Pasadena Civic Auditorium

Lythgoe Family Panto Premieres ‘The Wonderful Winter of Oz’

/ May S Ruiz / Leave a comment

Originally published on 18 December 2018 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

Marissa Jaret Winokur as Glinda, Mackenzie Ziegler as Dorothy, and The Youth Talents of Los Angeles as The Munchkins in Lythgoe Family Panto’s ‘The Wonderful Winter of Oz’ | Courtesy photo / Philicia Endelman

In keeping with their Christmas tradition of adapting the classics into family Panto events, the Lythgoes premiere ‘The Wonderful Winter of Oz’ at the Pasadena Civic Auditorium from December 15 to December 30, 2018.

This star-studded presentation headlines singer, actress, and dancer Mackenzie Ziegler as Dorothy, Tony Award winner Marissa Jaret Winokur as Glinda, Jared Gertner as The Scarecrow, Phil LaMarr as The Tin Man, and Yvette Gonzales-Nacer as The Wicked Witch of the West. The ‘Wonderful Winter of Oz’ is directed by Bonnie Lythgoe, choreographed by Napoleon and Tabitha D’umo, with book by Kris Lythgoe, and Michael Orland serving as musical arranger and supervisor.

A holiday version of America’s favorite modern fairy tale done in the style of a traditional British Family Panto, Dorothy gets swept away by a ‘freak’ blizzard on Christmas eve and lands in a world of munchkins and witches. Featuring songs from Imagine Dragons to Earth, Wind and Fire, it promises to delight people of all ages.

Gertner, who was in last year’s ‘Beauty and the Beast,’ is thrilled to be involved once more. He says, “I’m revisiting the role of Scarecrow which I played in 8th grade. In high school, I also did ‘The Wiz’ so this world has been with me for a long time. But Panto is a little bit bawdier and crazier so it would be exciting to find out how to play a character with no bones in his body.

“This is a story that made me so happy; I don’t think there’s anybody out there who doesn’t have an attachment to the story so I’m anticipating really great response from the audience. I was in their Panto last year, a fairy tale that’s familiar to everyone, but this is more immediate because it was a film made within the last century.”

“My son, who was two-and-a-half years old then, came to watch last year’s Panto and he absolutely loved it,” adds Gertner. “The thing about Panto is that people from 2 to 92 will enjoy it and I had never been involved with something like that. I think, in America, the closest thing we have to this performance style is the children’s theater.

“But this isn’t geared specifically for children – it’s for everyone – it just happens to be fun for kids. There’s humor in it that adults won’t get but kids will, and there will be jokes that children won’t cackle at but adults will. They also put contemporary music from the last 30 to 40 years, so on top of the story, the jokes, the slapstick, and the dancing, there are songs you hear on the radio.”

Phil LaMarr as The Tin Woodman, Mackenzie Ziegler as Dorothy, Juan Pablo Di Pace as The Lion, and Jared Gertner as The Scarecrow | Courtesy photo / Philicia Endelman

In addition to being The Scarecrow in the show, Gertner will also be hosting a segment called ‘The Golden Ticket.’ Gertner explains, “For an extra bit of money, you could buy your child a golden ticket. At the end of the show, I’ll bring them on stage and interview them. As you must have surmised, anything goes; we don’t rehearse it or discuss it beforehand. It’s a tradition they’ve done every year which, I think, is what people talk about the most.

“It’s really funny, when they told me last year that I was going to do this, I thought they would give me guidance before the show, but they didn’t. So I had to figure it out along the way. But it never was a disaster because kids are fun, open, and suggestible so I was able to steer the conversation where I wanted it to go.

“There was one day when I had a kid who was hard to manage and just kept saying rude things to me. But the interesting thing was, the audience was on my side – I could look at them and roll my eyes, and they were with me.”

The Lythgoes knew what they were doing when they asked Gertner to do the ‘Golden Ticket’ again this year. As Gertner says, “I think they chose someone with improv experience. That really helps because the kids who come up on stage could be as young as 4 and you never know what they’re going to say. One other thing that works for me is that I have a three-and-a-half year old at home and I spend all day playing with him and his friends … so interacting with kids that age feels right to me.

“While the danger with audience interaction is you don’t know which way it could go, it’s also an interesting challenge. I will let them steer a bit but I will be in control. That way, everyone feels they’re getting an original experience. The show changes when someone from the audience comes on stage … it becomes something different and fresh. I could never let my guard down but I enjoy the ride at the same time. I’ve been on Broadway and all over the world but doing the ‘Golden Ticket’ is one of the most fun experiences I’ve ever had on stage.”

