Imagine having ideas and plans so big that you simply knew you couldn’t fit them into a single lifetime. What’s a billionaire like Walt Disney to do but freeze his own head in hopes of one day being revived in time to help save the world. Lucas Hnath’s A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, directed by Mitchell Cushman, tackles this wide spread urban legend, and much more, with a deep dive into the tycoon’s final years. With a jaw-dropping set, powerhouse performances, and delightful attention to detail, the Death of Walt Disney is truly an experience not to be missed.

A Public Reading of an Unproduced Screenplay About the Death of Walt Disney is a play; four actors convene in the most swanky of 60’s offices to read a screenplay by Walt Disney about the end of his life. It takes the audience through the last eight years before his passing, including Walt’s foray into nature documentaries (which didn’t go as planned), the creation of Walt Disney World in Florida (which he never saw completed), and his passion for the city which is now EPCOT (which also definitely didn’t go as planned). Disney’s drive and ferocity are abated by his older brother Roy, who sacrifices everything for his brother’s dreams. Walt’s daughter and her husband Ron play very different and interesting roles in Walt’s life; seeing Ron’s transformation from his first appearance to the end of the play proving the corruption huge wealth can bring.

I’m a Disney kid. Big time. My parents bought their first VCR machine so that I could watch Beauty and the Beast, my first full-length feature film. Family legend has it that I watched it so many times I wore out the tape (if you’re too young to know what a VCR is, find someone over 30, they’ll explain). Part of growing up is that you find out that some of the people who you’ve looked up to weren’t always as magical as you’ve believed. I had a feeling that Hnath’s play was not going to shy away from that fact, and I was glad it didn’t; it rather took a harsh look at the likely realities of what was happening behind the scenes. From union issues to attempting to trick Florida’s government, and his own board, into letting him build a city rather than a theme park, Walt’s ambitions defied any perceived attempts to stop him from creating his dreams. The magic of the parks and movies will never be ruined for me, they are the best part of Walt’s vision, however my understanding of the man behind the mouse has certainly shifted over the years.

Much like Dana H., A Public Reading of an Unproduced Screenplay About the Death of Walt Disney has a focus and fascination with recordings. Walt is in total control of what we see and hear throughout the play; he has a panel on his desk which allows him to use a voice changer, or cut the rest of the scene entirely and move on to the next. This idea of him controlling his own narrative truly gets to the heart of the play, as we watch Walt endeavour to control everything in his life, even his own lifespan. His image as the sweet man who’s made our dreams come true is one that persists to this day, likely because of the efforts he made during his lifetime into cultivating and promoting that persona, whether or not that’s the truly full picture of who Walt Disney was.

As I mentioned previously, Anahita Dehbonehie’s set for this production is a study in detail and design. When you walk into the Baillie Theatre, you’re met with a red movie theatre curtian, upon which is projected some of Disney’s earliest Mickey shorts like “Steamboat Willie.” However, we are seated behind the curtain in a posh 60’s inspired office. The red, yellow, and black colour palette referencing Mickey’s colours is immediately recognizable. The vintage Mickey phone on its own phone table a fitting nod to furniture of the past. What blew my mind was the moment that the middle platform of the stage began to turn; they perform the vast majority of this play while constantly in motion. It’s like being on the Carousel of Progress just in reverse! This incredible nod to Disney’s innovations also allows for the audience to never miss a moment; no one’s face is blocked for longer than a second or two while also giving the play a truly filmic feel. Nick Blais’ lighting design enhances that ambiance with quick changes and flashing bulbs as well as dramatic colour changes. Niloufar Zaiee’s costume design is the icing on the cake, with mod 60’s designs and Walt’s signature bow ties. This is the kind of attention to detail which I’ve come to expect from an Outside the March production; no opportunity has been missed to make the event magical and memorable.

A Public Reading of an Unproduced Screenplay About the Death of Walt Disney boasts an all-star cast helmed by Diego Matamoros as Walt Disney. Matamoros is charming yet frightening, driven and fierce; he plays this part with tenacity and brilliance. Anand Rajaram plays opposite Matamoros as Roy Disney; there is something so inherently charismatic about Rajaram’s performances that you can’t help but adore the character he’s playing. He gives Roy an honesty and vulnerability which makes him the perfect foil to Walt. Tony Ofori’s Ron goes through quite the transformation throughout the play, starting off as a brash former football star but shortly becoming a little too much like his father-in-law once he’s been taken under Walt’s wing. Katherine Cullen rounds out this incredible cast as Disney’s daughter. Cullen gives a passionate and nuanced performance throughout the production. You could feel the constant pressure and anxiety she felt being at her father’s daughter. The chemistry and pure talent of this cast is stellar, they truly make this the unmissable experience it is.

A Public Reading of an Unproduced Screenplay About the Death of Walt Disney has very limited seating due to the nature of the staging, and while it’s already been extended until May 12th, you’ll want to ensure you get your tickets right away. You cannot miss this unique theatrical event! For more information and tickets, visit: https://www.soulpepper.ca/performances/

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Cover Photo: Katherine Cullen, Diego Matamoros, Tony Ofori and Anand Rajaram. Lighting by Nick Blais. Set by Anahita Dehbonehie. Costumes by Niloufar Ziaee. Photo by Dahlia Katz

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