mitter and Jennifer Simis

2000 - 2001 : Heri Garcia and Doina Roman Osborne

2002 : Matt Ebeling

2003 : Daina Baker

During 2015, this special medal was presented to former Disneyland Ambassador Julie Reihm Casaletto in celebration of the Disneyland Ambassador program’s 50th “magical milestone” year!

Now, I would like to present a few “sidelights” about this amazing "50 Years of Goodwill" Medallion that was presented Miss Julie Reihm!

•The banner reading “1965 - 2015” alludes to 50 years (since) the very first Ambassador of Goodwill! The ends of the same banner feature two sets of initials “WD” (Walt Disney) and “JL” (Jack Lindquist) in honor of the two individuals to which the Ambassador Program owes its existence!

•The outer rim of the medallion features the initials of all 50 Disneyland Ambassadors from 1965 to 2015! Look for “JR” (Julie Reihm) and note the initials of all subsequent Disneyland Ambassadors of Goodwill listed consecutively in a clockwise fashion.

•The bottom half of the medallion showcases five Disneyland logos associated with the Disneyland Ambassador Program (counter-clockwise) : 1. The logo seen on current Disneyland Guide pins - Tinker Bell sprinkling pixie dust over Sleeping Beauty Castle, 2. The Disneyland Ambassador Program Coat of Arms, 3. The Original Disneyland Tour Guide emblem of Tinker Bell (without a wand) was featured on the original Disneyland Guide Pins, 4. the Disneyland Resort Coat of Arms, and 5. The Walt Disney World Ambassador Program emblem.

•Lastly, the center of the medallion features the recognizable “Partners Statue” in the center of a Compass Rose!

The look of the Disneyland Ambassador “D” Pins changed rarely over the years. One example are the special Disneyland Ambassador “D” Pins which were manufactured for the celebration of Disneyland’s 50th year in 2005.

You may wonder - “What’s the difference between the Disneyland Guides and Disneyland Hosts & Hostesses?”

The terms “Hosts” and “Hostesses” actually have their origin with the Disneyland Model first employed during the 1955 opening of the Park! The terms were part of the “radical concepts” that distinguished Disneyland from other amusement parks. Technically, all Disneyland Cast Members are considered “hosts and hostess,” according to training booklets and even sanctioned publications like “Walt Disney Disneyland,” pages 58, printed by Officine Grafiche Arnoldo Mondadori - Verona; first published 1964.

Still, according to Disneyland nomenclature, the term can apply to a Cast Member of Disneyland Guest Relations, which will be elucidated below. Despite similarities in their wardrobe, there is actually a big difference between the type of tours lead by the two Guest Relations groups - Guides and Hosts & Hostesses.

•Disneyland Guides are currently trained to conduct at least one type of Disneyland Tour (i.e. “Cultivating the Magic”, “Happiest Holidays”, or “Walk In Walt’s Disneyland Footsteps”). Disneyland Tour Guides may grow so proficient at performing their role of leading a particular Disneyland Tour, that they may even be assigned to regularly lead groups though such a tour. In the present, they may lead a Tour Group comprised of (up to) 25 guests.

•Disneyland Hosts and Disneyland Hostesses were an added tier of Disneyland Tour Guides with their foundations in the late 1960s. While Disneyland Tour Guides led large Tour Groups, Disneyland V.I.P. Hostesses differed, in that they offered Guided Tour services to smaller groups or individuals interested in exploring Walt Disney’s Magic Kingdom.

While we are in the subject, you may wonder “Who is considered a V.I.P. at Disneyland?” One publication prepared for Disneyland Cast Members answered that question clearly, in the following way : “Everyone's a V.I.P. Since our opening, Disneyland has entertained dignitaries from around the world. We are the place that presidents and celebrities insist on visiting. Of course, we are happy to entertain these famous people, but we consider every guest a V.I.P. a Very Important Person. We have invited them to visit us. We entertain them one at a time, with the same consistent courtesy.”

With that in mind, we better understand the role of Disneyland Hostesses and Disneyland Hosts, who are currently trained (and carry the adequate knowledge and capability) to offer the service of a Private V.I.P. Guide to a maximum of 10 Disneyland guests per Host or Hostess.

Costumes are usually created by the Disneyland Wardrobe Department, with occasional help from studio artists. Decades after the Royal Stuart Tartan plaid pattern was selected by Cicely Rigdon, it was utilized again for Host slacks.

Disneyland Hosts and Disneyland Hostesses are dedicated to making your first and subsequent visits a very pleasant and treasured experience! Once Disneyland Hosts and Disneyland Hostesses are trained (and carry the adequate knowledge and capability) to lead offer the service of a V.I.P. Guide to a maximum of 10 Disneyland guests in one group, they earn their Host “D” pin! Today, Disneyland Tour Guides and Disneyland Hosts & Disneyland Hostesses are still readily distinguished by their wardrobe, which includes a “D” pin bearing the title (Host, Hostess, or Guide) of their distinguished starring role in Disneyland’s show!

