BOB WEIS COLLABORATIVE CREATIVE PIONEER - WHITEWATER TURNS 40 THE PEOPLE, PRODUCTS AND PROTOCOL BEHIND - INPARK MAGAZINE
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issue 86, April 2021
inparkmagazine.com
Bob Weis
collaborative
creative
pioneer
WhiteWater turns 40 George Wade
The people, products and protocol behind Bringing together brands and
the company’s decades of success LBE in meaningful ways
CALIFORNIA: STATE OF PERSEVERENCE
Joe Kleiman, news editor
T he year 2020 had its special challenges for Californians. We had
devastating fires around the state and their resulting unhealthy
smoke. As a consequence of COVID-related closures and restrictions on
both the local and global level, tens of thousands of people were laid
off, consequentially facing financial hardships. The impact hit hard in the
state’s themed entertainment design and attractions industries.
One thing I’ve learned as a long-term resident of the state is that California’s
attractions and tourism community has a history of persevering through
obstacles and tragedy. The sector - a significant part of the state’s economy
- has, over the past two decades, managed to survive the uncertainty
following 9/11, the Great Recession, the bursting of the Housing and
Tech Bubbles, various earthquakes and, recently, some pretty awful fires.
After each setback, businesses close and people are laid off, but then they
reopen or another takes their place and staff are rehired. That’s where we
are right now.
Operators have struggled along with everyone else. InPark reported - not
once, but twice - how when the Monterey Bay Aquarium shut down in
March 2020, it didn’t plan on being closed more than a few weeks. Now,
more than a year later, it anticipates (fingers crossed) finally reopening to
the public in May 2021.
Since January 2020, I’ve been reporting for InPark on the closures and
reopenings of theme parks worldwide during the pandemic. Here in
California, theme parks have been especially creative in coping with state
restrictions. In July, I visited Six Flags Discovery Kingdom, the first theme
park to reopen. The same health and safety protocols employed at Six
Flags parks around the country were in place and I actually felt safer than
at my local grocery store. Without the ability to open rides, the park went
back to its roots and opened as a zoo, shifting focus to its expansive animal
collection. About two months later, SeaWorld San Diego followed suit.
Others – Disneyland Resort, Knott’s Berry Farm, and Universal Studios
Hollywood – offered special ticketed food and retail events, sans rides.
The California Thinker
When parks and zoos were ordered shut down in December, Six Flags
News editor for InPark Magazine Joe Kleiman is shown here and SeaWorld began offering drive-thru adventures - themed to seasonal
with the giant “C” that formerly marked the entrance to events, Sesame Street, and even a custom car show.
Disney’s California Adventure.
The C-A-L-I-F-O-R-N-I-A letters were moved from the park James Bermingham is the newly appointed CEO of Virgin Hotels and the
to Sacramento’s Cal Expo state fairgrounds in 2013. Chair of Visit California, the public/private partnership responsible for
The relocation of the letters was part of the theme park marketing the state’s tourism industry. During the organization’s recent
makeover spearheaded by Walt Disney Imagineer Bob Weis, Outlook Forum, he said something quite profound: “California has
profiled by Joe on page 27.
shown time and time again that it can successfully emerge from crises.”
With revised state guidance now in place, California’s theme parks are
reopening in April and May. They’ll be prepared if the pandemic continues
- or if a new challenge takes its place. Because here in California, our
attractions are experts at persevering.
Publisher Martin Palicki founded InPark Magazine in InPark editor Judith Rubin helps drive content to
2004, combining his years of experience working in serve the attractions industry, fostering professional
themed entertainment with his passion for writing connections, business development and the
and design. meaningful exchange of information.
2 inparkmagazine.com
issue 86, april 2021
Active CounterAct
4
Christie rolls out new germicidal UV product for attractions • by Judith Rubin
Uncompromised authenticity
8
George Wade marries brands and LBE • by Judith Rubin
Student immersion
13 SCAD THEDscapes Immersion Challenge showcases student team designs for
avariety of environments and venues • by Greg Andrade
Jennie Nevin
15
leadership and new adventures • by Martin Palicki
The call of the Marsupilami
18 BoldMove designed Houba World concept to flexibly fit different venues
by Judith Rubin
The calm before the storm
20 Industry professionals should prepare for the coming spike in leisure entertainment
demand • by Scott Harkless
People, products and protocol
22
WhiteWater celebrates 40 years of success • by Judith Rubin
Bob Weis, collaborative creative pioneer - part one
27 Now WDI president, Weis has emphasized a virtuoso team culture on all his projects
by Joe Kleiman
BONUS DIGITAL ONLY ARTICLE: Discovering Auckland
32
Two new themed attractions grace the City of Sails • by Scott Ault
team & contributors
InPark Magazine (ISSN 1553-1767) is published by Martin Chronicles Publishing, PUBLISHER DESIGN
LLC. 2349 E Ohio Ave. Milwaukee, WI 53207, USA. Shipping address: 2349
E Ohio Ave. Milwaukee, WI 53207, USA. Phone: +1-262-412-7107. Printing by
Martin Palicki Martin Palicki
Johnson Press of America.
Contents © 2021 InPark Magazine. All rights reserved. Nothing in the magazine EDITOR CONTRIBUTORS
may be reproduced or used in any manner without the prior written permission Judith Rubin Greg Andrade
of the magazine. InPark Magazine is not responsible for unsolicited manuscripts, Scott Ault
photographs or illustrations. Such material must be accompanied by a self-adressed NEWS EDITOR Scott Harkless
and stamped envelope to be returned.
Joe Kleiman
Postmaster: Send address changes to InPark Magazine 2349 E Ohio Ave.
Milwaukee, WI 53207, USA. Subscriptions are available annually for $45 per year COVER: Bob Weis during the opening of
($70 international). Opinions expressed in editorial matter are not necessarily those
of InPark Magazine or its publishers, Martin Chronicles Publishing, LLC. Shanghai Disneyland
Photo courtesy of Walt Disney Imagineering
inparkmagazine.com 3
Active CounterAct
Mad Systems’ Maris Ensing holds a recently awarded US patent. All photos courtesy of Mad Systems.
