Disney Dream, April 2011: Embarkation Day (Part 2: Lunch, Making Palo Reservations & Stateroom)

Lunch at Enchanted Garden

Enchanted Garden

A number of crew members were stationed in the lobby with the task of intercepting and guiding embarking passengers. Our helpful crew member made sure we knew that our stateroom would be ready at 1:30 and that lunch was available at either Enchanted Garden on deck 2 or Cabanas on deck 10. She recommended Enchanted Garden since it only required walking down 1 flight of stairs and there were long lines for the elevators. We debated briefly as we were also scheduled for dinner at Enchanted Garden that night, but we ended up taking her advice.

The decor of Enchanted Garden is pretty much as the name implies. It is a brightly lit, elegant dining room with lots of greenery. During the dinner hour, there is a show element where the decor shifts from day to night during the meal, but this isn’t done at lunch. Like all of the restaurants on the Dream, the tables are positioned pretty close together, making for kind of a crowded look. Fortunately, the combination of bright lighting and color schemes as well as reasonably high ceilings keep the restaurant from feeling claustrophobic.

Upon entering the very uncrowded restaurant, we were immediately greeted by one of several crew members waiting by the entrance who escorted us to a table close to the buffet. A waiter took our drink orders and then we headed to the buffet to get our food. Since we had all of our carry-on bags with us (including laptop computers), we were glad to have a table very close to the buffet as this allowed us all to go get our food without requiring that someone stay behind to watch the bags.

The buffet included a carving station with roast beef as well as some of the typical side dishes to go with it. They also had salads & fruit, cold cuts and cheeses, a number of different varieties of bread, peel & eat shrimp, and some pasta and fish dishes. A well-stocked dessert area offered lots of different selections of various baked goods (cakes, cookies, etc.) and a freezer with quite a few different flavors of premium-quality ice cream.

The food all seemed very fresh and we enjoyed everything we had. The servers were very attentive and quick with drink refills. From what I’ve heard, the food selection is pretty much the same at Cabanas, but with a self-service drink station. I felt having servers take care of drinks was preferable, particularly for the first meal of the cruise. One of the servers even took a couple minutes to fold a napkin into a hat, which greatly amused my son.

Making Palo Brunch Reservations

One of the highlights of our previous cruises was the brunch offered on days at sea at Palo, the adults-only restaurant. A limited number of reservations are available on-line, but they were already full (probably due to earlier booking dates for concierge and high-level Castaway Club guests) by the time we were able to book. Through research, I had learned that a large percentage of reservations are held back for guests booking on board. They started offering these reservations at the podium outside of the restaurant, starting at 1pm on embarkation day. It was shortly after 1pm when I finished eating lunch, so we decided that I would head up to Palo to try and make a reservation and then meet my wife and son back at the stateroom at 1:30, the time the staterooms were scheduled to be available.

My journey to the restaurant was my first experience with how large the ship is and how difficult it sometimes was to get from one place to another. Enchanted Garden is located midship on deck 2 while Palo is located far aft on deck 12. I first headed to the midship elevators, which I discovered only go as high as deck 11. I later learned that 4 of the 6 elevators did go all the way up to deck 12, but I got into one of the two that doesn’t. I’m not sure if there were signs up clarifying this, but I didn’t notice any. Once I got up to deck 11, I had some difficulty finding the aft elevators and stairs. It turns out that they are, rather confusingly, actually inside of Cabanas. I had to ask a crew member for directions before I finally figured that out. After I found the stairs, I walked up one deck and easily found Palo right there.

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Disney Dream, April 2011: Embarkation Day (Part 1: Arrival and Boarding)

Note: I have decided to split each day of the trip report into multiple parts as the posts were getting overly long.

Observation deck at the Disney Cruise Line Terminal
Observation deck at the Disney Cruise Line Terminal

I was a bit nervous about the logistics surrounding embarkation on the Disney Dream.   The Disney Cruise Line had traditionally been known for a very smooth embarkation process at Port Canaveral, but the terminal was designed for the substantially smaller Disney Magic and Disney Wonder and there had been quite a few reports of problems handling the larger crowds arriving for the Dream.

For our previous cruises, we had arrived at the terminal via Walt Disney World transportation, which got us there late enough that we immediately went on board after checking in.  This time, we had rented a car and planned to arrive at the terminal as early as possible, so I wasn’t really sure how it would work.  Fortunately, we found that the embarkation process went very smoothly and with a minimum of hassle.

