A/N: I don't own Glee (Ryan Murphy and Fox do) or Disney or anything else you might recognize here, but use them here with love.

[Cue the Glee voiceover guy] So, Kurt and Blaine and Rachel and Brody and Sue and Rob and all their kids (wow, that was a lot for one breath) are back in Orlando! Thank God for the grandparent brigade, by the way. They're there to film the Disney special: The Mouse Goes to Broadway, about the history of shows based on Disney films, and the trend of stars of those shows having some legit Disney chops – as former furs and faces, of course! Stay tuned!

"You were great," Blaine said approvingly, when Kurt's segment was finally done, along with some publicity stills and promo clips to be aired before the special.

"Blaine!" Kurt groaned, hiding his face once more. "Seriously, Cheerios clips?! Not to mention me in my old park costume."

"But you looked great in your old costume," Blaine insisted.

"Which one?" Kurt peered at him, darting a look across to one of the screens still displaying old footage, a smirk starting to take over his face.

Blaine blushed, surrounded as they were by crew members and a nearby studio audience.

"Oh my gawd," Kurt crowed, waggling his brows. "Someone's got a thing for me in my old Cheerios uniform."

"Where did they even get that clip? And why have I never seen it before?" Blaine wondered, a faraway look in his eyes.

"Goofball," Kurt chuckled, propelling him towards to hair and makeup studio. "Focus! You're on next. You really want to be in that mode out there?"

"Definitely not," Blaine harumphed, swallowing visibly. "But seriously, is there more of that footage?"

Kurt giggled, giving Blaine a final gentle shove towards the makeup room. "Mind out of the gutter, mister. Now, go get ready."

"You think I'm pretty, without any makeup on," Blaine sang to him, his eyebrows dancing as Kurt swatted his rear.

"Dork." He rolled his eyes at Blaine's hurt puppy look. "Stop that. You know perfectly well that I do. But the cameras and bright lights might have a different opinion."

"Will you get me some more coffee?" Blaine begged.

"Of course. How do you suppose Dad's holding out against the ice cream monster?" Kurt asked.

"If by that you mean our darling daughter, I'd say yes. Barely." Blaine turned around at the door of the makeup room off the main studio. "It'll be fine, babe, don't worry."

Kurt grimaced and shook his shoulders before heading off to get them both some more coffee.

A short while later Blaine was seated in the same studio, in the same chair that Kurt had been in. But this segment was hosted by Gary Masters, hailed throughout Broadway as the next Alan Menken.

"Fancy meeting you here," Blaine beamed at him. "I didn't know they ever let you out of New York."

"It is the center of the universe," Gary fanned himself, affecting an old school diva air. "But sometimes one must make sacrifices for one's public."

"Or boss," Blaine agreed, laughing as Gary failed to keep in character.

"I don't know how you people do it," Gary wheezed out, trying to stop. "I mean, staying in character – how exhausting!"

"I'll never tell," Blaine bantered back.

"Lights!" they heard someone yell, and waited while they adjusted and re-adjusted them, until they seemed to settle on settings they liked.

"All right, in five, four, three, two, one," and Blaine turned to Gary, his face polite and attentive.

Gary cleared his throat and addressed the cameras and the live audience.

"Hello, I'm Gary Masters," he smiled at the polite applause. "You may not know me or my face, which is fine by me. I wrote the score and music to what turned out to be a breakout role for this actor, Blaine Hummel-Anderson." He leaned forward and adopted a conspiratorial tone. "I'm also working on my next Disney collaboration," and he put his finger to his mouth to make a shushing motion. "I just might tell you later." He straightened up with and turned to Blaine. "Of course, our talented actors and musicians and stage crafters bring it all to life, and Blaine and I made our Broadway debut together. So, maybe you can tell us about how that came to be."

"Sure, Gary," Blaine nodded and beamed at him and the audience. "I started out with Disney here in Orlando, just like Kurt, and Gina was my boss too."

"And we have some archival images to prove it," Gary assured him, as the monitors showed them pictures of Blaine as Aladdin at the park. "Now, you developed a little bit of a reputation as a rule-breaker, you know. Smooth as silk, but ..."

"I know, I know" Blaine looked down at his feet momentarily, guessing what was coming next. "But it was for a good cause."

"True. He didn't know it at the time, folks, but when Blaine and another one of our guests did this impromptu performance, it was captured for posterity. And we're lucky enough to have found it!" Gary motioned the crew to roll the clip.

