2014 TEA Thea Awards Program

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Thea Awards Gala Production Credits and Thank-Yous

the process, the firm has made important contributions to some of the world’s most innovative and successful development projects. Their projects span the globe and range from repositioning single land uses to New Towns planned over 30 years. In broad terms, Economics at AECOM assists private developers and public agencies in assessing the future economics and outcomes of real estate projects and economic development plans. Economics at AECOM offers a diverse array of economic analysis and tools to answer complex problems. Website: www.aecom.com.

TEA expresses heartfelt thanks to the following people and companies for their invaluable contributions to the 2014 Thea Awards and Thea Awards Gala. Patrick Roberge Productions Inc., Thea Awards Gala producer Patrick Roberge, Producer/Director Heather Morrison, Assistant to the Producer

Garner Holt Productions (Thea Awards Gala CoPresenting Sponsor) Garner Holt Productions, Inc. is the gateway to realms of incredible imagination, artistry, technical wizardry, experienced industry veterans, and unmatched, proven quality. From creating the world’s finest and most lifelike animatronic figures, to design for themed attractions, museums, retail and restaurant locations and more, GHP offers the attractions world a complete design and production workshop. Look to us for animatronics, show action systems, exhibits and interactives, special effects, parade floats and creative design. Visit www.garnerholt.com.

PRP is an award winning consulting and full turnkey production company that produces creative shows and events. Their experienced team of entertainment professionals specializes in event planning and show production. From vision to reality, they work to achieve your goal and make your event memorable. Through their four divisions (Creative Sports, Creative Events, Corporate Productions, Creative Entertainment) they specialize in achieving objectives through innovative and creative entertainment. Visit www.prpconnect.com.

20th Annual THEA Awards Nominating Committee

Disneyland Resort President: Michael Colglazier

Phil Hettema, Chair Patti Drum, Vice-Chair Rick Rothschild, Board Liaison Karen McGee, Coordinator

Walt Disney Parks & Resorts Creative Entertainment Executive Producers: Kevin Eld, Chris Ambrose Creative Director: Marilyn Magness Producer: Chaz Yost Show Director: Carla Carlile Music Producer/Director: Bruce Healey Technical Director: Bill Avzaradel Production Manager: Jeanette Nichols Associate Music Producer: Jim McCormick Production Stage Manager: Alice Harkins Art Specialist: Anthony Castro Production Specialist: Kristen Van Voorhis

Buzz Price Thea Award Recipients Marty Sklar (Buzz Price Thea Nomination Subcommittee Chair) Monty Lunde (Technical Subcommittee Co-Chair) Don Iwerks* Bob Gurr (Technical Subcommittee Co-Chair) Tony Baxter Jon Jerde* Barry Upson Yves Pepin Bob Rogers Jack Rouse* Bob Ward Mark Fuller* Kim Irvine Joe Rohde Frank Stanek Garner Holt

Kathy Oliver, TEA Event Producer Kathy spent years with Dick Clark Productions as project manager/producer for the Golden Globes Awards, the Academy of Country Music Awards, television specials, large scale corporate events and a daily live country music variety show from Nashville. Working in the non-profit world, she spent 7 years on a special project in NYC benefiting those that worked at Ground Zero in the aftermath of 9/11. For the National Foundation for Women Legislators, Kathy coordinated their annual conference and was liaison to the White House. Her White House experience led to her being asked to handle the foreign press for the G20 Summit in Pittsburgh (2009). Kathy is currently applying all of her experience and skills to her work with the TEA as Director of Development and Event Producer.

* Non-participating Committee Members Patricia MacKay Michel den Dulk Craig Hanna Brad Merriman Lisa Passamonte-Green Adam Bezark John Robinett

Thea sponsors (listed on p. 59) Economics at AECOM (Thea Awards Gala Co-Presenting Sponsor) Economics at AECOM (formerly ERA/Economics Research Associates) is an international consulting firm focused on economic analysis for the entertainment and leisure industry, real estate development, public-policy analysis, tourism, and economic development. Since its founding in 1958, Economics at AECOM has completed over 15,000 assignments yielding unmatched experience in land use economics. In

Congratulations to our friends at and to all of this year’s Thea Award Recipients! museum + brand + entertainment + sport

20th Annual Thea Awards presented by AECOM and Garner Holt Productions April 5, 2014 at Disneyland Resort, Anaheim Calif. USA Welcome from the TEA President Garner Holt, Buzz Price Thea honoree Thea Classic: The Enchanted Tiki Room

Christine Kerr, BaAM Productions 09 Garner Holt Productions, Inc. 16 Jeanine Yamanaka 18

Thea Awards for Outstanding Achievement Revolution™ Tru-Trackless™ Ride System 24 Gardens by the Bay, Singapore 26 Michael Jackson ONE™, Mandalay Bay Hotel, Las Vegas 32 Enchanted Tales with Belle, Magic Kingdom Park, Walt Disney World Resort, Orlando (USA) 34 The Mind Museum, Taguig City, Philippines 38 Marine Worlds Carousel, Les Machines de I’île, Nantes, France 42 Polynesian Cultural Center, Oahu, Hawaii 44 De Vuurproef, Het Spoorwegmuseum, Utrecht, Netherlands 48 Mystic Manor, Hong Kong Disneyland 50 Titanic Belfast, Northern Ireland 52 The Song of An Angel, Universal Studios Japan, Osaka 56 Karen McGee, TEA Distinguished Service honoree

Rich Procter 21

Thea Awards Gala Production Team credits & bios 03 Thea Awards Program acknowledgments 15 Index of Advertisers 05 About TEA and the Thea Awards Bob Rogers 11 A Family Affair: 20 years of Thea Awards Peter Chernack 22 Nominate a project for a Thea Award 15 Advertiser Index AECOM BC Alcorn McBride 25 Artistic Engineering (JBA) 29 BaAM 28 Canyon Creative 58 Christie 36 Claro Creative Studios 33 Ronald Cohn 12 Color Reflections Las Vegas 02 Cost of Wisconsin Inc. 20 Cumming 28 EDL Creative Water 25 Edwards Technologies Inc. 22

Electrosonic 14 FAR Out! Creative Direction 25 Fountain People, Inc. 46 Fringe Talent 57 4Wall Entertainment Lighting 49 Garner Holt Productions, Inc. 30-31 The Hettema Group 59 Imagine Exhibitions 23 InPark Magazine 23 JoraVision 14 JRA 04 Mack Rides 49 Main Street Design 40

Modern Postcard 47 Mycotoo 08 Nth Degree Design & Visual FX 54 Oceaneering 20 Science North 40 Stefan Rules!!! 33 Brian Tatosky 33 TEA Foundation 15 Tiny Castle Studios 12 Universal Creative 41 Vekoma Rides Manufacturing 10 Walt Disney Parks & Resorts 13


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20 years celebrating excellence in themed entertainment TEA president Christine Kerr, BaAM Productions It seems fitting that I am watching the Oscars as I write this. Many consider the Thea Awards to be the Oscars of the Themed Entertainment Industry. It is certainly that time of year when we hang up our hard hats and put our steel-toed boots in the closet in exchange for tuxedos and gowns. It is a welcome opportunity to take a break from the hard work involved in creating extraordinary experiences in order to take a few hours and celebrate this amazing industry that we are privileged to work in. And we get to spend time with old friends – perhaps better described as “friends we’ve known for a long time….” As we celebrate 20 years of Theas, the projects being honored this year continue to demonstrate what is possible when creative people from all over the world come together with a goal of creating amazing experiences. The influence of local cultures on these projects makes them unique but also makes them appealing and endearing to international audiences. This year’s list of award recipients is a journey through the regions that TEA Divisions represent: Asia Pacific –the Philippines, Japan, Hong Kong and Singapore; Europe and the Middle East – the Netherlands, France and Northern Ireland; and North America including as far west as Hawaii. The global TEA community salutes all of the recipients from around the world. Thea Classic Award recipient the Enchanted Tiki Room has provided generations of guests with an immersive experience that certainly took them far away from their everyday lives! As the world’s first Audio-Animatronics show, it was very high-tech in its day. It somehow seems fitting that in this same year, Garner Holt is our 2014 Buzz Price Thea Award recipient in recognition of a lifetime of distinguished achievements in the world of animatronics, animations and so much more. Garner embodies the entrepreneurial spirit and commitment to a dream that should inspire all of us. He joins an impressive group of outstanding individuals who have done so much to help shape the vibrant international industry we enjoy today. Thank you and congratulations Garner! Please also join me in congratulating Karen McGee who is the recipient of the 2014 TEA Distinguished Service Award. Karen’s unfaltering support and commitment to the work of the Thea Awards Committee makes much of this possible. Karen embodies the work ethic and spirit of volunteerism that take her above and beyond in her support of TEA. 2014 started very well for the TEA as our search for a new leader brought us Jennie Nevin. If you have not met Jennie, please make a point of introducing yourself at the next possible opportunity. Her experience in the world of membership associations along with her energy, ideas and work ethic confirm for all of us on the International Board that the future is very bright for our association. Our three primary areas of focus over the past year - NextGen, Asia Pacific expansion and our new website – are well underway. We are shifting our focus on 2014 to building our assets – in the form of our conferences and other ways we share our knowledge and experience. And we are also very keen to collect and analyze the facts and figures that help define our industry to our members, our clients and the rest of the world. I would like to thank Patrick Roberge and his amazing team at PRP for once again producing tonight’s show. Their support of the TEA is much appreciated. I’d like to extend the thanks of our entire association to Disney Parks and Resorts for their ongoing support of the TEA and the festivities of the Thea Awards Gala. Thanks also to all of our incredible and generous sponsors for their contributions to the success of TEA’s Weekend of Events, which includes the Gala and the 2-day TEA Summit that preceded it, along with some special NexGen activities for nurturing our industry’s promising future. And of course, none of this would be possible without the tireless work of the TEA staff. The success of an association like the TEA relies on the contribution of the significant time, resources and ideas made by every volunteer who sits on a board or a committee or who otherwise donates their time. And behind these individuals is most often a company supporting and encouraging their efforts. Thank you to all of you. I hope the rewards are great – from a business development and networking point of view and because of the sense of accomplishment and the relationships developed through working with talented people who share a passion for our industry. Once again, congratulations to all the Thea Awards recipients. You inspire TEA members from around the world as they create amazing, extraordinary and compelling places and experiences. Enjoy this celebration of your success with your TEA friends!




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A Brief History of the Thea Awards By Bob Rogers, BRC Imagination Arts Like the Themed Entertainment Association (TEA) itself, the Thea Awards were created to bring recognition to achievement, talent and personal excellence within the themed entertainment industry. From a modest beginning in 1994, the Thea Awards have become internationally recognized as a symbol of excellence. From the start of the TEA in 1991, the TEA’s founder, Monty Lunde, felt our industry represented some of the most accomplished yet under-recognized talents working in all of entertainment. Therefore after launching the TEA, and guiding it safely through the first critical years, Monty’s next priority was the creation of an award that would bring recognition and prestige to the people of our industry. TEA’s first Awards Judging Committee was comprised of Bob Rogers, Pat Scanlon and Barry Howard. In early 1994 they met in a single session at Monty’s Restaurant (an ironic coincidence, no relationship to Mr. Lunde) in the west San Fernando Valley. The choice of an honoree was easy: Industry veteran, Harrison “Buzz” Price would be the first recipient of the only award to be given out that year — the TEA Lifetime Achievement Award. The name of the award is a play on three words: The first is “Thea,” the Greek goddess from whom all light emanates. Thea was the mother of Helios (the sun), Eos (the dawn) and Selene (the moon). The second key word is “Theater,” a word which derives from the goddess Thea. The third word, of course, is “TEA,” the name of our association. The original Thea and AOA (Award for Outstanding Achievement) trophies were designed by Barry Howard and Jeremy Railton. The new Thea, which debuted in 2001, was designed by Zofia Kostryko. The first year’s ceremony was produced by Ron Miziker of Miziker & Company, and the event was coordinated by Jana Love with Monty Lunde serving as Chairman of the Awards Ceremony Committee and master of ceremonies. It was held at the Biltmore Hotel in downtown Los Angeles and was attended by over 200 people. The evening was partly a tribute and partly an affectionate “roast” of Buzz, although

at least one speaker came with the impression that it was a men-only “smoker” and mortified the guest of honor and the ladies present with his presentation. Overall, the balance of the evening was magnificent. Many of us were so astonished by the sight of each other in tuxedos and evening gowns that we agreed to do it again the following year. Nineteen ninety-five was our second year. Our single honoree was Walt Disney Imagineering’s Marty Sklar and again the event was held at the Biltmore, but in a bigger room with about 350 people in attendance. Again the format was a series of speakers, roasting and saluting the honoree. One of the highlights was a long parade of “Marty’s former secretaries” in which half of the ladies in the audience participated. (Marty has a reputation for high turnover among his administrative assistants!) Thea’s third year (1996) was a major turning point. That year, the Awards for Outstanding Achievement (AOA) were introduced, turning the Thea Awards into a multi-award event. Ten AOA awards were distributed and several breakthrough traditions were established that have come to characterize the Thea Awards: The objective of the Thea Awards is simple: To find excellence and celebrate it. It is not a judgment of winners and losers. The achievements selected for awards are chosen because they represent the excellence found throughout the themed entertainment industry. This simple philosophy guides the entire Thea process. •There are no surprise announcements, no secret names in envelopes, no division of attendees into winners and losers at the Thea Awards. Everyone walks in a winner and leaves as a winner. This Thea tradition brings our industry together for a completely positive evening. •Membership in the TEA is not a requirement or a consideration in judging. Excellence is our only standard. •Within the AOA there are no set categories. The TEA is free to honor several achievements in the same category or to skip categories, as the year’s achievements warrant. •The AOA honors the entire achievement and everyone who worked on the achievement, rather than individuals, such

Lifetime Achievement Honorees Buzz Price, John Hench, Marty Sklar and Don Iwerks at a Thea Awards Gala in the 1990s


as Best Director or Best Art Director. We ask the owner of the achievement to designate the individuals who will come to the podium to collect the award on behalf of all of the people and companies who contributed to the achievement. These two Thea traditions remove the TEA from the impossible task of trying to determine or arbitrate credits (an issue in which the TEA has no legal standing – at least not yet) and it spreads the sense of honor and accomplishment to all who worked on the achievement. Thus the Thea Awards become an event that brings us together rather than one that tears us apart.

The Thea Awards Gala has become THE social event of the year within our industry. In spite of limited budgets, our allvolunteer production teams comprised of enthusiastic TEA members have created a series of great awards shows — each one topping the previous. The Thea Awards are now internationally recognized as the equivalent of an Academy Award in the themed entertainment industry. Each year over a hundred highly qualified achievements from all over the world compete for between 12 and 18 awards. Traditional awards include:

•To receive a Thea Award, the owner of the achievement must publish credits. In this way, the Thea Awards established the very first standards and requirements for credits in our industry. This tradition was immediately embraced by Disney, Universal and many of the large companies which had previously resisted publishing credits. The creation of our industry’s first credits may be Thea’s greatest accomplishment to date. Also noteworthy in 1996, as a variation of the usual Lifetime Achievement Award, the TEA gave a special AOA for Outstanding Individual Achievement to Monty Lunde, the founder of the association. In 1997 two additional special categories of the AOA were created. Excellence on a Limited Budget (assuring annual recognition for one or more achievements created for less than $5 million) and the Thea Classic Award, honoring one achievement each year, that has stood the test of time.

