Audio art


The Disney That Never Was:

The Beauty and the Beast Animatronic Attraction

The idea for the Beauty and the Beast animatronic attraction dates back to the early 1990s, shortly after the film’s release. The attraction was originally planned for Disneyland Paris’ Fantasyland, and would have been located on the hillside across from Pizzeria Bella Notte. The outside of the attraction would have had two contrasting sides. One side, the entrance to the ride, would have looked like the Beast’s castle while under the curse. It would have been dark and foreboding, surrounded by crooked black trees that looked ready to snatch approaching guests in their sharp, tangled branches. The other side, the exit, would have been cheerful, ornate and fairytale-esque, representing the castle after the curse was lifted.

The Imagineers took their inspiration – and the attraction’s basic layout – from Disneyland’s Enchanted Tiki Room. Guests would enter a large room themed as the interior of the Beast’s castle. Once inside, they would sit on benches set up along three sides of the room. Spanning the fourth side of the room – and stretching into the center – would be a grand staircase, a large set of French doors, an unlit fireplace and a long dining table.

The pre-show would be done via an animated stained glass window at the top of the staircase. The window would tell the story of the curse, reminding guests that the only way to lift the curse would be if the Beast could love someone and be loved in return.

After the pre-show, a cast member portraying Belle – along with animatronic versions of Lumiere, Cogsworth, and Mrs. Potts – would recreate an encapsulated version of Belle’s first night in the castle.

This recreation would have culminated in the show’s most spectacular scene – the Be Our Guest musical number. As the music played and a dazzling light show lit up the room, guests would be surrounded by animatronic action in much the same manner as the Enchanted Tiki Room. Only, instead of tikis, parrots and flowers magically coming to life around you, it would be twirling plates, singing candlesticks and dancing cutlery. Mrs. Potts would have whirled her way around the floor on a trolley, while a spinning chandelier descended from the ceiling and a giant cake rose from the floor.

After this joyous celebration, the lights would dim, lightning would crash and the show’s scary, second act would begin.

In a recent interview with The Season Pass Podcast, Imagineering legend Tony Baxter recalled, “We took…Kill the Beast [a.k.a. The Mob Song], which was Gaston’s song, and we [re-wrote it as] Beware of the Beast. So we had the ‘welcome to the castle thing’ which was Be Our Guest, then [thunder would sound], and all of the sudden the gargoyles descended on the columns and [we started to hear] Beware of the Beast. We kept adding all of these things that…became evil, and it got worse and worse...warning [guests] that [the Beast] was about to appear. It’s building in its intensity – ‘Beware of the Beast! Beware of the Beast!’ – and then, BOOM, he’s there, and it’s a big audio-animatronic, bigger than the character that walks around in the park, just this gigantic character.

“So you had this character who was audio-animatronic but had enough space in his center cavity to have a human in there. So we had [the cast member portraying] the Prince [hidden] in there. And he had a couple of things to do, because [although the Beast] was all automated, we had some interface things that we wanted to do with guests.”

What sorts of things? Yelling. Shouting. BELLOWING. Mostly directed at the guests, commanding them to leave. Think about it – with the music and the lighting and the gargoyles and the sheer enormity and ferocity of the animatronic Beast, this would’ve been quite an intense scene!

Ah, but the Imagineers never allow things to get too out of hand, and they had the perfect plan to calm the Beast. Here’s how Baxter describes the show’s touching third act:

“And then Belle…came up [to the Beast] and said, ‘Shame on you! These people came here because they’re your friends.’ And [Beast] did the whole, ‘Nobody is my friend.’ You know. So they had this dialog, and she says, ‘Let me prove it to you.’ And then she would say something to the audience like, ‘Who here would like to give the Beast a flower?’ and…a child would come up with a long stem rose and give it to the Beast, and at that point, [Belle] would say, ‘See? We really do love you. Everyone loves you.’