Christie rolls out new germicidal UV product for attractions
by Judith Rubin
C hristie’s recent investment in far UVC light technology
should come as welcome news for museums, dark rides,
queue lines, theaters, cruise ships and retail/dining and the
A CounterAct unit looks something like a smoke detector - if
a smoke detector were 14” in diameter - and is designed to be
installed in the manner of a recessed lighting fixture in ceilings. It
network of designers and suppliers that serve them, as well as the has an indicator glow, but otherwise the amount of light it emits
visitor community. is very minor and not a factor in a room’s lighting scheme. It has
a runtime of about 3,000 hours.
Far UVC is a type of ultraviolet light. Research indicates that
far UVC light has the power to disable SARS-CoV-2 and Viruses, beware
other viruses - airborne, or on surfaces - and, moreover, that According to what we’ve learned from Christie and the
it can be used continuously during operating hours without supporting research, CounterAct harnesses far UVC light to work
apparent danger to humans. Christie parent company, lighting as a continuous enemy of viruses, damaging them at the DNA
manufacturer Ushio Inc., has a proprietary interest and six and RNA level, while not posing any detectable risk to people.
years of R&D in the lamp technology, which Christie is It has been documented to be effective not only against the
currently rolling out to the industry in the form of Christie® novel coronavirus but other harmful viruses - offering potential
CounterAct™. protection against today’s pandemic and tomorrow’s as well. “It
doesn’t differentiate between viruses; all of them are negatively
CounterAct uses Ushio’s existing Care222® lamp which was impacted by UV,” says Brent Peckover, Director of Industrial
designed specifically for medical facilities and is already in use at Applications at Christie.
several hospitals, in addition to schools, in Japan.
4 inparkmagazine.com
Bryan Boehme, Christie’s Executive Director of Sales & Business
Development, Enterprise, Americas, is enthusiastic about the
promise that this technology holds for indoor facilities and
attractions. He reports that Christie is already consulting with
a number of early CounterAct adopters. The results may help
establish new operating models for facilities to reopen or expand
capacity while substantially lowering the risk of COVID-19
infection. “We’re really excited about the opportunity for
entertainment and theme park customers. They want to do their
best to reassure guests and to prevent people from getting the
virus at their sites, and we’re hopeful to see it roll out in many
venues this year,” says Boehme.
“How much you need varies on space configuration and power,
says Peckover. “We have designed a configurator to help calculate
the number of units.” Peckover also indicated that the technology
and product meet photobiological standards for conformance
recognition from UL, ACGIH®, the CE mark and others. Meet Brent Peckover
The first wave of adoption in entertainment spaces can be Brent Peckover is Director of Industrial Applications
expected to be primarily retrofits, but Boehme expects that his at Christie, focusing on launching innovative ideas
company’s far UVC products will become part of initial design outside of traditional markets and applications. He is
discussions for future projects. spearheading the design and development activities for
Christie® CounterAct™ with the patented Care222®
A different kind of disinfecting UV commercial ultraviolet disinfection fixture.
The wavelength makes the difference. Far UVC light has a
wavelength of 222 nanometers (nm - 1 billionth of a meter) as Brent has more than 20 years of experience designing,
opposed to conventional UV light, which has a wavelength of building, and installing a variety of systems for
254 nm. Conventional UV is already employed as a disinfectant clients around the world. Previously, Brent held
in hospitals, subway cars and other spaces, but conventional UV successive roles in Program Management at Christie,
is not safe for human exposure, and therefore can only run when in the company’s facilities in Kitchener, Canada and
the spaces are not occupied, meaning that pathogens can build up managing global teams, including team members in
between uses. Shenzhen, China. A notable recent triumph in his
program management role was helping shepherd the
CounterAct employs Ushio’s proprietary filter that attenuates development of the Christie Eclipse projector, recently
wavelengths greater than 230nm. This is important because, recognized with a TEA Thea Award for technology.
as Peckover says, “Not all 222nm light is created equal.” He
explained that current 222nm production methods generate small Peckover is a P.Eng and holds an MBA from Wilfrid
amounts of UVC light greater than 230nm. The filter, therefore, Laurier University. He is also a certified PMP, CPA,
provides a safety factor for use in occupied spaces by keeping and CMA. “There is nothing I enjoy more than a
the wavelength to 222nm. A recent Christie whitepaper provides big challenge, and Christie CounterAct presents a
further details: https://www.christiedigital.com/globalassets/ great opportunity to move things forward and help
help-center/whitepapers/documents/christie-counteract-with- industries to recover. What I love about this particular
care222-whitepaper.pdf. opportunity is that by helping to inactivate SARS-
CoV-2, the virus that causes COVID-19, we can make
Christie and others have been studying far UVC light for several a real difference in the world. The potential payback is
years and testing it in labs to assess its safety. A research project significant: keeping everybody healthier and reducing
of the Columbia University Zuckerman Institute started out the impact of a future pandemic.”
several years ago, prior to the COVID-19 pandemic, to identify
ways of reducing opportunistic infections in hospital settings. Currently, Peckover is fully focused on CounterAct. “I
Studies - conducted by Dr David Brenner, PhD and a key figure call myself the project stakeholder; we have a project
in the continuing research - and others have shown that far manager running the development and I contribute
UVC light cannot penetrate the ocular tear layer or skin stratum across both program and product management
corneum. domains, helping us adapt to address the needs of the
market.”
Brenner, a professor of radiation biophysics and environmental
health sciences and director of the Center for Radiological
inparkmagazine.com 5
Identifying license plates is part of the patented technology.
Settings and reporting for CounterAct can all be accessed easily from a portable device. All photos courtesy of Christie
Research at Columbia University, has gone on the record about This application of far UVC technology could be a significant
the efficacy studies done to determine the safety and effectiveness factor in getting the themed entertainment industry back
of using far UVC light technology against airborne virus on track. “It’s being received with a great deal of interest as
particles, with encouraging results. Aerosols are of great concern something that can enable a return to regular activities and
in COVID transmission with virus particles able to remain viable protect people,” says Boehme.
in the air for several hours and now believed to be a major cause
of infection. Inspiring awareness and confidence on the part of guests will be
part of the equation, in order to bring audiences back in healthy
While tests have numbers. Peckover noted that Christie is working on strong
shown the CounterAct branding initiatives for CounterAct to be recognized by the client
technology to act rapidly community and build reassurance and trust. We’ll be watching for
and effectively, its those early adopters - ideally, they’ll include some of Christie’s
presence doesn’t omit major entertainment partners. • • •
the need for contactless
solutions that protect For more information about CounterAct and far UVC
guests from having to technology, including links to third-party research, visit
touch surfaces such as the Christie CounterAct landing page at https://www.
counters and interactive christiedigital.com/commercial-uv-disinfection/.
screens, for instance.