• The Buzz Price Thea Award for a Lifetime of Outstanding Achievements • The AOA (Award for Outstanding Achievement) – Any Category • The AOA for Achievement on a Limited Budget – Any Category • The AOA for Technological Achievement • The Thea Classic Award (Recognizing an achievement, usually an attraction, that has stood the test of time) But the overriding objective remains to find excellence and celebrate it — a search for projects that call attention to the excellence that exists throughout our industry. As we look to the future, the Thea Awards will continue to grow, evolve and change, never forgetting their original objective of bringing recognition to achievement, talent and professional personal excellence within our themed entertainment industry.


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2014 Thea Awards Program Publisher :TEA Editor: Judith Rubin Advertising Liaison: Martin Palicki Cover design: Canyon Creative Layout and production: InPark Magazine Printer: Modern Postcard © 2014 Themed Entertainment Association. All rights reserved. Thank you to our TEA Headquarters Staff Jennie Nevin – Chief Operating Officer Kathy Oliver – Director of Development / Event Producer Doreen Fosbenner - Office Manager Graeme Baker – Member Services Judith Rubin – PR, Social Media and Publications

excellence. The name of the award is a play on three words: the first is “Thea,” the Greek goddess from whom all light emanates. Thea was the mother of Helios (the sun), Eos (the dawn), and Selene (the moon). The second key word is “Theater,” a word derived from the goddess Thea. The third word, of course, is TEA, the name of our association. A comprehensive listing of Thea Awards and project credits and instructions on how to submit a project for a Thea Award are on the TEA website, www.teaconnect.org. Thank you, volunteers! TEA depends on the dedication of many volunteers whose help is invaluable to keep the association activities going and assist with events such as the 2014 Thea Awards Gala. Thank you!

TEA Headquarters 150 E. Olive Ave. #306 Burbank, CA 91502 USA (818)-843-8497 www.teaconnect.org About TEA The TEA (Themed Entertainment Association) is an international nonprofit alliance founded in 1991 and based in Burbank, Calif. Some 1,000 TEA members represent roughly 8,000 creative specialists, from architects to designers, technical specialists to master planners, scenic fabricators to artists, and builders to feasibility analysts working across North America and in 40 different countries. TEA presents the annual Thea Awards and the TEA Summit and hosts the annual SATE Conference (Storytelling, Architecture, Technology, Experience). TEA also produces a variety of print and electronic publications, including the TEA/AECOM Theme Index and Museum Index, TEA Annual Directory and Thea Awards Program. Visit www.teaconnect.org. About the Thea Awards The annual Thea Awards, co-presented by Economics at AECOM and Garner Holt Productions, were created to bring recognition to achievement, talent and personal excellence within the themed entertainment industry. From a modest beginning in 1994, the Thea Awards have reached a 20-year milestone and become internationally recognized as a symbol of

Themed Entertainment Association Foundation a 501c3 Charitable Foundation

Congratulates all of the Thea Recipients The mission of the Foundation is to provide and promote educational opportunities for individuals pursuing careers in the themed, leisure and entertainment design and production industries. www.tea-foundation.org 15

2014 BUZZ PRICE THEA AWARD FOR A LIFETIME OF DISTINGUISHED ACHIEVEMENTS: GARNER HOLT COURTESY GARNER HOLT PRODUCTIONS As a child, Garner Holt was so amazed by a Wonderful World of Disney episode of the Haunted Mansion, and by “Great Moments with Mr. Lincoln,” that he decided he would create animatronics for a living. To make a long story short, he now makes amazing animatronics, parade floats, and other fantastic scenery and theming elements. Do you like the new Little Mermaid attraction at Disney California Adventure? Haunted Mansion Holiday? Did you like the floats for Walt Disney’s Parade of Dreams for the 50th Anniversary? Do you like everything that moves when you hit it on Buzz Lightyear Astro Blasters? That’s Garner Holt. Here’s the twist–Garner has never been an Imagineer. Nor has he ever been an official Disney Cast Member. He’s what you call an outside contractor. But as he so successful at producing work that meets Disney’s rigorous quality that he has become a key contractor for Disney, essentially part of the Disney team. And with that, he gets to do some of the most amazing and fun projects–not just for Disney but for many other parks, restaurants, and exhibits. Following his early teenage years of creating simple animated figures and moving props for backyard haunted houses and school


projects, Garner L. Holt founded the company that bears his name in July 1977, at age 16, in his hometown of San Bernardino, CA. He was still in high school and the fledgling company was started in his parents’ garage. Garner Holt Productions, Inc. (GHP) has since grown to over 60,000 square feet of design and manufacturing space spread throughout a three building, multi-acre creative campus and employs dozens of engineers, artists and technicians. Garner is the world’s leading authority on animatronics history, technology, and emerging techniques. Of course that didn’t happen overnight. Let’s back up several decades to when Garner was 18. He applied to Disney’s MAPO division where all of the mechanical animation was then manufactured. His portfolio showed animated figures that he had been building since age 12, but was told “Disney has all the professional animation builders it needs.” Broken-hearted, Garner expanded his small operation over the years, building animations and shows for clients worldwide. Garner Holt Productions is now the world’s largest animation show manufacturing operation. And all this by a youngster who turned down his parents’ offer of free college tuition just so he could proceed with his own dream.

After more than three decades of business, GHP is the internationally recognized leader in the design and manufacture of animatronic figures, show and ride systems, show action equipment, special effects, and sets and scenery. Under Garner’s creative direction, the company has built nearly 5,000 animatronic characters, from songbirds to dragons, giant horses to jelly fish, and pirates to presidents. Almost 500 of these figures were created for Disney theme parks around the world. GHP has created over 475 animatronic shows for Chuck E. Cheese restaurants. Through years of creative and technological developments, the company Garner founded as a teenager now stands at the forefront of entertainment, educational, and scientific advances in its unique field. Clients include such prestigious names as The Walt Disney Company, Universal Studios, MGM, Knott’s Berry Farm, NASA, Lockheed Martin, Chuck E. Cheese, Coca-Cola, Mutual of Omaha, Nike, Mattel, and McDonald’s restaurants, among hundreds of others.

“Garner—your story—establishing

Ernst & Young Technology and growing a great business—is Entrepreneur Award of an inspiration!” – Marty Sklar 2006 presented by the Inland Empire Center for Entrepreneurship, 2000 Cal State University San Bernardino Entrepreneur of the Year, 2001 Leader of Distinction, and eighteen Thea Awards for outstanding theme park attractions, in addition to dozens more for both entrepreneurship and creative achievement. He currently serves on the Board of Governors and the Board of the College of Arts and Letters at California State University San Bernardino, and is president of G.D.H. Ministries, a California 501(c)3 organization. Whatever you want to do with your life, know that you can become so much better than the very best in your business that in time you become the very best in your business. Not easy, but it can be done. To that end, take Garner’s advice–put enough perseverance and focus on your dreams, and they will come true.

Garner and GHP have received numerous awards throughout his career, including the Themed Entertainment Association’s 2014 Buzz Price Thea Award for lifetime achievement, the 2011 Inland Empire District Small Business Person of the Year Award,


2014 THEA CLASSIC AWARD: THE ENCHANTED TIKI ROOM BY JEANINE YAMANAKA OF ALLEARS.NET (with gracious editorial assistance from WDI) Where the Birds Sing Words & the Flowers Croon In 1963, Disneyland opened a new attraction--”Walt Disney’s Enchanted Tiki Room”--which, from the first utterance of “wahine e o keonimana,” ushered in a new era of themed entertainment. The perfect marriage of technology and entertainment, the groundbreaking attraction featured the first use of AudioAnimatronics technology, a three-dimensional animation system that brought to life the show’s cast of 225 talking birds, singing flowers and chanting tiki idols. The Enchanted Tiki Room laid the groundwork for a new age of theme park attractions starring swashbuckling pirates, friendly cars and even the presidents of the United States of America. Today, more than 50 years later, the Tiki Room continues to enchant Disneyland guests every day. The idea for the attraction was the merging of two concepts Walt Disney and his Imagineers had been working on for several years. The first began with Walt’s purchase of a small mechanical bird in a cage from an antique store in New Orleans (it can still be seen in working condition at the Walt Disney Archives). Impressed with its delicate capacity to sing and move, he brought it back to


his stable of Imagineers at WED Enterprises (now Walt Disney Imagineering) for them to analyze and recreate in other forms with current technology. Magnetic recording tape was used to synchronize movements and audio that could be rewound and replayed to exact duplication throughout multiple shows a day. This combination of animation and sound was dubbed AudioAnimatronics technology. The second idea was for a new dining complex straddling the border between Main Street, U.S.A. and Adventureland that would feature three restaurants: the Plaza Pavilion, the Tahitian Terrace and the first reservation-only eatery at Disneyland. Referred to in a 1962 pamphlet as “The Bird Room,” this restaurant would feature realistic birds that performed right over the tables of diners. After a mock-up of the idea on a soundstage at the Walt Disney Studios, it became clear that diners would become so enamored with the animated birds and flowers that they would never finish their meals in a timely manner. Capacity at the restaurant would be too low to make it work. The restaurant was designed in a cross shape with four wings and a central open serving space, so Imagineers simply removed the

tables, reconfigured the chairs into a theater in the round (the original restaurant chairs continued to be used in the attraction at Disneyland for several years), added a fountain where the serving area was and reimagined the concept as a show that would host three performances an hour. The quality of the attraction should come as no surprise, given that it was designed and developed by a who’s who of Imagineering legends, all under the watchful eye of Walt Disney himself. Among those contributing were John Hench, Collin Campbell, Rolly Crump, Harriet Burns, Joyce Carlson, Glendra Von Kessel, Lee Toombs, Marty Sklar, Roger Broggie, Wathel Rogers, Bill Cottrell and, in his first major project after coming over from animation, Marc Davis.They were assisted by Studio story writer Larry Clemmons, songwriter Jimmie Dodd (who had been the head Mouseketeer on the 1950s television show The Mickey Mouse Club), Disney staff composer George Bruns and writers and performers Wally Boag and Fulton Burley, who at that time were starring in the “Golden Horseshow Revue” at Disneyland. The final piece of the puzzle was provided by the songwriting team of Richard and Robert Sherman, who were asked by Walt to write a song that explained the whole show. Not only did they write the now familiar and famous “The Tiki, Tiki, Tiki Room,” they suggested the song be sung by a colorful parrot who would also host the show. Walt went them one better. He suggested four parrots, each with a different nationality and personality. The

result was Pierre, Fritz, Michael and José, whose awakening by a Tiki Room cast member starts the show. Unlike most of the attractions at Disneyland at that time, the Tiki Room was owned and operated by Walt Disney himself.That meant admission was not included in Disneyland ticket books. Guests had to purchase a separate 75¢ ticket (50¢ for children) during the first of operation until ownership of the attraction changed and the show became an “E” coupon Disneyland attraction. To attract passers-by that first year, an Audio-Animatronics “Barker Bird” was installed outside the entrance to “pitch” the show. Unfortunately, he proved to be a little too successful as admiring guests blocked the entrance to Adventureland and he was subsequently removed. The original Enchanted Tiki Room show was 17 minutes. In the 1990s, one of the songs was trimmed and the show was shortened to under 14 minutes, enabling more shows to be performed each day. In 2005, as part of the 50th anniversary celebration of Disneyland, the attraction underwent an extensive restoration that included a digitally remastered score, new sound system, and updated infrastructure. For over fifty years, the birds in Walt Disney’s Enchanted Tiki Room have been exhorting us to “sing like the birdies sing,” and just like the original caged bird Walt bought all those years ago, they show no signs of stopping.



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TEA DISTINGUISHED SERVICE HONOREE: KAREN MCGEE BY RICH PROCTER, SENIOR WRITER, BRC IMAGINATION ARTS Here you are, sitting at your designated place of honor in the Ballroom of the Disneyland Hotel, about to enjoy the Thea Awards Gala. You’re probably anticipating the presentations, wondering who will be here or trying to remember everyone’s name. Or you’re reading this some time after the Gala has taken place. One thing you’re NOT ruminating on is “Who was the galvanizing force that made all this possible? Who facilitated the transformation of hundreds of submittals into a reasonable number of nominations, and then caused a group of of industry members to agree, and then choose the Thea Awards recipients?” Her name is Karen McGee and she is abundantly worthy of the 2014 TEA Service Award for dedication and service above and beyond the call of duty. Did I mention that she has a third (!) full time job in her private life? She has been an active member of the sorority Beta Sigma Phi for 39 years, supporting philanthropic statewide projects -Cystic Fibrosis, Bay Area Lupus, Scleroderma and Stanford Kidney Research. Just in her home area of the Santa Clarita Valley, the sorority supports Family Promise, Bridge-to-Home Shelter, Single Mother’s Outreach, Breast Cancer and many other worthy causes.

Let me describe Karen’s job, so you can compare it to your own. Every year Karen takes each nomination (all 125 to 175 of them), numbers every piece of documentation, watches and times each submitted video, enters it in a database and properly files it away. Now that everything is submitted electronically, Karen still must track the on-line stuff so that everything is received and checked prior to the Awards Committee’s first meeting in August. Then Karen’s job is to facilitate the meetings, make sure everyone has a parking space, prepare the agenda, and the most important part -- LUNCH! Yes, she also feeds everyone at every meeting. Each meeting involves 28,495 pesky details, and she makes sure each one is worked out. She even helps prepare and present the final recipient slate to the TEA International Board for their final approval. Once approved, the recipients are announced at IAAPA each year. Karen then sends letters to all carryover projects and to projects that are no longer eligible, thanking them for their participation. Then she files everything away until the next year.

Karen has been married to her husband, Chris, for 35 years. They have a 21 year old daughter Kaitlyn and will graduate from Cal State Fullerton in May. Kaitlyn has been drag-racing since she was 8 years old. You didn’t mis-read that last sentence. Drag racing! She inherited her love for motorsports from her father. Karen hopes this is a phase, but Kaitlyn is about to start racing a Super Comp dragster, so we’ll see. But here’s the thing -- Karen does all these things graciously, calmly and with a very light touch. Her job is like that of an NHL hockey goalie -- you never get praised for the saves, you only get blamed when things go wrong. And yet she’s always a pleasure to work with. Karen serves, and finds pleasure in that service, and that pleasure is infectious. She is a joy to work with.

Did I mention she also has a second full-time job? She is the Executive Assistant to Bob Rogers, the BR of BRC Imagination Arts. Bob is a Thea Lifetime Achievement Award Recipient. He is also a highly-caffeinated, slightly scattered, often demanding, fair (usually) boss who tasks Karen with keeping his schedule, writing letters and memos, booking his travel, answering his phone, remembering everyone’s birthdays and kids’ names, occasionally feeding everyone in the office, and constantly tracking the other 28,495 pesky daily details involved in running a successful business. He confidently expects Karen will do everything flawlessly the first time and is grateful for her contribution to the success of BRC.

This Award reads, “The Distinguished Service Award is presented annually in recognition of a TEA member’s outstanding contributions ‘above & beyond the call of duty’ to the Association.” Frankly, the award should read as follows: “To Karen McGee, for 12-Plus Years of Distinguished Service Doing Everything For Everyone Around Her, That No One Else Wants to Do But Somebody Has To Do and For Doing This With Grace, Good Humor, Integrity, and an Unerring Sense of How To Select A Tasty Lunch Everyone Will Like.”


