HomeMy WebLinkAboutItem #26 - Discussion ItemCITY OF MIAMI, FLORIDA
INTER -OFFICE MEMORANDUM
TO : Donald H. Warshaw February 2, 1999
Cify Manager DATE : FILE
FROM
J . lummer, 9 A
C airman
SUBJECT :
REFERENCES:
Gusman Donation from
Law Enforcement Fund
0
It
Attached for your review and information, is a package of information
pertaining to the $50,000 donation to Gusman from the Law Enforcement
Trust Fund. Please Place this item on the next City Commission Agenda.
TO: Donald Warshaw, City Manager
City of Miami
FROM: Clark Cook
Executive Director
Miami Parking System
DATE: January 11, 1999
SUBJECT: $50,000 Donation
from Law Enforcement
Trust Fund
During the 1997/1998 operating year for the Gusman Theater, a
children's performance was held in March of that year and a
request was made that we be reimbursed $50.000 from the Law
Enforcement Trust Fund for this event. This was done at the
request of Commissioner Plummer to help us fund our deficit
for 1997/1998 at Gusman since the City had not given us
deficit funding. A requirement of that request was that the
City Commission pass a resolution concerning this issue. We
asked Commissioner Plummer to use a pocket item. The pocket
item passed at the July 14, 1998 Commission meeting, and we
contacted the police administration to obtain the $50,000.
After several discussions, we were advised that the police
department had forwarded the $50,000 check to the FUm.
Society. Since the Film Society was not involved, we
contacted the City Clerk, Walter Foeman, and asked for a copy
of the July 14, 1998 meeting minutes. After reviewing the
minutes with the City Clerk, we determined that an error had
been made in the resolution. The resolution authorizing the
$50,000 expenditure clearly showed the Film Society rather
than Gusman which was the intent of the Commissioners' vote.
We were hoping that this situation could be resolved
administratively and have asked Commissioner Plummer to write
a letter to Walter Foeman so stating his position. This
situation needs to be cleared up since we have a $50,000
deficit in our 1997/98 year operating performance and our
auditors will require that we resolve this matter before they
will close out the year.
Enclosed is a copy of some correspondence which I have on the
issue. I would appreciate any help you can give us in
resolving this problem. If we are required to go back to the
Commission, we would like to do so at the next meeting.
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18. (A). ACCEPT 950.000.00 FRC1M Or P STR}-FT PAAXNG FOR GUSMAW CL'I.itlttAL Cffir�'f,+R,
(B). CO"KIENTS MADE REGARDWO EQUITABLE DIS12m TION tUF n MMS AMONG FIVE CO..WISSiON DIST11" TS.
(C)• CON HERBS REOARDNO DESIGNATIOA• OF LiTit;E HAM .qET OPFICk
j (D). DISCL`SS CTSPBCTION OF TRASR RECEPTACLES Air'D ILLEGAL TRASH DUMPED Lv
OVERMWN AND LrM.ls HAM AREAS - DMrCT CITY UANAQER TO PROCEED WITH
CiTYWME LOT CLEARNG PROGRAM AND CREATION OF LOT-CLEAR»rG CO!NMrrM
C(TYwii)ts - FURTHER U[SGUSSf�YG NEED FOR irtCREASFD'.YE'!' A:�iD BLJE.OtIYC AND IOvitv(i
StiPCRYISION AT COti11?FRc'IAL AND CONMtJCTIONt S .S _ ODfVI�ttC.St INO REQAt App
cU 04 .FLATS ON NEED To CFIANUE CULTURE OF NET STA&T.
(14 DIRi)Ct CITY MANAtaHR M itEt;O0Nf7E XgOG COM&tLSSION MF�ETIl�tG 01: JtRX al,
1" , E"OR;S 8Y THREE NO EU 0: CONNECTION wrm ow CCEANL? OF iTJLY I l,1998 -J
NRU R DIRP=iM MAPIAGFR TO COM09L Rr.MM Mqo FIRE D1�IARIJULY I HOME!
A)ID OUST -MSS eMEC 7aV DQerM s..
Vice Chairman Plummer. ?& City Combo, is this the place you wanted me to bring up the
fifty thousand about Gusman Hall? Is it appropliate hem or later?
;�tr. Warshaw: Whatever you like, Mr. Commissioner.
Vice Chairman Plummer: All right. We did not get it on the agenda because it was very,
very We and we've gat to keep those doom open. I would ask for a motion and the City,
Combo, Chief and Managerbu appooved it. is i'hrre a motion that we aliocate the funds as
so designated?
Conmtissioner Regalado: Move it
Commissioner Teele: Where are the funds coming from?
Vice Chainnan Plummer: From Law EnfOmetment Trust Funci, is that correct?
Mr. Warshaw: ComlmissioneT, this it a program for Gasman Hall. This is what the...
vice Chaurman Plummer: Oft' -Street parking and with the Play House
Mr. Warshaw: Film Festival.
Vice Chairman Plummer. Yeah.
Mr. Warshaw: Right, with the Film Festival, where we bave given monies for children
money before. to VON the tilm festival and spend films that were germane to children, We've given this
My 14, 11"S
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SENT BY : BLDGET Lei i T 12-1 I-98 :11: 3214 : CITY OF ,V i,LM i pqQCE-
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Commissioner Tetle: You know, tare lotto I sit here...and I haven't been here a yea ...the
MOM t realize what a great man Commissioner !Miller N vkins was. This
Commission.. -You know, the games that go on here is enough to make you curse and be
profane and f, goddamn it, am not going to take a lot mote of this.
Vice Chainvan Plummer: Sir, if you have aproblem with this item, rll withdraw it.
Commissioner Teel: No, rm going to tell you, I have a problem with the say the genes
get played up here. Let me be very candid. You all have stolen a million dollars
(11,000,000.00) out of Overtown to keep the Gorman Theater open. You all have
redirected, Christina and you, J.L., redirected over a million dollars (a1,0001000.00) in
finds brim parking out of Overtown to keep Crusrnan alive. The rtxatution...I went and got
land showed it to you when I first sal down here because it was a off ensivto mess a
e
ligcilium, Now. it's about time know, w0c...we're putting ibnds in here for emergency
hting, for Momingside. We're putting funds in here for everybody's deal. or.. and 1rm
sCrving notice, Mr: Manager, that this City is a City that has five districts not three, teat
'o, not one, but 5re. >r<ve districts. Five districts. Now,
dpnat9 (S1.000,000. .you all have taken a mill
00) out of Overtown and. -You know, you all can laugh at this and your
aids back there can laugh with this if they want to, but rm going to tell you, an dead
serious about this, Now, Law gnfornement These Fund money is flowing. You all had the
bag party out there n December. The money still hadn't been repaid to the Law
Enforcement Trus4 Fund. You know, and i don't know bow long...you kriow, trash is all
over the place. There's no NET office in Little Haiti. I'm about Qoddatiur sick and tired of
this. Now, rm not going put up with this much more. Ev
11irough, OK rm for Gumnan but you got to be fair, gentlemen.s is pushing tng their does
, cclin , T. laughs about the trash alI over Little Haiti and Overtown. You said at lu got to be east
mating, I.L., oh, I don't see how you can represent the district Ira ill dawn the street, Ills _ all _ illegal trash an up a�
repeatedly, can we putog tiler a containers
force land and
with theis. The r obi iVe asked the Manager
Want to take money from hero and t fir em is this, you all
put !here. You're going to take...at some point you�re got
to be fair to this entire city, D.I,. I have no problems with tho fifty thousand dollars
(�50,000.00) going to Gusman. I do have problems with the money that was all back
ih LhVernber for the police officers, etcetera. That money hasn't come fotv►ard. life don't
have the Law IMomement Trust Fund money for that. You know, and I've been palieft
' I''ve asked repeatedly about this. Now. rm telling You. I sat here for one year. I have gems
says, but rut going to tell up fmn4 Miller Septamber Ia..Octsit bober I, tf'you all dwk and say the ron`t
this City fair, I am going to become a very, very unhaner.ppy do
mono going out the door and I see the conditions in Little Haid.toWe doBecause even have s
NET office. "i'Ese Harald" did a story, what, three months ago about no NET ofYice,,,�
IRET office in Little Haiti. They've been looking for the money, less
aboutifty thoumd
dollars) 530,000.00. They showed a potied.,,they showed a picture of a policeG(ficer
Back seat of a ar writing rgmrts in Little Haiti. I went to ant and a white business owner a,� o wog in North side lit weds
how you can call yourself s Commissioner in the
' w� a of spardnents, nays. Commissioner, I don't ttee
that doesn't ensure that the people in Little Haiti
tie the same kind of trQarment. We don't even have a NET o(Sce dwe, We don't evert
luk 14, 1"S
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have a NET office in Little Haiti. YOU got police officers doing reports out of the back seat
of cars. There's no space for anybody to operate. We've had space there a year ago. That
resolution passed this Commission over a year ago. Get a copy of the resolution, Mr. Clerk,
in June, Corn"'"isslo"r Car'olto passed a resolution. in June,
area for
a NET office and, yet, we don't have the money. We dohave money for Littpoi ceroliicer5.