“It’s an added layer of
defense,” says Peckover.
“You still need to take
these other precautions.”
Bryan Boehme, Executive Director
of Sales & Business Development,
Enterprise, Americas, Christie
6 inparkmagazine.com
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the Future
of AV.
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Fira de Barcelona | Gran Vía
1-4 June 2021
A joint venture partnership of
Register now www.ISEUROPE.org
Uncompromised
authenticity
George Wade marries brands and LBE
by Judith Rubin
O ver the past decade, consumer priorities and behavior
patterns have dramatically evolved, especially with the
explosion of online shopping, television streaming, and the
growth of the video game industry. Options for in-home
entertainment and services have seen rapid growth, and
yet, consumers still desire unique activities that can only be
experienced out of the home. This has created new challenges
and yet exciting opportunities for marketers and operators in the
world of Location Based Entertainment (LBE). Topgolf experience which launched in October 2020 at 30
Topgolf locations.
Core to the mission is how best to engage with consumers to
gain their attention in a cluttered marketplace, and many leisure “I’ve known George Wade for 15 years,” says Warren Schorr,
and retail providers have begun to employ popular entertainment Vice President Business Development and Global Licensing,
brands to meet this opportunity. However, with rising guest Crayola. “I have always been impressed with his holistic thinking.
expectations, applying entertainment brands effectively has In the LBE world, interested parties generally think about a
become a unique discipline unto itself. Many operators today project from one of three angles: the deal itself and how it is
are on a quest for utilizing high-profile brands and are seeking structured; the development and management of the project;
guidance how best to marry those brands and their storylines or the ancillary ties and how they in turn build other business.
with LBE attractions. On the other side of the equation, George understands the importance of all three - and is equally
Intellectual Property (IP) licensors are pursuing platforms to talented in each of those spaces.”
expand their presence and their followings.
Wade’s branded entertainment skills emerged as his career
George Wade has become a specialist in branded entertainment progressed. He came up during a highly inventive period of
and a unique force in assisting the attractions industry to meet the visitor-attractions industry, building on what he learned and
these challenges. He has a keen understanding of the power of observed. He made the most of these learnings as his career
brands, deep ties in the themed entertainment business world, evolved. Working on pioneering projects at influential companies
and the ability to convey the concept of a whole greater than the - Landmark Entertainment in the 1980s, Iwerks Entertainment
sum of its parts. These qualities make him an industry leader - in the ‘90s, and MGM Studios in the 2000’s - Wade was ahead
the one who knows, and can bring together, the right people for of his time in recognizing the fertile possibilities of marrying IP
a conversation out of which great and innovative things emerge with content on themed entertainment platforms. He has helped
- in this case, branded experiences for the LBE space. Wade engineer and drive the trend and the conversation around it.
is able to assemble key players - licensors of brands and IPs, Today, making matches between brands and LBE has been the
potential licensees, and entertainment operators - for exploratory primary goal of his consultancy, Bay Laurel Advisors, founded in
dialogue and then remain in a supportive position throughout all 2009.
subsequent stages of discussion and development.
Collaboration and pleasing the fan
In recent years, Wade has been a key consultant and voice helping For Wade, IP/LBE collaborations are an art form in which
bring about successful projects and development conversations his creative self, business acumen, live theater background
for Crayola, Hasbro, Rovio/Angry Birds, Cartoon Network, (with a degree in Theatrical Design from UCLA), multifaceted
Peanuts, Halo, and others. Projects he has touched include industry experience, and relationships all come together. These
Crayola Experience, the Halo Outpost Discovery Tour, the collaborations fit well with today’s holistic development model
touring FRIENDS popup, Cartoon Network Hotel, Snoopy of unfolding a brand or IP story across multiple platforms, often
Gardens in Jeju Korea, The Peanuts Touring Experience with active user engagement. When well-executed, this type of
launching in 2021 with Kilburn Live, and the new Angry Birds rollout opens new vistas of storytelling, brand engagement and
8 inparkmagazine.com
unique consumer marketing opportunities in ways that benefit the operator and the unique challenges in developing branded
both brands and LBE operators alike. attractions. “It was a period when there were many potential
licensees interested in developing projects around studio brands,
Realizing projects of this kind is a highly collaborative process especially in Asia,” says Wade. “Having an understanding of
with very specific goals. It demands effective interaction between the key guardrails of attraction development allowed MGM to
multiple stakeholders with attention to many details, far beyond become a better licensing partner for our licensees.”
the initial “yes” at the conference table. Success is a win-win-
win-win: for the licensee, the licensor, the venue, and the guest Crayola transition
(which can be an intensely devoted and exacting fan base). “If it Wade realized that brands of all kinds hold value for attractions,
pleases a brand’s very loyal fan, it will also please the non-fan, but and vice versa. “Brands not only bring the name from a
you absolutely must meet the expectations of that loyal fan,” says marketing standpoint, they bring rich storylines that immediately
Wade. “Brands are a tool to turbo-charge projects and effectively connect with consumers,” he says. He and Warren Schorr first
attract consumers. There is an art to it that has developed over met when both were working at MGM; after Schorr moved on
the past decade as we show how brands can and should play an to Crayola, he recruited Wade to consult and project manage
important role in entertainment, in so many different ways. At the the first Crayola Experience, a re-imagining of the company’s
end of the day, it’s about driving more profits for everybody.” visitor center in Easton, PA, that opened to acclaim in May 2013.
“Putting together project teams is a key part of the process of
Robocop rides bringing that brand or IP to life on a new platform,” says Wade.
In the 1990s, Wade engineered a definitive, seminal project during
his time as VP, Business Development at Iwerks Entertainment.
Iwerks (now SimEx-Iwerks) was helmed by
founders Don Iwerks and CEO Stan Kinsey
who established the company as a leader in the
creation of concepts, technologies, and products
for media-based attractions. Wade’s breakthrough
licensing project with Iwerks was strategizing
a ridefilm experience that successfully brought
feature film IP into motion-based ridefilm
attractions. Robocop: The Ride debuted in 1993.