On Sunday morning, we managed to wake up fairly early and it didn’t take too long to get showers and pack everything up.  We had a light breakfast at the hotel’s breakfast buffet.  Holiday Inn Express has pretty much standardized their included breakfasts from location to location, meaning that the quality and selection is predictable and fairly decent.  I particularly like their cinnamon rolls, which are served warm and fresh.  My only real complaint about breakfast was that they didn’t have enough seating in the breakfast area, something else that is unfortunately fairly standard to the chain.  We had to squeeze all three of us around a table for two, but we were able to manage.

Rental Car Return

I was very unsure about was whether it would be better to drop my family and our luggage off at the port and then go to return the rental car by myself or for us all to just take the shuttle.  We finally decided that the logistics would simply be easier if we all took the shuttle, so we headed straight to the rental car return.

We found Budget’s return process at the Port Canaveral office to be chaotic and a bit confusing.  We initially expected someone to come out to meet us to check in the car, as is typical at airport returns, so we wasted a few minutes waiting for that.  Once we realized that wasn’t the process there, I noted that the paperwork had instructions for doing an express check-out by filling out a form and dropping it in a drop box.

When I went inside, there was no drop box in sight.  This left no choice but to get into the line, which was very long due to the large number of people returning from cruise ships that had arrived in port that morning.   Fortunately, we didn’t wait too long before an employee walked the line offering to collect express check-out forms.  While the process wasn’t exceptionally difficult, they definitely should put in a drop box and also place some signs outside giving instructions for returns.

The wait for a shuttle bus was, fortunately, short and we were soon on our way to the Disney Cruise Line terminal!

Arrival and Check-In

Disney Dream from the rental car shuttle
Disney Dream from the rental car shuttle

We arrived shortly before 10:30am, which was the time that the terminal opened.  The shuttle pulled up at a drop-off spot outside the terminal and a cruise line porter quickly collected our checked luggage.  We then joined the line of people waiting to go in, which ended pretty much right where we had been dropped off.

It took us about 20 minutes to make it up to a security gate, where they checked our cruise documents and IDs before directing us into the terminal.  Inside the terminal, we then passed through airport-style metal detectors and sent our carry-on bags through an x-ray machine.  This process was very quick and efficient and we were soon headed up the escalators to the main terminal area.  We then were asked to quickly sign a form stating that nobody in our family had been sick in the last 24-hours and then we were directed to the check-in line.

Disney Cruise Line Terminal
Disney Cruise Line Terminal

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Disney Dream, April 2011: Introduction and Travel Day

Disney Dream

For our honeymoon in 2000, my wife and I went on a 7-night Caribbean cruise on the Disney Magic cruise ship.  In 2007, my extended family (including my wife, son, and my parents and sister) took a 4-night Bahamas cruise on the Disney Wonder.   Both trips were great fun and made us into big fans of the Disney Cruise Line.

When Disney announced that the Disney Dream, the first of  two new, larger and more advanced ships, would debut in 2011, we booked another 4-night cruise as soon as they became available.  While the maiden voyage was in late January, my son’s school schedule meant that the April 17th sail date, during his spring break, was our first opportunity.  I was able to book a family stateroom with verandah on deck 7, using points from our Disney Vacation Club timeshare to cover the cost.  The itinerary was the same as our 2007 cruise, with stops at Nassau and Castaway Cay, Disney’s private island, plus one day at sea.  The extended family was unfortunately unable to join us this time, so it was just my wife, 7-year-old son and me.

Flight

Due to the travel time (plus the 3-hour time change) from our home in Southern California to Port Canaveral in Florida, it was necessary for us to fly in the day before the cruise.  Since we have family in the Orlando area, we generally do annual trips out there.  For the last several years, we have been traveling on Delta, which has conveniently scheduled direct flights from LAX to Orlando International.  This year, we also had enough frequent flier points to get one of the tickets for free, reducing the cost by quite a bit.

Our experience with Delta wasn’t really the best this time and I expect that I’ll be looking closely at alternatives for the next trip.  The biggest issue was that they lost all of our luggage on the flight home and then took nearly 24-hours to get it to us.  I’m just thankful that this happened on the return flight.  It could have been a massive problem had they lost it on the flight to Florida instead.

Delta has also been slow to upgrade their planes to the latest conveniences.  Neither the flight to Florida or the flight home offered seat-back entertainment systems or, for that matter, any in-flight entertainment at all.  There wasn’t even a movie.  While the planes did have wi-fi Internet connectivity available, the seats are so closely spaced that we didn’t even bother to try using our laptops in.  They also don’t offer any power at the seats for charging batteries.  These types of improvements are pretty much standard on newer airlines like Virgin America and Jet Blue.