We don't have money for anything, except what the deals want to be. And rm telling
rm not going to sit here and go along with this. Filly thousand dollar (S50,000.00) of
Police trust fu»d money to go to Gusman? Don't have a problem with: it. But we got to
trt;at this commnttity fairly. And I partirulariy am offended when you ail tedirxtod over a
Million dollars (S1,C00,000.00), J,L.Jt was your motion that rerlirc�ct a million dollars
(S 1,0M,000.00). The motion said to take the money wherevth t re irtmetqary. Get IlionClacCook.
Get the Iti�T...gct the 6iiami Off -Street Panting Board. They will all tell you that that
money was redirected by Caesar Odio and Christina for the purpose of keeping Ousman
open and raping Overtown a million dollars (51,000,000.00). One million dollars
(1,000,000.00) in parking money over a two-year period of time. J.L.. if you think rm not
telling you the truth, if you think 11n overstating it, get Clark Cook on the phone,
Vice Chairman Plummer; Sir, I will definitely do that. Bwause my mm
PrcttY good, even though it's advanced age, but I don't ever r�,em� °nr is uwrtll?►
dollars (S1,000,000.00) for Cusman I wish to God we ham, We wouldrrE'tr be havingving a thetroubles were having today.
Commissioner Teele: J.L, your motion said, get the money from wherever is necessary and
by this resolution you're aua"rized to take it from anywhere. Christina sealed...I swan, you
know, this...�cem not talking about Mr. Cvwge Washington or John Madison. She's right
here. Christina, you take the mike. 'You explain what's $sing on here. Because, ace, whet
"a trying to show you, J.L., there's a pattern that goes on hero and the thousand dollars ($50,000.00) but what everybodyPam} is, this is tiny
million dollars (51,00p,Q00.00) taken and His to understand is that there was a
probfenr that I have is not doing this. It's Rat replacingoney hhee old Moneyas never . The placed, And the
have is not taking the filly thousand dollars (S50,000.00) from Law Enforcement roblem that
Fund but the fact that we have had activities in Ovc townThose se actvities have not bowl
reimbursed. Ne have police offrcani writing reports in i
the back seat v can. 'That money
has tint beat found. We've been looking for the money to pay for the NET office in
thertown. And, J.L., you know, }tin alwl" want to cut somebody offbut let me tell you
something, you run more money+ out of hem than an five CoMmi take seven hwWred thousand dollars (S700 ssrorrrrs c4nibined. Yott
taken a hundred thousand for Morningside a I don't,h v problem witweck for the h commnt end you,
sir. rm not objecting to it. What I'tn saying is, you got to be fair.
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Vice Chaim" Pturnmer; I will ask Christina to go back and pull the
memory because 1 don't reeill and well discuss it at a litter time. „DCOrd and relies It my
Contmissioncr Tecle: No, no, W. No, no, thars not satisractory for me, Mr.
Vice Chairmsa Plum Chairman.
mar: When we get the...
Commissioner Yeele: We'Ce talking abcwt..we are �
sending it go Cnsma�, Thls a t>ir�e bIk8 about taking money tpw r+csollection about them Zbovt swan. Christi oncy that went out of the parking for Gusman outna, � wn? do lu m a
Vice Chaintlan Plummer. A million douses (S1,000,000.00).
Ms. Christina Cuerzo (Ateistant City Atto�tne Commissioner, let me try to tocreate what Yr I have Some recollection.
�PP�ed. And,
Vice Chairman Plummer. Plead do.
lks. Cueytvo: The City owned some parkin operated those parking lots foe the City'.
3 lots clod to the aroma, t�Q=3tttet Ping deficit that had accummiated over a Grit. At t11G same time, Gustnan bad
CAArnan ror the Ca Yem because C(I'-Strax >�cunrulated a
tY• and my underr "ng,,,and F w parking was mt+r its
am't a party to that deal at that time.., Comrnissiotrer Teele; Citrtstirt
initially. They wc" tcarisf 4 J* cotr= the record. The lob were ow
ed by the , YOU All did not..the resolution wss bPme ...far the t+odevelopnten f Ovsrto"
Vice Chairman Plummer: No, that's not Qua
Ms. Cuervo: Thcy were owned by the City.
Vice Chainnan Pluntrner-
rm not... i'l:ey were owned by the City but lee Me yeq".
h the ttrernaty, if
Commissioner Teele: i; cos just (
talc abotat the Million dollars i
Vice Chairman Plummer ummer; Ali right, You go (51,000,000) but, then, Tm guing to tell you what ha head, talk about the t4rilli Of the deal with the FFcat, drat there Peened, all fight. "n dollars
would not be"a franchise without Ask —tell t� q that was part
Comertiss;oner. Teeie: here would be a franchise without what? him about it.
Vice Chsirnran Plummer. There had to be 4500 Parlrnyg spaces or sae
no f inchise for the Heat
would have begirt
duly 14, 1998
� �sw sseh`
Sf;VT BY: SLDGEI' LN I T _ :12-1 -98 :11 04�,M :CITY 1 TY OF
------ • M[ X ICE— 61
Commissioner Teele: Ain't got ttuthing to do with the 4500 parking spaces. Irs got to do
with the million dollars (S1,000,tb0.00) of money that the parking spaces generated, that
was redirected out of Overtown, to ""rppon Gutman. That's what weYe talking about,
Vice Chairman Plummer: Then, go ahead, Christina.
Conrntissioner Teele: I don't have a problem with the 4500. What I have a "tern with is,
thw 4`+cm*s never any money to deal with the problems in district —in the district wheys the
furors of are being generated. Am
And how in the name of God can yott justify taking mosey out
Overtown, putting it in Gasman theater and not reimbursing the ?You
highest unemployment I just saw a story, today in the �Y lit the
everybody says be'a a great Governor. Seventy-seven �e The Governor of GCotgia,
in Georgia is 3.8 percent Dorn a IPercent °C 'taWe. Unemployment
at 20 somethingg >;t 'ob. Unrn�ployrtretrt in Overtown, atatisticalty, is pment and really its at 40 some percent. And how in the name of God
can you justify taking that kind of motaey out of Overtown and, then, Coming back and
adding another filly thousand dollars (SS0,000.00)?
Vice Chairman Plummer: 01L i will only, ;for the mod, indicate that the City A4anagea
clearin
Way
issue to each one of as a appointment of certain individuals for a ggmide lot
g prtrgram, including District 2. And I ask the Gil Mina
would like to serve on that committee and he said he thought that it was and avo�ueja a
member of the committee, which is now going to address Citywide Lot Clearing is District
2, as well as the other districtsJ
world ask Christina to, please come back and give me
more details in reference to the lion dollars (SI,000,000.00
find, Mr. Teele, that you wish ro withdraw the fi )• ` ;ch I dons recall. Ifyou
Gusman Hall, we will do so inuuediately, sir sand
dollars (S50,000,00) to
Commissioner Teele: J.L., I don't have a problem with the 6piy dovsand.