Once Disneyland Hostesses are likewise trained (and carry the adequate knowledge and capability) to lead offer the service of a V.I.P. Guide to a maximum of 10 Disneyland guests in one group, they too earn their Hostess “D” pin!

A designer, worked with infinite care to design the apparel that Cast Members wore. In looking over this drawing of a V.I.P. Host costume, I am reminded of the encouraging words printed in one edition of “Its Been My Pleasure” : “Your costume, created by our Disney artists and the Disneyland Wardrobe Department, was designed to fit the role that you play in our Disneyland Show. It's essential that you wear it as the designer planned it.”

This is a swatch of fabric similar to that utilized to create vests of c. 1960s Disneyland Guides. This particular swatch of fabric was once suggested for the blazers of c. 1980s Disneyland Hosts!

As long ago as the early “trial-run” days of the Disneyland Guided Tour (c. 1958), guests could acquire a Guide near the Disneyland Main Gate Entrance. Guests would be able to purchase a Disneyland Guided Tour package from one of the Ticket Kiosks even before entering the Disneyland Main Gate Entrance. Soon, plaid-clad Disneyland Tour Guides (draped in red capes on cold winter days) were often found waiting for guests who were willing to embark on a tour of Walt Disney’s Magic Kingdom. In addition, the Staff found at the Information Kiosks (located around Main Street) were veritable “walking, talking information booths, answering phones and correspondence,” providing direction and other general information to guests. Guests asked general questions about DISNEYLAND, granting opportunity to assist by responding in a positive manner.

“For Your Information” - While Disneylanders had to know the nearest location of Restrooms, Telephones, Mail Boxes, Purchasing of Film, etc., Gift Stands in all Lands once administered information about Disneyland.

The Disneyland Guided Tour Headquarters (or “tour station” as referred to in “A World of Smiles” ; 1965) would also be set in various locations - first, near the Pablum Baby Station at the North end of Main Street U.S.A., far from its present location near the tunnels on Main Steet U.S.A.

During 1960, there was a Tour Guide Desk located in the Plaza Area.

By 1961 (and within three years after the start of the Guided Tour guest service), a Guided Tours kiosk (serving as a “Dispatch Desk” of sorts) was stationed near Disneyland City Hall. Guests were genuinely greeted by a Hostess here and then (with great patience), the tour was explained. Then they were sent a few feet away, to the Guided Tour Registration Area (on the steps, left of Disneyland City Hall). This was where guests “checked in” and wait for their Guided Tour to begin.

Disneyland Hosts and Hostesses were usually well aware of general information regarding restaurants, shows, parades, events, and directions, and (not withstanding the attractive INA Carefree Corner hostesses) the Disneyland Tour Guides found at the Guided Tours kiosk were “the creme of the crop” in this regard - veritable “Information Experts”! Disneyland City Hall had always been the main site of a “help desk” (when Disneyland first opened), but this new Guided Tours Kiosk (or, “dispatching desk”) located to the left of City Hall, was also dedicated to providing information to guests, and offering Disneyland Guided Tours.

Now, as the popularity of the Disneyland Guided Tour was on the rise during the early 1960s, there became a need for a larger waiting area for guests.

“Guided Tours Garden, Herb Ryman. Circa 1961. The equestrian-inspired architecture ties in with the jockey-themed costumes.” Eventually Guided Tour Gardens was established as a hub for all Disneyland Park Tours. Guests entering Disneyland were reminded : “If you’re holding a ticket for one of our informative Guided Tours, you’ll find the Tour Garden just to the left of City Hall.” Here, Guests awaiting their Disneyland Guided Tour could rest on the benches in the cool shaded area, to the right of Disneyland City Hall.

Before the tour began, this was the place where Guides took the “opportunity to meet each person individually”. At this location, tickets were collected from each person as they entered Disneyland’s staging area. While waiting for their tour to begin, pictorial Disneyland Souvenir Guides (like “Walt Disney’s Guide to Disneyland”) were distributed to each person participating in the Guided Tour, and guests would write their names and present home states on their Identification Tags. If anyone would like to purchase film before the Guided Tour began, the nearby Souvenir Stand carried a full stock of several kinds. In the remaining meantime (before the tour departed), Hostesses took the opportunity to mingle with their guests and establish a “friendly atmosphere” under the cool shade of the trellis.

On November 25th, 1964, Ben Harris (Production), C. Romero (Assistant WED Treasurer), Roland Crump (Assistant Art Director), and M. Clark (WED Treasurer) met for lunch, in order to discuss “Tour Guide Modifications & New Booth.”

