In March 2013, Disneyland opened the Royal Theatre, condensing Disney films like Beauty and the Beast and Tangled into 22-minute stage adaptations. The decor of the theatre, the language of the characters, and the costuming of the performers all work together to evoke a nostalgic and loose sense of history that calls on guests to interact with the story in the style of an “old-time melodrama,” booing, hissing, cheering, and singing along to the story. Through encouraging Disneyland Park guests to join in the jeers and boos the attraction encourages the guests to break with the contemporary social conventions of passive reception of live theatre; guests perform their roles from their seats in the audience, expanding the playing space from the relative exclusivity of the stage to encompass the entire theatre. In this essay, Patrice Amon argues that tourists are taught how to perform as actors and given a new hybrid identity as both performer and audience that extends to the parks as a whole. The essay explores the theatrical genre of melodrama and asserts that the Royal Theatre’s use of this genre gives the audience a way to exceed their assumed passivity and interact with the performers as actors themselves.