Fairy tales tell us that love should be effortless—one glance across a crowded room, one spark of magic, and happily ever after begins. But real life rarely follows that script. In The Disney Delusion, Leif Oleson-Cormack digs into that uncomfortable gap between ideal and reality, showing how fairy-tale notions of romance can unravel spectacularly when tested against messy human emotions. The premise may sound familiar, but it’s hard not to be reminded of Disney’s Enchanted, where recognizing true love is anything but simple. Thankfully, no one bursts into song.
Disneyland Anaheim ought to be the perfect stage for love. Fireworks, castles, and carefully orchestrated magic practically beg for a storybook confession. Oleson-Cormack arrives there hoping to declare his feelings for Andrew, a close friend he’s secretly attracted to, and imagines the moment playing out like one of those old commercials promising “the magic of Disney.” Instead, the trip spirals into a roller coaster of missteps, featuring a globe-trotting sugar daddy, a Frank Sinatra impersonator, and a hunky Australian bartender. They’re far from Prince Charming—reminders that real-life archetypes come with sharp edges: one seeks a fling, another barges in uninvited, and the last is clutching at straws.
The delight comes in how Oleson-Cormack tells it. His quick, animated delivery turns chaos into a kind of anti-fairy tale, full of laughs, cringes, and confessions. He slips effortlessly between personas—whether it’s Andrew at his most drunken, the doctor with suspicious charm, or the bartender’s easy swagger. This one-man performance shows how flimsy our romantic ideals can be once reality intrudes.
What elevates The Disney Delusion is how it brings to life the relentless inner monologue we all know: Is this person “the one”? Why am I still holding on? The show doesn’t hand over a Disney-style happy ending but something closer to Pixar—a story that admits life is messy, love is complicated, and growth often comes through disappointment rather than destiny. And no, I’m not just thinking about Inside-Out here either.
Though rooted in Oleson-Cormack’s bisexual coming-of-age, the themes extend far beyond LGBTQ+ experience. Anyone who’s ever pinned their hopes on a fairy-tale romance, only to discover reality is far less magical, will find themselves laughing, wincing, and maybe even reflecting. After a few years on the Fringe circuit, this show finally arrives in Victoria, BC—and there are still more performances to catch!
4 Stars out of 5
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