By 1965, one contributor to “World of Smiles” (published for Guided Tour Hostesses) shared: “Looking to the future, we see a new dispatching desk for the Tour Garden.” Soon (in 1965), Guided Tour Gardens received a new Dispatching Desk, while the Disneyland Guided Tour received modifications in the form of a new route as well as new stations. Despite all this, Disneyland Tour Guides staffed two to three Disneyland Guest Relations locations in 1974, when INA Insurance Company departed from the Carefree Corner near the Central Plaza Hub.

“Audience Waiting Areas” are especially designed as part of the attraction to make the guest's time waiting in line as comfortable as possible.

You may recall that the Disneyland Guided Tour was originally intended for non-peak attendance periods (like the winter season). Speaking of the winter season, it looks as if the neighboring floral bed is decorated with poinsettia for winter season - a lovely place to meet your Disneyland Hostess!

During the 1990s you may recall seeing a statue in Tour Gardens. According to “Did You Know” (published 1991), “The statue in the Tour Gardens [was]… a statue of Rebecca which was copied. Emile Kuri wanted to get a statue that wasn’t copied as much as Rebecca but never got around to it.”

Today, Guided Tour Gardens serves a similar purpose - as a quiet nook (conveniently located at the front of Main Street U.S.A., next to Disneyland City Hall), where guests can both inquire about and book Guided Tours at the Guided Tour Kiosk. It is also here, from which Disneyland Tour Groups wait to embark on their tour of Disneyland!

The original was rectangular in shape, and large enough to often accommodate just one or two Tour Guides. It had a roof similar (but not the same) in style to Disneyland Main Gate Ticket Kiosks. It did not have shutters or windows, but was open-aired all around, leaving the Tour Guide visible and approachable from practically every angle. It was located in front of Disneyland City Hall.

The second incarnation was similar, only a little larger, to accommodate more supplies and Guides. During the eras of these two (aforementioned) Disneyland Guided Tours Kiosks, neither of them were located in Guided Tour Gardens.

This third incarnation of the Disneyland Guided Tours Kiosk (pictured) can be closed and locked during hours of non-operation (as other kiosks or stationary concessions carts throughout the Park).

A photograph of Julie Reihm (Disneyland’s first Ambassador) sits in Guest Relations inside Tour Gardens. The next time you visit the magic kingdom, please step this way and examine it!

One shadow box (kept inside the Guided Tours Kiosk) showcases a few pieces of ephemera related to the Disneyland Guided Tour Program, including a pair of Disneyland Guided Tour Tickets, a 1978 Disneyland Guided Tour Brochure, and a “Miss Disneyland Cutout” (August, 1965) of Julie Reihm.

While visiting, you my note that benches allow guests to sit a spell, before their magical Tour begins. These benches are different in style from those wrought iron ones present during the 1960s, but still carry a similar feel.

For Guest convenience, Guided Tours Garden feustures a “Companion Restroom” which is wheelchair accessible.

Unseen to Disneyland Guests are a Cast Members Restroom, and a Boardroom (which is occasionally utilized for meetings).

In recent decades, tables and chairs have been added to accommodate more guests in the waiting area. Often, this where guests of a Disneyland Guided Tour may be gifted some unique souvenir pin, button, or other unique item. This is also where guests may perhaps be served meals, light snacks, or refreshments, at the conclusion of their tour.

By 2008, Guide 1 and Guide 2 offered Souvies, Candy, Plush Toys, Key Chains, Autograph Books Pens

“GUIDED TOURS - WONDERFUL WAYS TO ENJOY DISNEYLAND”

“The popular Guided Tour is especially recommended for “first time guests.” But according to Disneyland Today brochures, Guided Tours are for the “first-time visitor or limited-time visitor”. Visitors are taken on an exciting tour of Disneyland by a charming Guide who tells the fascinating story of the Magic Kingdom’s history and growth. In addition to the initial Disneyland Guided Tour, there have always been perks. Early Guided Tours came to include admission to Disneyland and a selection of six of the park’s popular attractions. Occasionally gifts like a pictorial Guide to Disneyland were offered. In recent years, tours have come to include gifts as collectible pins, lights snacks, meals, and rarely-seen backstage views of the Park! Owing to the value of the magic, it’s only natural that admission prices have changed thru the years!

1958 : The Complete Guided Tour was $3.00 (for Adults) and $2.00 (for Children Under 12), with no charge for children under 3. This price included General Admission to Disneyland, admission aboard six attractions and adventures, a full-color copy of “Walt Disney’s Guide to Disneyland”, and an admission coupon for any other attraction of their choice in Disneyland. By the Fall-Winter of 1958, the Complete Guided Tour prices increased by 50 cents - $3.50 for adults, $2.00 for children under 12, and still no charge for children under 3.