Kurt watched from offstage as Blaine and Rachel, dressed as Aladdin and Princess Jasmine, sang a perfect a cappela rendition of A Whole New World for a little girl in a wheelchair, with her parents hovering nearby, the mother in tears. At the end, Rachel lifted the little girl's toy tiger and kissed it, then leaned down to hug her. The crowd gathered around all clapped for them, as Blaine bowed low, sweeping off his hat to her, then helping Rachel back to her feet.

"Of course, you didn't go straight from that outfit to starring in Disney's Aladdin, the Musical, on Broadway," Gary continued.

"No," Blaine sighed. "It was already a success, and had a top notch cast. I wished!" he enthused.

"What happened the summer after that clip?" Gary asked.

"I went back to college," Blaine shrugged. "Auditioned when I could, and I planned to come back for a third year of working in the park for the summer."

"That didn't happen, did it?"

"No," Blaine nodded, and smiled, looking off in the distance momentarily before making eye contact again with Gary. "Gina, who was starting to develop a reputation for finding new talent for the growing Disney Theatricals division, by the way, got wind of a new play in the making. Your play," Blaine looked over to Gary, who nodded.

"I was a little nervous. No, I was a lot nervous," Gary admitted. "This play would be staged very differently than the others, I was a new composer for them, and by this time the division had had a lot of successes, but also a few less successful shows." He smiled over at Blaine. "Of course, Kurt as Peter Pan really took off," he accented this with a soaring hand motion, getting an eye roll from Blaine, "so they seemed willing to give me a chance."

Blaine smiled at the studio audience, then his eyes found Kurt's, where he was standing off-stage. He remembered it all; how proud he'd been of his boyfriend, ecstatic when he'd agreed to move in with him. They'd had a few rocky times early on, but mostly his memories of that time were great ones.

Blaine looked back at Gary. "So, I heard you did more than just the music for this show."

They both knew the history of Gary's first Disney collaboration, but they also knew the dance steps for a good interview, and this Disney special.

"I did. The show ended up being very different from what had gone before. Of course, that was almost becoming expected for the Disney on Broadway brand, starting with the amazing puppet work for The Lion King. Our challenge was that the source character was so young, and human, so, no hiding behind masks or elaborate makeup. And though you didn't get to play Aladdin except for in the park, that role still helped you." He and Blaine leaned back in their seats a little as a clip started to roll of one of Blaine's audition pieces.

They and the studio audience watched as Blaine sang Proud of Your Boy from the Broadway show for Aladdin. He was out of costume now, seated at the piano and accompanying himself, and they both could feel the live audience melting as they showed the entire piece, then applauded. Blaine bowed his head, mouthing a thank you to the audience, then favoring them with a brilliant smile.

"That showed me some of what I wanted in my lead actor," Gary said.

Blaine was now blushing lightly, and hoping his makeup hid that fact.

"Broadway fans know what we've been talking about, but I'll go ahead for all you other fans: I'm talking about Disney's The Jungle Book, The Musical," he announced, and the screens flashed to clips of Blaine in the role of Mowgli, which earned another round of applause.

"The innovation there was to depart even more from the Disney movie version," Gary went on. "For starters, having more female characters and depth to some of the familiar ones. For instance, Bagheera the panther's mate, who is the baby Mowgli's surrogate mother. Also, the human girl, who is not even named in the film, is a recurring character, who Mowgli meets several times before they're both older, and eventually he leaves to join her." Blaine nodded, approving that as Gary talked about what he loved and knew best, he lost the stiffness in front of the camera he'd had in the beginning.

"It was also aimed at an older audience than the cartoon," Blaine supplied.

"Exactly. This was never meant for five year olds; I mean, the show was still family-friendly, but it had darker themes too. Bagheera's mate, Mekala, dies when a poacher shoots her, and Bagheera's anger and distrust towards humans makes him want to keep the boy away from his own kind forever. It also leads to an unlikely alliance between Bagheera and Shere Khan, which breaks down later." Gary smiled over at Blaine. "And while you could have played a person younger than yourself, you couldn't easily play young enough for what we wanted to do."

"Something I didn't regret," Blaine added.

"Young Mowgli's part was originated by Myron Muskovitz," Gary turned to the audience, and clips from the Broadway show appeared on the monitors.

Blaine sat forward, remembering some of their planning for this part. "And that shows another of the innovations for this production," he said, pointing to the screens. "The scenery for young Mowgli is bigger in scale, and the animal actors' costumes and heads are larger, exaggerating the size difference and making Myron look even smaller."

"Yes, some Broadway magic," Gary agreed. "The art directors chose to have a subtle progression, with the early scenes having a more cartoonish air, and then by the time you were on stage for the bulk of the show, the animal characters were more to scale with you, and the scenery looked more realistic. For the final act, this became even more so, looking almost naturalistic."

"Winning one of the eight Tony awards for the production," Blaine said.