A Family Affair - 20 years of Thea Awards by Peter Chernack It’s hard to believe that we are celebrating the 20th anniversary of the Thea Awards. Looking back, I particularly remember the fourth annual Thea Awards Gala in 1997, which was held in the elegant Crystal Ballroom at the Beverly Hills Hotel. There were perhaps 375 or so in attendance, but it felt more intimate, like a convivial gathering of old friends and colleagues who just happened to be decked out in formal attire. As Pat Scanlon, one of the Thea Awards founders, observed at the time, “we all cleaned up pretty well.” By today’s standards the event was simple, presented on the ballroom’s small stage with a podium and minimal set dressing. One had the sense that this gathering felt more like the first Academy Awards dinner held at the Hollywood Roosevelt Hotel nearly 70 years before, only much longer and significantly more expensive to attend. Thanks to Marty Sklar and the folks at Walt Disney Imagineering, we had a professional video crew and for the first time there was IMAG and video playback of attraction clips. Live music was provided by a capable quartet. The legendary Don Iwerks was the fourth individual to be recognized as a Lifetime Achiever and Disneyland’s Pirates of the Caribbean was the very first attraction to receive a Thea Classic Award. As was the tradition in those days, the TEA President made both the welcoming remarks and presented the awards to the recipients. I had the privilege of handling those duties, assisted by Heather Blair whose graceful and elegant presence was matched only by her strength in bringing out and holding onto the Thea trophies - which must have weighed 20 pounds each – during those long speeches.

Later that evening many of us gathered in the Polo Lounge enjoying the afterglow of a great evening with animated conversation, cocktails and cigars. There was an aura of optimism that came not from a frenzy of networking or hustling the next gig, but rather from the pleasure of being together as a community to celebrate what is best in each of us. The TEA was a family affair then, and we could only just begin to know how significant the Thea Awards would become as an international benchmark of outstanding achievement in our industry.

Midway through the ceremony an executive from NASA accepted a Thea for the Apollo Saturn V attraction at the Kennedy Space Center (a BRC project). At the conclusion of his remarks, he took out a letter from his inside jacket pocket, and read a short note that offered congratulations to NASA/KSC on their attraction being honored with a Thea Award from the Themed Entertainment Association. He paused, looking up at the audience, and said, “Sincerely, (signed) Bill Clinton, President of the United States. The pause in the room was palpable. It just hung in the air. From the stage, I clearly remember seeing the surprised look on people’s faces before the applause broke out. In that moment, something changed. Who we were and what we did mattered; it had resonance beyond the realm of self-congratulations and recognition. Sure it was symbolic (to all the cynics and jaded PR mavens; hush – be in the moment). However just like the proverbial stone tossed in a pond, the ripples traveled far; both from within ourselves and outward to a world of storytellers and place-makers, hungry to be acknowledged.


As TEA’s immediate Past President, Rick Rothschild says, “The Thea Awards have been the cornerstone of developing this world-wide recognition [of the TEA] throughout the themed entertainment industry. In recognizing excellence and achievement accomplished by a team of talented and highly skilled individuals and companies, the Thea Awards provide an annual reaffirmation of why our diverse membership and its ability to collaborate in extraordinary ways are so important to the continuing success and growth of the industry.” Past President, Roberta Perry, noted, “Recently I was speaking with an international client who had just become familiar with the TEA and the Thea awards. He expressed ‘awe’ that our clients had won those ‘treasured’ awards and looked forward to the possibility of being honored with one in the future.” Monty Lunde, TEA founder, stated, “The Thea Award being recognized globally as the ‘Oscar’ of themed entertainment is due in no small measure to the dedication and expertise of the Thea Nominating Committee. The committee is comprised of recipients of TEA’s Lifetime Achievement Award and a rotating group of highly respected TEA members; each year they review hundreds of submissions in order to present a slate of outstanding projects to the TEA International Board for approval. The quality of the committee’s work over the past 20 years speaks for itself and is a primary reason the award has become so prestigious.”

in g Comon! o s

Clearly our TEA family has grown a bit larger over the years, embracing an international community whose outstanding work we honor today. In closing, I know I speak for all of our past Thea Nominating Committee Chairs in expressing heartfelt thanks to Karen McGee of BRC Imagination Arts. For the past 12 years she has done an extraordinary job keeping a mountain of information and materials organized for the Committee. Congratulations on being recognized for your contributions with a well deserved Distinguished Service Award. Peter is the principal of The Chernack Group & serves as the Chair of the TEA Past Presidents Committee



REVOLUTION™ TRU-TRACKLESS™ RIDE SYSTEM (Oceaneering Entertainment Systems) THEA AWARD FOR OUTSTANDING ACHIEVEMENT - BREAKTHROUGH TECHNOLOGY The 1966 Disneyland Voyage Thru Inner Space Omnimover was the first ride system that enabled show designers to direct guest viewing directly at scenes rather than be restricted by a fixed view of the preceding ride vehicle. This was enabled by a rotating and tilting seat arrangement supported on linear track guided vehicles. In 2012, Oceaneering Entertainment Systems developed what may be the ultimate show viewing ride system of all time: one that will provide show scene presentations completely unrestrained when compared to all previous ride systems. Eliminating completely any fixed floor track installation, allowing an economical flat floor, and using free traveling, self-powered vehicles equipped with motion base passenger seating, the Revolution™ Tru-Trackless™ Ride System will give show designers unparalleled show design freedom. No longer will a show ride experience be confined to a linear path. Travel through a show environment can be complete variable as to travel path, speed, scene viewing, and load/unload configurations. Ride vehicles can be dispatched as soon as guests are loaded, with no waiting for other vehicles to finish loading. Individual vehicles can take differing routes through an adventure - which can provide nearly unlimited guest experiences. Shows can take advantage of ride experience re-programming at any time so that guests will be able to enjoy entirely variable individual show experiences. The Tru-Trackless™ Ride System is the show designer’s ultimate flexibility dream come true.


The vehicles are battery powered, responding to central programming commands including vehicle-to-vehicle communication through GPS positioning methods. Vehicles’ batteries are charged during load stops and do not need additional nightly charging requirements. Each vehicle is supported and propelled by fully-steered wheel assemblies. Seating sections can rotate and tilt in any direction independent of the vehicle motions. As noted above, the developers of this system have created intelligent vehicles that can designate and navigate their own nonlinear ridepaths, as well as interact with other vehicles in real time, creating ride scenarios that are different every time. The Oceaneering Tru-Trackless™ Ride System is more than deserving of the Themed Entertainment Association Technical Breakthrough Thea Award since it will provide the entire themed entertainment industry with the ability to create a completely new level of compelling experiences nearly unconstrained by the ride systems.

OFFICIAL CREDITS LIST - REVOLUTION™ TRU-TRACKLESS™ RIDE SYSTEM Oceaneeering Abraham, Tohiet H. Anderson Jr, Robert J Bewick, Steven D Bilenki, David C. Boshears, Devin M Boshears, Michael W. Bunting, William D. Cartmill, Bryce Cavey Jr, William F Chabot Jr, Joseph E Chan, Christopher Christianson, Scott E. Draper, Denise Eckenrode, Corey M. Eichhorn, Aaron D Ely, Richard D. Ernst, Jan-Baker Etta, Lauren Farris, Richard G Feinstein, Stanley B Finlayson, William S.

Foley, Kenneth Foster, Samuel T. Garber, Ronald Good, David Grant, Andrew S Gration, David A. Harrington, Shane M Harvey, Nathan Hass, Frank P Howard, Richard S Hunt, Tyrone Janke, David D Jennings, Clifford A Johnson, Guy Jordense, Bjorn Kauffman, Chris Keller, Jason E Kent, Matthew King, Eric A. Koch, George A Kreider, John Kroslowitz, Ken

Kurtz, Nicholas E. Leon, Jose Leonard, Tosha Lewis, Charles E Lohr, Charles N Malghan, Suhas S. Mauck, Dave McHugh, Joseph M. Miller, Roger Eric Moore, James F Moorehead, Keith A Murphy, Ashley Nangle, Renatta L Nix, Duane L Nuth, Sanh O’Brien, Mark Hugh Oates, James D Paparella Jr, Ralph Price, Randall P. Price, Wanda L. Ruiz, Ricardo Russell Jr, Michael

Rutkiewicz, David S. Sanchez, Gary T Sandoval, Sandra Segeren, Patrick Simonelli, James K Sywak, Stephen Thomareas, Nikitas Tran, Brian Duy Quoc Vazquez, Angel L. Walker, Michael Wendell, Jonathan D White, Michael Willems, Nathaniel J.

Congratulations Garner!!! Here’s to all of the 2014 recipients for bringing such wonder to life.


GARDENS BY THE BAY, SINGAPORE THEA AWARD FOR OUTSTANDING ACHIEVEMENT - BOTANICAL GARDEN Opened in 2012 in Singapore, Gardens by the Bay is an immense, 54-hectare, botanical experience on reclaimed land adjacent to the iconic Marina Bay Sands hotel. Hosting 1.7 million visitors in the first five months of operation, the two iconic conservatories—Cloud Forest and Flower Dome—can be seen from all around central Singapore. The attraction includes didactic exhibits, a uniquely configured projection gallery (featuring a screen that wraps from ceiling to wall and across the floor, encouraging people to sit on the projections) and more.Visitors can take the sky path over 130 feet in the air on a suspended/cantilevered “catwalk” through the Cloud Forest - giving visitors a unique perspective on the garden - visit regionally unique biomes, and see exotic and unusual floral specimens in the arid Flower Dome, take in the lush landscape


outdoors by walking the elevated skyway across the eighteen spectacular 160 foot tall Supertrees (each a garden experience in itself, or relax in the tranquil café. More than a mere botanical display, Gardens by the Bay is a compelling and iconic experience that brings education, entertainment, other worldly environments, regionally unique biomes and extraordinary perspectives to Singapore. Created as a gift to the people of Singapore, the project boasts audacious scale, a unique site plan, a focus on quality of the educational and interpretation experience, and, especially, excellence of design.

OFFICIAL CREDITS LIST - GARDENS BY THE BAY Kiat W. Tan, Chief Executive Officer Kenneth Er, Chief Operating Officer Peggy Chong, Deputy Chief Executive Officer Andy Kwek, Director, Conservatory Operations Boon Gee Ng, Director, Gardens Operations Chui Leng Ong, Director, Programming Cheng Yee Leong, Assistant Director, Programming Michelle Chan, Assistant Director, Programming Eugene Ong, Assistant Director, Friends & Volunteers Alyna Chern, Manager, Programming Bernadette Yew, Manager, Programming Marie Kwok, Manager, Programming Grace Lau, Manager, Programming Su Li Pang, Manager, Programming Adalia Lin, Manager, Programming Theresa Li, Manager, Programming Ling Ling Woon, Manager, Programming Richard Pang, Deputy Director, Facilties Jason Lee, Deputy Director, Development & Planning Ismail Sudderuddin, Assistant Director, Public Relations and Communications Aloysius Lim, Assistant Director, Facilities Jason Woo, Manager, Facilities Thomas Pan, Manager, Facilities Hoan Moh Chong, Manager, Facilities Karuthakannan Bose, Manager, Facilities Sok Lan Lee, Assistant Director, Development & Planning Shane Wong, Assistant Director, Development & Planning Ryan Lee, Assistant Director, Visitor Services Narom Chea, Senior Manager, Development & Planning Adrian Toh, Senior Manager, Conservatory Operations Jason Woo, Manager, Facilities Clara Goh, Manager, Procurement Jasline Ang, Manager, Procurement Yani bin Mohamed Nor, Manager, Gardens Operations Vincent Koo, Manager, Development & Planning Annie Loh, Executive, Development & Planning Weelly Chung, Executive, Development & Planning “Kim Kim” Low, Executive, Development & Planning Jeslyn Phua, Executive, Development & Planning Darren Oh, Director, Business Yoon Fong Wong, Assistant Director, Business Alloysius Teng, Assistant Director, Business Jason Koo, Assistant Director, Business Leng Lee, Senior Manager, Business Ashley Aw, Senior Manager, Business Alice Tan, Manager, Business Mabel Tan, Manager, Business Jorryn Liu, Manager, Business Sharon Lim, Manager, Business Alice Wong, Assistant Manager, Business Kay Lim, Personal Assistant to CEO Prisca Teh, Director, Retail Management

Samantha Kwan, Senior Manager, Retail Management Adelina Lee, Manager, Retail Management Larry Hong, Manager, Retail Management May Yeo, Deputy Director, Human Resource Liana Tan, Sr Manager, Human Resource Brenda Leng, Sr Manager, Human Resource Karin Goh, Manager, Human Resource Yen Cheng Sih, Manager, Human Resource Benjamin Ong, Manager, Administration Betty Pau, Director, Finance Wai Mun Wong, Assistant Director, Finance Siew Eng Yeo, Manager, Finance Joanna Tan, Manager, Finance Isaac Wong, Assistant Director, IT “Michelle” Lim, Deputy Director, Public Relations and Communications “Yan Szu” Ong, Assistant Director, Public Relations and Communications “Adeline” Chong, Assistant Director, Public Relations and Communications Ferne Yap, Senior Manager, Public Relations and Communications Juliana Tan, Senior Manager, Public Relations and Communications Gary Kaw, Assistant Director, Sponsorship Sylvia Ng, Senior Manager, Sponsorship “Derek Chan” Chan, Assistant Director, Conservatory Operations Marziah bte Haji Omar, Assistant Director, Conservatory Operations Ching Lok Yip, Manager, Conservatory Operations Ralf Gresch, Deputy Director, Visitor Services Anna Ang, Assistant Director, Protocol Mervyn Lau, Manager, Ticketing & Attractions Operations Eric Loh, Assistant Manager, Ticketing & Attractions Operations Clarence Chua, Manager, Visitor Services Constancia Margammuthu, Manager, Visitor Services Jennifer Loh, Manager, Visitor Services Adrian Toh, Senior Manager, Conservatory Operations Adrian Loo, Deputy Director, Research Anton Steven Van Der Schans, Deputy Director, Plant Introduction & Health Siok Sin Chua, Manager, Plant Introduction & Health Jassy Phua, Manager, Plant Introduction & Health Moi Hwa Law, Assistant Manager, Plant Introduction & Health Andrea Kee, Assistant Director, Plant Introduction & Health Gary Chua, Assistant Director, Gardens Operations Chad Daniel Davis, Assistant Director, Conservatory Operations Daniela Cristina Zappi, Senior Manager, Research Derek Wee, Senior Manager, Gardens Operations