‘The Wonderful Wizard of Oz’ brings an extra dose of excitement for Gertner. He discloses, “Kermit the Frog plays the wizard. Everyone loves Kermit – he’s an icon and an institution. And the thought of being on stage with Kermit makes me giddy. I sing ‘Rainbow Connection’ to my son, so it’s something close to my heart as well.”

When families watch this year’s ‘The Wonderful Wizard of Oz’ at the Civic Auditorium, they will go on a fantastic adventure along with Dorothy as much as they will relive their happiest childhood memories of growing up with Kermit and the Muppets. All of which makes for a Christmas experience that is at once exciting and heartwarming.

Making Panto a Holiday Tradition in America

/ May S Ruiz / Leave a comment

Originally published on 5 November 2018 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

Shown during the launch of ‘The Wonderful Winter of Oz’ are, from left to right: Kris Lythgoe, Becky Lythgoe, Julietta Perez, and Darrell Brooke | Courtesy photo / Kareem Cervantes

A decade ago there would have been no place to take in a Panto show in Southern California. But in 2010 the Lythgoes, known for their creativity and involvement in television hits ‘American Idol’ and ‘So You Think You Can Dance,’ changed all that when they mounted their first Panto production in North Hollywood.

In 2013 Lythgoe Family Panto took its Christmas show to the Pasadena Playhouse where it gained such a huge following that two years ago they had to move to a larger venue. This year will be their second time at the Pasadena Civic Auditorium, their ninth in Southern California.

Kris and Becky Lythgoe, the couple behind the Panto company, together with Sheldon Epps, erstwhile Artistic Director of the Pasadena Playhouse and a Lythgoe Panto producer, launched this year’s ‘The Wonderful Winter of Oz’ at a party held recently at Bistro 45.

Enlightening us on why they want Panto to be an American tradition, Kris states, “I was raised in England, where there is a vehicle that introduces theater to kids called Panto. My childhood memories include seeing “The Grinch,’ ‘A Christmas Carol,’ and ‘The Nutcracker’ in Panto, which were so exciting for children because they were interactive. The shows had pop music and all the kids would be jumping up and down, swinging from the aisles and everything. It was a fun way to get them interested in theater. Now that I’ve moved here, I would like to be able to do the same thing for my children.”

Becky elaborates, “Kris came to America to start creating shows like ‘American Idol.’ In 2009, when our son was three years old and we wanted to see a show, he realized there was no affordable family show for parents to take their kids to, as his parents did in England.

“Kris’s mum used to direct Pantos and his dad used to write them back in England. So he and his mum said ‘Why don’t we do a Panto here?’ When he told me about his vision I knew exactly what to do with it. We started a company and produced ‘Cinderella,’ which we showed in North Hollywood.”

The reception for their first Panto was very warm, recalls Becky. “It was welcomed, really. There seemed to be a hunger for this kind of show where the entire family can have a great time. We have jokes and songs that kids, parents, and grandparents can appreciate and we have stars from several generations on our show.

“This is what made ‘American Idol’ popular as well – it’s multi-generational. I think American audiences revel in these kinds of shows. We’re loud people, we love to boo or clap, we love to share, we’re not shy with our opinions.”

Chimes in Kris, “I think there was a need for a family experience, especially at this time when people tend to watch YouTube by themselves. Panto brings together several generations – we might get something different from it, but we’re all watching the same show.

Epps recounts how he became involved, “They had some success in North Hollywood but they really wanted to be in a theater and producing organization, where they had more of a support system. At the same time, I had been looking for an entertainment show for the holidays that would appeal not only to children, but to families as well.

“I went to see ‘Snow White’ at El Portal and I really loved it; I thought it was great work. So I told them to come over to The Playhouse and see how it goes. We were lucky enough to have Ariana Grande for our first Playhouse show and it was a really big success. Becky is in charge of casting and she’s tenacious about going after people – making phone calls, knocking on doors, and calling on friends. That’s how she gets such a great cast which draws people to our shows.”

Becky says, “To get stars like Ariana Grande and Gordon Fisher as we had in the past, we needed to have a short run and a bigger venue. At the same time, as we’ve grown, we felt it was appropriate to partner with the city. We still collaborate with The Playhouse for an education outreach and development that is financed by the Pantos and we feel truly part of the community now.

