Reel Magic© — A land in Figure Nation with live entertainment, written by Terry John Barto

A bus enters upstage, and moves center; a projection backdrop shows the passing of buildings and landscapes in classic Hollywood. The bus travels by celebrity homes in Beverly Hills, east on Sunset Boulevard, up Highland Avenue, and to Hollywood Boulevard past the Grauman's Chinese Theatre.

The tourists on the bus look out the windows, snapping pictures of the sites, pointing, looking in awe, hoping to glimpse a movie star. Their focus on the audience coincides with the idea that the bus is moving, so what they "see" moves from their left to right and, excitedly, changes to something ahead of the bus. As the rear projection shifts, choreographically, the passengers lean when the bus turns, smoothly hop in their seats as it goes over a speed bump, and indicate no forward momentum when the bus comes to a stop.

The music's intro and passage have been playing, and the sightseers sing Who Is She? (The Apple Tree, Broadway 1966) as a famous actress sidesteps on stage (to show the bus is still traveling), flanked by bodyguards and followed by the paparazzi. She poses for pictures, and that grouping continues to sidestep off stage. To expand the feeling of the cast size, these characters change costumes to become passersby in the next section of the bus route.

As the rear projection approaches the Hollywoodland sign, the bus breaks apart in pieces, panels fly up, slide sideways, and lower panels fall forward. The singers hook their props on the back side of the bus to remove them and, with the pedestrians, perform a rousing opening medley.

• Let's Go to the Movies (from the musical Annie, 1982 film)
• Just Go to the Movies (A Day In Hollywood/ A Night in the Ukraine, Broadway 1980-81)

On a screen, a clip from The Song's Gotta Come From The Heart, sung by Jimmy Durante and Frank Sinatra (It Happened In Brooklyn, 1947 film), segues to singers on-stage performing the same song with an updated version.

A quintet sings South American Getaway (from Butch Cassidy and the Sundance Kid, 1969 film) live.

A montage of emotional moments from films shown on screen. These movie clips include heartfelt love as well as quirky and fun scenes. The movement from these films is coordinated with the song, going from an up-tempo portion with the entire group to a lilted soprano solo.

• Raindrops Keep Falling on My Head (from Butch Cassidy and the Sundance Kid, 1969 film)

A musician plays the ukulele on stage. A male singer enters and performs the song. During the second bridge, which starts instrumental, a third performer rides a bicycle and circles. As he crosses to exit, the lights fade on stage as the scene from the movie plays on screen.

Cross-fade to Gene Kelly in the dance sequence from Singing in the Rain (the 1952 film of the same name).

When he circles the street with wide turns and an outstretched open umbrella, the live performers similarly enter the stage, wearing raincoats. A silver glitter curtain drops before the screen, culminating in a significant number with modern choreography. 

The rain stops, indicated by the glitter curtain flying out in sections. The performers close their umbrellas and chassé off stage as the song ends.

The intro of Somewhere Over the Rainbow, sung by Judy Garland (from the musical The Wizard of Oz, 1939 film), segues to a female singer singing the verse live on-stage with a Bossa Nova feel.  

A musician plays the banjo at the beginning of Rainbow Connection (from The Muppet Movie, 1979) and sings for the children in all of us, "Why are there so many songs about rainbows..."

The clip from the opening credits of The Muppet Movie starts at "So we've been told, and some choose to believe it," as the quintet enters and a duet between them and Kermit ensues.

Three female dancers enter upstage to begin the Spring Ballet (Seven Brides for Seven Brothers, Broadway 1982)—various groups and couples join in the dance to show love, acceptance, and a new beginning. 

• They Can't Take That Away From Me (from  the musical  Shall We Dance, 1937 film) 

A singer is downstage right, and a musician plays trumpet and sings upstage center, in the style of Ella Fitzgerald and Louis Armstrong, as images of movie stars from the past are shown on-screen.

On stage left further upstage, a duet or solo performs choreography that matches the stars on screen (e.g., Fred Astaire and Ginger Rogers sweep by, Charlie Chaplin saunters through, a Buster Keaton pratfall). The dancers start in full light, which gradually fades, indicating that time has passed. The last iconic movie star picture fades to black, timed with the dancer's light going dark.

• Reprise: Just Go to the Movies & Let's Go to the Movies  

The two remaining singers on stage will start the opening of Just Go to the Movies, which begins as a ballad with theatrical orchestrations and picks up speed to an up-tempo number. Other performers add on stage as they sing a solo line of Let's Go to the Movies, starting at this point in the song. 

Chico and Groucho

And Chaplin and Lloyd

Are all super

Sweet Mickey Mouse

Shirley Temple

And dear Jackie Cooper 

• Hooray For Hollywood (from the musical Hollywood Hotel, 1937 film)  

After "Go out and try your luck, you might be Donald Duck," the music transitions into a dance break with differing versions of the Hooray For Hollywood melody. In 8 counts, the music gradually plunges into a surprising Tango. As modern hip-hop moves evolve, there becomes a "dance-off" between ballroom styles and various current dance styles. The music builds, and the dancers blend into a grand Waltz—the traditional song format returns for the finale.