"Yes. You and I both won in our categories, as did our talented set designers." Gary looked off stage, earning a puzzled look from Blaine.

"Hey, that was my first Tony too!" Myron crowed, shoving a curtain out of the way and bounding over to join them, as both Blaine and Gary got up and they all hugged.

"Myron, man, look at you!" Blaine gushed. He'd gotten along well with his young co-star (Myron later teased him that Kurt broke him in for him), and they still enjoyed it when they bumped into each other in the small circle of Broadway actors.

"Taller than you, man," Myron beamed, then shamelessly solicited the audience for a round of applause.

"Yeah. Fine," Blaine teased. They both knew it was true, but only by about half an inch.

When the applause died down, Gary and Blaine returned to their seats, and Myron took his place next to Blaine.

"Nice nails, dude," Myron teased the older actor.

"Why, thank you," Blaine chuckled, displaying his hands and preening for the audience.

"Well, Blaine, I know you've moved on from the Jungle," the audience tittered as Gary raised an eyebrow, addressing him, "but you've proven to be a very versatile star."

The monitors showed a montage of Playbills, starting with Disney's The Jungle Book, The Musical, and including a recent show he'd done with Kurt, an adaptation of Who's Afraid of Virginia Woolfe.

"Don't you know me? I'm the new Berlin wall, baby," Blaine quipped, as a few in the audience cheered and Myron clapped enthusiastically.

"So, that means the mystery man in the revival of Hedwig and the Angry Inch is you," Myron fist-pumped the air.

"You heard it here first," Blaine admitted, gracing the audience with a million dollar smile. He'd been thrilled when Stephen Trask and John Cameron Mitchell had allowed him to reveal this. Even though this special wouldn't air for another month, they all knew the Broadway press would pick up on this spoiler immediately, and the free publicity was always welcome.

"Of course, your athleticism, definitely on display as Mowgli, may have helped you in getting your latest role," Gary said smoothly, "but I had to rely on other sources, besides your singing ability, which I knew all about."

"Oh no," Blaine said, in a small voice, burying his face in his hands.

"You've got a clip?" Myron bounced in his chair.

"Oh yeah," Gary assured him. "I saw this, and knew I had my older Mowgli."

Blaine shook his head, studying his feet, as the Warbler's most elaborate dance routine, choreographed by Sebastian, of course, played on the monitor, with full sound, as his teenage self clambered all over the virtual jungle gym they'd used for the Neon Trees' Animal, dancing and doing gymnastic moves on the steel frames, never missing a beat. Unfortunately, the clip included his not-quite then-boyfriend, Sebastian, making very unsubtle eyes at him as they sang the suggestive lyrics. Blaine was now pretty sure no amount of stage makeup could hide his blush.

"Nice moves," Myron bumped shoulders with him. "Almost as good as mine," he teased, with a wink, earning laughs from the audience.

Blaine was grateful for Myron's antics and scene-stealing tendencies. "Well, you learned your best moves from me, I think," Blaine recovered, bantering with the younger man, and giving him a side hug.

"Boys, I think I heard enough of the two of you back when you were my stars," Gary intervened.

Blaine all but fell into Kurt's arms as he exited the stage at the end of his segment.

"Oh honey," Kurt crooned.

"Why did I ever say yes to this?" Blaine wondered.

"Let's see," Kurt counted off, pursing his lips and extending his fingers as he enumerated. "Nice paycheck, all-expenses-paid-Disney vaycay, and free publicity for your next show."

"She works hard for the money. So hard for the money," Blaine sang to his husband.

"I thought we'd established you are not allowed to sing disco songs, Blaine," Kurt fake-pouted.

"But that's a classic!" his husband insisted, sounding for a moment like a teenager. Kurt smirked, knowing he was hearing Blaine's version of Tommy Gnosis from Hedwig.

"Enough of that," Myron interrupted them. "Were you going to take me out to dinner, or was that all just talk?"

"Ah, Myron, I've missed you," Blaine teased him. "My brotha from anotha motha" he said, with accompanying gangsta hand motions, finished off with a fist-bump that Myron returned with a long-suffering sigh.

"Oh my gawd!" Myron rolled his eyes. "I thought I told you you are not allowed to say that!"

"Boys, boys," Gary joined them, shaking his head. "Just like old times."

A/N: I hope you've enjoyed this chapter, with this vision of how Blaine's future as a Broadway star played out. We're not done with Klaine, don't worry, but I do have a few more futures to reveal. Any guesses? Wishes? And, of course, we do know that Darren was totally awesome as Hedwig, and I just couldn't resist. As always, I love hearing from you, and hope you've enjoyed this chapter.