1959 : Disneyland’s “approximate 1 hour and 45 minute” Guided Tour (from Spring to June 1, 1959) included admission, “a personally conducted tour through each land”, a “scenic ride in a ‘private car’ of the Santa Fe & Disneyland Railroad” passing “the scenic Grand Canyon Diorama, largest in the world”, a “cruise aboard the Mississippi paddlewheel steamboat ‘Mark Twain’ on the Rivers of Frontierland ; or a trip across the Rainbow Desert and into the Underground Rainbow Caverns on the Mine Train”, a “Space Trip to the Moon”, and a “famous jungle river cruise”. During this year, the price was both $3.50 and 3.00 for Adults, and $2.00 for children (under 12), with no charge for children under 3 years.

1960 : By 1960, the Disneyland Group Services department was an asset in assisting “all phases of planning and scheduling your guided tour” of Disneyland! Groups of 25 or more qualified for a 10% discount on “Big 10” and “Jumbo 15” Ticket Books.

1961 : The admission prices for this personally-guided, two-hour “safari through the unique lands of the Magic Kingdom” began the new year at “$4.00 for Adults (12 and over), and $2.50 for children (under 12)” according to Parade Magazine (published March 26, 1961) and both “2 Wonderful Ways to Enjoy Disneyland“ and “3 Wonderful Ways to Enjoy Disneyland” (published early 1961). However, the year 1961 saw a minor increase in admission prices. By the Fall, the admission prices of the Disneyland Guided Tour (which included admission to Disneyland) were now $5.00 for Adults and $3.00 for children under 12.

1962 : According to “Information for Disneyland Visitors Summer ‘62,” the Disneyland Guided Tour was “A personalized way to see Disneyland with a small group of visitors escorted by one of Disneyland’s Guides. These young ladies are well acquainted with all the background information about Disneyland to add to the enjoyment of your visit. The tour includes many of Disneyland’s top attractions and rides and averages about two hours in length.” The admission for Children under 12 was $3.00, while adult admission was $5.00.

1963 : Admission for this personally-guided, two-hour “Happiness Trip” of “all four lands” (including your admission to Disneyland) was $5.00 for Adults and $3.00 for children under 12.

1964 : Admission for a personally-guided, two-hour “Happiness Trip” (“including 6 major attractions, a Main Gate Admission & the Guided Tour Service”) of Disneyland was still $5.00 for Adults and $3.00 for children 3 - 11.

1966 : During 1966, admission for this personally-guided, two-hour “Happiness Trip” was $5.50 for Adults and $3.50 for children under 12. According to Carl Freeberg (Disneyland Admissions) approximately 1,365,000 Guided Tour Tickets had been sold up to 1966.

1967 : During 1967, admission to Disneyland and a Personally Guided (two-hour) Tour of all four lands’ exciting attractions cost $6.50 for adults & juniors, and $3.50 for children (under 12). After the tour, group members received “a ticket good for another Disneyland attraction.”

1968 : Both Adult and Junior Disneyland Guided Tour admission cost $6.50, while the Children’s Disneyland Guided Tour admission cost $3.50.

1969 : From 1955 to 1969, “every President of the United States since 1946 except Lyndon Johnson, 15 princes and princesses, six kings, and a number of Prime Ministers and Premiers, several maharajahs, Congo Tribal Chiefs, Ambassadors, three queens, and a number of noted Russians - save one” have visited Disneyland. (Disney News, Fall, 1969) Each one of these V.I.P. guests was in need of (at least) one Disneyland Tour Guides!

During 1969, admission to Disneyland and a Personally Guided (two-hour) Tour of all four lands’ exciting attractions cost $6.50 for adults and $3.50 for children (under 12). At the completion of the tour, a complimentary ticket good for another Disneyland attraction was given to each guest.

1970 : Both Adult and Junior Disneyland Guided Tour admission cost $6.50.

1972 : Your two-hour tour (including admission to Disneyland) was only $6.50 for adults and $3.50 for children under 12. “And at the end of the tour… [guests would] receive a ticket good for another Disneyland attraction.”

1973 : Two-and-a-half-hour Personally Guided Tours of Disneyland’s seven lands (and “admission to seven of Disneyland’s most exciting attractions”) were still “designed for ‘first time’ or ‘short time’ visitors! Admission was as follows - Adults ($7.00), Juniors 12 thru 17 ($7.00), and Children 3 thru 11 ($4.00).

1975 : By Disneyland’s “Celebration Summer” admission for a Personally Guided Tour of Disneyland “provided by your attractive Tour Guide,” was $7.50 (for Adults), $7.50 (for Juniors, 12 thru 17), and $4.50 (for children, 3 thru 11).

In addition to the initial Guided Tour, there have always been perks. Some early Guided Tour packages included admission to Disneyland and a selection of six of the park’s popular attractions. If there were any “first time” guests among the group, they may subsequently enjoy experiencing some attractions that were not visited during the duration of their Guided Tour with the help of a complimentary attraction coupon (included in the ticket price).

1976 : Guided Tour prices had three tiers - Adult tickets were $8.00, while Juniors (12-17) were also $8.00, and children (3-11) were $5.00.