Vice Chairman Plummer: OK.
Commissioner Teele: What I have problern with, is that you koe p taking Money but you
will never rciniburse and return the tnoetey that has been taken out of these co munit3cs.
That's all that .rm saying.
Vice Chairman Plummer: 01C
Commissioner Teele: Get us the trillion dollars (S1,000,000,00) back.
hri Cha-if, n Plummer NI right Mr. Manager, you have heard ... once it is justifiect 2 in Overtown d by
Christina...if, in fact, it is money► t!� is due and Cain g to would fully export you to pay it. All right? Now, tha tiny thousand to Gusm 0an is time i� I
Rather discussion? sum enough, Then I would ask, all in favor, say "aye." y
OPppositioa?
July t 4, t go$
rt�r�tc�►"t+o.
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5ENfi BY Et.Di,'E`I' CN [ r_ -I 2-1 98 : I 1 35Ay :CITY rY M I �11M (COL 1 CE-- : e� 7
_ _ OF
po
The following rt_cotutift was introduee i by Cemmissiow Plummer, who moved its adoption:
RF.SOLt:!'f'tON NO. 98.685
A RESOLUTION AUTHORIZma FUNDING OF THE FILM
SOCIETY OF MIAK INC. IN AN AMOUNT NOT To
MIRED $50-000.00, AND ALLOCATING FUNDS
TMFF'OR FROM THE LAW itNTORCEMENT TRUST
MVD, PROJECT NtJbMBERS WWI.690002, AND 69W03,
SUCH EVENDti'UM HAVM BEEN CERTIFM D BY
THE CFtfF.P OF POLICE AS COMPLYING WITH FLORIDA
STATE STATUTES, CHAPM 932.70S5, AS AMF,ND6D
AND THE U.S. DlF3'ARTMENT OF THE TREASURY'S
"GUIDE TO EQUITABLE SHARING"
94cre fo""'s body of resolution. omitted here and on file in the Office of the City Clerk.)
Upon being seconded by Commissioner Gort,
following vote: the rcsoittfion was passed and adopted by the
AYES: Commissioner Wifredo Gon
Commissioner TOMS Regalado
Cot++missioner Joe Sanchez
Commissioner Arthur B. Teele. Jr.
Vice Chsirman J.L. Plummer, Jr.
MAYS: Notre.
ABSENT: None
6 r* 14.199$
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R December 15, 1998
• ,r
Ms. Lourdes Rodriguez
City of Miami Police
Budget Department
400 NW Second Avenue
Miami, FL 33128
Dear Lourdes:
I am delighted to learn that Gusman Center is being considered for a contribution by the Law
Enforcement Trust Fund. There were over 1,250 children at the presentation of "ENCORE"
which is a series of vignettes of.
The Tell Tale Heart - by Edgar Allen Poe
The Legend of Sleepy Hollow - by Washington Irving
The Monkey's Paw - by W.W. Jacobs
The Necklace - by Guy de Maupassant
The Celebrated Jumping Frog - by Mark Twain
Classics brought to life by a fantastically talented Repertory Theater. A visit to Miami's
acoustically perfect historic environmental theater takes the children into a physical space
where they have never been --a true professional theater. "The Tell Tale Heart" is Edgar Allen
Poe at his best and the young audience experiences the value of these classic books coming to
life on stage.
It is our belief the arts stimulate the mind and often opens a "door" into which a child walks
through in fantasy and exits with a real life positive direction. As one can see, the "Behavior
Guidelines" also prepares them for the experience and the Study Guide helps the teachers
challenge the student's interest prior to the theater experience. it is our sincerest wish that our
program will be funded for 1998 and that we might continue to apply for future assistance.
Lourdes, thank you for your assistance and should you require any further information, please
do not hesitate to call me or certainly, Mr. Clark Cook.
(,Sincerely,
Jgannie Piazza-Zuniga
/irector of Theater Operations
JPZ
=cc:C.
GUSMAN CENTER FOR THE PERFORMING ARTS
- WTheater Location: 174 East Flagler Street, Miami, FL 33131
Office & Mail: 25 S.E. Second Avenue, Suite 415, Miami, FL 33131
-, Tdaphone: (305) 374.2444 Fax: 005) 374.0303
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TO: bonald'8. Warshaw
Chief of police
FROM: Clark Cook
Executive Director
Miami Parking system
DATE: March 17, 1998
SUBJECT: Oumari Sut�nerr
This is to request a contribution from the Law Enforcement Trust
Fund to the Ousman Theater project. In order to
this donation, a c:lt1lt4-uJ1'a wvwrtl wd� 1cvZ�t aL 3�t5yua1rvua2li qualify for
1998 for young kids from inner city schools. Attached is the
background information for this program.
This grogram has been used in
e past,
and weappropriate and meets the criteria for a contr butionefrom your
organization.
The expenses associated with this
program are listed below.
Purchased Programs:
Box Office Statement:
Technical Crew Costs:
Estimate from $12,000 to US,000
Buy TtaitarvtL=L!,,, ALjV4v_. 50 %+lima& g$200
Theater Rental & FOH Expenses:
gesed en thi3 information, I am
contribution from your organization.
�&3 /"? P
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Attachment
From $1,700—
Total:
10,612
906
10,000
2,300
$38,818
requacting a $50,000
'b,fS
tj
r Chamber Repertory Theatre,
ENCORE? Study Guide
Chamber Theatre utilizes a dramatic form that relies on the narrator's point of view. In one way or another, the narrator
becomes involved in the story being told. One of the artistic features of CT is that the narration can occur in inventive and
creative ways. Sometimes the narrator becomes the principal character; sometimes the narration is shared between
characters; sometimes the narrator leaves the action and becomes a non -participant. Each variation enhances the artistic
interpretations of the stories being told. Chamber Repertory Theatre's format poses other unique production challenges for
theatre as well. It uses limited space for many settings, few actors for many roles, one "viewing time" for many stories and
challenges the audience to shift attitude from serious to frivolous. Students may consider how a company can do so much
with so little in so short a time. They may want to compare their experience with CRT to a theatre performance of a single
play (or movie) that took as much time. Whereas a single play must create a unified impression in an hour and a half, CRT
must create five! It requires that the audience be able to shift focus and attitude. Its challenge is to invent artistic ways to
help viewers do just that while telling a story and not confusing the audience. In addition to asking students to respond to
"literary" questions, you should have them pay attention to how CRT has solved difficult problems of staging multiple
performances.
Theatre/Uterary Vocabulary
Back -lighting, Blocking, Character (gestures, movements, voices, activity, development, etc.), Effects (lighting, sound, etc.),
Foreshadowing, Freezes, Irony (ironic twist), Metaphor (extended metaphor), Mime, Mood, Props (pre-sets, usage, etc.),
Revolving Stage, Scrim, Setting, Voice -Over, Willing Suspension of Disbelief.
Most of these terms are standard to the study of literature; some are specific to drama. If your school does not have a drama
expert on the faculty, consulting a reference work will provide you with a sufficient definition to familiarize your students with
these concepts. They will be used freely in the study questions and the activities. Vocabulary words which might be unfamiliar
in each story are listed under Special Vocabulary in the study guides.
Teaching Suggestions
To maximize your students' leaming from their experience with Chamber Repertory Theatre, you should work with them
before viewing the plays, provide tasks for them to accomplish when they attend the production and structure follow-up
activities when they return to the classroom. These study guides suggest activities in all three areas. Some questions are
accompanied by suggested answers printed in italics. These answers are not intended to serve as the correct answers but
rather to encourage informed viewing and to stimulate vigorous discussion. It would probably be best if the students read all
of the stories before they see the plays. However, if this is not possible, other variations of 'reading/viewing/re-reading"
might prepare your students just as well. Only you (knowing your individual circumstances, curriculum demands, support
services, time and organizational constraints, availability of materials and personnel) can decide how extensively you can work
with your students on this project.