“Pasadena is like New York to me in that it supports the Arts as much as it encourages family endeavors. So I felt this should be the heart of our work. Now we’ve expanded to Laguna, Nashville, and San Diego. As we take it nationally and extend it to television audiences, I would like to keep Pasadena as the epicenter of our ventures. We would like to make Panto a destination in Pasadena during the Christmas season much like the Rose Parade and Rose Bowl Game.”

Lesley Brander-Epps and Sheldon Epps | Courtesy photo / Kareem Cervantes

Concurs Epps, “I remember the first time I mentioned Panto and people asked ‘Is that like Marcel Marceau?’ It has since become so hugely successful that it turned into a sort of Pasadena holiday tradition to the point where people say ‘We’re going to see the Panto. I don’t know what the show is, but I’m going to see it.’

“I’ve produced seven Pantos since it started at The Playhouse. Last year I directed my first Panto, ‘Beauty and the Beast – A Christmas Rose,’ our first at the Civic Auditorium, and I will be directing it again this holiday season when the show goes to Laguna Playhouse.

“What I love about this Panto is that the audience that saw it seven years ago have returned and they now have children who are coming to see it for the first time. It’s a perpetuating enterprise. That’s a far cry from when people thought of it as a mime show.”

It’s very rewarding to the Lythgoes to hear that audiences recognize their efforts at making Panto relatable. Kris states, “I’ve been here for 15 years, which is most of my adult life, so I understand American culture and the jokes. I make sure I take out the British-ness out of it to make it reflective of the American way of life.”

Asked to distinguish between English and American Panto, Kris replies, “People tell us British Panto is more boring than its American counterpart. Most of the fairytales have been adapted into Disney movies which are very popular so everyone is familiar with them. We also hire professional performers so the singing is far superior.”

Adds Becky, “We also use better props. For instance, if an actor refers to a horse, there will be an actual horse on stage or, at the very least, something resembling it. The quality of our productions is definitely higher.”

As the writer, Kris likewise has to keep coming up with interesting shows. He discloses, “While it’s getting harder and harder to decide what stories to adapt to Panto, there remain several fairy tales from The Brothers Grimm and Hans Christian Andersen. However, I’m not limiting myself to European fairy tales – ‘The Wizard of Oz’ is a very American story.”

“‘The Wonderful Winter of Oz’ is a play on the Frank Capra classic, the ultimate American fairy tale,” describes Kris. “It follows the same story line, except that Dorothy gets swept away by a blizzard instead of a tornado, and it’s interactive. We have famous actors playing the various characters but our biggest ‘get’ is Kermit the Frog who’ll be our Wizard. And the reason we wanted him is because Emerald City is green.”

Interjects Becky, “And also because Kermit sings the ‘Rainbow Connection’ and the song Dorothy sings is ‘Somewhere Over the Rainbow.’ So there are those links.”

“This is the first time Kermit will be in Pasadena so we’re very excited,” states a giddy Kris. To which Becky inserts, “This will also mark the first time Kermit will be on stage to play a role other than himself.”

Not even Kermit is immune to the attractions of Panto. The Lythgoes have outdone themselves again.

‘Beauty and the Beast – A Christmas Rose’: A Lythgoe Family Panto at Pasadena Civic Auditorium

/ May S Ruiz / Leave a comment

Originally published on 13 December 2017 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

Kelli Berglund as Belle | Photo by F. Scott Schafer | Art direction by Melchior Lamy.

There’s dancing, singing, magic, and comedy, with audience interaction mixed in. It’s ‘Beauty and the Beast – a Christmas Rose’ and it’s happening at the Pasadena Civic Auditorium.

Lythgoe Family Panto (LFP), in association with the Pasadena Playhouse, presents the world premiere of an updated version of this classic fairy tale in the style of the time-honored British family Panto from December 13 to 24, 2017.

‘Beauty and the Beast – A Christmas Rose’ stars Kelli Berglund (Disney XD’s ‘Lab Rats’) as Belle; Jonah Platt (Broadway’s ‘Wicked’) as the Beast; James Snyder (Broadway’s ‘If/Then’) as Gus; Gedde Watanabe (Broadway’s ‘Pacific Overtures’ and John Hughes’s ‘Sixteen Candles’) as Marcel; Harrison White (Broadway’s ‘The Lion King’) as Dame Chanel; John Tartaglia (Broadway’s ‘Shrek, The Musical’) as Louis Vuitton; and Jared Gertner (Broadway’s ‘The Book of Mormon’) as Pierre.