Variety noted in an October 1992 article by Matt
Rothman, “Expanding into a new area of theme
park filmmaking, Iwerks Entertainment has
licensed ‘RoboCop,’ the futuristic crime-fighter
from Orion Pictures, for its own rides. This is
the first time a ride developer has acquired a film
property from a movie company.”
“Iwerks senior management recognized that
our theme park clients desired attractions that
would drive attendance,” said Wade. “We believed
that one key method to achieve this goal was
to provide them with ridefilms in which the
marketing was built-in. Robocop: The Ride was a
very clean marketing message to the consumer!”
Robocop the Ride, in the early days of modern
theme parks, built on the connection between
cinema properties and attractions. Spurred by
its success, Iwerks followed up with its ‘Aliens’
ridefilm. Branded entertainment became a
cornerstone of Iwerks software development
strategy.
During his time at MGM, Wade worked to help
the content-provider understand the needs
of operators in this context. This allowed the
brand to better understand the perspectives of Cinewerks, a publication for clients of Iwerks Entertainment.
Image ©SimEx-Iwerks, Robocop™ and ©Orion Pictures
inparkmagazine.com 9
Its success led to more. There are now five Crayola Experiences hotels, themed dining, and popups. An emerging category is
throughout the US: Easton, Orlando (in the Florida Mall); shopping malls, which were already reinventing themselves as
Minneapolis (in the Mall of America); Plano, TX (in the Shops regional entertainment destinations, pre-pandemic. Working with
at Willow Bend) and Chandler, AZ (in the Chandler Fashion a brand conveys an immediate message to the consumer that can
Center). George Wade was a senior advisor and project manager rivet their attention.”
on all of them. “He is a valued, respected asset inside the
company,” says Schorr. “We value his wisdom and assessment of Wade is particularly bullish on the smaller projects for the
a situation. His external point of view can help us find internal LBE industry. “For the licensor and licensee, limited-scale
consensus. He is also an exceptional production manager. undertakings, with a lower risk profile, are critical during the
His manner of advising and leading and directing are truly challenges of this pandemic.” The staycation trend that prevailed
empowering to teams, even when it’s a team he doesn’t oversee during the Great Recession of 2009-10 is a clue to serving
directly.” consumer needs in the current environment. “People still want
to get out of the house,” says Wade. “They want entertaining
Serving consumers in today’s world and educational experiences, to dine out, to go shopping. They
Where does Wade stand on branded experiences in the need family recreation and getaways. Today, those will be shorter
pandemic? From his perspective, opportunities and potential trips to local and regional destinations, where they have as
benefits remain plentiful and dialogue continues to take place. In much control as possible over their environment and more of it
fact, as the LBE industry begins to identify a new reality, reaching outdoors. The industry sees this and has already pivoted to serve
consumers with compelling experiences will become even more it.”
critical for operators. Recent project announcements support this
view. For its part, Crayola is moving ahead with its LBE ventures
and announced a new direction in September 2020. Crayola
Says Wade, “Brand is even more important now than it was pre- IDEAworks: The Creativity Exhibition is a traveling, interactive
Covid. The operators working with brands have had to adjust on exhibition that premiered at The Franklin Institute (Philadelphia)
the fly in shaping the guest experience. But the brand clears out in February 2021. The exhibition is produced by Agency808 in
the noise in the marketplace to get the initial marketing message collaboration with The Franklin Institute, and tickets are now on
across. We continue to see the proliferation of all kinds of LBE sale to the public.
– Family Entertainment Centers (FEC’s), stand-alone attractions,
The Crayola Experience in Orlando opened in 2015.
Image courtesy The Crayola Experience
10 inparkmagazine.comA matchmaker: Peanuts
Two recent examples from the
Peanuts portfolio are Snoopy
Garden and a new partnership
with Kilburn Live.
In July 2020, the new Snoopy
Garden opened in Jeju, South
Korea. The 20-acre property,
developed by SN Garden, has
indoor and outdoor components.
The indoor exhibits focus on
Peanuts characters, relationships,
and stories; outdoors is more
about adventure and relaxation,
Snoopy-style. “There is a wealth
of storylines and themes in the
Peanuts universe suitable for an
outdoor recreational venue such
as the Great Pumpkin, kite flying,
baseball and so much more,”
says Wade, “and they convey an immediate comfort level and Peanuts characters in their Halloween costumes at
familiarity to the guest.” Kings Island’s Great Pumpkin Fest event
Photo courtesy Cedar Fair Entertainment Company
In February 2020, Kilburn Live, the Live Events division of
Kilburn Media, announced a new partnership with Peanuts Resorts as well as the Nickelodeon Resort in the Dominican
Worldwide. Licensor and licensee will collaborate to create a Republic are two examples of this trend. A recent addition to the
new immersive experience to coincide with the milestone 70th branded hotel market is the Cartoon Network Hotel.
anniversary of the first Peanuts comic strips. “Kilburn Live For over 25 years, Cartoon Network has touched multiple
is developing an immersive experience to fit into the thriving generations with its stories and ever popular characters such
location-based entertainment trend,” stated the announcement. as Ben 10, Blossom, Bubbles and Buttercup, Steven Universe,
“It promises to give guests a family-friendly journey with their and Jake and Finn from Adventure Time. In those 25 years, the
pals Charlie Brown, Snoopy, and the rest of the gang. The network has been a major force in pop culture and has achieved
experience plans to highlight the timelessness of Peanuts in a a huge presence on digital and mobile platforms. So, while
modern way.” While the pandemic slowed development, the relatively new to the LBE sector, Cartoon Network is no stranger
project is in creative design and will launch in late 2021 or early to the licensing business and to multi-platforming. The key
2022. demographic served is children ages six to 11, and (according to
Cartoon Network) these kids are not just viewers, they are Fans –
Craig Herman, Senior Director Category Management, Peanuts active, loyal and engaged.