Melissa Tan, Senior Manager, Gardens Operations Yong Kwee Low, Senior Manager, Gardens Operations Felicia Chua, Senior Manager, Gardens Operations Mei Leng Lim, Senior Manager, Conservatory Operations “Keng Ho” Ong, Senior Manager (Integrated Plant Management), Gardens Operations Janice Loh, Manager, Conservatory Operations Sean Koh, Manager, Conservatory Operations Edwin Ong, Manager, Conservatory Operations Patrick Stephan Hayes, Manager, Conservatory Operations Mihkaail Anis Ng, Manager, Conservatory Operations Loong Wei Tho, Manager, Conservatory Operations Khin Maung Soe, Assistant Manager, Gardens Operations Irene Chong, Horticulturist, Conservatory Operations Xiaoyi Lee, Horticulturist, Conservatory Operations Ruby Tan, Horticulturist, Conservatory Operations Jia Hui Tiong, Horticulturist, Conservatory Operations Melissa Wong, Horticulturist, Conservatory Operations Renee Koa, Horticulturist, Conservatory Operations Wen Ping Zhang, Manager, Gardens Operations Yani Bin Mohammed Nor, Manager, Gardens Operations Steve Lee, Manager, Gardens Operations Johnny Quek, Manager, Security PROJECT MANAGEMENT PM Link Pte Ltd Choon San Chung, Managing Director Yew Cheong Mak, Director (Program) “Swee Geok” Goh, Senior Project Manager “Max “ Ong, Senior Project Manager “Tung Shu” Wang, Senior Project Manager Wee Boon Tay, Project Manager Kelvin Liu, Project Manager LANDSCAPE ARCHITECTS Grant Associates Andrew Grant, Managing Director Keith French, Director Carly Lamb, Senior Associate David Finch, Senior Associate Tamasine Scott, Senior Associate Timothy Osborn, Senior Associate James Clarke, Associate Claire Hobart, Associate “Aymara” Langley, Landscape Architect “Melissa” Orr, Landscape Architect “Peter” Morris, Landscape Architect “Yong Hoe” Lee, Landscape Architect Gabriel Caballero, Landscape Architect “Mark” Broom, Landscape Architect


Philip Jones, Landscape Architect ARCHITECTS Wilkinson Eyre Architects “Paul” Baker, Director “Matthew” Potter, Associate Director “Bosco” Lam, Associate Director Alex Kyriakides, Associate Gabi Code, Senior Architect Ivy Chan, Senior Architect Adrian Lai, Senior Architect CPG Consultants Pte Ltd Sin Khoon Khew, Chief Executive Officer Peter How, Director (Design) Soo Khoong Lee, Senior Vice President Wai Ying Wong, Senior Vice President Colin Wu, Senior Vice President Eleanor Tan, Principal Architect Associate Shin Wei Tan, Principal Architect Ping Ping Lee, Senior Architect Associate Teng Kwee Lee, Senior Architect Associate Hassana Abdul Hameed, Senior Architect Associate Wayne Yeo, Senior Architect Associate Thin Thant, Senior Architect Associate Shaji Eapen Mammen, Senior Architect Associate Justin Hor, Architect Associate Michelle Xiao, Architect Associate Wendy Koh, Architect Associate Cheryl Ann Gavino, Architect Associate Benny Chua, Technical Associate Soh Hiang Fok-Choo, Technical Associate Kon Hai Tan, Technical Associate CONSULTANTS Atelier One Ltd Neil Thomas, Director Luis Fernandez, Associate Engineer Yacine Boudiza, Site Engineer Meinhardt Infrastructure Pte Ltd Kok Siong Chan, Managing Director Yang San Go, Director See Lim Foo, Director Pui Fun Joanne Wong, Associate Director Hee Meng Wong, Associate Director Gina Tan, Senior Engineer Wei Chiun Ngui, Senior Engineer Caroline Pei Yi, Wong Senior Engineer Kok Seng Tang, Senior Engineer Sopha Thong, Senior Engineer TRANSSOLAR Energietechnik GmbH Wolfgang Kessling, Consultant Atelier Ten Ltd Patrick Bellew, Principal Meredith Davey, Senior Associate Director Rudolph Duncan-Bosu, Associate Director Nigel Horan, Associate Director

CPG Consultants Pte Ltd Peng Hong Lim, Senior Vice President Chern Yee Soon, Senior Vice President Chuck Kho, Senior Vice President Keh Mui Tan, Vice President Kar Kheng Loh, Vice President Simon Wee, Senior Consultant Han Lin Toh, Principal Engineer Swee Keng Tan, Principal Engineer Hua Xie, Senior Engineer Nicholas Voo, Senior Engineer Han Min Neo, Senior Engineer Kok Ho Seow, Senior Engineer Jan Kamer, Senior Vice President Stephen Tan, Vice President Nirmal Krishnani, Consultant Johnny Lim, Vice President Thomas Cheang, Vice President Poh Hong Neo, Principal Engineer Cher Heong Ng, Senior Engineer Henry Lim, Senior Engineer Hairon Bin Nawi, Senior Engineer Christopher Angkodjojo, Engineer Angelia Ai Lian Goh, Engineer Shao Yen Tan, Executive Vice President Alan Foo, Engineer Anand Parthasarathy, Engineer Kaiqin Hu, Engineer Thomas Matthews Sophie Thomas, Signage Consultant Charlotte Van den Bogaert, Signage Consultant Land Design Studio Peter Higgins, Intepretive Consultant Shirley Walker, Intepretive Consultant John Blanchard, Intepretive Consultant Jona Piehl, Intepretive Consultant

Building System & Diagnostics Pte Ltd Ping Quen Yong, Energy Modelling Consultant Wah Wah, Energy Modelling Consultant

ArupFacadeEngineering Michael Chin, Facade Consultant ArupFire Angela TY Chen, Fire Consultant Joe Paveley, Fire Consultant VIPAC Engineers & Scientists Pte Ltd James Peck Tuan Tay, Acoustic Specialist Corinne Ballarini, Acoustic Specialist Henry Lim, Acoustic Specialist Cardno Lawson Trelor Rhys Thomson, Water Quality Specialist Brett Phillips, Water Quality Specialist Speirs and Major Associates Jonathan Speirs, Lighting Specialist Keith Bradshaw, Lighting Specialist Carrie Donahue Bremner, Lighting Specialist Lighting Planners Associates (S) Pte Ltd Shigeki Fujii, Lighting Specialist Knight Frank Pte Ltd Danny Yeo, Marketing Consultant Peter See-Toh, Marketing Consultant Michelle Lam, Marketing Consultant Heidi Yong, Marketing Consultant DTZ Choon Foh Ong, Marketing Consultant Constance Leung, Marketing Consultant

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MICHAEL JACKSON ONE™, MANDALAY BAY HOTEL, LAS VEGAS THEA AWARD FOR OUTSTANDING ACHIEVEMENT - EVENT SPECTACULAR This stunning, live entertainment spectacle represents an electrifying achievement for Cirque du Soleil, who have found a new creative recipe for today’s eclectic, media-centered audiences. In Michael Jackson ONE™ they’ve fused Cirque’s traditional energy with the iconic power of the King of Pop. The two make a perfect marriage; Michael was a longtime fan of Cirque’s magic, and many of his musical themes lend themselves to eclectic spectacle. Michael Jackson ONE™ dazzles at every turn, alternating between multisensory overload and lingering poetry. The show’s creators have deconstructed Michael Jackson into his essential components, both physical and emotional. A single white glove... a fedora hat... a pair of sparkle-spatted shoes... each becomes a springboard to a segment of the show that grows from that single artifact into a mind-blowing series of images. Jackson’s eternal themes find physical expression as well: the healing of Love... the power of Belief... the glory of Unity... these grand ideas combine with Michael’s iconic visuals to remind us of humanity’s essential goodness and optimism, even in the face of unspoken sorrows and a life lived in the camera’s glare.


Innovative: Yes. The show introduces a number of first-time performance technologies, including a crazy acrobatic performed on neon green elastic straps, and a manic number in which performers hurl themselves belly-first to the stage floor, then to spring high into the air like crickets. Mapped projection certainly isn’t new, but Michael Jackson ONE™ kicks it into warp drive, wrapping the entire stage, proscenium and theater walls in a dizzying barrage of images that adroitly capture the essence of each song. And while Michael himself is present throughout the show via multiscreen projection and clever costume references, when the moment finally comes (as it must) for The Gloved One to appear in a holographic-style Pepper’s Ghost illusion, it’s done with such lyrical elegance and musical precision that Michael becomes a golden sparkling spirit, blessing the show’s dancers with his magic. Michael Jackson ONE™ qualifies as themed entertainment because despite the somewhat traditional stage format, it reaches beyond the proscenium to immerse audiences visually, sonically and emotionally. (Cirque has been honored with Thea Awards in the past - in 1998 for the “O” show, and again in 2005 for the stage technology of “Ka”.)

OFFICIAL CREDITS LIST - MICHAEL JACKSON ONE™ Guy Laliberté, Creative Guide Jean-François Bouchard, Chief Creative Content Officer Jamie King, Story Creator and Director Welby Altidor, Director of Creation Carla Kama, Associate Director Kevin Antunes, Musical Director François Séguin, Set and Props Designer Zaldy Goco, Costume Designer Michel Lemieux and Victor Pilon, Creators for the scene Man in the Mirror

Travis Payne, Choreographer Rich and Tone Talauega, Choreographers Parris Goebel, Choreographer Sidi Larbi Cherkaoui, Choreographer Ivan « Flipz » Velez, Choreographer Olivier Simola, Choreographer Rob Bollinger, Acrobatic Performance Designer Germain Guillemot, Acrobatic Performance Designer Ben Potvin, Acrobatic Choreographer Andrea Ziegler, Acrobatic Choreographer Raymond St-Jean, Projections Designer


Jimmy Lakatos, Projections Designer David Finn, Lighting Designer Jonathan Deans, Sound Designer Pierre Masse, Acrobatic Equipment and Rigging Designer Nathalie Gagné, Makeup Designer Brian Drader, Dramaturge Manon Beaudoin, Characters’ Guide Henry Fong, Illustrator Dago Gonzalez, Image Content Designer

ENCHANTED TALES WITH BELLE, MAGIC KINGDOM PARK, WALT DISNEY WORLD RESORT, ORLANDO (USA) THEA AWARD FOR OUTSTANDING ACHIEVEMENT - PARTICIPATORY CHARACTER GREETING In this interactive story adventure in the Walt Disney World Magic Kingdom Fantasyland expansion, guests (especially children) are invited to act out the story of Beauty and the Beast, along with characters Belle, Madame de la Grande Bouche and Lumiere the candlestick. Entering through the cottage home and workshop of Belle’s father Maurice, guests are transported through a magic mirror to the Beast’s Castle. Once there, guests participate in a role playing reenactment of the story that combines a deceptively simple, low-tech participatory theater format with sophisticated and technically impressive effects and animation.The Magic Mirror effect as well as the Audio-Animatronics figure of Lumiere, the candlestick, are in the highest tradition of groundbreaking Disney Imagineering. At the conclusion of the story, each member of the “cast” as well as other audience members has the opportunity to pose for a personal photograph with Belle. This is far more than the typical character greeting experience. Disney has reached back to its storytelling roots and created


an experience that is intimate and personal in its connection to the guests, while being slyly supported by truly state-of-the-art effects and animation wizardry. While it may have been tempting to focus on more contemporary theatrical media and technology to create this experience, the daring use of absolutely simple storytelling and playacting (with background of Imagineering wizardry) creates a much stronger and more personal connection than a more programmed experience. The participatory nature of the retelling of the story is surprisingly impactful, allowing children (and even adults) to imagine themselves in the story. The interplay between incredibly simple costumes and props and theatrical effects, animation and lighting, as well as a live interplay with “Belle” creates a truly unique invitation to suspend disbelief that will create memories many kids will carry with them for a lifetime. What might have been a basic meet-and-greet photo opportunity has been elevated to a charming, imaginative and immersive experience, both for the guest who plays a role in the story and the rest of the observing audience. It is a creative blend of excellent design, imaginative interactivity and technical wizardry.

OFFICIAL CREDITS LIST - ENCHANTED TALES WITH BELLE WDI Team Members John Adamczyk, Project Estimator Damon Agapiou, Dimensional Designer Linda Alcorn, Show Controls Engineer Ross Allen, Project Planner/Scheduler Leo Anderson, Construction Manager Mary Ane, Project Support Arden Ashley, Set Decorator Deidra Ashley, WDI Communications Greg Ashton, Architect Principal Harold Baker, CAD Designer Jeff Ballew, Set Decorator Katie Barnes, Set Decorator Chris Beatty, Executive Creative Director Cherie Beaulieu-Unland, Systems Planner/Scheduler Art Belanger, Construction Manager David Bell, Technical Director Miriam Ben-Ora, Theme Lighting Designer Chris Biggs, Visual Effects Designer Becky Bishop, Landscape Designer Jared Bishop, Creative Techology Designer Sarah Bishop, Associate Project Manager Robin Blackburn, Project Coordinator Bob Blanchard, Production Designer Jack Blitch, Portfolio Project Management Executive Andrea Bottancino, Color Designer Bob Bronsdon, Accoustic Engineer Andrew Brooks, Mechanical Engineer David Bui, Systems Planner/Scheduler Marnie Burress, Executive Project Manager Ray Cadd, Concept Designer Juwanza Campbell, Construction Manager Sonny Chapman, Animation Production Oscar Cobos, Facility Designer Greg Combs, Show Design & Production Studio Exec Mila Corkins, Scheduler & Integrated Mgmt Controls Courtney Crawford, Recruiter John Cutry, Animation Programming Julie Deen, Project Support Lisa Deer (Anderson), Systems Planner/Scheduler Dawn DeMague, Project Support John Dennis, Executive Creative Director Barbara Dietzel, Interior Designer Hien Dinh, CAD Designer Dave Driver, Construction Manager Emily Dow, Interior Designer Kevin Eld, Creative Entertainment Studio & Portfolio Executive Dave Ellis, Manager, Sourcing & Procurement David Emery, Dimensional Designer Eli Erlandson, Dimensional Designer Kent Estes, Structural Engineer Constance Fields, Structural Engineer Brian Ford, Project Planning/Scheduling Mike Fracassi, Media Designer Martin Franzka, Animation Production Joe Garlington, Executive Producer Jon Georges, Executive Producer Kerry Gilman, Special Effects Designer Angela Girardi, Project Support Wendy Gish, Interior Designer Scott Goddard, Dimensional Designer Barry Golding, Animation Production David Gottlieb, Animation Programmer Steve Grant, Project Architect David Graul, Show Electronic Engineer Joe Gutierrez, Special Effects Designer Joanna Hamaguchi, Graphic Designer Ed Hanna, Production Designer Lance Hanson, Sourcing Specialist Gail Hash, Project Planner/Scheduler Mandana Hashemzadeh, Finance Manager