James Snyder and Kelli Berglund | Photo by Philicia Endelman / Lythgoe Family Panto

This production is directed by Sheldon Epps and choreographed by Mandy Moore (La La Land), with book by Kris Lythgoe and music direction and arrangements by Michael Orland (American Idol).

With the casting of Kelli Berglund, the Lythgoes continue their tradition of featuring breakout young talent. Their past Panto performances at the Playhouse featured notables including Ariana Grande and Jordan Fisher, who recently starred in ‘Hamilton’ on Broadway.

Berglund, understandably, is immensely delighted.  She states, “Belle has always been a favorite of mine.  What I love about fairy tale princesses is that they all have a reputation for showing strength and will to overcome the greatest of odds. I think Belle’s story is unique, and perhaps one of the best examples of how defiance and authenticity from the heart can work together.”

“There’s nothing wrong with wanting to find true love,” explains Berglund. “It’s one of her dreams. And wouldn’t we all desire that? However, her relationship with the Beast is one that no other princess encounters. He’s not the knight in shining armor nor the man with the greased hair and a perfect smile.

There’s a storyline, connection, and even tension that’s more than skin deep … which shows that Belle truly looks at others from the inside out. Maybe it’s her fantastic grasp on the feelings that come from both her head and her heart.  It’s real.

Playing this character who is familiar and beloved not only by children, but adults as well, was intimidating and challenging as it was fun. She is, after all, a big character to live up to! With the pressure to portray her in the best way possible, there has to come a lightheartedness throughout the entire process. In the end, it’s still a fairytale and still a show to put a smile on people’s faces. And, hopefully, a smile on mine, too.”

While Berglund’s background is mostly television, she is not entirely on strange territory. She discloses, “I did a bit of stage musicals when I was younger. To be totally honest, though, it’s been a while. But what’s interesting is that all the elements that go into something like this – acting, dancing, singing – I’m extremely familiar with and have a love for.”

Berglund wonders out loud, “I’ve asked myself why I haven’t done more stage work, and I think it’s because film and television are where my path has taken me, thus far. I did choir all throughout my school years and have worked with several voice coaches on various projects that involved a bit of singing.

Working with the musical director on this production, Michael Orland, has helped me gain confidence and skill when it comes to singing. Plus, I’ve had the opportunity to work with vocal coach Eric Vetro, one of the best in the biz! It’s quite the honor to be part of this. And stepping outside my comfort zone is unexplainably overwhelming in the best way.”

Jonah Platt and Kelli Berglund | Photo by Philicia Endelman / Lythgoe Family Panto

“This show also has a lot of dancing integrated into it,” Berglund adds. “One of my greatest, if not my greatest, strengths is dance. We’re working with the amazing choreographer, Mandy Moore, who has really made every movement in this production special. She has a creative eye for the small details that make the bigger picture look absolutely perfect. Knowing that I have dance background, she’s integrated it all throughout each song.”

“The hugest difference from my previous work is the pace at which things operate. Television, and especially film, are both a game of ‘hurry up and wait’. What I’ve learned is that in theater, it’s simply ‘hurry up!’. It’s definitely a nice change. Still getting used to dialogue being said five times faster and five times as dramatic than usual, but I’m catching on!”, Berglund laughs.

A Panto presentation involves more physicality than other productions and Berglund is up to the challenge. She reveals, “Luckily, I’ve seen a Panto performance so I knew what I was getting myself into!  I saw my friend, Olivia Holt, play Sleeping Beauty a few years back, and if I could have summed up that performance in one word, I’d say FUN! And experiencing it myself now, everything has led up to that word completely.”

“This is my first Panto performance and with the fun comes a lot of required energy. It takes stamina and adrenaline to keep you going. Dancing and singing at the same time is NOT easy … I don’t know how all the pop stars do it. Props to them!” Berglund states in awe.

Berglund says of Epps, “Sheldon is wonderful to work with. He knows exactly what he’s talking about since he has quite the experience in theater. At the same time, though, he’s very open to how we all see our characters. One of the first things he said to me was that it was very obvious how determined and strong I was making Belle from the very start. We’ve discussed how great it is that these qualities are present … at the same time there are moments of vulnerability and fear, something we don’t ever see from Belle.”