Worldwide LLC says, “Through George’s many contacts and
relationships, we’ve been able to get in front of developers and In collaboration with Palace Entertainment, the first Cartoon
operators and develop meaningful relationships. There’s a level Network (CN) hotel opened to the public in Lancaster, PA in
of trust within the Peanuts organization that with George’s January 2020. Under contract to CN, Bay Laurel Advisors and
eyes on projects and his professional input, we’re confident that George Wade supported the project both in structuring the
we’re making informed decisions and working with world-class relationship as well as advising the creative and construction
partners. Because of his extensive experience working in LBE teams in project execution. As fortune would have it, the hotel
and having managed everything from the licensor perspective, was obliged to close after only eight weeks, due to the pandemic
from creative development through project management, we (it reopened August 1, at reduced capacity). There was, however,
know that he will look at an overall project from every aspect.” enough of a window for the hotel to earn resounding approval
from its target demographic, as voiced in a Dec 26, 2019 USA
Hospitality game-changer: Today review in which journalist Candy Woodall relied heavily on
Cartoon Network Hotel her 10-year-old son’s impressions, summing up with “Parents, let
your kids come here.”
Hospitality is another platform for brands that has helped
operators stay competitive in an increasingly complex market, Gina Salamone echoed the sentiment in her Feb 5, 2020 review
giving consumers a new experience that also delivers a for the New York Daily News: “Now your kids can spend the
recognition-comfort level at the same time. The Margaritaville night in a dreamland inspired by their favorite cartoons.”
inparkmagazine.com 11The first Cartoon Network Hotel opened in Lancaster, PA in 2020.
Image courtesy Cartoon Network
Together with Cartoon Network’s in-house creative/marketing distillation of message, the emotional bond with the audience,
team, and with the creative vision of Los-Angeles based the built environment, storytelling and live engagement - in short,
RHETROACTIVE, Inc., the hotel was designed with tasteful the blend of all elements that enables suspension of disbelief,
nods to the Cartoon Network brand and with iconic characters immersion and escape into a world that makes participants feel
brought to life in never-before-seen ways throughout the the real world all that more profoundly and with fresh eyes
property. upon their return. For that to happen in LBE as it does in well-
executed theater, there needs to be a strong bond between the
“Simply put, this unique hotel delivers on the brand promise brand and the operator, helping each understand the strengths
of Cartoon Network for guests,” says Wade. “It demonstrates of the other,” says Wade. “We serve to provide that connective
the magic of what can happen with the right match of brand tissue for our clients. It’s an evolutionary process: help the brand
and experience, and the right team creating and delivering the understand our industry, identify opportunities where the brand
experience. And each new project suggests new possibilities will add great value, develop the business relationship, and then
- new layers that can be added to the story. Success leads to during implementation, assist in engineering the-give-and-take to
success; innovation leads to innovation. There is so much come up with a final product that is going to be something of
unexplored territory.” uncompromised authenticity that the consumer is going to love.”
•••
Bonding
Theater roots run deep in the attractions industry, and Wade, More information about Bay Laurel Advisors at:
a UCLA School of Theater, Film and Television grad himself, www.tinyurl.com/BayLaurelAdvisors
sees branded LBE experiences as an extension of the theatrical
genre, in both the way they are created and the nature of the
guest experience. Wade cites “The collaborative culture, the
12 inparkmagazine.comStudent immersion
SCAD THEDscapes Immersion Challenge showcases student
team designs for a variety of environments and venues
by Greg Andrade
T he Immersion Challenge at The Savannah College of Art
and Design (SCAD) in Savannah, Georgia formed teams
of four students each that conceptualized a series of installation
art-happenings called THEDscapes. The proposals range
from ghost tours and historical walking experiences to more
permanent readaptive-use projects planned for areas throughout
the City of Savannah. Twelve teams of SCAD students worked
for seven weeks, guided by Professors Bob Shreve and Greg
Andrade – Architect, along with leading industry professionals.
The Immersion Challenge supported interdisciplinary teams
including undergrad and graduate Production Design and
Themed Entertainment Design students. The five proposals
below showcase the collaborative and innovative spirit of SCAD
students.
‘Bluestem Yard’ is prototype for a series of satellite food
production and distribution centers hosting elements that foster
communal and neighborhood connectivity. These parklike
developments are established as urban recapture projects
designed to nurture health and wellbeing throughout the City
of Savannah. Bluestem Yard features a community garden
and food outlet and a public park featuring a food truck café,
a performance stage and a children’s playground. This project
is proposed for a wide variety of underutilized land locations
throughout the city and offers interaction between visitors and
locals as they explore the park and public garden structure.
‘The Secret of the S.S. Chatham’ is a proposal for a high-
end escape room walkthrough attraction that would occupy
an abandoned vacant structure at 2 East Henry Street in
Savannah. This experience would include an adventure into the
underground waterways of the city where guests will immerse
themselves in the haunted sunken remains of the S.S. Chatham
which has been discovered after it’s disappearance with the
Rineheart family aboard over 100 years in the past. Guests will
be thrilled in their quest to discover the fate of the ship while
lurking through various treks throughout the lower decks of
the ship as ghostly visages of the Rineheart family guide or
hinder their adventures. Upon completing their quest guests
are welcomed to the ‘Crowsnest’ in the dome covering the ship
where they can enjoy food and drink and trade ghostly stories
with other brave explorers of the S.S. Chatham escape adventure.
‘Ellis on the River’ is an elevated urban walk (Think NYC
Highline) that connects Savannah’s Market Street center of
inparkmagazine.com 13tourism directly to the riverfront. Currently a series of very old a ghastly ghostly vehicular ‘drive-thru’ serving up the scariest
precarious stairways greet travelers as they venture down to the Savannah ghost legends – stories and visages for your enjoyment!
Savannah River. ‘Ellis on the River’ would create a series of raised
garden-scapes over the bustling streets below. This walk begins at
a revitalized Ellis Square offering locals and visitors an interactive
icon, a high-end taste of Savannah restaurant with new plantings
and public amenities that form the ramp up to the raised walk
leading to the riverfront. Arriving at the Riverfront Pavilion
guests are greeted by an amazing overlook with sweeping views
along and across the great port of Savannah. The Riverfront
Pavilion itself is designed as an elegant sweeping path of vertical
circulation hosting “Made in Savannah” commercial ventures.
‘The Briny Bottle’ is a readaptive use project set amongst
the new and hopping Riverfront of Savannah. “Join legendary
scourges of the sea for some hearty grub, a cup of ale, bolstering
sea shanties, axe throwing, and a cannon-blasting bowling alley.