1977 : By 1977, the now two-and-a-half hour Disneyland Guided Tour was crafted for the “first time or short time visitors”, and the economical prices had three tiers - Adult tickets were $8.50, while Juniors (12-17) were also $8.50, and children (3-11) were $5.50. By 1977, sevens ran throughout the theme of the tour, as the Disneyland Guided Tour of “Disneyland’s seven lands” included admission to “Seven of Disneyland’s Most Exciting Attractions”.

1978 : Guided Tour prices had three tiers - Adult tickets were $9.50, while Juniors (12-17) were also $9.50, and children (3-11) were $6.50.

1980 : Disneyland Guided Tour admission prices during the Park’s “Silver Anniversary” were as follows - Adults $11.00, Junior $11.00, Child’s $7.00! Truly, it was still one of “the best ways to see Disneyland”!

1981 : During June of 1981, there were 54 Tour Guides, “and the number climbs to 80 during peak seasons”, according to the Area Stage Supervisor Cicely Rigdon (Disneyland LINE, Vol.13, No.3). That very year, admission for a Disneyland Guided Tour was $10.25 (adults), $9.00 (Juniors 12-17), $8.50 (Children 3-11). $11.00 for adults and “juniors” (12-17), or $7.00 for children (3-11) includes the two and a half hour tour of seven themed lands, admission, and seven exciting adventures!

1983 : Beginning June 16th, 1983 (the same day that Attraction Coupons were retired), Guided Tours were included with Passports (at $16.00 for Adults and Juniors, and $10.50 for Children).

1984 : Many guests arriving in Los Angeles (for the 1984 Summer Olympics) would also perhaps visit Disneyland for the very first time! The 3-hour Guided Tour (advertised as one of “the best ways to see Disneyland”) was $5.00 for adults and $4.00 for children 3 to 12. The Guided Tour was also available with One, Two, and Three-Day Passports. During 1984, four Guided Tours were offered every day that Disneyland was open. These were led by 1 “of 47 young men and women who have been trained to serve,” according to the Disney News (Summer, 1984).

1985 : By the Fall, Guided Tour admissions were $6.50 (adults), and $5.50 (children 3 thru 12).

1986 : The Price for Guided Tours were in a state of fluctuation, typically rising slightly during the winter season. For instance, the three-hour Guided Tours (including Admission and unlimited use of attractions were $24.90 (for Adults) and $18.90 (for Children 3 thru 12). But, from November 28th, thru the end of the year, Guided Tour prices were $26.50 for Adults and $20.20 for Children Ages 3 thru 12.

1987 : At the beginning of the year, Guided Tours were still $26.50 for Adults and $20.20 for Children Ages 3 thru 12 (the same winter season prices from 1986). By February of 1987, Guided Tours ($28.00 for Adults, and $21.00 for Juniors [children 3 thru 11]) during 1987 included the three-hour Guided Tour, a One Day Passport admission to the Park, and “unlimited use of attractions (except arcades) at the end of the tour”! [Today at Disneyland ; Monday, February 16th thru Sunday, February 22nd, 1987]

With guests in mind, a number of Disneyland Guided Tours have been dreamed up and offered by Disneyland through the years. Perhaps you have enjoyed Disneyland through one of the following Guided Tours:

•Disneyland V.I.P. Guided Tour

•Halloween Tour (launched 2007)

•Disney’s Happiest Haunts Tour (launched 2008)

•A Walk In Walt’s Footsteps Tour (c. 2002)

•Holiday Time at Disneyland Tour (launched 2008) - “Experience Yuletide cheer on the ‘Holiday Time at Disneyland Park’ Guided Tour. You’ll hear enchanting tales of the Holidays from Disneyland Park’s past and a whimsical sneak peek into Disneyland California Adventure Park.” The tour once included “two popular holiday themed attractions, reserved seating for ‘A Very Merry Christmas Parade, a delicious treat and warm beverage, a collectible pin and tour button. ‘Holiday Time at Disneyland Park’ lasts approximately 3 hours and is offered from [approximately] November 12th through January 6th.”

•The Happiest Hotel on Earth Tour (launched 2010)

•Cultivating the Magic Tour (launched 2012)

•Discover the Magic (launched 2012)

•Walk in Walt’s [Disneyland] Footsteps Guided Tour (launched 2012) - The new Tour excluded Club 33, while still including Walt Disney’s Apartment. During 2015, the tour included The Disneyland Dream Suite.

•Welcome to Disneyland Resort Tour

•The Grand Circle Tour (launched 2018). The Grand Circle Tour was added, increasing Guests' appreciation for the significance of the Disneyland Railroad, and including a themed donut.

Guided Tours in recent years have included such exclusive elements as peeks inside Walt Disney’s Firehouse Apartment or Club 33, a souvenir shrubbery, lunch and desert, exclusive pins, and much more!