‘Beauty and The Beast – A Christmas Rose’ does not follow the traditional story in exact detail,” concludes Berglund. “To people who know and love the story, there will still be an element of surprise with the characters and the direction in which the story goes. I will say the set and costumes are absolutely BEAUTIFUL. These are definitely components the audience will find both appealing and interesting. Plus, it’s interactive so the show is great for the kids. There are some hilarious modern-day jokes, and everyone in the audience can sing along to contemporary songs they’ve heard on the radio.”

For Berglund, playing Belle is a wonderful Christmas present – a dream come true. For its audience, ‘Beauty and the Beast – a Christmas Rose’ takes us back one more time to our childhood when this season meant miracles do happen and fervent wishes are granted.

‘Memory 5D+’ Captures Essence of Chinese Culture in Spectacular Fashion

/ May S Ruiz / Leave a comment

Originally published on 11 May 2017 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

Vivian (Ulan) Xuerong, a film and television producer based in Beijing with a local office in Los Angeles, grew up in Ordos in Inner Mongolia. She was raised in a culturally rich and diverse environment. This vibrant childhood had given her a wealth of ideas which she nurtured throughout her life.                

Three years ago, Xuerong decided to transform these imaginations from dream to reality in a spectacular show called ‘Memory 5D+’. She is sharing this once in a lifetime event for the first time outside of China on Friday, May 26, and Saturday, May 27, at 8 pm on both days at the Pasadena Civic Auditorium.  

Billed as an immersive musical odyssey to a distant past, ‘Memory 5D+’ is an innovative show of epic proportions, featuring 17 of China’s most revered musical performers – national treasures in their native country – playing rare traditional instruments largely unknown in the western world. 

The $4 million production puts together a cast of 43 musicians, singers and dancers who will perform against a backdrop of real, virtual and projected images and action that evokes China’s unique cultural heritage.  

Collaborating with Xuerong on this massive event are two of Hollywood’s respected visionaries. Creative designer Tom E. Marzullo – who has created, designed and directed international tours for Justin Bieber, Chris Brown, Prince, KISS, Luther Van Dross, among others – will create new imagery to provide the setting for the artists performing classical works of Chinese music.

Marzullo and his team are designing a multi-dimensional immersive journey for ‘Memory 5D+’ using state-of-the art concert production techniques, including high definition digital video and lighting, 7.1 surround sound, lasers, and aromatic sensory technology.        

The scenario for ‘Memory 5D+’ was written by filmmaker John Hughes, who is known for visual effects he generated in feature films such as ‘Frozen’, ‘Kung Fu Panda 2’, ‘Shrek Forever After’, ‘Spider-Man 3’, ‘Harry Potter and the Prisoner of Azkaban’, among others.   

“In ‘Memory 5D+’, the elusive nature of Chinese spirit becomes tangible and poignant,” declares Hughes. “Philosophies, characterized in the music, are those most Westerners know from Taoist thought including concepts of Yin and Yang, the Five Elements, Chinese Medicine, Astronomy, and Tai Chi. These have long guided millions of people and through performance, music can bring about a communication of the soul in a joyful and harmonious way.”

Image of Pasadena Civic Auditorium taken from Pasadena Civic Auditorium website

Against the background of the creation of the universe, ‘Memory 5D+’ frames a story of how the forces of darkness and light became one. Yin (darkness) and Yang (light) have travelled through time and space, flying across mountains and rivers to arrive at an ancient and mysterious Orient. They abound in the forest, and later encounter a variety of magical birds. Symbolic bamboo leaves and birds’ feathers dance in the wind and fall to the ground. Everything strikes the world as new and beautiful, and they are innocent of what is ahead of them.

Hughes dramatized a dance scenario backed by celebrated traditional Chinese music. The story captures the vital essence of Taoist thought: Tao is a oneness that contains two component forces known as Yin and Yang which have starkly contrasting qualities. Taoism describes the perfect symmetry of light and dark as so powerful it causes everything we know to come into existence and that they eventually intertwine seamlessly to establish a balance.

This equilibrium is depicted in ‘Memory 5D+’ through music and dance. Hughes describes, “A drama of contrasting responses leads to an imbalance, and the conflict carries the power for the universe to become unstable. Eventually the differences are resolved, and they once more fuse with each other in harmony. They again reach a state of interdependence and counterbalance. At the end, everything is peaceful and glorious.”