Just because you and the crew have been trapped in a bottle by a
vengeful Seawitch, doesn’t mean you can’t still have a rowdy good
time. Your inner pirate will come to life as you enter ‘The Briny
Bottle.’” This multi-level food and beverage experience hosts a
load of fun including Rapscallions’ Fine Dining – Drinks at the
Barrr – Songs of the high seas – Walking the Plank and Pirate
Games abound. A proposal that will bolster the local economy
and tradition of Savannah’s history steeped in pirate lore – You’ll
find The Briny Bottle at the corner of Montgomery and West
River Street one block from the Savannah Riverfront Walk
where the Seawitch welcomes you to enter her realm for a grand
adventure! • • •
Professor Greg Andrade – Architect – LEED AP is the
mentor for the THEDSCAPES 2020 working sessions.
In 1991 Greg began working with the lmagineering
division at the Walt Disney Company as a licensed
architect. In 2001, he launched Andrade Studio, his
‘Savannah Haunted Harvest’ is a proposal for THE Savannah own themed design practice specializing in lifestyle,
City Halloween happening. This October event will host two hospitality and narrative based projects globally in the USA, UAE,
major experiences. First is the FALL FESTIVAL which would Europe, Japan, China and Korea. He currently teaches at SCAD as a
occupy Orleans Square. This family friendly festival will offer Professor of Themed Entertainment Design. Becoming a member of
locals and guests a way to celebrate Fall with trick-or-treating, the SCAD family Greg chose to make the move to SCAD because
games, walk-around characters, pumpkins and much more. its Themed Entertainment Design program fosters a depth in its
Along the edge of Orleans Square food truck areas will offer philosophy that he feels is ideal for the optimal teaching and learning
fall fair food items and the wall to the west of the square will environment. His passion for process encompassing trade insights from
showcase murals by local school children. Next – if you dare – over 30 years of design practice affords students access to real world
the HAUNTED DRIVE THROUGH EXPERIENCE offers skills and knowledge. Greg fosters the placement of students directly
into prime industry professional job markets.
Explore our InPark 杂 志 订 阅 网
new website! inparkmagazine.com
14 inparkmagazine.comJennie Nevin
Leadership and new adventures
interview by Martin Palicki
J ennie Nevin is just the kind of rainmaker that many
organizations dream of finding - enthusiastic, tenacious, a
skilled team builder and manager, and dedicated to growing
a base of support. During her seven years of service as chief
operating officer of the Themed Entertainment Association
(TEA), her work and leadership were instrumental in boosting
the nonprofit association to new levels of financial stability,
global stature and brand consistency. Nevin spoke to InPark
about her career, about the art of operations, management and
business development; about upholding high standards and best
practices, and what her next professional move might be.
How did you get involved in the entertainment industry?
I was a singer at a young age and came to Southern California to
sing in college. I joined a country band, whose agent recruited me
to help stage manage a local music festival. He also was executive
director for the Hollywood Radio and Television Society (HRTS),
which serves the executives and business side of television. He As your community team identifies a vision and goals for the
got me involved with HRTS and I ended up working there for organization, it’s the leader’s job to find the help and support
almost ten years as the director of operations and development. to achieve that vision. It’s a constant churning of how to get
From there I became COO at TEA, where I worked with more there, and at TEA I was particularly lucky to have such a creative
of the creative side of the entertainment industry. community to lean on to help develop solutions that helped us
reach those goals.
What is a leader’s role in an association and how do they
keep things focused and moving forward on the mission? For example, at the 2019 Thea Awards producer Tom Vannucci
decided to create a moment where I would be a part of the set
To start, I think it is critically important for an organization’s to show the magic of our industry and wonder created by Thea
leader to be completely dedicated to the cause and mission of Award recipient “Borderless” from Japan. I wore a dress that
the group. I am an extremely passionate person and I think that became the canvas for projection mapped images and colors that
emotional connection to the organization has been key to my flowed onto the stage. Through the script we created I was able
success. Surrounding oneself with the right people, helping them to share the mission and purpose of TEA while also representing
shine, thanking them and sharing appreciation daily for what they the spirit of the project. How many association leaders actually
do is also key. At TEA I was so lucky to have a wonderful staff get to embody the mission of the organization and magic
to work with. In particular, Judy Rubin, Tammie Richards, and of their industry in such a compelling way? It was a special
Erica Schwehr are dear colleagues and friends. They are truly experience for me, but also an incredible moment for TEA.
magnificent people.
How do you approach working with sponsors?
An organization’s team is bigger than just staff, though. It also
includes members, the board, sponsors and other stakeholders. Sponsorships are the fuel of organizations. Building relationships
The association community is really quite a large group, and it’s is how you develop effective sponsorships, and you have to do it
necessary for everyone to rally around the mission. with care. By being genuinely interested and curious and learning
what sponsors actually need you can then craft a sponsorship
My style of leadership always revolves around collaboration, plan that makes sense for them.
relationship building, partnerships and through endless
enthusiasm to share the message. When you lead with intent, Effective sponsorships are not a single sale nor are they a
care, respect and a sense of gratitude it is easier to inspire others product. They are an idea of the future for a sponsor and you
with the message. both are invested in that future together.
inparkmagazine.com 15Jennie Nevin’s recommendations for inspiration
Books: “Untamed” by Glennon Doyle and “Storyworthy” by Matthew Dicks
Movies: “Soul” and “Kiss the Ground”
Music: Barbara Streisand, “Yentl” - “Why be given wings if not meant to fly?”
Poetry: John O’Donohue, “For A New Beginning” - “Awaken your spirit to adventure; Hold nothing back,
learn to find ease in risk; Soon you will home in a new rhythm, for your soul senses the world that awaits
you.”
Naturally, you have to have something to back it up with that chat threads, webinars, watch parties, and virtual mixers, to stay
can actually deliver. With TEA there are these wonderful connected to and supportive of the membership. That, in turn,
foundational elements like the SATE and Summit conferences, inspired the leadership to also provide content for the different
the Thea Awards, the creative powerhouse in membership, the regions as well.
leadership of the past presidents and the Board. My job was to
take those and amplify them. All of this was focused on how to serve members during this
unprecedented time, while losing many of our major streams of
You helped guide the association through the pivot to income. The staff team were superheroes; they were inspired to
digital interactions for the pandemic. What was that process fix and problem solve.
like to put into place and then run through 2020?
