Blue Horizons

A bird show in a Stadium?

Dave Goodman, the Vice President of Entertainment at SeaWorld Orlando, contacted the production company InMotion Entertainment, led by Scott Helmstedter and Elizabeth Hansen, and asked them to assemble a creative team to develop an idea for a new spectacular show for SeaWorld featuring birds and cirque performers dressed as birds.

I was invited to join the InMotion team, and we brainstormed several ideas. However, I found it puzzling that SeaWorld wanted the show to take place in the large stadium that had previously hosted ski shows. I questioned whether the audience in the ski stadium could see the birds featured in the performance.

Fortunately, the idea of a bird show in a giant ski stadium was dismissed, and we were asked to develop a concept for a show that would showcase SeaWorld’s stunning Pseudorca whales, dolphins, various bird species, animal trainers and cirque performers. This new idea would take place in SeaWorld’s Dolphin Stadium. When we started developing the show, the scenery at Dolphin Stadium was just rock-work and a lighthouse at the center of the stage. We already knew that this existing scenery would not support a much more creative idea for a show.

FINDING THE BIG IDEA

In a hotel suite in Orlando, beside SeaWorld, Inmotion Entertainment gathered our creative team for our first creative session. This included our Producers Scott Helmstedter and Elizabeth Hansen from InMotion Entertainment, along with myself as the Production Designer, collaborated with Dave Goodman (Vice President of SeaWorld Entertainment), Roy Luthringer (Director), Tracy Christensen (Costume Designer), Collette Piccou (Writer), and Kelly Flaherty Clark (Head of Behavioral Training for Whales and Dolphins for SeaWorld).

We aimed to explore innovative and seemingly impossible ideas for a new avant-garde Dolphin and Whale show. With most of us coming from theatrical backgrounds, we recognized the significance of classic storytelling. We decided to frame the narrative of our story around the "Hero’s Journey," akin to traditional Princess Fairytales. However, instead of the classic romance with a Prince, our "Princess," whom we named Marina, would forge a special bond with the Dolphins, Whales, and Birds.

Together, we began crafting what would become a masterpiece of family entertainment for SeaWorld, becoming the most popular show in the company’s history.

It was serendipitous that the ideas we generated for this Whale and dolphin show during our first charrette would later be transformed into the show's opening song. Composer Adam Cohen and Lyricist Jeanie Lurie created this memorable tune. In Musical Theatre, this song style is often called the “I want song.

In Marina's magical world of blue, she meets her cheerful friend Delphis, the dolphin spirit, and the lovely Aurora, the bird spirit. They happily take her on an exciting adventure, where she gets to meet amazing whales, playful dolphins, beautiful birds, and lots of delightful friends along the way!

DESIGNING A WORLD OF BLUE

I began my research and found inspiration in the work of two incredible female sculptors, Lee Bontecou and Claire Falkenstein. My producers appreciated this direction, so I sketched ideas for the scenery. This research motivated me to design a non-literal yet fantastically evocative set featuring beautiful, stylized waves with bubbles in various shades of blue and turquoise. The scenery would incorporate sweeping lines that flowed through the set, like ocean swells or tides. This juxtaposition of a surreal environment alongside real whales, dolphins, and birds would create a visually spectacular experience by placing the animals in Marina’s dream.

As we refined the show's details, our team expanded to include Tom and Linda Edeltson, specialists in the training, rigging, choreography, and safety of acrobatic performers. Tom and I collaborated with Tim Schwearing, SeaWorld’s Director of Design and Engineering, and Mike Linenbroker, Vice President for PGAV, to ensure that the engineering for Dolphin Stadium's set and rigging systems met the highest safety standards for our acrobats and scenery.

My initial color concept renderings illustrate the design, which unfortunately includes a rectangular truss spanning the pool. We needed a truss to support the rigging for the acrobatic acts and scenic elements. Although we aimed to stay within budget, it became clear that a 90-degree rectangular truss, being entirely man-made, did not reflect the organic shapes found in nature. Consequently, we sourced a company that could provide us with a curvilinear truss that gracefully soars above the pool.

