Adventureland, Tomorrowland, and Fantasyland

by Christopher Smith

  Great Moments With Mr. Lincoln for the State of Illinois Pavilion

  Magic Skyway for the Ford Motor Company Pavilion

  “it’s a small world” for the UNICEF Pavilion

  General Electric’s Progressland Pavilion

  The Carousel of Progress that guests enjoy today is a direct descendant of General Electric’s Progressland, the name for which was based upon GE’s marketing pitch at that time, “Progress is our most important product.”

  For the Disney pavilions, the World’s Fair provided natural benefits for all parties involved. For Disney, the capital from corporate sponsors funded the Company’s needed technological developments. In addition, the platform of the New York World’s Fair served as a test balloon for Disney to assess how guests on the East Coast would respond to this type of entertainment. For General Electric, Progressland provided some of the best advertising for GE products that money could buy. In essence, the attraction was a continually running commercial that thousands of guests watched each day.

  Imagineer John Hench described some of the goals and thoughts behind the development of the Progressland Pavilion:

  For the General Electric Carousel of Progress at the 1964-1965 New York World’s Fair, we had a twofold challenge. We had to design a show for huge numbers of expected guests, but we had been assigned a very limited space by the fair authorities. Our assigned task was to tell the story of progress made possible by the advent of electricity, and how it had made the home a better place. Our intention was to present this story in an entertaining way that would touch the audience emotionally.

  In designing the show, I was inspired by seeing Thornton Wilder’s Our Town on Broadway. I was struck by Wilder’s leading character, who narrated the story of his little town with pride. Walt saw the play in Los Angeles and liked it too. For the Carousel of Progress, we decided to feature a family with a father figure narrating their story through several generations. He spoke enthusiastically about water being pumped into the kitchen sink, and about electricity for house lights, streetlights, and streetcars, and about the wondrous extension cord. His step-by-step narrative of the everyday joys of progress captured the feeling we wanted to convey.

  John Hench, Designing Disney, Imagineering and the Art of the Show (2008), p. 10.

  Progressland was unique in that it was the first live stage show that used an entirely audio-animatronic cast. The attraction depicted an American family in four different time periods that spanned from the late 1800s through the 1960s and included numerous General Electric appliances to show how life had improved during that time. It was considered a runaway success at the World’s Fair.

  When the 1964-1965 New York World’s Fair concluded in October of 1965, the Progressland Pavilion was taken apart and shipped to Disneyland where it was re-constructed in Tomorrowland, slightly refreshed and re-branded as the General Electric Carousel of Progress. The attraction opened in 1967 and entertained guests for six years before closing on September 9, 1973, when it was once again dismantled and this time shipped to the Magic Kingdom. The attraction officially opened to guests in Florida on January 15, 1975.

  The Attraction

  Carousel of Progress takes guests past five dioramas depicting the home of an American family across a period of approximately 100 years. The host family consists of John (father), Sarah (mother), Patricia (daughter), James, Grandmother, Grandfather, and, my personal favorite, Uncle Orville. Each of the scenes depicted in the attraction take place in a different time period and on a different holiday.

  The theatre for the attraction is an innovation in and of itself. Guests sit in a circular theatre with seats that face a stage. Following the completion of each scene, the theatre rotates counter-clockwise to transport guests to the next scene while the stage viewed by guests remains static. Characters in the show are featured on a central stage as well as two ingenious side stages that are covered by scrims and are hidden until illuminated by a lighting effect.

  Pre-Show Video and Introduction

  The attraction begins in the queue where a pre-show video is played for guests. This video exudes the classic optimism and innocence reflected in the original version of the attraction that flowed directly from Walt Disney himself. As a matter of fact, the video includes several clips of Walt Disney explaining the original Progressland Pavilion:

  Well, a beautiful tomorrow, just a dream away. That says we’re going places. There’s progress ahead, and that’s just the mood we want for the whole pavilion. Here, for example, is a scale model of the General Electric Carousel Theatre—a theatre in which the audience itself moves in their seats around the stages. The actors? Well, they’re not real people, but they are a talented and interesting cast. We call them audio-animatronic figures, and they talk and act like human beings. The Carousel Theatre will present a warm and entertaining portrayal of how life has changed through electrical energy. The same kind of exciting and unique entertainment is what we’re planning for every area of the General Electric Pavilion.