If the class cannot read all of the stories, you might break the class into groups and assign one story to each. They would _w
become the "experts" on that story. The entire class will see each story adapted for the stage, but only the "expert" group
would be responsible for following the detailed suggestions in the Viewing Activities. When the entire class reconvenes to
discuss the Post -viewing Questions, each "expert" group could serve as the reliable record -keeper for the class. You may
want to use the groups to engage in further study of biography, history, genre, related stories, etc. and report to the class in a
panel format. The synopses are designed to be used along with the study questions and the viewing activities. They might
also be used along with the story texts. If the students read the stories, they may disagree with the relevancy of the
information summarized in the synopses. They may prefer to write their own to exclude some comments and to include
substance they think more important. Teachers should feel free to expand on the suggestions given here in any direction
their creativity and curricular demands allow. Some, for example, might want your students to practice "acting" before seeing
the plays (e.g., inventing 'character walks', exploring the use of props, anticipating special effects, solving staging problems.)
Others might want to take a textual focus, examining the language of satire, comedy, region, irony, ambiguity, etc. Some
might want to review features such as plot, theme, conflict, climax, mood etc. and give the students only the barest outline of
the stories they have not read and allow them to predict the resolution. Still others might want to embed this theatre ;.
experience in a larger curricular project: adapting and performing a different short story after returning to school, for example.
You might focus their viewing awareness by suggesting that they will give "academy awards" when they return, thus requiring
the students to heighten their viewing attention to variations in acting, directing, lighting, costuming, special effects etc.
However you decide to use these suggestions, we hope that they are a helpful schematic which will aid you in introducing
students to dramatic and literary forms. All comments and suggestions for supplementing or refining these study guides
(including student reactions, special successes and particular problems) should be directed to: Professor George Branigan,
Ed.D, c/o Chamber Theatre Productions Inc., 2 Park Plaza, Boston, MA 02116. Phone: In MA: 617-542-9155
Toll Free: 1-800-225-7988 C Chamber Theatre Productions Inc., 1991
The Tell 'fate Heart: The Collected Poems of Edgar Allen Poe, Random House, 1992.
Special Vocabulary, Vex, acute, audacity, mockery, derision, dissemble
Viewing Activities: A) Using props and set. 1) Notice how the narrator uses props for multiple purposes. 2) Attend to arrangement of
room and movement to and from door. B) Establishing personali . 1) Attend to references which give information about the narrator. 2)
Notice actions the narrator performs which might suggest personality (e.g., some compulsive activity).
Post -viewing Questions: 1) in which cases did a prop that appeared early get used later for a different purpose? How do these theatrical
choices enhance the narrative? 2) Entering and leaving the man's room (called for in the story text) could have been difficult to stage.
How did the 'blocking' handle this problem? Was it convincing? 3) How is narration enlivened by actors' performance of the story
(events are acted out as they are being described)? 4) How does the narrator refer to the sound which gives the murder away (ticking
watt!: wrapped in cotton)? What was the sound? 5) Are there any indications that the murderer wanted to be caught (invites police to
stay, sits over burial spot)? 6) If you are comparing the play to the story text: a) examine the opening paragraph of the story. To whom
is the narrator speaking? How does that influence your understanding of the events (narration is flashback)? Does this technique make
the audience part of the story? b) Find the reason why the old man awakes. Did the play handle this reason convincingly? 7) The
narrator claims not to be mad. Are you convinced or were there certain personality traits (obsessive activity, obsession with eye,
heightened sensitivity) that contradict what the narrator claimed? 8) Compare the story text of The Tell Tale Heart with the play. In the
story, the narrator is probably male; in the play, the murderer sometimes is female. Does that alter any interpretations or reactions you
have to the events of the tale?
The Legend of Slccnv Hollow: Washington Irving's Skctch Book, Dodd, 1954.
Special Vocabulary: Place and character names: Tarrytown, Sleepy Hollow, Crane, Bones, Gunpowder
Viewing Activities: A) Establishing character and tone. 1) Pay attention to how the characters do what the narration says to create their
personalities. 2) Notice bow the characters move on stage (look particularly at bow they move differently from one another.) 3) Note
bow lighting enhances stage action. B) Using language. l) Listen for bow Ichabod describes Katrina. 2) Try to pick up subtle jokes in
the dramatic text that play with language (a head start against the headless horseman, Lire away ' to Gunpowder etc. )
Post -viewing Questions: 1) A two part consideration: a) How do the actors use physical gestures to create an image of their character
that matches their name? b) What specific language described each character? 2) How did the actors' movements and the language fit
together to establish their personalities? 3) Can you cite instances where the characters' movements mirrored an emotion? 4) Arc there
any characters in this play/story that you like? Who and why? If not, what do you learn about these characters that 'puts you oir them?
Think both about what they say and what they do. 5) Remember how the final scene was staged. Did the use of a 'giant puppet'
influence your opinion about whether the chase was real or imaginary? Whether it was the Hessian or Brom Bones that scared Ichabod?
6) What did W. Irving do to keep you guessing about whether this tale is real or imaginary? 7) Create your vision of Tarrytown a month
later. What would it be like? Do you know enough about the characters to predict this?
The Monkev's Paw: Classic Ghosr Stories, Dovcr Publications, 197
40.
Special Vocabulary: Talisman, avaricious, credulity, coincidence
Viewing Activities: A) Creating mood: 1) Notice bow special staging effects establish the mood of the play. 2) Try to be aware of what
events in the dramatization bold your attention --what is done that bolds your focus?
Post -viewing Questions: 1) Do you remember any other stories you have read that include three wishes [brainstorm]? Did ally of then:
work out for the good of the characters? Compare them with Monkey's Paw. 2) Aside from wishes, where else does the number three
show up in literature or cultural mythology? How does this number get used? 3) Can you think of any other ways the wishes could have
been made to avoid trouble? Can the power of the "Paw" be outsmarted? (This could be a contest between groups. Each tries to find a
foolproof sohaion. Swapping solutions, the groups then try to find ways that the solution will 'turn bad.')
t,4Ou
C� M
r'
The Monkey's Paw Post -viewing Questions Cont.
4) What special staging techniques created the dominant mood (sltadow at door in beginning, son at door at end; creaking gate
signaling entrance etc.)? How did that help to hold your attention even thoustage? 5) In the story
gh there was very little action on text
of The_ Monkty's Paw, the family gets the paw from Sergeant-Major Morris; in the dramatic text, from his wife. Does this change make
any difference? Imaginatively reconstruct the consequences that might have befallen the previous owners when they used their three
wishes. If you are using the story text, re. -read the opening section.
The Necklace : The Boot Stories of Guy de Maupasoant Random House, 1945.
Special Vocabulary: Dowry, pauper, calamity, envy.
Viewing Activities: A) Integrating namttorUs. 1) Watch bow the narrators are used in this play as compared to the others. 2) Attend to
their multiple functions. 3) Notice what they are wearing (neck pieces that serve many junctions). B) Suspending disbelief. Notice how
the actors make you believe that settings have changed or that time bat passed.
Post viewing Questions: 1) How were you prepared (or set up) for the ironic twist at the end? Were there other small ironies that led up
to the final one? 2) Was Matilda's fate justiiied? That is, did she get what she deserved? How do you learn about her character traits
(spending lutsband's money, choosing jewelry, complaining about dress)? 4) Return to the story text and re -read the exchange when
Matilda borrows the necklace. Notice anything (Mme. Forestier could have corrected mistaken notion that necklace. was actually made of
diamonds, but does not) ? 5) How did the use of two narrators, mirroring each other and changing roles help to emphasize the ironies of
the tale (they spin, reverse, clutnge as events change —as omniscient narrators, they see all and do not intervene, etc.). 6) How do the
narrators use their costume pieces, particularly around their necks, to contribute to the development of irony?
The Celebrated Jumping Frog of Calaverac County: Complete Stories of Mark Twain Hanover House, 1957.
Special Vocabulary: Dialect: curiousest, uncommon lucky, dangdest, etc.