I think it was all very successful. We did things that no one else
We had a completely planned year of events, with a full business was doing and at an extremely high quality level. Really, it was
plan already underway when the pandemic hit. The urgency and inspiring to see how much care and love people in the industry
sudden halt to everything forced us to problem-solve a lot and in have for one another. It was like family.
a short amount of time. It was a steep learning curve.
How do you approach brand building?
Even though we had just expanded the headquarters office we
transitioned to remote working right away. I dedicated staff to The quality of the product, the real genuine product, is where
figuring out the technical challenges as we forged this new world. everything has to start and then you share that with the world.
I was lucky with TEA
To compensate for the lack because when I arrived
of in-person events we the look and feel of the
turned to digital experiences. physical brand had been so
Our whole production thoroughly thought out and
team refocused and we designed with an evergreen
researched platforms, quality logo and message. The new
expectations and pricing logo and tagline made for
methods. a very clear message that
allowed me to come in and
While we had staff put it everywhere possible. I
working on the operations have a great appreciation for
and technical aspects of all the work that went into
producing the experiences that branding effort before
we also had to figure out I arrived.
how to create digital content
that provided value for our The tentpole events and
members. products (SATE, Summit,
TEA AECOM Theme
It was important for Index, Thea Awards, trade
us to utilize a range of Jennie during her projection-mapped dress moment at show activities, regional
media formats such as the 2019 Thea Awards Gala. Photo courtesy TEA events, etc) all provide
16 inparkmagazine.comtremendous quality and also great foundations to build branding
on. An effective leader then works to get those tentpole events
and products to really shine and get them out in front of people
as much as possible.
At TEA, we saw our conference attendance grow exponentially.
The annual TEA/AECOM Theme Index also grew to give us
great global recognition, including in high-profile media like
NPR, The Economist, ABC News and more. It really helped
strengthen our brand.
While I’m talking about TEA I’d like to give a shout-out to some
of the people I found particularly inspiring to work alongside:
Monty Lunde, Roberta Perry, Steve Birket, Michael Mercadante,
Michael Blau and the late Peter Chernack.
TEA has placed a renewed focus on diversity and inclusion.
Tell us about how you assisted in that.
I have always been deeply committed to a world that insists
on equality, inclusion and diversity. As a female leader I’ve had
experiences that inspire me to uplift others as much as possible.
Throughout my career I have continued to learn how best to
contribute to that world effectively.
From a leadership perspective, I have learned to be completely
open and to focus on visions that uplift all.
It has to be rooted in a community that is not exclusive. It has to
be inclusive and you have to be purposeful about it. You have to
make it happen and invite input and then focus on it because if
you don’t the old system and ways are self-perpetuating.
The world is a better place when we all are able to participate.
What’s next for you?
I have been blessed and am so grateful to have had some time to
rest and for self-reflection and imagining what might be possible
for me next. I am so grateful for my husband Mike and his
partnership and support (and his amazing cooking!).
I’m open to possibilities that focus on my abilities as a strategist,
connector and rainmaker. Ideally, I will lead a team for an
organization or company with a deep mission and purpose
serving the creative industry. I want to use my voice and
enthusiasm to truly make a difference in the world.
My grandmother always said to “be grateful for your health” and
my great grandmother Jennie Janicki (whom I am named after)
always said “This too shall pass.” I sure hope so and I pray daily
for the end of this pandemic and for a brighter future for us all.
•••
Jennie Nevin with former and current staff of the Themed
Entertainment Association: Judith Rubin (top), Erica Schwehr (middle)
and Tammie Richards (bottom).
Photos courtesy of TEA and Jennie Nevin
inparkmagazine.com 17The call of the Marsupilami
BoldMove designed Houba World concept to flexibly fit different venues
by Judith Rubin
B enoit Cornet has been busy over the last year and a half,
which is the way he likes it. Ever since he entered the themed
entertainment industry in 2001, he’s made a name for himself
Marsupilami IP to roll out onto multiple
attractions platforms including theme parks,
LBE and zoos. Branded attractions are
as a pioneer of interactive experience. With a background in complex projects with many stakeholders to
marketing, business and engineering, Cornet is a walking idea please, including the fan base, the licensor and
factory, keenly observant and ready to challenge assumptions, as the attraction operator. BoldMove brings value
befits a serial entrepreneur and industry leader. In April 2020 he to the table in having already run the primary
announced having formed a new company, BoldMove, saying, hurdles, starting with the cooperation of
“Now is the time to be agile and prepare for the post-crisis era Mediatoon Licensing. “We have an established Benoit Cornet
with attractions that are innovative and smart, offering a fast & partnership with the licensor, relationships
high return on investment.” throughout the industry, and a team in place with a proven
track record,” says Cornet. “This means that a project can get
BoldMove’s tagline is “Creating Happier Worlds,” and after two underway relatively quickly. We can check all the boxes including
decades in the industry and a lifetime in tech-related ventures, deliverability and staying within the budget and footprint while
Cornet has grown toward a focus on simple storytelling and setting the stage for a healthy ROI. Our team (in-house and
fun. The bells and whistles are still there – the company has external) has not only the skills but also the deep industry
already launched an interactive ride product or two – but knowledge and credentials – creative, technical, production,
the emphasis is different. This is underlined by BoldMove’s operations – to ensure a world-class experience. We’ve packaged
recent announcement, rolling out “Houba World” – a flexible, Houba World to be scalable, from a single indoor space to an
conceptual package for attractions based on Marsupilami, an IP entire park, from re-theming an existing ride, attraction or realm
with strong appeal and momentum that has already had success to building from scratch.”
across several entertainment platforms.
Cornet talked up the value and potential of the Marsupilami
“Houba” is the call (and the entire vocabulary) of the IP. “This IP is very rich, with inherent charm and strong appeal
Marsupilami, a fictional, marsupial type animal originated by the to children and families. There is no language barrier as its
late, Belgian artist André Franquin. The Marsupilami family is vocabulary is limited to ‘Houba.’ It has an existing, enthusiastic,
best known in Belgium and France, but its international following engaged fan base and has shown its adaptability across platforms,
is growing. Since its first appearance in comic books in the but is not overexposed. It also has a great merchandise line,
1950s it has successfully migrated to animated series, a feature especially the stuffed toys. The creature is a sweet, simple,
film, a video game, a merchandise line and to a limited extent in empathetic character, a gentle and lovable marsupial whose
attractions, notably at Parc Spirou Provence. behavior and lifestyle reinforces family values. The IP is
compatible to many themes related to animals, community,
With the “Houba World” announcement, Cornet indicates conservation and nature, and works for indoor or outdoor
that he has done the legwork for BoldMove to facilitate the spaces.”