Finally, Delta just isn’t all that competitive in price anymore.  In the past, I have often found them to be the cheapest choice or only marginally more expensive than non-direct flights on other airlines.  Delta’s prices have gotten higher, plus they now charge extra for all checked luggage and any food items more substantial than peanuts or pretzels.  When I did price comparisons for this trip, I found that even with the one frequent flier reward ticket, the airfare for the three of us was only slightly cheaper than some of the more bargain priced airlines, particularly Southwest.

The night before our 2007 cruise, we stayed at a Walt Disney World resort (Saratoga Springs) and then took Disney transportation to the port.  We found that to be a somewhat frustrating experience, as the bus didn’t get us to the port until around 2:30 in the afternoon.  My parents and sister had driven themselves to the port, which resulted in us getting phone messages that they were having a leisurely lunch on the ship while we were still sitting in front of the hotel waiting for the bus.  We hated losing out on those first couple hours when we could have been onboard the ship.

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Soundtrack Collection: Enemy Below to Evita

The Enemy Below

The Enemy Below (Leigh Harline, 1957): This golden age action score is highlighted by a stirringly militaristic and melodic main theme, dominated by trombone and other prominent brass instruments.  It is a thrilling attention-grabbing theme that establishes the composer’s very dynamic action approach to the score.  This theme is particularly dominant in this score, repeating frequently, but with many variations in orchestration and pacing.

As is frequently typical with this type of action score, there are some darker, more suspense-oriented passages as well.  One of the earliest in the score is the cue “Charting Tables”, which tends to use slower pacing and lower brass to present a darker mood, while still remaining centered around the melody of the primary theme.  Action is definitely central to the score, though, with plenty of fast paced action cues, such as “Abandon Ship”, which contains some aggressive piano underlying the expected brass.

The score ends on a somewhat surprising note with a gently melodic end title cue, which is mainly string oriented.  Coming right after some much more fast paced action music, this cue provides a pretty effective winding down of the score.  While much of this cue is somewhat disconnected from the other parts of the score, it does work up to a bold, fanfare-style statement of the main theme as an ending flourish.

Intrada’s limited edition CD release is now sold out at their site and rare enough that I couldn’t even find an Amazon link.  It contains a little over 40 minutes of Harline’s score, plus another 8 minutes of bonus cues of source music.  The bonus cues include a number of vocals by Theodore Bikel, a military band march, and various “radar blips” that were composed by Harline essentially for sound effects.

Enterprise

Enterprise (Dennis McCarthy, 2002): The most recent (to date) “Star Trek” TV series mostly inherited the same musical style that was established with “Star Trek: The Next Generation” and continued through each of the subsequent TV series.  It was not surprising that Dennis McCarthy, one of the most frequent composers on the previous series, was brought in to score the pilot as well as other later episodes of the series.

One strange, and controversial, choice that was made by the series’ producers was to deviate from the usual orchestral main title themes and instead use a pop/rock song.  Even stranger was the decision to use a re-worked version of “Faith of the Heart”, which was written by Diane Warren and performed by Rod Stewart for the movie Patch Adams

The version of the song used for “Enterprise” was re-titled “Where My Heart Will Take Me” and performed by Russell Watson, essentially copying Stewart’s rough voiced style.  While this decision was, I suppose, fairly bold, it wasn’t really a good one.  The song felt terribly out of place over the series’ nostalgic opening title sequence (which featured visuals giving the history of space exploration) and it certainly didn’t fit with the musical approach used for the actual episode scoring.

The series was never a big hit (it only lasted 4 seasons, compared to 7 each for the previous three series) and only one soundtrack CD, containing the pilot score, has been released so far.  The CD also contains two versions of Russell Watson’s performance of “Where My Heart Will Take Me”, a longer version that opens the CD and the shorter version used on the show, which closes the disc.

McCarthy provides a primary theme that is incorporated frequently into the episode score.  The theme is dominated by majestic brass along with some soaring strings, which nicely evokes flight while also presenting a bit of a nostalgic flavor.  This theme was originally intended to be the opening title theme and the full arrangement written for that purpose is presented on the CD as “Archer’s Theme”.

As with any “Star Trek” incarnation, the show provided opportunities for a mix of dramatic, somewhat-cerebral scoring as well as some faster, more percussive action music, such as “Klingon Chase-Shotgunned” or “Phaser Fight” and darker suspense cues as in “Morph-o-Mania”.  The action cues, in particular, tend to have quite a few synth elements to supplement the otherwise orchestral presentation.

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Soundtrack Collection: The Egyptian to Enchanted

The Egyptian

The Egyptian (Alfred Newman, Bernard Herrmann, 1954): The Egyptian is one of the most important scores of its era.  The score was a collaboration between two of the true giants of Golden Age film scoring, Alfred Newman and Bernard Herrmann, working together on a large-scale historical epic.  The score was a true collaboration with each composer composing key segments of the score, but with shared themes and effective blending of both composers’ styles.