Viewing Activities: A) Creating characters. 1) Attend carefully to bow the actors use gesture, movement, etc. to become their characters.
2) Look for differences between actors. B) Creating humor. 1) Note instances where the bumor is in the language of the script versus in
the action of the characters. 2) Watch for bow the actors have added physical gesture to the scene where Smiley trains his frog. -
Post -viewing Questions: 1) Make two lists: on one, list all the events in the tale that got you laughing; on the other, list all the things
the actors did that were funny. How do they match up? Can you specify bow the actors took an already funny story and made it even
funnier to watch? 2) How did the portrayal of the training scene supplement the text with actions you recognize as appropriate (training
an athlete )? 3) How has Twain used setting, character, events and language to create a humorous tale? How do these elements all work
together? 4) What do you think you know about Jim Smiley from having met him in this tale? Do you like him? Do you think he's a
fool? What makes you take the position you do? 5) Is Jim Smiley like any other characters you've met in literature or film? 6) Is be a
stereotype? 7) Could you write sonie further adventures of Sritiley?
Cross Textual Considerations:
1) How is the comedy in Jumping Frog different from that in Sleepy Hollow? -�
staged or do they result from different styles of the authors (I'waiti and In,�nc)A c the differences a consequence of bow the two were
2) Recall the trick endings of Tell Talc Heart Monkev's Paw and Necklace. AS viewers/readers are we led to the twist different!? In
other words, was there some technique used that led us along until we were ripe for the twist? y
3) Did everyone in each of these stories get what they deserved? If so, were the reasons different? Can you compare this to other area
of literature you have studied where some son of fate or character trait leads to an inevitable conclusion? p s
4) Are these stories familiar to you? �
Do you know of any others that are similar to or adapted from these?
5) Contrast how the narrator's role changed from play to play. First jot down the differences and similarities. Then, discuss how the
various uses of the narrator were appropriate for the type of story (comedy, horror, adventure, etc.).
c it - ..
r
rd
BEHAVIOR GUIDELINES
One of the benefits students will draw from attending our forthcoming
performance is the opportunity to participate in a live theatre
experience. For many, this will be the student's first exposure to a
theatrical event.
You have been granted one complimentary ticket for every twenty paid
seats. This coEglimentaa ticket must be used for a cha erone to
ensure adequate and active adult supervision.
It is of the utmost importance that the issue of theatre conduct be
addressed prior to the performance and that all students understand
and abide by the following guidelines:
* Talking and whispering are inappropriate and distracting.
* Throwing objects at the stage or at other audience members will
not be tolerated.
* No gum, food, drinking, or smoking is permitted in the theatre-
* No Walkmans, cameras, or recording devices are allowed in the
theatre.
* No hats or caps are to be worn inside the theatre.
* Students must be seated and quiet at the start of each story.
* Students must be accompanied to the rest room by a chaperone;
this prevents loitering and assists in starting on time.
: Defacing of theatre property will not be tolerated.
While we do not have an established dress code, we.have found that a
well dressed audience tends to be a well behaved audience.
Teachers and chaperones must take an active role in monitoring
students. Adequate and active supervision is essential to maintaining
appropriate behavior. Special security personnel will be in the
theatre to assure compliance with these guidelines.
In order to preserve the integrity of the production, we reserve the
right to eject students or groups due to inappropriate behavior, in
which event there will be no recourse to refunds.
With your active participation, we are sure that you and your students
will find this field trip to be an exciting and rewarding experience.
s
ISMAs
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a )UR DE FORCEl I "I
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Tall of the House of Usher by Edgar Allan Poe
—' ccurrence
at Owl Creek Bridge
3y Atrlbrose (tierce
WOUSC by Saki (il.
H. Munro)
Wost Dangerous Game by Richard Connell
Ra
or
of Red Chief by U. Henry
- t DE FORCC11"
Fall 1998 Touring Schedule
: NO7•Et If your school cunnut uaend on a purticulur date or
lease tall to see If additional performances have been scheduled,
mingham
M Oct
26 Alabama Theatre
ntsville
W Nov
18 Von Braun Civic Centel
w Haven
Th Oct
I S. Conn. Stele Univ, / Lyman Cit. for Pat. Arts
Imingion
Tu Oct
6 Dickinson High School
-• .conut Creek
Th Dec
3 Btoward Community College / Omni Audllonum
Myers
W Dec
2 Barbara B. Mann Performing Arts Hall
- . Pierce
Tu Dec
8 St Lucie County Civic Center
.Cksonvllle
Th Dec
10 Times -Union Clr. for the Pori. Arts / Moran Thr.
Isml
Tu Dec
I Jackie Gleason Thr. of Pert. Arts, Miami Beach
Lando
F Dec
4 Tupperware Convention Center
rlendo
M Dec
7 Tupperware Convention Center
. Petersburg
M Nov
30 Mahaffey Theatre / Bayhont Centel(
,sole
W Dec
9 Van Wezel Performing Ails Hell
Ilants
M Nov
23 The Fox Theatre
._ evannah
F Dec
I Savannah Civic Center Theatre
)Ilot _
Tu Oct
20 Rialle Square Theatre
dla
W Oct
21 Circle Theatre
axinglon
F Oct
23 Univ of KY / Singletary Center for the Arts
J afon Rouge
W Oct
28 Riverside Cenlroplex
frayetle
F Oct
30 Heymann Performing Arts 8 Convention Clr
onroe
Th Oct
29 Monroe Civic Center Theatre
ally Orleans
F Nov
13 Orphoum Theatre
— ireveport
W Nov
i l Civic Theatre
altimore
W Oct
7 Gouchar College, Towson
oslon
F Oct
2 John Hancock Hell
Iloxl
M Nov
16 Stronger Theatre
olumbus
Tu Nov
17 Mississippi Unlit. lot Women / Whitfield Aud.
ickson
Tu Oct
27 Theirs Mara Hail
Icksburg
Th Nov
12 City Auditorium
— ebsnon
W Sep
30 Lebanon Opera House
lanchasler
Tu Sop
29 Palace Theatre
-�� Iewark
Th Dec
17 Newark Symphony Hall
emestown
Th Oct
15 Reg Lonna Civic Center
ong Island
M Oct
5 Holsira Umv / Adarns Playhouse. Hempstead
= arrytown
M Sep
28 Marymount College i Spellman Auditorium
— Vinslon•Selem
F Nov
20 Wenslon•Salem University / Williams Aud.
- :Incinnatl
Th Oct
22 Tall Theatre
Aeveland
F Oct
16 Lakewood Civic Auditorium. Lakewood
— :olumbus
Tu Oct
13 Franklin County Veterans Memorial Auditorium
The Ransom of Iced Chief, Y'Ouli DE FORch?
f
?ktllv.hiy111 K11A ILN?:,i'+.1. '?uhi?,. i,IV..'.t%"•)li'rie4+\\�i 'i •��.:itr4,'i`:!.''�r
The Tell •lair• I lc;tr( by IuIgm-1 all Pot.
Thc td' Sick-ps, I hillmv •
hl \C'.Llunlarin Iranlf: Y'
The I9ot)ke%'S P.m. I)v W \\ )m I11).
The NecklaCc Ilk' 611% tic �IdulLu..ult
The Celchr;HeelAt
•1un111iligFrogof'Gtlavvi•;ts
C .e)t111t\' l,k \I.1i'k i\a.1111
1AV(:f)111:'Y-' kill 1998 hill(-iltg ticlic•tlult'
I'LPetSI: Nl1l'1.� 11 yenn a brad ;.,,rill inlrml rill �; p:u't it uler +Lrtr em
lisle. plemse call h+ .aa II uddhlnnal parhn•nlunce. hnvr barn a hrdnli-d
AL Dothan
Gadsden
Mobile
Montgomery
A7 rlagslnll
Phuenix
Tucson
An FI. Se ilh
Lillie Rock
CA Berkeley
Frasno
Fullerton
Los Angeles
Pasadena
Riverside
' Soaamen10
SP..