Meridith Head, Interior Designer Pete Hernandez, Animation Production Joe Herrington, Audio Media Designer John Higgins, Production Designer Mike Horen, Quality Controls/Quality Assurance Janet Hwu, Production Designer Jennifer Irey, Interior Designer Eric Jacobson, Portfolio Creative Executive Dan Jenkins, Facility Design Manager Steve Johnson, Special Effects Designer Daniel Joseph, Special Effects Designer Chris Kelly, Show Producer Jerre Kirk, Construction Manager James Klepper, Show Electronic Engineer Janice Knapp, Project Support Vickie Knapp, Scheduler & Integrated Management Controls Mark Kohl, Executive Project Manager Laura Lalik, Color & Paint Specialist Susan Landis, Show Design and Production Manager Tim Landry, Visual Effects Designer Paul Lawrence, Construction Logistics Lindsay Leader, Show Lighting Designer John Leloudis, Facility Design Manager Louie Lemoine, Graphic Designer Roy Lemon, Civil Designer Alyssa Leystra, Associate Project Manager Steve Litten, Sound Editor Brian Loo, Systems Planner/Scheduler Celina Lung, Systems Planner/Scheduler Doug McIntyre, Executive Producer - Creative Entertainment Matt McKim, Theme Lighting Designer Nathan McWilliams, Audio/Video Engineer Andrew MacPhee, Color & Paint Specialist Tim Macallister, Graphics Fabrication Akhil Madhani, Executive R&D Imagineer Marilyn Magness, Executive Creative Director Creative Entertainment Don Matheson, Dimensional Designer Tod Mathias, Figure Finishing Chris Mazzella, Animation Production Colleen Meyers, Production Designer Randy Myers, Animation Production Eric Miller, Production Designer Sue Milner, Project Support Nicole Miniclier, Associate Production Designer Shannon Moore, Show Design and Production Mgr Anthony Morris, Audio/Video Engineer Gary Moyer, Dimensional Designer Brian Nefsky, Dimensional Designer Trung Ngo, Color & Paint Specialist Laurie Newell, Concept Designer John Noonan, Electronic Engineer Scott O’Donnell, Construction Superintendent Brian Orr, Show Mechanical Designer Diego Parras, WDI Communications Greg Paul, Theme Lighting Designer Denise Perez, Project Finance Lucas Phelan, Video Media Designer Robin Polk, Produciton Designer Ron Polk, Production Designer Reza Pezeshki, Mechanical Engineer Steve Probus, Set Decorator Christine Proctor, Show Design and Production Associate Steve Pryor, Audio/Video Engineer Rodney Rayborne, Ride Engineering Technician Ethan Reed, Show Animator John Repass, Assoc Project Estimator Tanner Rinke, Show Mechanical Engineer Ted Robledo, Creative Director


Greg Rosa, Systems Planner/Scheduler David Rothman, Show Design and Production Associate DeWayne Royal, Construction Superintendent Craig Russell, WDI Chief Design & Project Delivery Executive Chris Samuelian, Project Architect Hector Sanchez, Construction Manager Uriel Sanchez, Animation Production Paul Sangha, Quality Controls/Quality Assurance Derek Santos, Show Set Designer Celeste Scavone, Project Support Bruce Schaffer, Theme Lighting Designer Gary Schnuckle, Special Effects Designer Princ Staci Schofield, Creative Designer Jacquie Scoggin, Systems Planner/Scheduler John Shields, Landscape Designer Nikkolas Smith, Facility Designer Tracy Smith, Project Support Scott Sohan, Visual Effects Designer Michael Sprout, Show Writer Gary Stubblefield, Project Support Eric Swapp, Show Programmer Terry Tasior, Finance Manager Olga Tsirambidis, Production Designer Chris Turner, Executive Creative Designer Michelle Updike, Associate Project Manager Michael Valentino, Show Lighting Designer Ben Van Beusekom, Production Designer Bruce Vaughn, WDI Chief Creative Executive Joe Vitale , Produciton Designer Jeremy Wade, Project Estimator Tim Warzecha, Project Manager Amy Watts, Show Design and Production Associate Harry Weiss, Project Estimator Jeff Webb, Executive Project Estimator Cliff Welch, Production Design Jeff White, Animation Production Alexis Wieland, Executive R&D Imagineer Ryan Wineinger, Assustant Art Director Geoff Williams, Show Set Designer Bei Yang, Creative Technology Designer WDW Partners Tara Anderson, Creative Entertainment Show Director Cathy Arnott, Project Manager - Magic Kingdom Park Deb Ball, Project Support Michelle Doromal, Idustrial Engineer Patty Dunne, Creative Costuming Pam Flint, Creative Costuming Phil Holmes, Magic Kingdom Park- Vice President Reed Jones, Creative Entertainment Director Ron Klempner, Program Manager - Magic Kingdom Park Sharon Madill, Character Strategy - Franchise/Synergy Louise Murray, Creative Entertainment Executive Sean Noble, Idustrial Engineer Michael O’Grattan, Entertainment & Imaging Executive Scot Reynolds, Program Manager Executive - Walt Disney World Jill Sypko, Project Manager - Magic Kingdom Park Melissa Valiquette, Entertainment Operations - Magic Kingdom Park WDI Contractors and Partners Barton Malow Company Dan Colonna The Cunningham Group, Inc. Design Communications, Ltd. Environmental Lighting Raul Fernandez Function Engineering, Inc. Hansen’s Welding



THE MIND MUSEUM, TAGUIG CITY, PHILIPPINES THEA AWARD FOR OUTSTANDING ACHIEVEMENT - SCIENCE MUSEUM The Mind Museum is the Philippines’ first world-class science museum.The museum features 4,900 square meters of interactive science and technology exhibitions within five major galleries and outdoor spaces. With over 250 interactive “minds-on” and handson exhibits, the museum presents science in a creatively unique, entertaining, and engaging way. Visitors are welcomed by thematic sculptural gardens and wideopen spaces prior to entering five expansive galleries. The Lobby, the Introductory Hall, the Ten Most Beautiful Experiments, and the Hall of Philippine Science all serve to initiate the visitors’ museum experience. The five galleries are organized around five stories about the collective wondering and understanding of nature through art, technology and science. The galleries are connected by crucial links dubbed as Nature’s Webways. The beautiful rendered passageways feature a variety of specialty lighting, audio-visuals and artistic exhibits to help visitors make the transitions from one to another of the intricately woven stories of the galleries.


This museum demonstrates true excellence in design and execution.Working with a US firm to master plan the museum, well over 90% of the exhibits were designed and fabricated by Filipino designers, scientists and fabricators, making it uniquely theirs. Each gallery setting is creatively themed and masterfully represented.The thematic thread and artistic treatments throughout the museum are what makes this project extraordinary by any standards. In bringing their stories to life, the Filipino designers and artists went the extra step in expanding science into a fully experiential world, creating unusual scale, playful details and interactivity throughout. This world-class design combined with sensory-rich experiences make The Mind Museum a truly outstanding achievement in the museum category.

OFFICIAL CREDITS LIST - THE MIND MUSEUM Planning & Construction Project Team Ayala Land Inc., sustainability design and construction management lead Cobalt Engineering, sustainability consultant Ed Calma, principal architect Joel Luna, building design Mita Montinola, building design Richard Yap, construction management Ysrael Laguio, construction management Robert de Mesa, project architect Patrick Espiritu, project architect Yonni Habulan, project architect Jayson Sio, project architect Charles Wee, project architect Lesley Espiritu, general contractor Frank Borja (+), landscape architect Famie Calamayan, general contractor Ricardo Carpio, electrical engineering Eroseller Castro JR Chavez, electrical engineering Joejim Collado, project management Carla Cruz, sustainability consultant Maria Cecilia Cruz, quantity surveyor Emie dela Cruz, plumbing consultant Ralph dela Cruz, facilities management Aldrien Dulay, plumbing consultant Judith Felix, general contractor Dindo Fernando, external affairs Don Gantang, general contractor Larry Garcia, project management Jonah Ledesma, project management Bryan Marin, legal affairs Herbert Miranda, landscape architect Rey Mojica, electrical engineering June King Nuarin, general contractor Mike Asinas, landscape design Ralph Olaes, mechanical engineering Merra Orbe, project management Paul Padrinao, structural consultant Pam Paguirigan de Guzman, sustainability consultant Enzo Tugado, project management Maria Lilian Recto, liaison Leony Reyes, quantity surveyor Norvel Romero, project management Kristine Sanao, general contractor Jerwin Saria, general contractor Christine Sycangco, lighting design Dave Trinidad, general contractor Jowell Velvez, external affairs Romeo Vizconde, project management Rosella Belmonte, construction management Dante Abando, construction management Arnold de Asis, general contractor Jan Bengzon, external affairs Members of the Board of Trustees of Bonifacio Art Foundation, Inc. (Proponent of The Mind Museum) Joselito Campos, Jr., Chairman Fernando Zobel de Ayala, Vice-Chairman Antonino Aquino, President Anna Ma. Margarita Dy, Treasurer Edgardo Cruz, Jr., Corporate Secretary Mariano John Tan, Jr., Auditor Emily Abrera, Trustee Carlos Rufino, Trustee Aileen An. Zosa, Trustee The Mind Museum Team Manuel Blas II, Managing Director Ma. Lourdes Reyes, Chief Finance Officer Maria Isabel Garcia, Curator Christine Marie Batac, Head of Operations

Bernard Beltran, IT Specialist Bryant Cabantac, Exhibit Engineer Mary Ann Capinding, Asst Marketing Manager Darwin Cayetano, Exhibit Engineer Carol Pobre, Exhibit Manager Trixie Mary Tacardon, Marketing Manager Ma. Lourdes Velez (+), BAFI Exec Director Maria Victoria Villacorta, Former Finance Manager Alan Garrick Bercero, Education Officer Ma. Lourdes Camille Velvez, Marketing Assistant Ma. Elisa Nicandro, Marketing Officer Stephanie Faith Bautista, Creative Communications Assistant Joyce Alaine Reyes, Creative Communications Assistant Mary Catherine Mercado, Education Officer Asia Maris Urquico, Education Officer Carla Alessandra Anna Dario, Education Officer Bianca Marika Pedrosa, Former Education Officer Cilicia Uzziel Perez, Education Officer Pecier Paul Decierdo, Education Officer Arthur Galapon Jr., Education Officer Rhea Zayda de Claro, Creative Communications Officer Mark James de Jesus, Property Manager Maria Elena Lemos, Finance Manager Alexandra Limcaco, Assistant Manager for Donor & Community Relations Ethel Trinidad, Former Finance Manager Abigail Louise David, Former Exhibit Manager Margrette Mae Arciaga, Exhibit Manager Ana Nina Hermosa, HR & Admin Assistant Jocelyn Sulapas, Former Admin Assistant Exhibit Advisory Council Benedicto Cabrera, National Artist Emily Abrera, Chair, Cultural Center of the Philippines Dr. Jerrold Garcia, physicist Dr. Emy Liwag, cognitive scientist Dr. Joven Cuanang, neurologist Dr. Jose Balmaceda, mathematician Dr. Caesar Saloma, physicist Jaime Ayala, social entrepreneur Science Advisers (Institutions and Individuals) Marine Science Institute, University of the Philippines International Rice Research Institute (IRRI) Conservation International World Wide Fund (WWF) Philippines Philippine Rice Research Institute (PRRI) Manila Observatory College of Science, Ateneo de Manila University Computer Science Dept., University of the Philippines Haribon Foundation Dr. Maria Luisa Daroy, microbiologist Dr. Cynthia Saloma, molecular biologist Dr. Reggie Marcelo, mathematician Dean Dauger, physicist / software developer Dr. Alyssa Alampay, paleontologist Dr. Rene Claveria, geologist Dr. Wilson Garcia, physicist Dr. Arnel Andrew Yaptinchay, marine specialist Ivan Culaba, physicist Dr. Fabian Dayrit, chemist Dr. Robert Crease, science historian Dr. Marijo Ruiz, mathematician Dr. Florent Detroit, paleoanthropologist Artists (Individuals and Companies) Aya Cariza Ng Bingbing dela Paz Chiradee Mejia Jimenez Clara Andrea Cervantes Clarissa Garrido-Bartolome


Iona Mae Banez Jaime Quiano Jr. Jinel Valdecanas John Marin Flores Jose Melchor Silvestre Joy Rlagan Leonardo Rosete Lilianna Christina Manahan Lilibeth Gelvezon Jose Antonio Perez, film maker Margrette Mae Arciaga Mark Joseph Arevalo Tan Mark Victor Bautista Marla Angela Santos Myrna Elizabeth Borromeo Nina Elisa Constantino Patricia Iba単ez Paul Albert Quia単o Raphael Daniel David Reginald Yuson Rico Lascano Ruben Adrian Flores Ryan Joel Alivia Baby Imperial Anne Coco Anne Jun Saldana Tessa de Guzman Veronica Pantig B&C Design Lor Calma & Partners Fabricators/Multimedia Creators Ateneo de Manila University Physics Department Bespoke Trading E-cartoon Graphics MMSJ Dimensional Industries Inc. MVCB Industrial Design Science Centrum Fabrication, Inc. Space Specific, Inc. Signex Philippines, Inc. Theme Builders Philippines, Inc. Vulcan Resources Imaginary Friends Design Muscle Pippin Dot Master Planning and Design Jack Rouse Associates Consultants Rolando Sulit B&C Design, Inc. Acoustic Analysis Design Muscle Inc. Langdon & Seah Philippines Inc. GiantSponge Digital Inc./Paco Pastor I.A. Campbell & Associates, Inc. Lor Calma Design, Inc. Meindhardt Philippines NBF Consulting Engineers Primesoft R. A. Mojica and Partners RJ Calpo & Company Six Degrees Strategic Design Sy2 V8 Software Solutions, Inc. Video Sonic Vision A & E, Inc. WestRim, Inc. Yehey! Corporation Founding Donors 3M Philippines, Inc.

ABS-CBN Broadcasting Corporation Ajinomoto Philippines Corporation Akari Lighting & Technology Corporation American Standard Philippines, Ltd. Co. Ayala Corporation Ayala Foundation, Inc. Ayala Land, Inc. Ayala Malls Ayala Property Management Corporation Bank of the Philippine Islands Bonifacio Estate Services Corporation CATS Motors, Inc. Cemex Citimex, Inc. Dai-chi Electronics Manufacturing Corporation Daniel O. Mercado Medical Center DATEM, Inc. Del Monte Philippines, Inc. Delfi Foods, Inc. Diwa Learning Systems Inc. Fort Bonifacio Development Corporation Globe Telecom, Inc. Hapee Toothpaste (Lamoiyan Corporation) HSBC Hublot Geneve Hyundai Asia Resources, Inc. IMI Group of Companies Intel Microelectronics Philippines, Inc. Jollibee Foods Corporation JP Morgan Chase & Co. Manila Water National Book Store Inc. National Geographic Channel Northgate Technologies, Inc. NutriAsia, Inc.

Pacific Paint (Boysen) Philippines, Inc. Papercon Philippines PASAR Pilipinas Shell Petroleum Corporation Polycom REHAU/EUROVEK S.C Johnson & Son, Inc. Shell Philippines Exploration Sony Ericsson Mobile Communications Int’l. AB Sony Philippines, Inc. St. Luke’s Medical Center Sun Life Financial SunPower Corporation Tan Yan Kee Foundation Themebuilders Philippines, Inc. Thompson Hardware and Lighting Center Times Trading Co., Inc. Timezone Philippines University Physicians Medical Center Uratex (Multiflex RNC Philippines Inc.) INDIVIDUALS & FAMILIES Joselito D. Campos Jr. Family of Antonio and Minetta Ayala Family of Edgardo & Bernadette Puno Family of Rolando M. Puno-Regina Busuego Family of Mariano K. Tan Families of Cenon & Remedios Blas and Juanito & Florence Balbin Larry & Pat Gotuaco Stephen & Lolita Sy

MARINE WORLDS CAROUSEL, LES MACHINES DE L’îLE, NANTES, FRANCE THEA AWARD FOR OUTSTANDING ACHIEVEMENT - UNIQUE ART INSTALLATION Located on an island of the Loire River in Nantes, France, in an abandoned shipyard warehouse, one is delighted to find “Les Machines de l’ïle.” A true experimental laboratory created by two artists, François Delarozière and Pierre Orefice, it offers a fantasy world that mixes the imagination of Jules Verne with the mechanical universe of Leonardo da Vinci. An incredible collection of mechanical wonders such as the Great Elephant, which is a 50passenger, walking mechanical elephant and the magnificent flying Heron tree, the pair have now created a stunning new addition, The Marine Worlds Carousel. This giant, three-tiered carousel, 25m high and 22m in diameter, is incredible machinery that reawakens fairground art. In this fascinating structure dedicated to the three levels of the sea, guests will discover delightful, animated mechanical sculptures in all forms of sea life. From the giant crab and reverse propulsion squid of the seabed, the lantern fish and manta ray of the ocean depth to the jellyfish, flying fish and sailing ships on the surface of the 24 mechanical waves.