“Then [church bells would sound] and a big cloud of smoke would come up in the room and the [animatronic Beast] figure [would disappear into the floor] as the [Prince] stepped out of it. And then [the room] transitioned, and where all of the gargoyles had come down, now all of these beautiful, classical sculptures are descending, and [we hear] ‘Tale as old as time...’ and Mrs. Potts joins in and [Belle and the Prince] start dancing. And then, as it builds to the crescendo, they both go up the stairway – it was two circular stairways that went up to the upper platform that had the stained glass window. [Then, as the song was ending, we would see] the pair of them [appear] in the stained glass window. Guests would walk out [the French doors located] below that, while the next group was filing in.”


That would have been STUNNING, eh?

The good news?

Nothing in Imagineering ever disappears completely. The Little Mermaid ride languished in production purgatory for over twenty years before it was finally built. Space Mountain took almost the same amount of time. Who knows? With Disney opening more and more theme parks around the world, we may see the Beauty and the Beast animatronic attraction yet!

Info, quotes and pics via Disney and More, Disney Love Zone, and The Season Pass Podcast’s amazing ‘Premium Pass’ interview with Tony Baxter.

Episode No. 200 of The Modern Art Notes Podcast looks back at almost four years of conversations with a special episode that features some of our favorite MAN Podcast moments.

Producer/host Tyler Green and editor Wilson Butterworth selected nine segments that they recall fondly. Guests include:

  • Jana Winderen on sound art (Episode No. 91);
  • Robert Barry on making art out of radio waves (Episode No. 174);
  • Zoe Strauss on choosing art-making over having children (Episode No. 10);
  • Vija Celmins on exhibiting her work in Latvia after leaving as a World War II-era refugee (Episode No. 105);
  • Mark Bradford on being a gay high-schooler and his need for creative outlets (Episode No. 19);
  • Sheila Hicks on what she learns from Alexander Calder, Pierre Bonnard and others (Episode No. 152);
  • Richard Serra on an ex-felon’s reaction to the Pulitzer Arts Foundation’s Joe (Episode No. 18);
  • Barry McGee on what he learned from his late wife Margaret Kilgallen (Episode No. 144); and
  • Jacob Kirkegaard on sound art (Episode No. 91).

Wilson Butterworth’s website and work may be found here. Take a look at the most recent work, Sound Suit, which is related to a couple of Butterworth’s selections for this program.

How to listen to this week’s show: Listen to or download this week’s program above, or subscribe to The MAN Podcast (for free) at:


i wanted to kiss her again;  — “i’ve never been so happy to see chloe in my life”

listen hereart by torifalls

i. miracle - paramore | ii. i know places - taylor swift | iii. girls like girls - hayley kiyoko | iv. come home - tonight alive | v. photograph - ed sheeran | vi. peace sign - lights | vii. kiss me again - we are the in crowd (feat. alex gaskarth) | viii. i will follow you into the dark - daniela andrade (death cab for cutie cover) | ix. girlfriend - icona pop | x. sweater weather - kina grannis (the neighbourhood cover)

I Write Sins Not Zuckerberg
  • I Write Sins Not Zuckerberg
  • A Fever You Can't Mark Out

I Write Sins Not Zuckerbergs
-Panic at! MARK ZUCKERBERG feat. Game Grumps
A Fever You Can’t Mark Out, 2015

Insp. graphicalaces


Photo’s from April 12th, Friday Night at Sequences VI

So, on friday we went to go see two exhibitions:
Curver Thoroddsen // The Fine and Delicate Art of Archival Processing
Dvergur / Dwarf Gallery

Loji Höskuldsson // Rúsínan í pylsuendanum - hugleiðing um performans / The raisin in the hot dog end - thoughts on performance
Glassúr gallerí Skólavörðustígur 19, 4th floor, on the right


Friday Fun time – and this really is fun. Watch this incredible French art project turn voices into visible sound waves projected onto canvas for all to see. (You’re welcome.)