San Francisco
Still Jose
Slocklol,
Thousand Oaks
CO 'Colorado Spgs
Denver
Grand Jcl
Greeley
CT Dridgepuil
Haiti old
New Lundun
DE Dover
'Wilmington
DC ' Washington
FL Ocala
Tallahassee
GA Albany
' Allanla
Augusla
Columbus,
M.--
M Nov
r Oct
lu Nov
Tu Drr
VI N.
I, 14:,
kY Doc
r Oct
Tu No,
h, flov
Th Nov
:•r Nov
r Ilor
k"/ Ott
r rlr..
I.1 Nov
t.1 Orl
Ili 00
;I, Fluv
1.1 Oc:
Ott
Ih Oal
I:, Orl
"/ Ili.,
M ().:I
I Ile,
yr Son
Id Doc
W Doc
IA Or.1
Tu Oci
I, GrI
W Dec
Nuv
I:
0 Dothan Crwc Go,ltnr
9 Gadsden Slate Com Cat , Wallace Hail
10 Mobde Crvrc Center Iheave
8 Davis 1 heal,:
rio,ihmn An: nn'I llnrver:n; ..nb,•.r A, I
1 I'hucru. (a;,r I'Id;d,`, ngar.�n, rrY.
d Lhv:,•r!.dy of I Ilo
I 11 'in1•il• (l,v,r (;onto•, Ihr,,ln.
2 tluhmsun Cenle,
:10 fle,keley Communily ThL•atir
10 Warnnr's lbealie Center to, the ['oil A,Is
17 Plummer Auditorium
12 UCLA / Royce Hall
10 Pasadena Coder
13 Municipal Auditorium
20 COnventon Cu I Corn rill, r_.t-ow, r,e;mt,
C..
„ .
q Palace al F,nr. Arts Theatre
:6 Flv,l Gil ICI pm Pert An:. Cur••,I
29 San Jnachin Della Cal ' Watien Ache,': n Au•:
19 Thousand Oaks Civic A,:. Plaid
19 Pikes Pea+ Cenlef
I Parameunl Theatre
22 FnJ,W Maldl,: School bn,ga
r,, L1n�on f;nhr,y Crv'C C.Ir / Alnnln•' ,:.. , .•n l try
,' 1 I(Irm 1.1nln,n,ll Alrrhlurnrn,
Ill the;Imell Mu„nnal I Ian
Ill (;a,ltt All-. Cenle,
30 Delaware State College I E 11 1heaue
7 Grand Opera House
16 Howard University I Cram:on Auddo•n,m
S Forest High School
6 Flonda Slale Unrvorsdli . Ru):• Didion, Aur
0 Albany r.tun�Unal Aun•,o,•.u:.
9 Sye,pl,o,y Fern
i Augusta 11�,.,,�,a;n�l r'. LI'•• .;
7 Tn,on All, 11-.11,e
!..LPL COMPANY
ber Repertory Theatre
ioston's nationally acclailne(I Professional touring
Y. We open our Fall 1998 season with two very
woductions for students or illerature, drama, and
arts. 'lliese unicyuc prodlic•lions :Ire fully staged
i, costumes, lighting and sound effects and are
d by a cast of versatile and professional actors.
x rums a pleasure to attrrrrl. query tfilrrg went
y and in the most professionat manner. As a
► veteran t was able to ulatch, the reactions of
yr. Thep mere transfixed and totally luuner Berl
,•oductiort. We commend you►•f/ne work, Even
out ' r/d be proud. The show teas all my
ba err talking about and they want to go
ny Gulona
rissom J.H.S.
Polrk, NY
S: H6411 and Frog by Ted Dews; Heektaee end Ransom bT John Edwards: Dangerous
mkayl Paw by Marlin O'Hearn; Slwpy Hollow and Usher by Patricia Sankus; Owl Creek
Of Rerormallon by Richard McEMh; Mouse by Tracy Huston. The Most Dangerous Gem*
men. adspled bt Ino stage by Martin OTtearn.
e sec Monkey's Paw, ENC01119
TOUR DE PORCCt
Tile Fall of the House of Usher
An Occurrence at Owl Creek Bridge
The Mouse
The Most Dangerous Game
The Ransom of Itc(I Chief
ENCOREY
The7e1111ale Ileart
The Legend of Sleepy liollow
'rhe Monkey's Paw
The Necklace
The Celebrtte(1 Jumping frog or C;Ilavents County
,��
HEI 311'L.11( VAL 1.1 "IV t3I
CALL "I"01A. FREE 4 , �.
1-800-225-7988 r° -
(In colt 617 5-i-1-9I55)
Visit our web."itt• u(: (vww.(h;uuhcrthcalr(.ctrwl t♦/\
Pel-1, lrnl,tllcc• Time o t
Shot('S')(•gill ;11 It) ;o,\NI rzct•1111 Ihnst nxhcau tl tt nit an
O) which begin ;u In nn ANI Pcl,lrnul;mccs ,In
;Ipproxtnl.ut•h• rtlrt• Inru1 .r11t1 lorlr Hvc minllly> nl it•ngth
III-it-L.
One vIInlpholvill.0 t 'u.11 lot ;1 t 11.1prlonc• I. ollilctl fill
cv(•I'y 21) p;utl .cat-1 lilt c IWI- sc.11 IS Pax tl upon >izc of
group; $ 1 1 ?i lot 1.1)1) p;ut1 a;us. S IO ,)i fill, I(IU_ II)q ,.,,if
scats. S 10.74; fill 2011. 91) lmi(l seals, St) Ui Inr i()tl t
Nu vertin(IS. r;Iol,VIl;moos or r(-dttctiort.. gr:utlt d
within I i clays of tltc pel-lorrlrnrcc.
Private 11cf-tO1-111allces
CRT is available In pci-form of your School or orpnuation
stud), Gilides
Upon receipt of \-nut rt•sc•rvalirnl wu will semi you ;I slutiv
guidC for prc•perlornlanit and post•pc•rlinnl;utt.'c clisro,.lun
Please Note:
Stories, locations, elates ;Intl times subject to Change.
Security
'Ib advance compli;lace with our behavior guideliucs, Clt'I
Is nory providing additional theatre intend;ults.
Iugg W Ott 26 Riverside Cent"IfIx
F Ool 30 Heymann Performing Arse 8 Convention Cit.
K�O eenterTheelrs
uns Nov 9 umThel
1r1 W Nov 11 CMCThealre
e W Oct 7 Goucher College. Towson
F Oct 2 John Hancock Hag
M Nov 16 Seerlger Theatre
Tu NOV17 Mississippi Univ. for Women! Whitfield Aud.
usTha
1ro Try Nov 12 N
City Auditorium
ium
W Sep 30 Lebanon Opera House
n Tu Sep 29 Palace Theatre
afar Hall
Th Dec 17 Newark Symphonyawn Th Oct 15 Reg Len" CNtc Center yy
lend M Oct 5 Nolelns Univ. I mount CotAdams Plalege I Sperlman Auditorium
Hempstead
vn M Sep 28 Mary
rSalem F Nov 20 Winsloll•Salem University ! Williams Aud.