“A Walk in Walt's Footsteps”

The official Disneyland storytellers would take Guests through Walt Disney’s original Magic Kingdom with tales of the challenges, hard work, excitement and fun that went into creating “the Happiest Place On Earth”. Around 2002-2003, the tour was offered exclusively to Annual Passholders Nov. 15 - Dec. 15. The tour price was $49.00 for all ages (no discounts applied). Annual Passholders could purchase up to (5) tickets per tour, and were required to show or verify their Annual Pass at the time of purchase. Tickets could be purchased from three locations at Disneyland Resort: Ticket Booths, Guest Services, or in the City Hall Lobby. Annual Passholders were not required to accompany their Guests.

The Tours were 3.5 hours in length and accommodated 15 Guests. Tours met at Tour Gardens Dispatch and departed from Disneyland's Main Entrance - in front of the West Gate, located next to the Newsstand Shop. It was important to arrive 10 minutes before the tour departed.

Some highlights of the tour experience included:

• A unique visit to Disneyland's first attraction featuring Audio-Animatronics™, Walt Disney's Enchanted Tiki Room

• A peek at the lobby of Club 33

• A private lunch on the patio of the Disney Gallery

• An exclusive collectable trading pin

Identification Tags and Name Badges were occasionally distributed to identify guests of some of these seasonal or limited run Disneyland Tour Groups. The artwork (which is seen on this Tag) was once available to Disneyland Cast Members in the form of a limited lithographic print.

Disneyland Guided Tours have always been known for exclusive souvenir gifts as part of their experience! During the second year of operation (1958), full-color copies of “Walt Disney’s Guide to Disneyland” was given as a permanent souvenir of a Guest’s day at Disneyland. As the aspects of tours changed (and new ones were added), the gifts have come to include pins (of varying kinds - even “hinged” and light-up), lanyards, and buttons (some of which have occasionally been “subject to change without notice”).

The Guided Tour Complimentary Souvenir has also been implemented at many Disney Parks worldwide (e.g. Tokyo Disney Sea).

A couple of illustrations (above) featured “Walt Disney’s Disneyland Coloring Book” and “Walt Disney’s Disneyland 128-Page Coloring Book,” (both by Whitman Publishing), introduced young aspiring “colorists” to the Disneyland Tour Guide. For some, those plaid tartans probably posed the challenge to stay within the lines.

It’s not hard to see why occasional merchandise (made available to both Guests and exclusively to Disneyland Cast Members) has commemorated the beloved Disney Parks Tour Hostess and Tour Host! You may have seen some of these Disneyland Tour Hostess or Tour Host - inspired pins, ornaments, bean bag dolls, and many other types of merchandise! One of my personal favorites is this loyal and adorable homage to the classic Guided Tours Hostess Wardrobe, a Disneyland 50th Anniversary Pewter Figure designed by Kevin Kidney & Jody Daily.

Now, Minnie Mouse has appeared as a Guest Relations Hostess or Tour Guide (often as an example of appearance) within occasional publications prepared for Disneyland Cast Members (like the “Disney Courtesy Policies” booklet). Now, (likely inspired by some of these illustrations) the “Minnie Mouse Tour Guide” by sculptor Costa Alavezos (pictured above) was produced both as a limited 9” figure in “The Art of Disney Theme Parks” line, and as an ornament.

These approximate 9-inch Bean Bag Plushes capture likenesses of Mickey Mouse and Minnie Mouse and the fashions of the male and female Disneyland Tour Guide.

“Disneyland Tour Guide Legacy”

Disneyland Tour Guides have played an essential role in the story of Disneyland. Even an episode of The Wonder Years Season 2 was planned to feature a Guided Tour Hostess. While this background character did not make the final cut, it was our pleasure to loan our “D” Pin and Castle Pin to the production.

We once had the great honor and privilege to be among the “Walk In Walt’s Disneyland Footsteps” Tour Group lead by a new Disneyland Hostess - Victoria! Once our Tour was complete, we couldn’t help but applaud her presentation and enhancement of the Disneyland show. In addition to the magical and memorable look at Walt Disney’s Disneyland, we now had a greater understanding and appreciation for these friendly, personable, and knowledgeable Disneyland Cast Members, as well as the personable services they provide guests each day at Disneyland! This particular Hostess would go on to acquire the knowledge and skill to become a Disneyland V.I.P. Tour Guide as well!

But, the Main Attractions of Guided Tour Gardens are still the very people who continue to prove just what it “takes…to make the dream a reality”! Even more, these veritable models of “Guest Relations” pulsate with the “Spirit of Disneyland,” are of exemplary “good grooming and etiquette,” and are also some of the most intrinsically friendly and knowledgeable Disneyland V.I.P. Tour Guides you’ll ever meet. I am (of course) speaking of Connie (to my right) and Esteban (on my left), pictured above!