Beautiful sculptures of metal and steel, these sea creatures stand on their own as pieces of art. But, they go one step further than that! Guests can board the carousel and, seated inside, operate them to move their appendages, such as fins, tails and tentacles. Characteristics: Diameter 22m Height 25m Number of elements 35 Number of seats 85 Max capacity 300 guests The unique quality of the design, the incredible and audacious nature and scale of what would otherwise be a simple carousel, its interactive elements, and most of all its sculptural sophistication and artistic vision continued to grab the attention and made a strong impression on the entire Thea Awards nominating committee.

OFFICIAL CREDITS LIST - MARINE WORLDS CAROUSEL, LES MACHINES DE L’îLE COMPAGNIE LA MACHINE François Delarozière, co-authors and artistic director Gina Mayer, administrative director Claude Rigo, research advisor Bertrand Bidet, technical director Jean-Pierre Aubry, structures and calculations director Elodie Linard, general coordinator Emmanuel Bourgeau, wood coordinator Samuel Hernandez, metal coordinator “The constructers of the Company The Machine, who knew how to forge the sensitive material of this Carousel of the Marine Worlds.” LES MACHINES DE L’ILE Pierre Orefice, co-authors and director of exploitation Laurent Lahaut, technical director Petra Kollner, coordinator service of the public Alexis Trutet, technical coorinator of project of the Carrousel Amélie Racine, administrative and financial coordinator Ania Dziadkiewicz, executive assistant Sullivan Coursin, assistant human resources Mediators Joelle Legua, Creator of the mediation Mohamed Abdou Julie Alzate Julie Angevin Thomas Balkwill Thomas Canonne Céline Culo Gwenael Delabar Maxime Devige Elodie Fortin Virginie Guillas Maxime Labat Isabelle Le Bihan Nicolas Rouesne Marion Thomas Animators Manuela Biclungo Lois-Alban Cardona Ibrahim Doale Laurent Elie Vincent Filou Pierre Juton Lucie Lepionnier Pierre-Yves Raguin Technicians Vincent Houzan Jocelyn Liorzou, Technical team leader Corentin Marchand, Electrician Pierre-Jacques Robert Reception agents Solenn Andrieu Alexia Bryssens Aicha Couture Nolwenn Faquet Amandine Fouquart Shéhérazade Haddou Caroline Moisan, Coordinator of the box office Séverine Mouchere Anne Pecastaing Thomas Riera Marie Tortel SPL LE VOYAGE A NANTES Jean Blaise, director

Maud Raffray, General secretary Catherine Menant, Administrative and Financial Department François LeJort, general coordinator of project François Dupeyrat, Operating manager Jean-François Gervot, Project manager Géraldine Puiroux, assistante ARCHITECTS Nicole Concordet, architect Christophe Theilmann, architect ARCADIS, Engineering civil ISOCRATES, Fluids Yves-Marie Ligot, Wood FINANCIERS Nantes Métropole Région Pays de la Loire FEDER - Fonds européen de développement régional Département de la Loire Atlantique Etat Français PARTNERS Crédit Mutuel Brémond Harmonie Mutuelle MEDIA Jean-Dominique Billaud, photographer Dominique Deluze, film director Nicolas Gautron, designer COMPANIES ADEKMA OUEST, Company of handling and lifting

HAUTEUR 44, “Scales, scaffolds, harnesses, life lines, scales with crinoline, keep body” IREC, ticketing technology KILOUTOU, “Rent of equipments of do-it-yourself, gardening, cleaning, construction works and public works.” LA CORDERIE D’OR, “Design, manufacturing and distribution of systems and accessories of lifting, handling, cables” LEDUC SAS, Skeletons wood and bardages drink LE PETIT AFFUTEUR, Repair of machines and mechanical equipments LOXAM RENTAL, “Rent and sale of equipment for the building, the public works and the industry” LYNX ASSISTANCE, Welcome and security of the public MACOCCO VITRAGES, “High-performance insulating glazings, windows and glass roof ” MANUTAN, “Specialist of the industrial supply, the equipment, the material of handling and the office furniture for professionals” MECATLANTIC, “The sale, the maintenance and the repair of marine, industrial engines and generating sets” MELPOMEN, Professional systems of sound system MISM, Industrial maintenance Locksmithery Assembly MONDIAL PROTECTION, “Companies of surveillance, guarding and protection”

AMD IMPRIMERIE, Printing office

OTIS, World manufacturer of elevators, escalators


PHIL’EXPO, Rent of equipments for events, shows

ATELIER VOILERIE, “Conception, manufacturing, repair, rinsing of sails”

PIECES A PART, Distribution of staircases, lifeline

ATLANTIC’BACHES, Manufacturer of covers for professionals

PLATEFORME DU BATIMENT, Distribution of building materials

ART DE LA RENOVATION, The works of inside

POULIE NANTAISE, “Manufacturer of pulleys of lifting handling, mitten of overhead crane, mitten of cranes”

BMS, technologies of cleanning after water disaster

QUADRISSIMO, Digital printing

BUREAU VERITAS, “A world leader in the evaluation

QUALICONSULT EXPLOITATION, “Specialist of the technical inspection, the assistance and the formation”

of the conformity and the certification” CAAP OUEST, A structure specialized in the loan of workforce

REXEL, Distributor of electrical equipment

CHARRIER SAS, Joiner’s workshops

ROUXEL, “The specialist of the equipment of stores,

CLEAR CHANNEL OUTDOOR, The outside communication

layout, set of shelves”

CORDAGES GAUTIER, The sale of ropes, belts and nets DEKRA UNITE NANTES, “The leader of the inspection, the certification, the services and the management of the disasters” DOCKS INDUSTRIES SERVICES, “General supplies for the building and the industry” DLE, Civil engineering firm DOUBLE MIXTE, “A communication agency specialized on territories and public actors” EURO ETANCHE, Insulation, waterproofness, cover, photovoltaic ETPO, Civil engineering firm FABORY, Equipment and industrial supply, fixations


RIWAL FRANCE, The rent and the sale of nacelle

SFCMM, Specialist of the work of the tube and profiled SIEMENS, High technology SPIE BATIGNOLLES, “Global operator of the building and the public works” STROBBE, graphic production SVS VOILERIE, Belts and sails TUV NORD, Certification of the technological systems WLCH WORLD LC HOLDING PRODUCTION, digital production Groupe ZUR, fireworks and special effects

POLYNESIAN CULTURAL CENTER, OAHU, HAWAII THEA AWARD FOR OUTSTANDING ACHIEVEMENT - ATTRACTION REVITALIZATION The Polynesian Cultural Center opened on the Hawaiian island of Oahu in September of 1963. Since opening, the PCC has hosted over 37 million guests, including international dignitaries, presidents, kings and ambassadors from around the globe. Recently, the PCC engaged in a comprehensive planning and development effort to create new guest experiences. To this end, two major renovations were recently completed. The Gateway is a 37,000 square foot facility that provides evening buffet meal service and has been reimagined as a grand Hawaiian hall. The second project, “Hawaiian Journey” was a repurposing of an aging giant-screen theater. The transformation of the buffet hall (the size of a football field) into Gateway included adding new entry canopies and doors, a new color scheme and dimensional Hawaiian symbols and graphics. The exterior lighting and landscaping were also redone and are more reflective of authentic Hawaii. The interior was completely renovated and includes the addition of stately Koa wood (GFRP) columns and flame effect sconces sculpted as giant clam shells. Beneath the woven, thatch-looking ceiling, a 20 foot high by 500 foot long mural encircles the entire space and depicts a Hawaiian


King welcoming his royal Polynesian brothers and sisters to join in feast and fellowship. Renovations also included a new and more robust sound system and all-new interior lighting. The second project, “Hawaiian Journey,” represents the repurposing of the giant-screen theater.The exterior, out-of-theme facility shell was covered and recast with the look, feel, sounds and sensibilities of an ancient volcano. By incorporating extensive rock work, waterfalls, faux painting, “breathing” steam vents and lush landscaping, the facility was completely transformed. The entry into the theater is a lava tube, with flame-effect lighting and deep, rumbling sounds that lead guests into the interior volcanic chamber (theater). From a technical perspective, a state-of-theart, high-definition, digital 4K projection system was installed, as well as a new sound system and a new 40’ x 74’ projection screen and a full-length, motorized screen curtain for added drama. A new show lighting package was also incorporated and includes black lights to highlight painted wall graphics.The 14-minute movie is an original production about Hawaiian culture that highlights spectacular natural settings throughout the Hawaiian islands.

Additionally, the theater’s 252 seats have 4D effects incorporated that enhance the movie experience. The renovation and resulting transformation of the dining hall and giant-screen theater represent PCC’s full embrace of the arts and sciences associated with Themed Entertainment. The complete renovation of the facility has resulted in a significant and impactful improvement to the guest experience both visually and experientially. The transformation of the theater entry, seating and staging into a dramatic and immersive setting (with truly luxurious 4D seats!) fully engages guests. The original film production is true to the mission of the PCC in that it is a compelling story about Hawaiian

culture and ancestry and illustrates how Hawaiian traditions live on through each generation. The Gateway also utilizes the best in Themed Entertainment technologies in ways that artfully represent the Hawaiian culture and traditions, thus furthering the guest’s connection with the mission of the PCC. In its renovation of key facility elements, the PCC very successfully brings the 50-year-old institution and its guest experience into the 21st Century.

OFFICIAL CREDITS LIST - POLYNESIAN CULTURAL CENTER Gateway Credits DESIGN TEAM Project Designer & Producer: MLD Worldwide Chief Designer & Art Director: MIKE LEE Project Producer: PAT SCANLON Designer: SPENCER HARRIS Facility Architect:Kataro Koizumi & Associates KATARO KOIZUMI CHARLES ALOMBRO Show Architect: J.M. Willams & Asscoiates KEITH HANSEN JAMES WILLIAMS Landscape Architect: Paradise By Design HERB RAMSAIER JAMES MONTGOMERY Lighting Designer: Helius Lighting Group PAUL HIXSON 4Wall Systems & Design BRENT PRITCHETT Audio Designer: Poll Sound TIMOTHY DEWARD Project Engineer: J.M. Williams & Asscoiates JAMES WILLIAMS Acoustic Engineer: Thorburn Associates STEVE THORBURN LISA THORBURN RYAN SCHOFIELD Electrical Engineer: Nakamura, Oyama & Associates DAREN LUI Mechanical Engineer: David L. Jensen & Associates RICK JENSEN CONSTRUCTION TEAM Project Director: Polynesian Cultural Center ORLIN CLEMENTS General Contractor: KC Builders Project Executives: DON CARROLL BRENT KELLER Superintendents: ZACH TAYLOR JOHN SMITH Themed Fabrication: Western Architectural Features

TRACY JONES SCOTT JONES Themed Installation: Recreation Development Co. JEFF WHITTLE AARON KAHLE Lighting Contrtactor: 4Wall Systems & Design BRENT PRITCHETT BUDDY POPE Electrician: Nalu Electric CRAIG FREEBAIRN Landscape Contractor PCC Landscape & Grounds VICTOR DAGUIO MURAL DESIGN & PRODUCTION Art Director: MIKE LEE Story: PAT SANLON Cultural Advisors: Polynesian Cultural Center ALFRED GRACE DELSA MOE CY BRIDGES Research: JENNA PARKER Principal Artist: SEAN SULLIVAN Artistic Stylist: CASSANDRA BARNEY Contributing Artists: JACOB WYATT GREG NEWBOLD JARED GREENLEAF Production Designer: SPENCER HARRIS Production & Installation Identity Signs: BRENT ALBERS PROJECT EXECUTIVE PRODUCERS Polynesian Cultural Center VON ORGILL ALFRED GRACE LOGO APELU MLD Worldwide MIKE LEE PAT SCANLON


Hawaiian Journey Credits DESIGN TEAM Project Designer & Producer: MLD Worldwide Chief Designer & Art Director: MIKE LEE Project Producer: PAT SCANLON Designers: SPENCER HARRRIS JOHN UIBEL Design Architect: SCOTT BINGHAM Graphic Designer/Researcher: JENNA PARKER Executive Architect: J.M. Willams & Associates Project Architects: JAMES WILLIAMS KEITH HANSEN Project Engineer: JAMES WILLIAMS Landscape Architect: Paradise By Design HERB RAMSAIER JAMES MONTGOMERY Lighting Designers: Helius Lighting Group PAUL HIXSON 4Wall Systems & Design BRENT PRITCHETT Electrical Engineer: Nakamura, Oyama & Associates DAREN LUI Mechanical Engineer David L. Jennsen & Associates RICK JENSEN CONSTRUCTION TEAM PCC Owner Representative: ORLIN CLEMENTS Project Managers: KIRK TYLER BILL SMITH General Contractor: Arita Poulson Contractors Project Executive: DARYL ARITA Project Manager: STEVE JORGENSEN Superintendent: WIL NORTHUP Rock Work Contractor: Pool Instruments & Controls SEAN NEWBOLD Rock Work Sculptors: AUREL TEMPORAL B.J. HARRISON COREY CLAUSEN Painting Contractor: Consolidated Painting JOE FERRARA XAVIER SOLOMON

Lighting Contractor: 4Wall Systems & Design BRENT PRITCHETT BUDDY POPE Electricians: Schock Electric SCOTT LANG DANIEL HONG Nalu Electric CRAIG FREEBAIRN Polynesian Cultural Center JASON HURWITZ Landscape Contractor: Ultimate Innovations BRUCE VIDINHAR Scenic Painters: SEVEN NEIELSEN BILL FITZPATRICK B.J. HARRISON JOHN UIBEL SPENCER HARRIS CHAD DAVIS MIKE LEE Signs and Graphics: Identity Signs BRENT ALBERS Pacific Signs & Graphics NATHAN NITAHARA ATTRACTION SYSTEMS PCC Attraction Manager: MOSES FEINGA Audio Video Integrator: Electrosonic, Inc. LES HILL


“Mele Pa’ihi Kupuna” Courtesy of Mountain Apple Company Performed by KAUMAKAIWA KANAKA’OLE Post Production Techincal Director: RICK GORDON Narrator/Storyteller: AL HARRINGTON, JR. Producer: JEFF MILLER Executive Producer: PAT SCANLON ULU RETAIL STORE PCC Owner Representative: KEA HAVERLY Project Manager: ORLIN CLEMENTS Store Conceptor: MARC NEVES Store Planners: SHELLY EASTON LIZ CAMAT Project Designer: JOHN UIBEL Construction Manager: GEORGE GREENWOOD PROJECT EXECUTIVE PRODUCERS Polynesian Cultural Center: VON ORGILL ALFRED GRACE MLD Worldwide: MIKE LEE PAT SCANLON

Let us move you.