,e11 Th Oct 22 Tell Teeetre
rid F Oct 16 Lakewood Civic Auditorium. Lakewood
rue Tu Oct 13 Franklin County Veterans Memorial Auditorium
µ Oct 12 Franciscan Lila Center, Sylvania
,ym W Dec 16 Allentown Symphony Hell
W Oct 14 Warner Theatre
ruro Th Oct 8 Scottish Rite Cathedral Auditorium
once F Dec 19 Veterans Memorial Auditorium
Nis Th Nov 19 Knoxville Civic Center
noogs Tu Nov 24 Memorlel Auditorium
FM Nov Nov 6 Julie Rogers lThea emer norium
fOnl
Tu Nov 3 Dallas Convention Center
on Tu Nov 10 Jones Hall
ir Th NOV 5 Marshall Civic Auditorium
slonlo M Nov 9 Municipal Auditorium
W Nov 4 Caldwell Auditorium
x TO Dec 15 George Mason University ! Concert Hall
mouth M Dec to Willett Han
abut F Oct 9 Rose Gorden Theatre
hikes9 M Oct 19 Pabst Theelre
sews
that 77rv.rfra ire Ihu hlah Naht of "I'V
The Legend of Slccpy 11011ow, G/vrUlusn
CO 'Colorado Spge
M OcI0 Prkue Punk COnlor •
21 Thealre
Denver
Grand Jet
W Octl
Middle School, Frulla
Fruit&POtsMid
Unlen Colony Civic Clr.1 Monlorl Coneerl Hall
Th Oct 22 Union
Greeley
Tu Oct 20
CT Brlort
Klein ll Auditorium
BI15heMemotHj
He
M Oct 19
F Doc 10 Gordo Arts Center
Now London
30 Delaware Stele Cortege ! E rt Theatre
DE Dover
W Sep
IA Doc 7 Grand Opo,a House
• Wilmington
16 Huwn,d tinivo,sdy I ctamlml Auddouum
DC ' Washinglon
W Doc
FL Ocnin
AA Oct 5 Fn,crl liigh School
6 Flomil, state Univptsdy! fbNy U�anlenU Aud
TONOhas80o
Tu 0':1
Th Oct 0 Albany Municipal Auddorium
GA Albany
Atlnntn
W Dec 9 Symphony Hall
Civic Cit I Bell Aud
Auguste
F Nov 6 Augusla•Richmond
r.1 f,lov 2 Three Arts Thealre
Columbus
Tu Nov 3 City Auditorium
Macon
F Oct 2 City Audd0rium
nomo
Voldosln
W Oct 7 Milos Civic Auddonu,❑
ll AllrO,n
It. No+ 17 Pa,iltnounl Arts Center
e Teple
1„ Oct 13 Scotush Rnm
gloolnington
Id Nov 9 Chicago TL•oatte
Chicago
V/ OeI 1.1 HommOns Cultural Centel
•Elgin
Elgin ford
RockIN
P Oct I Midway Thoalro
IA Oct 12 Anderson Unwersrly! RearAud,louu�n
Anderson
fA ttoy 23 Elea Performing Ails Censtel
Elkhatt
Ft. Wnync
11, Nov 19 Scotusl+ Rito Auditorum
Ia St Malys Cotlego. Nolte Dame
South Band
tv Nnv
IA Oct 19 Tilson MUSIC 14a11
Torre Haute
F Oct I Century II Convention Center i Theatre
KS ' Wlchil0
Tu Oct 20 Unlit 01 KY / Singletary Conte, for the At 15
KY Lexington
F Nov 13 Lo Centre Civique de Lake Charles
LA Little Charles
23 Merrill Auditorium at City Han
ME Portland
F Oct
MD Baltimore
Tu Sep 29 Gouchm College. 7ows011
I Goucher College. Towson
Bolllmore
Th Oct
W D0C 9 Adorns A. Mechanic Theatre
' 8a11lmero
Tu Oct 6 The Weinberg Centel for the Ads
Frederick
Hagerstown
F Oct 30 I.laryland Thualie
Wicomico Senior high School
Salisbury
M Oct 12
F Oct IG Beikloe Pedonnance Centel
MA Boston
Th Oct 22 John Hancock Hall
Boston
Tit Dec 10 John Hancock Hall
Boston
F Doc I I John Hancock Hall
Boston
Boston
Th Onc 17 John Hancock Hall
III Berkleo Performance Conger
Boston
F Doc
fA Doc 21 Borkl00 Performance Cattle'
Boston
Now Bndirad
M fin: Id 7.nilarinn Thnnirn
7 Piave several students planning careers its the
framatic arts r{jter this experience. My students have
Lever been so attentive or engrossed in anything
except maybe sports). After they returned to school
he next day "singing your praises," students who
lid toot attend were expressing their regrets."
Lis. Rhonda White Jett
insan Moore High School
Illountsville,Al.
"Our students are begging to go agar►t!'r
Nis. Clare Galle
Inman High School
Inrn
e;
"I have seen the production numerous times, but
think this was the best ylje actors were credible i►►
?very part and their energy and enthusiasm mere
:ontagiouslrr
ds.)udyTanner
3reer High School
freer, SC
Professional theater at its best bringing to life short
story classics/"
Ns.Jana Kahn Krupman
Naimonldes Hebrew Day School
1lbany, NY
The Necklace, LwCoi 'ti
OK
Oklnhoma City
lu NOV
24
Tlnso SIAM Collogo I Performing At as
Tulsa
M Nov
30
Oral noborls Univarsfly I Mabee C r
On
Corvallis
F Nov
6
Oregon Stale University I Auslai A flu
Portland
M Nov
2
Arleno Schnitzer Concert Hall
PA
Allentown
Tit Oct
13
Allentown Symphony Hall
Alloonn
F Oct
9
Mishlor Theatre
Enslull
to Doc
15
Strife Theatre
Loncasler
W Oct
14
Mccaskey High School
Pldlndelphlo
fit Oct
20
Academy of Music
Pittsburgh
W Dec
2
Heinz Hall For the Pedonnrg Ail
nonding
Tit Oct
29
Rajah Temple Theatre
SC
Anderson
11, Oct
1
�~
Anderson College /Fine Arts CCnt
Chnrin.slon
th Oil
21
Gaillard tAMIM0,1l Aud-lomum
Colurtibra
11+ Umr.
10
tl„> lov"Ishgt
rlorence
to Sep
: !1
.1 C Daniel Clr la the tied .+,1 ml."o ,
SPnrttifihtttg
%Y Ilov
4
Mtmlolnil Audnuiklist
IN
MungNits
I1, Ufr,.
3
Otph,:um Theol,e
tzslsllvilly
I Del.
A
Ora I Ole OP,Y tz UPryl.vnl
T%
Abilene
F Dec
4
Paramount Thoabe
Amarillo
IA Nov
23
Amarillo Civic Center Audnonum
Corpus Christi
Tit Nov
19
Del Mur College / Richardson Auditorium
EI Paso
M Nov
30
Ef Paso Con. Clr and Performing Arts Clr
FI. Worth
M Nov
16
FI. %North Convention Center
'Houiaon
W Nov
10
Toms Southern University I University Auo
Laredo
F Nov
20
Laredo Civic Center Auditorium
Lubbock
Th Dec.
3
Lubbock Memorial Civic Center Thonlrn,
Wilco
f" Nov
17
Onylo, llnivnrs,ty / Waco I Lin
UT
Soll Lnka City
I� Oct
23
University of Ulah I KmgsbwY 11a11
VA
Chhrioltesville
11, 00
U
1'mlufm,mij Arts Cemiet
Dnnvlllo
to Umc
7
Cary Audnonum
'Fairfris
le Dec
0
Goo,rju Mason Unwefsny I %,ontem 11pii
Lynchburg
W Oct
7
Fine Arts Confer
Norfolk
M Unc
14
Cl,rysfol Halt
'Richmond
To Doc
15
nichmond's Lnndmark TheNr,
Roanoke
I° Doc
,I
Roamolio Civic Confer
Winchester
h1 Oct
5
Handley High School
WA
' Olympia
W Nov
4
Washington Center
Seattle
Th Nov
5
Paramount Theatre
Yakima
To Nov
3
Capitol Theatre
Will
Beckley
F Oct
9
Woodrow Wilson High School
Charleston
Tit Dec
3
hlunicgtal Audnonum
WI
Madison
IllOct
15
Oscar Mayer Theare
Milwaukee
M Nov
16
Marcus Center lot the Perl Arts I Oblem F
'Oshkosh
to Nov
10
Grand Opera House
FALL
1998
TOURING
SCHEDULE.
2Park'PIazaITCaIrCPPOLILit1IOtL511TC.
T
- TOUR DE FORCE!
E -• ENCOREI!