Quite often today, Disneyland Tour Guides get their start at Disneyland working for the Park in some other capacity for six months to a year, before transferring to the Disneyland Guest Relations Department. But after applying, the present Disneyland Tour Guides are trained (and carry the adequate knowledge and capability) to lead at least one type of scripted Disneyland Guided Tour, with a group of (up to) 25 guests! This may include memorizing a script some 25 pages in length, and delivering it without improvising or deviating from the script in any way. The best Disneyland Tour Guides (like Shaun) deliver these lines with true intrinsic feelings (that seem second-nature) stemming from a heartfelt passion for Walt Disney’s Magic Kingdom!

If you are a former Disneyland or former Disney Parks Host or Hostess, and once served as a Disneyland Guide or in Disneyland Guest Relations, “It would be my pleasure” to share your “Guided Tours Story”. Pease contact us at DisneyHistory101@gmail.com, and our team of historians are eager to meet you!

The foremost product of Disneyland is (and has always been) happiness! Many factors contribute to happiness, including (but not limited to) licensed merchandise inspired by the character of Disneyland or Walt Disney’s Characters.

The Hat Bar was a popular location for guests to find a souvenir hat that suits them (as you will find out if you “go on a-head”).

Now there have always been several merchandise locations around Disneyland to find fashionable and protective headwear. There was the Mad Hatter Store on Main Street and in Fantasyland, as well as the Davy Crockett Museum (in Frontierland).

If you were looking for beanies, bucket hats, paper Disneyland half-hat visors, pith helmets, student caps, coonskin caps, the Peter Pan Hat and Captain Nemo Hat by Elrene, Hardee Hats, Cowboy Hats, Zorro Hat and mask sets, Bikester “Disneyland” Hats (also known as the “Tomorrowland Keppy Kap”), Prince Philip hats, Pinocchio hats, Tyrolean hats, Robin Hood hats, Pirate hats, Mickey Mouse Hats, Donald Duck hats (with a squeaky beak ; personally designed by Walt Disney Productions character merchandiser - Vince Jefferds ), Mary Poppins Hats, and Benay-Albee’s official Mickey Mouse Club Mouse-ke-ears Hats (in Mickey and “Minny” styles), . . . The Hat Bar shop (in Tomorrowland) had what you were looking for (and more)!

Clearly, Disneyland provided an additional major sales outlet for licensed Disney merchandise, while the licensing promoted the park through games, books, toys, and lots of headwear. Disneyland also turned concessionaire Benay-Albee into a licensee that manufactured merchandise featuring properties owned by Walt Disney Productions.

The 1957 TWA brochure “Let’s Talk About… My Visit to Disneyland, Anaheim, California: A Note from Mary Gordon TWA Travel Advisor” mentioned: “We learned that to fully explore Disneyland takes two days, so early next morning we were at the gates of the park again. The second day we spent more time shopping in the 50 inviting shops, and the youngsters bought inexpensive souvenirs to take home to friends.” Among those Inviting shops was The Hat Bar in Tomorrowland and Mad Hatter in Fantasyland!

Many of these locations were operated by the Benay-Albee Company. The corporate synergy would prove beneficial for both parties. Just a few years later, the commercial lessee Benay-Albee Novelty Company brought much revenue for Disneyland, Inc. For instance (in Tomorrowland alone), the commercial lessee brought revenue of $17,316 for the fiscal year ending September 29, 1957 and $12,985 for the fiscal year ending September 28, 1958. An additional $2,751 was yielded for the fiscal year ending September 28, 1958. By September of 1958, the Benay-Albee Novelty Company was still contributing a routine portion of accounts receivable to Disneyland, Inc.

The Benay-Albee Company (manufacturer of some hats) even occasionally covered percentages of construction and maintenance costs (as when a marquee was constructed and maintained for the front West Plaza entrance of the Mad Hatter Store on Main Street from 1957-1959).

Hats became so associated with the Disneyland experience, that they were often featured in promotional material, like the television commercials filmed at Disneyland July 15th and 16th, 1964.

As a sidelight, when boarding a thrilling adventure, Attractions Hosts and Hostesses informed everyone in the vehicle to hold onto their hats and glasses. If a guest lost an article, Hosts and Hostesses made a sincere effort to locate it and make a positive identification.

Mickey Mouse Hats with names sewn onto them have assisted Cast Members in connecting with guests, calling them by name.

The Mad Hatter shop of Fantasyland was originally a leased by the Benay-Albee Novelty Co. when it opened at Disneyland during June of 1956!