DE VUURPROEF, HET SPOORWEGMUSEUM, UTRECHT, NETHERLANDS THEA AWARD FOR OUTSTANDING ACHIEVEMENT - 4D SIMULATOR, LIMITED BUDGET Het Spoorwegmuseum (The Railway Museum) is a unique museum in the heart of Utrecht, Netherlands, that offers guests a multi-sensory experience through the history of the Dutch and European railway tradition. Fully themed exhibitions, stage shows and even rides are part of the museum’s inventive ways to engage and entertain guests during their stay. De Vuurproef (literal translation: “The Acid Test”) is a new 4D simulator attraction that offers guests a fully-themed, family-oriented experience. Guests in the queue are divided into four groups that are linked to a number before entering a themed waiting room full of vintage railway artifacts. Each number corresponds to painted numbers on the floor in the pre-show. Based on these numbers each guest is assigned to a task that has to be fulfilled during the simulation. After seeing the instruction movie, guests continue into a dimly lit space, where they enter one of four richly themed Jules Verne-


esque locomotives. In these motion-base locomotives, guests experience a high-speed journey through many different habitats and time periods. At certain moments during the simulation, participation by the guest, such as speeding up or slowing down the train, influences the simulation when a specific task is mentioned. The entire project was created on a limited budget. This museum attraction demonstrates true excellence in design and execution. Highly detailed finishes and props, ambient lighting, special effects and media, make for a rich and visually very consistent experience. It successfully engages the public in a way not usually seen in museum attractions.The thrill and excitement experienced by fully engaging visitors is akin to a theme park experience, while also reinforcing the message of the railway museum at the same time. While entertained, visitors experience the responsibilities of being at the controls of a powerful locomotive.

OFFICIAL CREDITS LIST - DE VUURPROEF, HET SPOORWEGMUSEUM Paul Van Vlijmen, Dutch Railway Museum - Director Evelien Pieterse, Dutch Railway Museum - Project Manager Sandra Bechtholt, Dutch Railway Museum - Head of Marketing Allegonde Rijckborst, Dutch Railway Museum - P.A. Paul Van der Sijs, Dutch Railway Museum - Head of Operations Michiel Snijders, il luster Productions - Executive Producer Jaap Verburg, Jaap Verburg - Art Direction Bobby de Groot, House of Secrets - Animation Dirk Kloosterboer, Kloosterboer Decor - Decor

World premiere at Europa-Park: Arthur - Kingdom of the Minimoys will feature the first suspended powered coaster from Mack Rides. A unique combination of dark-ride and rollercoaster experience with gondola rotation, onboard sound and special effects, variable speed profiles and much more. For more information visit us online: mack-rides.com | facebook.com/mackrides 49

MYSTIC MANOR, HONG KONG DISNEYLAND THEA AWARD FOR OUTSTANDING ACHIEVEMENT - ATTRACTION Mystic Manor at Hong Kong Disneyland Park is a highly-themed, ride-through attraction combining extensive and ingenious projection mapping, Audio-Animatronics technology and other, one-of-a-kind, special effects to tell a charming, original story with state-of-the-art excellence. Lord Henry’s compatriot, a mischievous monkey named Albert, opens a newly arrived music box reputed to possess strange powers. A magical melody (created by award winning composer Danny Elfman) escapes the box as a ribbon of mystical energy (known as Music Dust). Whatever the Music Dust touches – the object springs to life. Albert tries to recapture the drifting musical vapor, chasing it from room-to-room, getting deeper and deeper into trouble – and the guests follow throughout the Manor’s rare collection of artifacts, sharing in his adventure. Guests get a front-row seat experience of the 40 visual effects created by different technologies and 36 projectors, including four ultra-high-definition (4K) projectors.


A wire-guided, trackless ride system choreographs the guest’s vehicle to follow the action with variable speeds, stopping, starting and turning to follow the action from room to room. The vehicles can be positioned in any direction at any moment. As a result, guests never know in which direction the story will take them next. And with the different perspectives of the four vehicles, this highly immersive adventure full of surprises, special effects and theatrical wonders is highly repeatable. Mystic Manor signals a new generation of possibilities in the integration of projection mapping with ride technology, audioanimatronics and other special effects. Ride creators everywhere will be studying and borrowing technical ideas from this project. But Mystic Manor doesn’t just exemplify the highest standards of technical excellence. Amid the technical breakthroughs, the ride creators never lost their rigorous focus on the beautifully told story. Mystic Manor exemplifies the seamless integration of the latest technology with true state-of-the-art storytelling.

OFFICIAL CREDITS LIST - MYSTIC MANOR Walt Disney Imagineering Craig Russell, Chief Design & Delivery Executive Bruce Vaughn, Chief Creative Executive Joe Lanzisero, Sr. Vice President, Creative Doug LeBlanc, Vice President, Project Management Mark J Schirmer, Executive Creative Director Robert Coltrin, Executive Creative Director Gayle Jacob, Administrative Support Mylene Matheson, Administrative Support Rod Kurihara, Ride Project Engineering Executive Jeffrey B Hames , Ride Control Systems Engineer Alan Tso, Production Designer Mitch J Gill, Executive Production Designer Paul E Baker, Ride Control Systems Engineer Michael R Wallden, Ride Mechanical Engineer Sr. John Dennis, Executive Creative Director, Music Prod. Martin S Hernandez, CADD Designer Sr. Michael D Murray, Show Set Designer Principal John D Guerra, Special Effects Designer Principal Vally Mestroni, Set Decorator Sr. Chalmer D Day, Sr. Principal Project Coordinator Monika P Meirer, Color Designer Sr. Keith M Gallo, Creative Designer Lead Ethan F Reed, Show Animator Sr. Pamela A Rank, Show Lighting Designer Principal Michael W Godby, Graphic Designer Principal Edward A Nemeth, Ride Control Sys. Engineer Principal Andrea Liu, Production Manager Thomas G Flowers, Concept Designer Jensen C Lin, Ride Control Systems Engineer Sr. Russell B Dunn, Show Mechanical Designer Sr. Ursula B Clemons, Interior Designer Todd Neubrand, Dimensional Designer Lead Dan C Pacholski, Executive Show Electronic Engineer Merle A Quick, Principal Engineer Hisaki Yasuda Cynthia A Gould, Color & Paint Specialist Sr. Rick Won, Dimensional Designer Katherine Chang, Interior Designer Vaishnavi Jayakumar, Finance Arden W Ashley, Set Decorator Principal Fintan P Burke, Animation Production Lead Pam Gill, Set Decorator Koichi Aranai, Facility Lead Painter Paco Au Yeung, Logistics Robbin E Broad, Audio Media Designer Principal Alan Au, Ride Control Systems Engineer Hilcia C Pena, Sr. Facility Designer Muja Cheng Matt Tager, Interior Designer Principal Wah Wong, Technician Nelson Chan, Special Effects Designer 2 Stellar Chow, Show Lighting Designer Eric S Hirota, Architect Principal Janice Barrett, Graphic Designer Principal Todd Richins, Program Manager, Technical Oscar Cobos, Facility Designer Principal Shawn A Baray Bethann M Brody, Set Decorator Principal Theresa Jo Shook, Show Set Designer Sr. Thomas M Fotie, Principal Systems Estimator Nikkolas G Smith, Facility Designer Mike Shannon, Design & Production Manager David W. Graul, Show Electronic Engineer Principal Trung Ngo, Color & Paint Specialist Sr. Miguel Padilla Glenn E Wens, CADD Designer Sr. Christopher J Turner, Executive Creative Designer Hoi Tse, Sr. Show Lighting Designer Jared E Bishop, Associate Creative Technology Designer Preston T Landry , Visual Effects Designer Victor L Martin Jr, Animation Miu Lam, Administrative Support

Jackie Law, Coordinator Gregory S Kadorian, Executive A/V Engineering Michael R Harper, CADD Designer Sr. Bernardo A Baldonado, Sr. Fabricating Designer Thomas Scott Bergman, Interior Designer Sr. Wilson Ng, Sr. Production Designer Eline Fok, Administrative Support Arad Vejdani, Production Designer Harold L Happe, Show Designer Mechanical Principal Ashley Marsh-Hames, Associate Ride Control Engineer Lina J Barr, Creative Designer Norik Gharagedaghi, Dimensional Designer Raymond A Jared, CADD Designer Principal Kris M Ogle, CADD Designer Sr. Steve Cotroneo, Dimensional Designer Lead Limei Jing John Hobbie, Show Production Designer Arthur I Rank III, Scheduler Hasmik Boyadjian, Interior Designer Sr. Daniel Joseph, Special Effects Designer Sr. Salvatore Ingraldi, Special Effects Designer Sr. Christopher R Kidder, Finance Manager Tod A Mathias, Color & Paint Specialist Sr. Courtney Kollman Zurich, Systems Planner/Scheduler Jonathan Green, Associate Show Mechanical Engineer Ronald A Ortiz, Architect Principal Guillermo L Herrejon, Mechanical Engineer Principal Steven L Smith, Ride Prototype Labs Group Lead Cheryl P Brickey, Project Manager Bruce W Schaffer, Theme Lighting Designer Robert Haddock Gregory S Lhotka, Chief Sound Engineer Editor Chris R Cartwright, Coordinator Matthew Curcio, Associate Show Software Engineer Robert R Blanchard, Production Designer Sr. Eugene N Radu, CADD Designer Sr. Michael P Bertrando, Manager Rockwork Engineering Yo Yokouchi Miriam Ben-Ora, Theme Lighting Designer Calvin Lee Walsten, Landscape Architect Principal Robert G Braunstein, Director Show Design & Prod Anthony G Enriquez, Digital Designer Lindsay B Leader, Show Lighting Designer Christopher R Smith, Concept Designer Tracey J Carpenter, Creative Designer David A Dahlke, Landscape Designer Principal Cindy T Tsujimura, Producer David M Bell, SD&P Technical Director Sr. John Johnson, Dimensional Designer Robert L Bronsdon, Production Manager Christopher W Hastings, Show Lighting Designer Sr. Leonid Makovoz, Mechanical Engineer Principal Randall J Myers, Animation Production Principal Janet MacDonald, Material Planner Sr. Wendy E Gish, Interior Designer Jeffrey D Webb, VP Estimating Thomas Brentnall, Projection Effects Michael C Sprout, Show Writer Gregory A Paul, Director Project Env Design & Engineering Cristobal H Andrade, Electrical Engineer Principal Kevin J Phillips, Theme Lighting Designer Linda A Folsom, Producer Deborah Lee, Financial Analyst Rick L Taylor, Animation Kenneth A Horii, Executive Visual Effects Design Celina Lung, Costume Designer Sr. Paul B Hendrickson Dustin D Barnard, Creative Technology Group Alisara Tareekes, Graphic Designer Associate Robert A Oyos, Technician Sr. Loraine Chan Tim Lin, Sr. Civil Engineer


Steven M Griffith Dana A Fraser, Finance Jose A Gutierrez, Civil Engineer Ali R Tarazkar, Mechanical Engineer Principal Roy Wood David F Barnett, Show Electronic Engineer Principal Matthew Schoepf, Associate Visual Effects Designer Steven A Johnson, Special Effects Designer Principal Corbett W Brown III, Production Manager Larry E Sheldon, Animation Connie McAloney Stamos, Mgr Production Accounting Craig Tadaki, Graphic Designer Sr. Thomas P Leach, A/V Engineer Principal Louise M Gladden, Producer Christopher J Doktorcik, Ride Mechanical Engineer Sr. William Adamson, Show Mechanical Designer Sr. John T Kestler, Chief Sound Engineer Editor Jo Phoa, Technical SQS Manager Jason Michael Cooper, Associate Graphic Designer Martin H Christensen, Production Designer Principal Christopher Miller Courtney Rudd, Associate Interior Designer Clyde J Allen II Trinh D Mai, Animation Production Principal Michael A Ross, Architecture Executive Scott C Goddard, Dimensional Designer Lead Jon R Carver, Tech Standards Analyst Principal Doreen L Carrillo, Show Lighting Designer Sr. Carlos Gonzalez, CADD Designer Principal Alar A Mikk, Director Electrical Engineering Gregory Rosa, Systems Planner/Scheduler Eric L Daffern, Show Programmer Sr. Sandi S Sullivan, Color & Paint Specialist Principal Elias Lopez, CADD Designer Sr. Michael Barry, Creative Designer Michael Sacco, Structural Designer Sr. Scott Simmons, VFX Designer John M Noonan, Executive Show Electronic Engineering Alex Ramirez, Coordinator Paul A Beasley, Show Lighting Technician Sr. Juan F Alvarez Jr, Show Programmer Dane E Stone, Show Electronic Engineer Connie Schlobohm, Set Decorator Manni M Wong, Electrical Engineer Principal Sun Fuk Kong –General Contractor ITM@tion – Show Control Fisher Technical – Show Control Singularity Arts – Laser Programming Precision Projection Systems – Laser Systems AV One Engineering – Audio/Visual Specialist Jerry Rees- Concept Designer Bob Wasson VFX Lab – Visual Effects Kurt Wenner - Artisan/Designer Centro - Animation AAT - Hydraulic Systems Garner Holt Productions - Animation Artech Design & Production - Animation HXT - Animation Millenworks - Animated Prop Metal Crafters - Animated Prop Steady Engineering – Show Action Equipt. Comoso – Hydraulics GP Color – Black Light Printing Bliss – Laser Kingsmen Show Set Gradation - Graphics JR Clancy - Rigging Christie - Projectors Roush Enterprises – Ride Vehicle Jervis Webb – Ride Vehicle & Software Danny Elfman – Composer Deborah Lurie – Arranger

TITANIC BELFAST, NORTHERN IRELAND THEA AWARD FOR OUTSTANDING ACHIEVEMENT - VISITOR CENTER Titanic Belfast, the World’s Largest Titanic Visitor Experience, opened its doors to the world on 31 March 2012, marking 100 years since the completion of the world’s most famous ocean liner. The unique and iconic structure was almost 10 years in the planning, and following its three-year construction period became Belfast’s most famous landmark. Standing at the height of the ship’s superstructure, Titanic Belfast represents a turning point in Northern Ireland’s history, and a reason to visit for people from all over the world. Titanic Belfast is one of Europe’s largest urban regeneration projects. Having welcomed over 500,000 visitors in just over 5 months from opening, 75,000 over the anticipated annual target, Titanic Belfast now stands at the heart of destination marketing for brand Belfast, brand Northern Ireland and brand Ireland. It is also a symbol of confidence, acting as a popular backdrop for both national and international product launches, events and conferences.


