UNIVERSITY PARK, Pa. — “Disney: The Tale of Moana,” a theatrical production aboard the Disney Treasure cruise ship, which features stunning sets designed by Milagros Ponce de León, professor of scenic design in the Penn State College of Arts and Architecture, received the International Association of Amusement Parks and Attractions’ (IAAPA) 2025 Brass Ring Excellence Award for the most creative year-round theatrical production. The award is widely considered the most prestigious in the global attraction industry.
Founded in 1918, the IAAPA is the world's largest, non-profit trade association for the global attractions industry. The association promotes safe operations, industry growth and professional development and represents more than 6,000 members across more than 100 countries.
Named for the rings given to carousel riders at the very first amusement parks, the IAAPA Brass Ring Award aims to recognize excellence in the attractions industry.
“To be part of the team that created ‘Disney: The Tale of Moana’ has been a once in a lifetime experience,” Ponce de León said. “And to share this award with the talented and dedicated creative and production teams on board the Disney Treasure has been an honor.”
Ponce de León, who has been at Penn State for 15 years, first began her work with Disney in 2022 when she was hired as the scenic designer for “Disney: The Tale of Moana.” Since then, she has designed the set for “Hercules,” a theatrical production aboard Disney’s Destiny.
Ponce de León isn’t the only Penn Stater on the design team. Throughout her relationship with Disney, Ryan Douglas, a theatre scenic design faculty member at the University of North Carolina School of the Arts, a 2021 Penn State School of Theatre graduate and a former student of Ponce de León, has served as her associate scenic designer.
“Ryan is my right hand, and I couldn’t do all the work that I do without his support,” Ponce de León said.
Working in the live entertainment industry as a scenic designer takes a lot of grit, determination and attention to detail, Ponce de León explained. The travel for the production can be intense, and she said the pressure can feel overwhelming at times, but when the lights dim and the show comes to life, the hard work is all worth it.
“The final execution is always in the hands of others, and that is what makes the experience so rewarding,” Ponce de León said. “Reaching the end of the process and fully grasping the time, dedication, collaboration and skill it takes to create something like this is simply amazing.”
From the beginning of the creative discussions with the show’s director Connor Gallagher to the execution of the design work, the integration of choreography with Connor Gallagher and Peter Rockford Spiritu, and all areas of design — lighting, Rui Rita; projections, Aaron Rhyne; and costumes, Sarah Cubbage — Ponce de León said the team was able to create an innovative, visually stunning and highly theatrical adaptation of the original movie.
“With too many impressive minds to name — from props to puppets to backstage technicians and the outstanding production, stage management and technical teams at Disney Cruise Lines —there is so much art, love, technology and skill involved that it is impossible not to be in awe of the work created onboard,” Ponce de León said.
A documentary titled “Magic of the Disney Treasure,” which highlights the production's development, and includes multiple interviews with Ponce de León, can be viewed on Disney+.
Ponce de León is continuing her work with Disney Cruise Lines with more details to come.