After the success of “The Immersive Van Gogh Exhibit Cleveland,” it was inevitable that more exhibitions of this type would be created.

But I was expecting Da Vinci (which does exist now), not Disney. Then again, few companies are better at monetizing their brand than Disney, so maybe the only surprise should be they didn’t come up with the idea first.

Occupying Lighthouse ArtSpace Cleveland, the same rehabbed industrial site that hosted an extended run of “Immersive Van Gogh,” is “Disney Animation: Immersive Experience.”

Tickets are on sale through April 10, and I’m sure that date will be extended if the demand is there (lighthouseimmersive.com/cleveland/)

In many ways, it doesn’t have the same visceral impact the Van Gogh show had, but it may be a great introduction to the movie theater experience for the youngest of Disney fans.

The most impressive part of Van Gogh was the sheer scale of it. Fans of his work could see iconic paintings projected significantly larger than ever before. It wasn’t the same as seeing the real thing, but it allowed the viewer to see and appreciate details too small to perceive on the original work or a book-sized reproduction.

While many viewers today watch the Disney catalog on their televisions through DVDs, Blu-rays and streaming services, all of the images in the Disney experience were designed to be projected on movie screens. A warehouse wall is much bigger than any of the movie screens at Boulevard Centre or Cinema South, but regular moviegoers won’t be wowed by the scale in the same way.

The Disney production doesn’t just assemble a bunch of clips and project them on all four walls to create a visual surround. The music is drawn from Disney features but, for example, a segment that starts as a clip of Ursula from “The Little Mermaid” singing “Poor Unfortunate Souls” evolves into a montage of Disney villains while the music continues. That montage technique is repeated throughout the experience, which lasts about 50 minutes (the Van Gogh presentation was only a half hour or so).

And while character animation seems to get the most attention in film, the immersive experience makes audiences pay attention to the backgrounds, whether it’s the forests in 1995’s “Pocahontas,” the swamps in 2009’s “The Princess and the Frog” or the street scenes in 2021’s “Encanto.” Those elements dominate in this setting in a way they don’t when watching a narrative film.

The biggest difference between the two is that Disney increases the “immersive” component. Bubble machines help create that “Under the Sea” feeling during clips from “The Little Mermaid.” Guests get a light up bracelet that changes colors throughout the experience, and some of the images react to the viewers’ movements. Leaves are projected on the floor during “Colors of the Wind,” and kids can kick the leaves out from under their feet. I don’t understand how that technology works, but it definitely was cool.

While “Disney Animation: Immersive Experience” clearly wants to be an all-ages attraction, I really think it will be best for preschool-aged viewers, those so young that their parents might question whether they can sit still for a 90-minute movie. This experience is designed to be interactive — move around, chase the bubbles, kick the leaves, hug the wall when a favorite character appears. And if they don’t know or don’t like one story, the focus will shift to something else a minute later.

With tickets starting at $36, the price is comparable to a Sesame Street Live or Disney on Ice. Adults without a child or grandchild may want to wait for the next immersion.

Andy Gray is the entertainment editor of Ticket. Write to him at agray@tribtoday.com.