  Rex Allen, the original voice for the “father” character at the 1964-1965 New York World’s Fair, also conveys the historical significance of the attraction in the pre-show video:

  Welcome to Walt Disney’s Carousel of Progress. You may not know it, but this show was originally created for the 1964 New York World’s Fair. Designed as part of the Progressland Pavilion, Walt’s idea for this show revolved around the idea of creating a warm and entertaining portrayal of how progress has made our lives better—from the turn of the century to then-modern-day 1960s. Now, since visitors to the World’s Fairs always expect to see the latest innovations, Walt created a revolutionary theatre in the round, where the audience literally moved around the stages and performers. And these were no ordinary performers either. They were the latest innovation in animation from Walt Disney—which he called “audio-animatronics.” Walt and his Imagineers created a cast of 32 talented performers for the show, and what made these actors so unique is that they could perform nonstop all day long without ever taking a break. The whole cast was assembled for a dress rehearsal just two months before opening day at the fair. Walt and his crew had to work around the clock to get the show finished on time.

  Once guests enter the theatre, the attraction’s narrator, the father, treats them to a short introduction:

  Welcome to Walt Disney’s Carousel of Progress. Ah, you’re in for a real treat. The Carousel of Progress was Walt’s own idea from beginning to end—he loved it. He introduced the show at the World’s Fair in New York City in 1964, and it was an immediate smash hit. Millions of people came to see it, and since then, the Carousel of Progress has had more performances than any other stage show in the history of American theatre. You know Walt loved the idea of progress, and he loved the American family. And he himself was probably as American as anyone could possibly be. He thought it would be fun to watch the American family go through the 20th century, experiencing all new wonders as they came. And he put them together in a show called Carousel of Progress, which we are now about to see. Although our Carousel family has experienced a few changes over the years, our show still revolves around the same theme—and that’s progress. May the century begin.

  Act 1: Valentine’s Day, Turn of the 20th Century

  The opening scene of Carousel of Progress is set on Valentine’s Day “around the turn of the century.” Notably, this scene is set in a kitchen before the advent and proliferation of electricity. Notwithstanding the lack of electricity, John, the father, declares, “things couldn’t be any better than they are today.” Included among the amazing advancements that the father mentions are:

  “[B]uildings are towering now as high as twenty stories.”

  “moving pictures flicker up on a big screen.”

  There are “almost 8,000 automobiles” in the US, and people “can travel by train from New York to California in less than seven days!”

  Gas lamps, telephones, and cast-iron stoves.

  Re
servoirs that can keep “five gallons of water hot on just three buckets of coal.”

  An icebox that holds 50 pounds of ice, which is good because “milk doesn’t sour as quick as it used to.”

  A water pump right in the kitchen. Father explains the significance of this development, as “it wasn’t too long ago we had to carry water from a well.”

  John laughs as he mentions that a couple of brothers from North Carolina are “working on some kind of flying contraption.” He also references new technologies to come, noting that a gentleman named Tom Edison is working on electric lights. John’s wife, Sarah, also points out that a “new washday marvel” lets her do the wash in only five hours (it used to take two days).

  One of the funnier lines of the entire attraction occurs when the son, Jimmy, appears on one of the scrim stages to the right-hand side of the theatre. Jimmy appears to be looking at some “questionable” sights on a stereoscope:

  JIMMY

  Wowee! Look at that!

  FATHER

  Now Jimmy, I thought I told you to ask my permission before using my new stereoscope. That’s not a toy you know!

  JIMMY

  Ooh-la-la! So that’s Little Egypt doing the hoochie-koochie, eh Dad?