18 inparkmagazine.comAs he discusses Houba World, Cornet
renders possible applications spanning
a wide variety of rides, interactive
experiences and physically engaging
activities, from the most classic and
basic to the most sophisticated and
holistic. The discussion reflects
his intimate familiarity with the
tools, trends and techniques of
branded attractions, storytelling,
immersion and interactivity, including
gamification, scalability, guest agency,
cross-platforming, ride vehicles, VR-
AR-MR-XR, retail and dining.
Is there a bad guy in the Houba World
universe? Yes, but not so very bad.
“There is a character who pursues the
Marsupilami with an intent to capture
(not kill),” says Cornet. Apparently,
the creature also has a few natural
enemies in the wild, but in general,
Cornet indicates, “the Marsupilami is someone who makes
friends, partly due to a penchant for grooming others and eating
their fleas.”
Like the Marsupilami, Cornet has established a company
culture that depends on a web of relationships to flourish. “At
BoldMove, we embody the essence of teamwork. We are proud
of what we do, but we are very open-minded and flexible.
We listen to and answer the needs of the customer with our
ideation process. Being small and nimble, the company can move
quickly in a relatively smooth process. But we don’t get lost in
the technology and we don’t want our clients to get lost in the
technology. We want to make sure that park and leisure center
visitors forget their worries for a day and are immersed into a world
of magic and fantasy. To achieve this, we want to mix the best
creative ideas and concepts with the most advanced technologies.
We have the drive; we work long hours, and we like it.” • • •
.
Above: BoldMove’s Egg Chase AR Quest
Right: A concept drawing for BoldMove’s Supply Chase dark ride
Images courtesy BoldMove. Renderings are conceptual and may
not reflect final designs.
inparkmagazine.com 19The calm before the storm
Industry professionals should start planning now for the surge
in demand expected as leisure travel resumes
by Scott Harkless, Alcorn McBride
T here’s no doubt that the theme park industry has taken quite
a hit since COVID-19 flipped the world upside down last
year. Most of us have experienced this first-hand in some way or
perceive the imminent release of pent-up demand and return to
something like business as usual within the next 12 months. They
start pulling triggers on projects, and doing it with some urgency,
another, so I’m not here to relive the past and open any wounds! so their competitors don’t beat them to the punch. What can we,
What I’m here to talk about is the future. What’s next, and where as individuals and suppliers with a vested interest in this industry,
do we go from here? do to prepare for the moment when all those green lights start to
glow?
The way I see it, we’ve got a very unique situation brewing right
now. For the most part, the same enthusiastic visitors that were The answer is probably different for each one of us depending
fueling the pre-pandemic boom of the themed entertainment on our personal situations and areas of expertise. If your job was
industry have now been cooped up for the better part of a year. affected by the pandemic, maybe that means brushing up on new
During that time, their desires to experience the latest attractions, skills that will be in high demand. You know, those things you
ride a coaster with their friends, or enjoy a churro or funnel cake always meant to learn but were too busy drowning in work to
have not faded. Quite the opposite, actually! Those cravings have spend time on? If you work for a vendor, this might mean pulling
just been bottled up for the last year, tightly corked with the hope together some exciting ideas to pitch clients. When the time
that someday soon this will all be over. comes, they’re going to want to move fast, so being ahead of the
game will make your company a much more attractive option.
If you’re anything like me and my family, you feel that pressure
mounting. At this point, we are quite anxious for those Speaking from a manufacturer’s perspective, at Alcorn McBride
experiences to return to our daily lives. We are all hungry for new we see this as a time to double down on our investment, in
content and activities that come from something other than the developing new technologies that will help build better attractions
video streaming services and gaming content we’ve been getting on more ambitious schedules. Investing in development has
by with at home. We want something more immersive, and more always been important to us as a high-tech company; but
tangible. A marketing executive might describe this as ‘pent-up balancing that with staying on top of the pre-pandemic boom
demand.’ Call it whatever you like, but there are a lot of corks out was a juggling act to say the least. We see this time as an
there ready to pop. opportunity for us to take stock and focus more on the big
picture.
When, exactly, might those corks be let fly (conscientiously)? It’s
hard to say for sure. With the hope of large-scale vaccinations Our top priority during this period has been approaching our
rolling out in 2021, it does feel like the beginnings of true products less as individual components, and more as building
industry recovery are not far off. Realizing that there’s a lot of blocks within a larger ecosystem. If there’s one thing we’ve
debate about how gradually this bounce-back might happen, I learned during the boom times, it’s that nobody has time to figure
fully acknowledge that I could be wrong about this. But if others out how the pieces fit together anymore. With attractions getting
can relate to how my friends and family feel, my gut says we’re in more complicated, what the industry really needs most from a
for a wild ride - a storm of a recovery. technology standpoint is a well-defined toolset that attraction
designers can scale to meet the needs of the attractions and
Here in Central Florida, we know all about the threat of count on to work reliably together.
imminent storms. When you see a category 4 hurricane forecast
to pass right over your town, you don’t just sit there and let it Next on the priority list for us has been generating new content
plow over you; you prepare! For some of us, that means boarding to prepare for a surge of new clients and vendor partners.
up windows, or throwing patio furniture in the pool. For others, Thinking back to the pre-pandemic boom, one of the most
it means stocking up on beer, snacks, and bottled water. Maybe challenging situations we faced as an industry was the talent
the storm will take a turn, maybe it won’t. Either way, you’re squeeze. The atmosphere was so competitive and busy that it
ready for it. Storm or no storm, your beer and snacks await. was challenging just to find enough people, especially those with
experience in the industry. If the themed entertainment market
Let’s say that this gut feeling of mine is correct and that a ‘storm’ bounces back quickly, that challenge may be exacerbated this time
of sorts is brewing: Let’s say that the major park companies around because much of the talent pool has been dispersed by
20 inparkmagazine.comYou can also read