Since the beginning, the 891 square-foot Mad Hatter Shop was a popular location for guests to find a personalized “gay and unusual” novelty hat that suits them (as you will find out if you “go on a-head”). There were some 25 styles to choose from by September of 1956, according to contemporaneous issues of The Disneyland News, page 3. Guests looking for hats of any description would find that The Mad Hatter shop had what they were looking for (and more)! There was a colorful variety of unique Disneyland hats including beanies, bucket hats, paper Disneyland half-hat visors, pith helmets, student caps, coonskin caps, Hardee Hats, Cowboy Hats, Zorro Hat and mask sets, Bikester “Disneyland” Hats (also known as the “Tomorrowland Keppy Kap”), Derbies, Peter Pan Hats (by Elrene Manufacturing Co. of N.Y.), Prince Philip hats, Pinocchio hats, Tyrolean hats, Robin Hood hats, Pirate hats (with sword “through” the head, Benay Albee Novelty Company Mickey Mouse Hats (with the nose that “squeeks”), Donald Duck hats (with a squeaky beak ; personally designed by Walt Disney Productions character merchandiser - Vince Jefferds), Mary Poppins Hats, Benay-Albee’s Cinderella novelty hats (with the ribbons and braids), and Benay-Albee’s official Mickey Mouse Club Mouse-ke-ears Hats (in Mickey and “Minny” styles).

Two years after the shop opened (by September 28, 1958), Disneyland Inc. opened job number 4062-511 for both the design and development of the Mad Hatters' Shop marquee. The marquee (for the Main Street lessee) was in developmental progress at a total cost of $3,875 (estimated Disneyland Inc. share) and lessee share of $1,500. By October 1958, the “Disneyland Dictionary” described the Mad Hatter Shop operated by Albee Novelty Co. with a scope of sales included selling and sewing names on “novelty and personalized hats.”

The Mad Hatter Shop soon offered the free service of personalizing purchased hats, with sewn, embroidered names. According to Vacationland (Summer, 1960) and “The Disneyland News” (Vol. 1, No. 1, of 1963), “Carl Ritter, Disneyland’s Peter Pan, watched as a man walked up to the Mad Hatter’s Hat Shop with identical twin boys, about eight years old. The man bought two hats and had the boy’s names sewn on them. He told the Mad Hatter : ‘They’re my nephews, and I never can remember which is which.’ As the man walked off, with his back to the twins, they quickly changed hats!” The Mad Hatter Shop was one of Disneyland’s more popular souvenir shops, and a testament to this fact are the number of celebrities that have been photographed there over the years - like child actor Kevin Corcoran (as seen in Jack and Jill, May of 1960) and comedian Jack Benny. On one occasion, “motion picture star Betty Hutton… bought fake eyelashes in Merlin’s Magic Shop and a pirate hat with a special sword that appeared to go right through her head [likely purchased through the Mad Hatter],” after visitors recognized her and asked for autographs. “The disguise worked perfectly. No one recognized Miss Hutton, but people continued to stop her. This time they wanted to know where they could buy ‘a hat like that crazy one you’ve got on!’”

The number hats sold also speaks volumes about the shop’s popularity. In fact, by 1977, an average of 1,500 pairs of Mickey Mouse ears were sold on good days, during peak periods.

Well, The Mad Hatter Shop ultimately joined the Fantasyland Merchandising group, when its lessee departed after nearly two decades of loyal service (during January of 1977). But one of the biggest changes would occur during one Alice in Wonderland refurbishment (that took place during the early 1980s). Then, the Mad Hatter Shop was notably relocated and redesigned to a look similar to its present incarnation. By April 14, 1984, the new Mad Hatter location debuted, with pre-existing elements (like the tree) becoming part of Disneyland history!

The Mad Hatter on Main Street U.S.A. has some architectural elements reminiscent of watercolor “97A” (depicting Alice looking towards a “Mad Hatter” shop) which was created by David Hall (1905-1964; employed at Walt Disney Studios from 1939-1940) during the production of Walt Disney’s Alice in Wonderland.

The shop created tangible memories for Guests through Merchandise and Show.

This Mad Hatter Shop fabric sticker was donated to us from the collection of the late Jack Kehoe (of Disneyland Security).

By (April-June) 1981, WED Imagineering surveys of the 891 square-foot Mad Hatter Shop were conducted, in relation to New Fantasyland. Proposals for expansion to a 2,206 facility were made.

All art work, posters, etc. of Disneyland were created by the Walt Disney Studios. A mural was designed and created by Walt Disney Studios artist Bill Justice in 1977. This was not Bill’s first Disneyland contribution. During the 1960s, the team of Walt Disney Studio Character artists Bill Justice and John Hench partnered with Chuck Keehne (Chief of the Walt Disney Studio Wardrobe Department, from 1955-1979) to oversee the creation of 40 new Disneyland Characters that could“stand up to the rigors of every day use among the guests." Now, years after the mural was demolished, a print commemorating Bill’s Mad Hatter Mural was offered through The Disney Gallery.

Beginning in 1956, the Donald Duck Hat by Benay-Albee (complete with squawking bill) was available at many shops where novelty hats were sold, including the Disneyland Hat Bar.

Hats have helped guests express pride for their favorite Walt Disney characters. These Donald Duck Hats by Benay-Albee would perhaps inspire the Goofy Hat (a Disney Character Fashion manufactured during the 1970s and 1980s by Atlas).

(Courtesy of the Keeline Collection)