  FATHER

  Isn’t she a knockout? She’s the star of the new World’s Fair in St. Louis, and—(clears throat) now you put that away before your mother finds it.

  JIMMY

  Aw, Dad…

  FATHER

  You heard me!

  On another scrim stage to the left side of the theatre, the family’s grandmother is listening to a “talking machine” that plays music directly in the home: a phonograph. Another life-changing innovation, a “horseless trolley,” is referenced when John talks to his daughter Patricia about her Valentine’s Day date.

  It is interesting to note that Act 1 of the Carousel of Progress is reminiscent of Main Street, U.S.A., which is also set at the turn of the 20th century, with the area around the train station and Town Square representing 1890, prior to the proliferation of electricity.

  Act 2: The Fourth of July in the 1920s

  As the theatre turns, guests transition to the 1920s on Independence Day. Thanks to “Mr. Edison,” electricity has moved into the American home. John now sits in a kitchen surrounded by a spider web of electrical cords. He proclaims that “[w]e’ve come a long way” since the turn of the century:

  Charles Lindberg is “about to fly a single-winged airplane all the way across the Atlantic.” This reference tells guests that the scene is likely taking place in 1927.

  Large sports stadiums are being constructed across the country (including one that is home to Babe Ruth).

  Cars now have electric starters (as opposed to a crank).

  People “can travel from New York to Los Angeles by train in only three days.”

  The kitchen is now filled with the modern conveniences of an electric-powered refrigerator, oven, and even a vacuum cleaner. John proclaims, “it just can’t get any better.”

  Sarah enjoys the electric light on the porch because “it’s just too darn hot to be sewing inside.” A Crosley radio set allows the family to “get news and big-time entertainment from all over the country. Even Pittsburgh!”

  Perhaps the greatest invention of the day is indoor plumbing, which is being enjoyed by Uncle Orville:

  FATHER

  By the way, we have indoor plumbing now! Oh boy, that’s really great on cold nights. Especially for our perennial houseguest, old Uncle Orville.

  (Uncle Orville is seen on a scrim stage to the left-hand side of the theatre sitting in a bathtub. A fan blows over the top of a block of ice.)

  FATHER

  Uncle Orville’s taken over the coolest spot in the house, of course, and he’s rigged up a real clever contraption. He calls it “air cooling.” Hmmph. Too bad he’s not reading the help wanted ads.

  UNCLE ORVILLE

  No privacy at all around this place!

  FATHER

  Sorry, Orville.

  Walt Disney was instrumental in this scene. Because of Walt, Uncle Orville faces the crowd (as opposed to having his back to the crowd) and wiggles his toes in the tub…because that is the type of thing that Uncle Orville would have done.

  Act 3: Halloween in the 1940s

  As the theatre once again turns, guests find themselves in the 1940s on Halloween. Progress has continued over the past 20 years, and John says, “everything is better than ever now”:

  Refrigerators now hold “more food than ice cubes.”

  Automatic dishwashers also take care of the dish drying duties. Father likes this because it gives “ Rover and me more time to enjoy our evening stroll together.”

  Television, which “gives you something to do after you come home.”

  John declares that “a new age of electronic civilization is upon us.”

  One of the funniest pieces of dialogue for the attraction occurs as son Jimmy is carving a jack-o-lantern:

  JIMMY

  Hey dad, what do you think of my jack-o-lantern?

  FATHER

  Oh! Oh! Boy, that’s scary!

  JIMMY

  That’s ’cause I’m using my beautiful sister Patty’s picture for a model!

  (ROVER barks.)

  FATHER

  Down Rover! Jimmy, Rover appreciates your joke.

  This scene is very telling of the 1920s in that it includes new phrases of the time: “rat race,” “commuting,” and the “rumpus room.” John explains his daily routine: “I drive into the city for work all day and then turn right around and drive all the way back. And the highway is crowded with fellow rats doing the same thing!”