Ilostoit, NIA 021 16
AL 01miinghom
T Oct 26
GA Ssysrm h
T Dec 1 t
MS Columbus
T Nov 17
OK Oklahoma City E Nov 24 TX FI. Wmlh I -.Nov
16
Dothan
E Nov 9
Valdosta
E Oct 7
Jackson
T Oct 27
Tulsa E Nov 30 Ifouston T
Nov 10
Gsdsdsn
E Od 9
IL Aurora
E Nov I7
McComb
E Nov 12
On Corvallis E Nov 6 'Houston E
Nov 18
Hunlfvllla
Mobile
Montgomery
T Nov t8
E Nov 10
Bloomington
Ch�go
E Oct 13
E Nov 9
Meridian
Vicksburg
E Dec 7
T Nov 12
Portland E Nov 2 Laredo E
Lubbock E
PA Allentown E Oct 13
Nov 20
Dec 3
a
• g
E Dec 8
E101n
E Od 14
MO Columbia
E Oct 14
Marshall T
Allentown
Nov 5
A2 FlaptUB
E Nov 25
'Joliet
T Od 20
Kansas City
E Oct 15
T Dec 16 San Antonio T
Alloons E Ocl 9
Nov 9
4
r
phoenix
Tucson
E Nov 23
E Nov 24
Rockford
E Od 16
'St. Louis
E Oct 13
Tyler 1
Eo$ton E Dec 15 Waco E
Nov
Nov 17
AR Ft. Smilh
E Dec 1
IN Anderson
E Oct 12
'Springfield
E Oct 12
Ella T Oct 14
Little Rock
E Dec 2
Elkhart
E 23
NovFl,Wayne
NV • Reno
E Oct 27
Harrisburg T Od 0 LIT Sail Lek. City E
Oct 23
E Nov 10
Lancaster E Oct 14 VA Charlottesville E
Oct 8
CA Sertnley
E Oct 30
Indianapolis
T Oct 21
NH Concord
E Doc 17
Philadelphia E Oct 20 Danville E
Dec 7
Fresno
E Nov 10
South Bend
E Nov 16
Lebanon
T Sep 30
Pittsburgh E Dec 2 'Felrlex E
Doc 8
Fullerton
E Nov 17
Terre Haute
E Od t9
Manchester
T Sep 29
Reading E Oct 29 Fairfax T
Dec 15
Los Angeles
E Nov 12
KS 'Wlehtta
E Oct 16
Manchester
E Oct 5
RI Providence T Doc to Lynchburg E
Oct 7
stderu
tvenldt
E fk' to
I
KY Lexington
E Oci 20
NJ 'roglewood
E Dec 17
SC AnJ.; . t Oct 1 tlorlolk E
Dec 14
tramento
.:
E Gil "e
tednglon
T Oct 2J
Lakewood
E Sep 26
Charleston E Oct 22 Portsmouth T
Dec 14
San Diego
E Nov 20
LA ' Baton Rouge
T Oct 28
Newark
T Dec 17
Columbia E Dec 10 Richmond E
Roanoke E
Dec IS
Doc 4
Safi Jseetaeo
E Nov 9
Lafayette
T Oct 30
Trenton
E Dec 10
Florence E Sep 29
Spartanburg E Nov e Winchester E
Oct 5
'Sera Jose
E l)d 26
LAks ks Charles
E Nov 13
NM Albuquerque
E Dec I
Stockton
E Oct 29
Monroe
T Ott 29
Roswell
E Oec 2
TN Cl:nllanooge i Nov 24 WA 'Olympia E
Nov 4
Thousand Oaks E
Nov 19
Now Orleans
T Nov 13
Knoxville T Nov 19 Seattle E
Nov 5
CO *ColoradoSpos
E OCI 19
Shreveport
T Nov 11
NY Albany
E Dec 16
Memphis E Dec 3 Yakima E
Nov 3
Denver
E Oct21
ME Portland
E Oct 23
Binghamton
E Dec If
Nashville E Dec 4
'Grand Junction
E Oct 22
MO Baltimore
E S 29
Brooklyn
E Dec 15
WV BeckleyE
Tx Abilene E Dec 4 Charleston E
Ocl 9
Dec 3
-- Gr"Ify
E Od 20
Baltimore
E Oct I
Bullets
Jamestown
E 30
T NovNo IS
Amarillo E Nov 23 Clarksburg T
Oct 9
CT' Bridgeport
E Oct 21
Baltimore
T Oct 7
Kingston
E Oct 15
Austin T Nov 2
Hartford
E Oct 19
Baltimore
E Dec 9
Long Island
T Oct 5
Beaumont T Nov 6 WI Madison E
Oct 15
New Haven
T Oct
Frederick
E Oct 6
Long island
E Oct 6
Corpus Christi E Nov 19 Milwaukee T
Oct 19
Now London
E Dec 13
Hagerstown
E Oct 30
New York City
E Dec 8
Dallas T Nov 3 Milwaukee E
'Oshkosh
Nov t6
DE Dover
E Sep 30
Salisbury
E Oct 12
Purchase
E Oct 28
El Paso E Nov 30 E
Nov 10
Wilmington
T Oct 6
MA Boston
T Oct 2
Rochester
E Oct 26
Wnmingion
E Dec 7
Boston
E Oct 16
Syracuse
E Oct 27
PIX'ASI1 NOTE: If your school cannot attend on
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DC 'Washington
E Dec 16
Boston
Boston
E Oct 22
E Dec 1I
Tarrytown
T Sep 28
;1 particular laic or time, please call to inquire i(
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FL Coconut Creek
T Dec 3
Boston
E Dec 11
Tarrytown
Utics
E Oct 7
E Dec 14
additional performances have been scheduled.
I
Q
Ft. Myers
T Dec 2
Boston
E Dec 17
Private Performances are available.
MS JEANIE PIAZZA-ZLINIGA
Ft. Pierce
T Dec 8
Boston
E Dec 18
NC Asheville
E Oct 21
Performance Tittle: Shows begin at 10:30 AM,
b
Jacksonville
Miami
T Dec 10
T Dec 1
Boston
Now Bedford
E Dec 21
E Dec 14
Charlotte
Durham
E Oct 26
E Sep 28
except those indicated with an (') which begirt a1
GLISMAN CTR FOR THE ARTS
25 SE 2ND AVE STE 415
Deals
E Oct 5
Springfield
E Dec 16
Fayetteville
E Nov 5
10:00 AM. Performances are Approximately one hour
MIAMI FL 33131-1510
Orlando
T Dec 4
MI Detroit
E Nov 5
Greensboro
E Oct 29
and fort lWe minutes in length.
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Orlando
LPelenburg
T Dec 7
T Nov 30
Filnt
E Nov 24
Hickory
Raleigh
E Sep 30
E Oct 28
Study guides furnished.
ruota
T Dec 9
Grand Rapids
E Nov 3
Salisbury
E Dec 11
Price: One complimentary Sean for a chaperone is
Visit Our `Vebsite at:
allahtssee
E Oct 6
Kalamazoo
Lansing
E Nov 4
E Nov 2
'Wilmington ion
gffered
Winston-Salem
E OctOcl 2J
T Nov 20
y P, • !
for ever 20 aid seats. Price per seat is based
GA Albany
E Oct 8
Saginaw
E Nov 6
upon size of your group: S 1 1.25 for 1.99 paid seats;
w V•Cilanlbertheatre.00111
Atlanta
'Atlanta
T Nov 23
MN Duluth
E Nov 12
ON Akron
E Dec 1
$10.95 for 100.199 paid seats; $10.75 for 200.299
Augusta
E Dec 9
E Nov 6
Mirm/St.Paul
E Nov 13
Cincinnati
Cleveland
T Oct 22
aid seats; $9.95 for 300+. paid seats.
P !
® s s
Columbus
E Nov 2
Rochester
E Nov It
Columbus
T Oct 16
T Oct 13
No refunds, cancellations or reductions within I I
clays
•
Macon
E Nov 3
MS Biloxi
E Nov 11
Dayton
E Nov 20
of the performance.
Rome
E Oct2
Biloxi
T Nov 16
Toledo
T ocl 12
Stories, ioc:nlons, dales and tinlc's auhject to change.
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