“Most importantly, ‘Memory 5D+’ reflects the significance of love, faith, and spirit, as well as people’s yearning for – and tireless pursuit of – love and all things of beauty,” expounds Hughes. “For when all matters cease to exist in the universe, the only things that are truly immortal are spirit and love. I hope that, one day, mankind will really understand that love is the universe’s biggest mystery and that finding energies in others that most perfectly complement oneself are the foundation for amicable coexistence.”   

‘Memory 5D+’ features many of China’s most important musical instruments with defining influence on its culture. These include: the cowboy flute, gijak, guqin (Chinese zither), guzheng (zither), konghou (Chinese harp), morin khuur (horsehead fiddle), pipa (Chinese flute), shamanic drum (tuva drum), topshur, and yekele.    

Chinese theatrical productions are replete with a rich tradition of stage techniques. ‘Memory 5D+’ employs Chinese acrobatics, one of the oldest traditional performing arts that emerged during the Warring States Period; dolan muqam, a comprehensive classical performance art developed by the Uygur ethnic group that features free and unrestrained style, coupled with simple yet powerful dance rhythms; khoomei (throat singing), a magical singing art created by the Mongolian people; urtin duu (Mongolian long tune), which represents the highest achievement of Mongolian singing art and reputed as the ‘living fossil of prairie music’; shadow play, which integrates shadow, art, paper cutting, sculpture, dance, music, talking, and singing; Suzhou Pingtan (storytelling and ballad singing in Suzhou dialect); and Tibetan folk songs. 

‘Memory 5D+’ showcases the diversity of Chinese culture which many Westerners aren’t aware of.  As Hughes says, “America is strong because it’s made of up of different groups and cultures, thus is called a ‘melting pot’. China, with its 56 ethnic groups, is just that – a ‘melting pot’. The show will acquaint its audience with some of these groups that have their own distinctive art forms and characteristics.”   

Xuerong adds, “This 90-minute production will introduce ten instruments which are almost obsolete that not many people know how to play them. They are also not known in the western world. Through the musical interpretations in ‘Memory 5D+’, I want to show that China is so advanced – these instruments existed over a thousand years ago, long before other nations’  history began.”

“The show itself is based on an ancient philosophy that the Chinese have been imbued with since birth and which they handed down through the ages,” Xuerong continues. “Through ‘Memory 5D+’ I would also like to pass along China’s ancient beliefs and culture to the next generation, many of whom are not familiar with it.”

After finding the artists, performers, and various technical personnel to help her realize her ambitious undertaking, Xuerong traveled with them to Ordos where they rehearsed the show. She discloses, “Audiences from several towns away previewed ‘Memory 5D+’. It was an unprecedented immersive experience for them – together with the performers, the audience travelled through space and time in their search for the key to a happy life. The show gained a brilliant reputation and met with much success.”       

Of all the cities in the U.S. in which to inaugurate ‘Memory 5D+’, Xuerong chose Pasadena. “Culture and heritage are deeply important to me, and I think Pasadena has much of both,” she reasons. “It is the perfect venue from which to debut its worldwide tour. The Pasadena Civic Auditorium has hosted many awards shows, musical performances, and theatrical events. It has so many happy memories; it will bring good luck to us.”

From its American premiere, ‘Memory 5D+’ will travel to several Chinese cities, with a performance in Guangdong scheduled in June, according to Xuerong. She also says discussions with promoters from French and Italian professional institutions are underway.

Following its international tour ‘Memory 5D+’ will go back to Ordos. Reveals Xuerong, “After the rehearsal and preview, the local government decided to invite ‘Memory 5D+’ to be a resident show. And although it has won much praise, we are still making improvements to the program. We are chasing perfection and even greater breakthroughs in stage technology; we are endeavoring to give our audience the very best in technological magic.”

Xuerong has come far from her humble youth in Ordos. She has successfully established the China Film HuaTeng Movie & TV Culture Co., Ltd. in Beijing and L.A., and has produced several shows. But her most spectacular creation yet – ‘Memory 5D+’ – which originated from her early childhood musings may be the one to bring her the greatest acclaim.

Ordos, which Xuerong asserts is the final resting place of the immortal Genghis Khan, is a land rich in cashmere as well as rare natural resources. It is referred to as the ‘Ocean of folk songs and hometown of dance’ to honor the natural artistic talent of the Mongolian people who inhabit it. It will be here that ‘Memory 5D+’ will ultimately reside – a fitting tribute to Xuerong’s beloved homeland and Chinese heritage.