Titanic Belfast was designed as a multi-streamed business incorporating the following elements: • A nine gallery interpretative visitor experience • The Titanic Suites, dedicated conference and banqueting facilities • The Andrews Gallery, a dedicated Exhibition gallery • Education facilities comprising an education/community room and the Ocean Exploration Centre • Bistro 401 and The Galley, themed dedicated eateries At the heart of Titanic Belfast is a fully immersive exhibition that explores Edwardian Belfast, the city that produced the famous ship, and charts the growth of the Harland and Wolff shipyard, the story of the Titanic, the people who crafted her, the passengers who sailed on her and the scientists who found her. Titanic Belfast not only tells the story of the Titanic, giving visitors the opportunity to look behind the scenes and marvel at the scale of Belfast’s innovation and industry, but seeks to dispel some of the myths and legends about the tragedy. It is a must-see for anyone

with an interest in this fascinating story - and a development of which the city can be proud. The experience team undertook extensive research and consultation to ensure that the exhibition’s content is rooted firmly in fact, and has appeal for all audiences. Titanic Belfast uses a range of interpretative techniques to bring events to life, with oral testament, film, photographs, archival material and a range of media combined to create an engaging and thought provoking experience. Working with the architects, the Team ensured that the gallery spaces take advantage of the building’s scale and proportion. Throughout the exhibition visitors encounter individuals with stories to tell, many of them Belfast people. The exhibition and experience combines nine galleries across five floors and includes a unique dark ride tour through the shipyard, a 3D ‘cave’ that allows visitors to walk through the ship, and unique HD footage of the Titanic taken by explorer Robert Ballard after he found the wreck in 1985. If numbers could talk, they would surely say that Titanic Belfast has firmly established itself as an attraction and destination worthy of the phrases ‘successful’ and ‘sought after.’ Annual targets, as set out in the pre-opening plan have been exceeded in all key areas including: • Retail annual revenue, met 123 days after opening • Visitor numbers, met 164 days after opening • Conference and Banqueting delegate numbers, met 96 days after opening

“Not another Titanic attraction” and “Hasn’t this story been done already?” seem to be common reactions to the Project name. The response to the first comment is “No, this is not just another Titanic attraction based on James Cameron’s version of the story, this is something quite different.”The answer to the latter question is “No, this story has not been told.” This project starts at the very beginning of the Titanic’s journey and takes place in the shipyards where the ship was built. It is a story of the people who built her and the pride within the community her construction built. It is a compelling project architecturally, thematically and experientially. It uses theatrical techniques when and where they are needed to immerse the visitor deeper into this part of the story and respects the larger story that unfolds after the ship sets sail and eventually sinks. From the minute they see the building (that is the height of the superstructure of the actual Titanic), the visitor will subconsciously begin to feel the enormity of the undertaking of building a ship of this scale in the early 1900s. The designs are thoughtful and do not rely on only one or two interpretive techniques, but rather a range of techniques from oral testaments, film, photographs, archival material and a range of media to engage the guests. Each space blends the technology, architecture and theming in a way that keeps the story and guest experience as a priority in the foreground. This project embodies beautiful execution, attention to detail, sense of place and time (both in the present and in the past), visual impact, story-telling techniques and community significance.

OFFICIAL CREDITS LIST - TITANIC BELFAST Design and Build Contractor Harcourt Construction Chairman - Pat Doherty Deputy Chairman - Conal Harvey Project Director - Noel Molloy Head of Construction - John Doherty Commercial Manager - Martin Conway Design Manager - Ronan Hughes Operator Titanic Belfast Ltd Chairman - Pat Doherty Deputy Chairman - Conal Harvey CEO - Tim Husbands MBE Director of Operations - Judith Owens Director of Finance - Michele Scott Head of Marketing and Leisure Sales - Claire Bradshaw Head of Business Sales and Event Planning - Laura Cowan Head of Merchandising - Michael Sweeney Steering Group - John Paul Doherty Steering Group - Nick Doherty Steering Group - Paul Murphy Steering Group - Gerry Comaskey Steering Group - Paul Carty Steering Group - Mike Murphy Steering Group - Michael Counahan Funders and Donors Department of Enterprise, Trade and Investment Northern Ireland Tourist Board Belfast City Council

Belfast Harbour Commissioners Titanic Quarter Ltd The Design Team Concept Design Architects CivicArts Eric Kuhne Paul Cattermole Mark Evans Lead Consultants/Architects Todd Architects Paul Crowe Angus Waddington Daragh Coleman Exhibition Designers Event Communications Ltd James Alexander Steve Simons Steve Lumby Dan Savage Jacqui Mitchell Victoria Kingston Fraser Hall Daniel Warren Kevin Murphy Simon Rivers Bland Concept Interior Designers CivicArts Eric Kuhne


Interior Designers Kaye Elliott Derek Elliott Concept Landscape Designers CivicArts Eric Kuhne Landscape Architects Heber-Percy & Parker Architects Bernard Parker James Monroe Planning Consultants Turley Associates Brian Kelly Diane Fitzsimons Tourism Consultants CHL Consulting Group Michael Counahan Graphic Designers Tandem Design Andrew Todd Café, Bistro and Shop Designers O’Donnell O’Neill Graham O’Donnell Ann Marie O’Neill Titanic Sign/Metalwork BSK Engineering Barry Kerr


Bars, Joinery Specialist Joinery Sean O’Hagan Feature Staircase Oldtown Joinery Sean Diamond Café, Bistro and Shop Fit Out Marcon Fit Out Mark O’Connor Martin McErlean Titanic Model Peter Garner Davis Dark Ride WGH Transportation Andrew W. Howarth Tony F. Brown John Martin Dick Hudson Wayne A. Ford Peter Mc Morrow Exhibition Audiovisual Hardware DJ Willrich Ltd David Willrich Josh Miller John Doe Paul Haughey Exhibition Interactive Software & Specialist CGI ISO Damien Smith Mark Breslin Clyde Lawson Chris Bain Blair Harrower Paul Rowley Paul Maguire Paola Rezilli Paul McGeogh Giancarlo Bonati Engineering, Construction and Services Consultants Structural, Civil and Fire Engineers RPS Group PLC Michael Shaw

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Project and Cost Management Cyril Sweett/Sweett Group Adrian Grimshaw Jeff Warne Façade Contractors Metallbau Fruh Anton Fruh Façade Manufacturers EDM Spanwall Facades Ltd Alan Grimason Lighting Designers/Lighting Strategistics Sutton Vane Associates Mark Sutton Vane Michael Grubb


Principal Exhibition Fit-Out Contractors Paragon Creative Mark Pyrah Pete Holdsworth Stephen Jackson Richard Thompson Jon Myers Dave Bloodworth Dave Johnson Acoustic Consultants AWN Consulting Chris Dilworth BREEAM Consultants SDS Energy Ltd Stephen Dunn Wind Consultants RWDI Anemos Wayne Pearce Construction (Design and Management) Coordinators Hasco Europe Ltd Peter Cheyne Commissioning Managers Williams & Shaw Phil Carson Exhibition Construction Managers Patton Heritage Dominic Sore Noel Stevenson Jonathan McGarry Early Signature Project Consultants Lighting Design Consultants Bliss Fasman Inc. Mechanical and Electrical Consultants Tavakoli Associates Ltd Structural Engineers RFR Group Exhibition Costing/Quantity Surveyors PT Projects Ltd Financial Modeling KPMG International Feasibility, Risk Register and Business Planning Colin Stutt Consulting Catering Consultants Coverpoint Foodservice Consultants Client Advisors EC Harris Built Asset Consultancy HLM Architects Mott McDonald Group Ltd Strategic Investment Board

Stronger Than Ever Special Thanks to Our Volunteers and Generous Sponsors GLOBAL PARTNERS Walt Disney Imagineering Universal Creative

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THE SONG OF AN ANGEL, UNIVERSAL STUDIOS JAPAN, OSAKA THEA AWARD FOR OUTSTANDING ACHIEVEMENT - LIVE SHOW, LIMITED BUDGET In Universal Studios Japan’s recreation of Gramercy Park/New York City, a nightly, seasonal overlay blends local-cultural relevance with the magic of Christmas in the big city. Playing to an audience where Western holiday pageantry and religious significance are not inbred, “The Song of an Angel” works its magic by overlaying the Japanese reverence for young love and emotional aspects of marriage onto the familiar Western music, and themes of the Christmas holiday. Projection mapping is deployed onto the Gramercy Park facades to produce an ever-changing romantic backdrop to frame the 25-minute spectacular. It begins with a Christmas Eve marriage proposal set in the snowy hustle and bustle of New York City. Then, the wintry setting is transformed into saturated stained glass, with color and Gothic motifs creating a massive formal environment for the wedding ceremony. In the final act, the newlyweds celebrate their union and the joy of the season in a riot of iconic Christmas symbols, enhanced by guest participation (electric candles), fireworks, an enormous Christmas tree (holding the Guinness record for the greatest number of lights), and above it all, masses of angels. The story is enacted by a large cast of nearly 50 performers, appearing first as family and city dwellers, then as cathedral choirs, and finally as angels on high trumpeting the joy of the season and love for the start of a new family.


Many productions around the globe have made great use of projected mapping on architectural facades, but what makes The Song of an Angel exceptional is the way in which mapping technology is integrated into fully-staged performance and emotional storytelling. Adding to the projection on existing facades, temporary stages and projection surfaces have been built for the show to allow the large cast to perform at all levels and areas of the massive environment.This culminates in a finale where practical roof structures add to the multi-leveled performance stages, allowing angelic performers to preside over the festivities from far above. The depth and height of the various stages conceals dimensional sets and theatrical lifts which add to the visuals at dramatic points in the program. For example, during the “stained glass wedding ceremony,” an overarching angel performs an operatic solo, while rising up from behind the bride and groom exchanging their vows. Music, live performance, projections, sets, costumes and pyrotechnics work together to build an emotional arc that reaches out to a culturally unique audience. This spectacular display of western traditions and customs, frames a warm story of Japanese domestic relevance. With this show Universal has defined the term “Event Spectacular” and bridged a cultural divide. This is a live performance that is stunning and emotionally engaging for all.

OFFICIAL CREDITS LIST - THE SONG OF AN ANGEL Mike Davis, Executive Producer, Universal Studio Japan Makoto Ishida, Show Producer, Universal Studio Japan Kahori Kanaya, Show Director, Universal Studio Japan Bart Kresa, Projection Designer, Bart Kresa Design Inc. Projection Design and Animation, Bart Kresa Design Inc. Tadashi Matsumura, Lighting Designer, Tokyo Butai Shomei Kiyohiko Ito, Lighting Programmer, Tokyo Butai Shomei Aiko Kakinoki, Costume Director, Mori’s Inc. Mie Shioiri, Costume Assistant, Mori’s Inc. Vladislav Makarov, Choreographer Kahori Kanaya, Show Concept Designer, Universal Studio Japan Mike Davis, Show Concept Designer, Universal Studio Japan Paul Freeman, Music Producer, Audio By The Bay Bob Wackerman, Music Producer, Audio By The Bay Mike Davis, Music Producer, Universal Studio Japan Timothy Williams, Music Arrangements and Orchestrations, Audio By The Bay Rick Logan , Vocal Orchestration, Audio By The Bay Erik Hockman, Audio Design & Programming, Audio By The Bay Nicholas Pope, Additional Audio Programming, Audio By The Bay Kahori Kanaya, Japanese Lyrics, Universal Studio Japan Kahori Kanaya, Writer , Universal Studio Japan Masaaki Fujita, Voice Over Casting and Recording, Inspire Holdings Kahori Kanaya, Voice Over Direction, Universal Studio Japan Junji Yoshimura, Props Production, Gekidan Orai Inc. Ken Yashiro, Set Designer, Universal Studio Japan Shoichiro Yamamoto, Lighting & Audio, Universal Studio Japan Koji Takahashi, Lighting & Audio, Universal Studio Japan Takahiro Iwamoto, Lighting & Audio, Universal Studio Japan Takumi Yuda, Stunt Coordinator, Universal Studio Japan Jun Yoshitake, Stunt Coordinator, Entertainment of All Inc. Kana Matsuda, Assistant Choreographer Tamami Okada, Creative Assistant, Universal Studio Japan Eri Mitani, Creative Assistant, Universal Studio Japan Digger Howard, Vocal Coaching , Universal Studio Japan Motohiro Kikutome, Technical Director (Set, Decoration) , Universal Studio Japan Shogo Iwamoto, Technical Director (Projection) , Universal Studio Japan Tomoyoshi, Nishimura, Technical Coodinator, Universal Studio Japan Yoshiyuki, Yamaguchi, Production Stage Manager, Universal Studio Japan Keiko Awata, Production Coodinator, Universal Studio Japan Mika Ise, Production Assistant, Universal Studio Japan Isao Isohara, Travel Arrangements, Wingmate Inc. Takayuki Fukushima, Tech Operation, Universal Studio Japan Takanori Kinumoto, Tech Operation, Universal Studio Japan Masaaki Yasuhara, Tech Operation, Universal Studio Japan Satoru Baba, Tech Operator, Universal Studio Japan David Tonner, Creative Adviser, Universal Studio Japan Takuya Akai , Production Adviser, Universal Studio Japan Yumiko Nakamura , Translator, Universal Studio Japan Tadao Sogabe, Translator, Universal Studio Japan Mariko Tomita, Translator, Universal Studio Japan Kazuko Bihomora, Translator, Universal Studio Japan Michiyo Nakagami, Translator, Universal Studio Japan Ayako Yoshikawa, Translator, Universal Studio Japan Reiko Watanabe, Translator, Universal Studio Japan Yuko Chimura, Translator, Universal Studio Japan Natalia Yuda, Translator, Universal Studio Japan Chie Matsui, Translator, Universal Studio Japan Shizuka Noro, Translator, Universal Studio Japan Nobuo Ogata, Costume Maintenance, Universal Studio Japan Yukie Kawahara, Costume Maintenance, Universal Studio Japan Mami Kamitani, Costume Maintenance, Universal Studio Japan Tatsuya Ikezaki, Costume Dressers, Universal Studio Japan Hisami Shimizu, Costume Dressers, Universal Studio Japan Shinya Matsumoto, Hair & Make-up, Universal Studio Japan Kiyoko Nabara, Hair & Make-up, Universal Studio Japan Hitomi Yoneda, Hair & Make-up, Universal Studio Japan Mayumi Tagawa, Hair & Make-up, Universal Studio Japan Chika Azuma, Hair & Make-up, Universal Studio Japan Akiko Koike, Hair & Make-up, Universal Studio Japan

Seishi Miura , Executive in Charge of Show Operations, Universal Studio Japan Takahiro Ieki, Stage Manager, Universal Studio Japan Sumihiro Maehara, Stage Manager, Universal Studio Japan Junko Ogura, Casting Director , Universal Studio Japan John Bryan, Casting Director , Universal Studio Japan Ron Rodriguez, Casting Consultant , Universal Studio Japan Hiroyuki Odaka Vido, Documentation, Universal Studio Japan Hideo Ogi Vido, Documentation, Universal Studio Japan Toru Suganuma, Physical Therapist, Universal Studio Japan Hitoshi Hatano, Paramedic, Universal Studio Japan Kotomi Miwa, Paramedic, Universal Studio Japan Nozomi Kuroda, Executive Assistant, Universal Studio Japan Hiroshi Tsutanaga, Special Effect, Tokko Inc. Toshiyuki Kakimi, Construction Manager, Universal Studio Japan Takanori Kishishita, Asst Construction Manager, Universal Studio Japan Takashi Nakanishi, Show Set & Decoration, Universal Studio Japan Keizo Senoo, Show Set & Decoration, Universal Studio Japan Yasuhiro Terashita, Archtecture, Universal Studio Japan Kenji Tamaki, Landscaping, Universal Studio Japan Masato Morimura, Landscaping, Universal Studio Japan Takehiro Ishii, Electorical Work, Universal Studio Japan Angel Tower Construction, Shimizu Octo Inc Stage Construction, Fujiya Co.,Ltd Stage Construction, Kusanagi Co.,Ltd Stage Construction, Nihon Stage co.,Ltd Angel Seesow Construction, Murayama Co.,Ltd Sam Goldsmith, Video Projection, Cooperate Image Associates, Inc. Georges Tourtellotte, Video Projection, Cooperate Image Associates, Inc. Mike Fallon, Video Projection, Cooperate Image Associates, Inc. Joe Vespi, Video Projection, Cooperate Image Associates, Inc.


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