While a few re-recordings were available, the original recordings were long thought to be destroyed, until Film Score Monthly obtained access to preserved stereo tapes in 2001, allowing them to release a 72 minute limited edition CD (still available) containing all the surviving portion of the score.  It isn’t complete, but it is does cover the most important portions of the score.

As you would expect, this is a true epic score with dynamic action music, intimate romantic themes, and pretty much everything in-between.  The score features a full orchestra and chorus, giving it a fittingly large scale.  For the most part, the composers tend to handle the parts of the score that are most appropriate to their styles.  Herrmann was often most comfortable with darker, more brooding music and that is on display here in cues such as “The House of the Dead/The Burial”.  His talent for thrilling, fast paced action scoring is present as well, particularly in the exciting “The Chariot Ride/Pursuit” and the frantically stark cue “The Homecoming”.

Newman’s contribution tends to focus more on the romantic side as well as the score’s sense of nobility.  While Herrmann’s segments often tended to emphasize brass and percussion, Newman’s is dominated by lush strings and gentle woodwinds.  This aspect of the score is particularly well represented in the lengthy (7 minutes plus) cue “Valley of the Kings”.  Newman’s portion of the scoring also tends to be the strongest contributor to giving the score a distinctively middle-eastern flavor.  Newman also provides a religious hymn (with Biblical lyrics) that is presented first in “Hymn to Aton” and later reprised in “Death of Merit”.

While the above comments almost sound like two separate scores, the two portions actually blend very well.  There is a fair amount of thematic overlap and there are quite a few places where music by one composer is designed to flow right into music by the other.  On the soundtrack CD, quite a few cues contain portions by both composers.  Even in most single-composer scores, there can be a fair amount of variation in style based on what is needed for individual scenes.  This is simply a prime example of two top composers splitting up the film in such a way that each is able to contribute to the parts that are the best fit to his style.

Eight Below

Eight Below (Mark Isham, 2006): Mark Isham’s score to Eight Below was one of the early cases of Disney’s recent trend toward download-only releases on soundtracks that are primarily score.  This title was released exclusively to iTunes and it continues to be only available from that service.  Unfortunately, this does mean that the music is only available in iTunes’ compressed AAC format and not as a lossless recording.  Unfortunately, this pretty good adventure score is marred somewhat by the less than stellar sound quality.

The album opens with an overture that provides a pretty good overview of the key themes.  The most prominent theme is a fairly simple, brassy fanfare.  It is effective, although its relatively spare use in the score is something of a surprise.  Isham tends to pull out the theme as sort of a periodic crescendo, while often tending towards more subtle scoring during much of the rest of the running time.

The score is largely orchestral with a definite emphasis on brass and percussion.  Guitar is also featured during many parts of the score, giving it a bit more of a contemporary sound without moving it substantially towards a modern rock/pop sound.  The main guitar riff becomes a key secondary theme for the score, particularly playing up the more playful aspects of the score.  The score’s more sensitive side is played up with solo piano melodies in a few cues, most notably “Southern Lights”.

Eloise at the Plaza

Eloise at the Plaza/Eloise at Christmastime (Bruce Broughton, 2003): In 2003, ABC’s “The Wonderful World of Disney” series aired two made-for-TV movies, starring Julie Andrews,  based on the popular “Eloise” series of children’s books by Kay Thompson.  Both films were scored by Bruce Broughton and Intrada released a 1,200 copy limited edition (now out of print) 2-CD set, with one disc dedicated to each of the two scores.

Broughton establishes a charming and memorable main theme, which primarily features a solo saxophone.  It has a bit of an old-fashioned, Gershwin-inspired Americana style to it, which is a good fit for Broughton’s own sensibilities as well.  The theme debuts during the “Main Title/The Plaza” cue that opens the Eloise at the Plaza score and appears regularly throughout both of the scores, serving as a strong connecting tissue for a fairly wide variety of thematic material.  The rest of the musical material ranges from the charmingly manic to touchingly sensitive.  The latter is especially well represented by a gentle piano theme that serves as a core of the score’s more emotional components.

The score to Eloise at the Plaza tends to build on the style established in the main theme, maintaining a generally jazzy tone through much of the music.  Solo saxophone is used in quite a few variations that riff on the main theme.  Piano also tends to stand-out quite a bit, including some very dynamic playing in cues such as “Breaking the Boredom” and “Eloise’s Stuff”.  On the latter, there is some impressive violin counterpoint, an example of some interesting strings that also pop up periodically.  The result is a kind of upscale sophistication that reflects the film’s setting.

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