While searching through my files for imagery for this story about Blue Horizons, I came across a rough model made from cut-up pieces of paper, held together with Scotch tape, and colored in with a turquoise marker.

I had completely forgotten that this wafer-thin paper model was part of my process for developing the scenery for this spectacular production of Blue Horizons for SeaWorld Orlando.

Rachel Short-Janocko, my exceptionally talented model builder, helped construct that paper model with me. Although this model was simple, it was an essential tool for our creative team, helping everyone visualize how the scenery pieces interacted, flowing in and out in three dimensions, like swells in the ocean. Rachel meticulously constructed the impressive 1/8" = 1' scale model by hand, bending and soldering the brass to create the curvilinear truss and other scenic wave elements for the show. When she finished, I painted the model with a heavy hand! When looking at the finished model, it is hard to imagine there was a fairly tight budget for the show.

A few years later, we were asked to develop "Blue Horizons" at SeaWorld San Diego. Due to the show's success in Orlando, the scenery in San Diego was enhanced with many additional scenic details. Gaetane Bertol and Joanie Schlafer developed the stunning 1/8" = 1’ scale model.

ASSEMBLING MARINA’S DREAM

Before starting construction and gutting the existing lighthouse and rock-work, the dolphins and whales had to be moved to a different location so they were safe. My set had to utilize the enormous existing concrete slab. The wave sculptures and other scenic elements would attach to this freeform island of concrete. It was my goal to design the set so the concrete slab was integral to the new show. It was all painted to look like a clean and beautiful sandy beach. In the middle of the stage, I added a graphic painted spiral of water in the same blue as the rest of the set. This small detail would be the eye of Marina’s World with the spiral leading out to her adventure. I likened it to the start of the yellow brick road in The Wizard of Oz.

The Dolphin Stadium pool in Orlando featured a central outcropping at its front edge referred to as a “slide-out.” This structure allowed dolphins and whales to swim up and slide out onto during shows. However, it took up a significant amount of space, making it difficult for audiences to observe the dolphins’ and whales’ behaviors along the pool's front edge.

Kelly Flaherty Clark, the Head of Behavioral Training for Whales and Dolphins at SeaWorld, advocated for removing the slide-out. She argued that its presence would interfere with new dolphin behaviors her team planned to introduce, including movements where dolphins spin underwater along the front edge of the acrylic. Maintaining the slide-out would diminish the visual impact of these performances.

Although the slide-out was not included in the original budget, its removal was ultimately approved. Keeping it would have dramatically hindered our show.

As seen in the image above, the Nasal Scenic Shop masterfully constructed Marina's captivating world, delivering stunning mockups of the wave panels and bubbles which show their incredible attention to detail.

A massive curvilinear space frame truss was installed to support essential components like flying rigging and speakers. Diving platforms shaped like dolphins or whale flukes hung from either end of the truss, enhancing the visual experience.

A playful image that captures the essence of breaking ocean waves and playful bubbles is featured inside the center of a large circle truss covered with bubbles. I affectionately refer to this central image as the "washing machine." In the finale, a drop representing the sun rises out in the center of the circle truss. It is an abstract image, evoking the bubbles on the scenery. As the sun rises, its bright rays happily reach out to hold all the creatures in Marina’s world of Blue!

From the top of the circular truss, a long truss extends out toward the audience, creating a pathway for Aurora, the bird character. She rises from the set with a flourish, her long tail feathers fluttering as she soars gracefully over the shimmering pool below. Performing somersaults, she flew out to and over the audience. Tracy Christensen’s costume design enhanced the illusion and created a magical connection with the audience, leaving them spellbound.

Two beautiful waves rise from beneath the circular truss and spill over to the left side of the stage. The tallest wave sparkles magically, adding to the charm of "Marina's Window," which rises out of the lower wave at the show's start. Later, this wave features water effects splashing out into the pool from around the cheerful bubbles on the platform. It's a truly magical moment.

At the end of the show, Marina joyfully realizes her dream of flying alongside the birds. The dolphins warmly invite her to enjoy a majestic and thrilling ride, lifting her high above the pool in a wonderful journey.