  Act 4: Christmas at the Turn of the 21st Century (as viewed from 1994)

  The final scene for the attraction takes place during Christmas at the turn of the 21st century (the exact year is not specified). It is also the most controversial, as many guests complain that scene is woefully outdated. The technological innovations depicted in Act 4 include:

  A virtual reality space pilot game that is played on a flat screen television.

  A rather large laptop computer.

  A “voice activation system” controls the household appliances, including the family Christmas tree and the oven that is baking a turkey.

  “Laser-discs and hi-def TV.”

  The grandfather even says that “you guys don’t know how good you got it these days.”

  A voice-activated mishap turns the oven to 975 degrees, burning the family’s turkey in the process. Although it is almost impossible to read when seated in the Carousel of Progress theatre, the final scene of the attraction includes a hidden tribute. A note is pinned to a bulletin board that reads “MARTY CALLED—WANTS CHANGES!” This small note is a tribute to Disney executive Marty Sklar, whose career with the Disney company spanned decades, including serving as president of Walt Disney Imagineering.

  As guests depart the theatre, John gives a final piece of advice: “Have a great big beautiful day, and remember, tomorrow is just a dream away.”

  The Voice Cast

  Walt Disney’s Carousel of Progress features an eclectic but impressive voice cast:

  Jean Shepherd voices the father, John. Shepherd is best known for being the narrator for the 1983 classic holiday film A Christmas Story.

  Debi Derryberry voiced the daughter, Patricia. Derryberry also voiced Jimmy Neutron in the television series, The Adventures of Jimmy Neutron: Boy Genius.

  Uncle Orville is voiced by nothing short of a cartoon legend: Mel Blanc. Among his many credits, Blanc voiced numerous Warner Brothers animated characters including Bugs Bunny, Daffy Duck, Porky Pig, Tweety Bird, Sylvester the Cat, Yosemite Sam, Foghorn Leghorn, Marvin the Martian, Pepé Le Pew, Speedy Gonzales, Wile E. Coyote, Road Runner, and the Tasmanian Devil.

  Janet Waldo voices the grandmother in the Christmas finale scene. Waldo also voiced Judy Jetson in the 1960s television series The Jetsons.

  Rex All
en voices the grandfather. Known as the “Arizona Cowboy,” Allen was a veteran actor and singer who also voiced the Father in the original World’s Fair version of the attraction.

  “There’s A Great Big Beautiful Tomorrow” /

  “The Best Time of Your Life”

  Composers Richard and Robert Sherman initially made a name for themselves by writing the scores for numerous Disney films including Mary Poppins (1964), The Jungle Book (1967), and Chitty Chitty Bang Bang (1968). The duo is perhaps most well known for writing the famous attraction theme song “It’s a Small World (After All).” The Sherman Brothers have received numerous Academy Award, Grammy, and other nominations for their impressive body of work. Most notably, their song “Chim Chim Cher-ee” from Mary Poppins won the Academy Award for Best Original Song in 1964.

  The Sherman Brothers were tasked with the difficult job of developing a theme song for what would become known as Walt Disney’s Carousel of Progress and, in doing so, faced multiple challenges. First, the song had to be short enough to fit in the 14-second transition between scenes. Second, the song had to be adaptable to the different musical styles of the time periods represented in the attraction, including ragtime and swing rhythms. Finally, the song needed to be upbeat and catchy.

  In facing these challenges, the Sherman Brothers wrote “There’s a Great Big Beautiful Tomorrow.” The song exuded optimism and hope for the future and provided a charming transition between scenes and overall mood for the attraction:

  There’s a great, big, beautiful tomorrow

  Shining at the end of every day

  There’s a great, big, beautiful tomorrow

  And tomorrow’s just a dream away

  Man has a dream and that’s the start

  He follows his dream with mind and heart

  And when it becomes a reality

  It’s a dream come true for you and me

  So there’s a great, big, beautiful tomorrow

  Shining at the end of every day