PINOCCHIO study guide excerpt...

Carlo Collodi, the author of Pinocchio, was born Carlo Lorenzini in 1826 in Florence, Italy. When he began to write for publication, he adopted the name Collodi, after the town in which his mother was born.

As a young man Collodi worked as a bookseller. He later became a journalist, motivated by an interest in Italy’s political situation. At that time Italy was not a unified nation as it is today, but rather a patchwork of governments, many of which were controlled by other countries. Collodi supported a movement to make Italy an independent nation. To that end, at the age of 22 he founded a newspaper called Il Lampione (The Lamp Post), which combined satiric humor and news. The movement was successful and Italy became one nation around 1871, with Rome as its capital.

Collodi continued working as a magazine editor. He also began translating French fairy tales. Writing his own children’s tales was a logical next step. In 1881, Pinocchio appeared as a serial in Giornale dei Bambini (Journal for Children), a magazine responding to the increasing interest in children’s literature. The story of the puppet/boy Pinocchio, whose independent spirit and gullibility land him in increasingly dramatic situations, was immediately popular. Church leaders, however, disapproved, fearing it would encourage a rebellious spirit in the nation’s youth.

Initially Collodi ended the story with Pinocchio hanged in a tree, presumed dead. The author had no intention of reviving him, but the public clamored for Pinocchio’s return. So, Collodi brought the puppet back to life and sent him on even more sensational adventures.

Create Your Own Children’s Newspaper

Like Carlo Collodi, create your own newspaper and fill it with humorous articles.

What is the name of your newspaper?

Write a funny story, or an article poking fun at something.

Illustrate your newspaper, either with your own drawings, or with images from magazines. Remember, the newspaper is supposed to be amusing.

As a reporter, write a humorous article about an episode in a book or a play as if it actually happened.

Create your own new adventure for Pinocchio before he becomes a boy.

Now imagine you are going to write a book called Pinocchio’s Life as a Real Boy. Create an episode of his life as a boy, and share your story with the class.  How do the adventures compare? Which stories do you prefer?

 

PINOCCHIO costume designs by Miranda Hoffman

ALICE. a dramashop at the Eliot Pearson Children's School

Today was another day of bliss and busy fun in our kindergarten classroom. John from the Wheelock Family Theatre came and told the children the story of the play they will be seeing tomorrow. It was fantastic! He told them that the play is an adaptation of the Alice in Wonderland story, so there will be some things that will be different from the original story and from the Disney version. For one thing, the main character, Alice, is played by an African American actress, and not depicted as a blond haired, blue-eyed child. John explained that Wheelock Family Theatre strives to give its audience the chance to see people like them performing on stage. After offering a summary of the story, he asked if anyone would like to do a little acting exercise - being a caterpillar. Three children volunteered.

After today's morning meeting about riding the school bus and viewing Alice the Musical, I expect that the children are ready for our school-wide adventure and will likely have a great time tomorrow. Here are a few pictures taken during their meeting with John.

A Review of ALICE at Wheelock Family Theatre

October 24, 2014
By: Ali Hutchinson, editor and publisher of Macaroni Kid Newton-Brookline

Last weekend, my son, friend, and I were guests of the Wheelock Family Theatre for their production of Alice.  We attended the Sunday afternoon performance which was scheduled to begin at 3:00pm.  The literature on the production recommends the show for children ages 6 and up, so I decided to leave my 4 year old son at home.  In hindsight, although he most likely would not have been able to follow along with the plot, the action and colorful costumes most likely would have captured his attention enough to keep him engaged. 

From the moment we sat down, my son began asking questions about the set.  "Why is there a bed momma? Is Alice going to start there?  What is the wood on the side for?  Will they be going up and down?"  It was exciting to see the sparks of imagination fly and the intrigue build as we waited for the show to begin. I could tell he was anticipating and wondering about the show. The set design was creative and multi-purpose.  Many pieces were used for different purposes in different scenes throughout the show.

WFT's closed captioning along the side wall for the entire script was not nearly as distracting as I had initially thought it might be.  As a matter of fact, it turned out to be quite helpful.  My second grader who is learning to read and who sometimes misinterprets words in songs was able to follow along with the characters as they spoke and sang.  I never heard, "what did she say"?  He was able to refer to the closed captioning and figure it out for himself.

The show itself quickly drew us in. Right from Alice's (Maritza Bostic) first song, I began to feel for her; able to identify with a time when I wanted to do anything except that which was expected of me.  I remember the feeling when my parents said, "Don't disappoint me". That feeling was evident on Alice's face.  Between the characters facial expressions, voices, and mannerisms, we all felt as if we suddenly became a part of this world; a friend of Alice's; and we were making this journey with her.

I was especially impressed with the young actress who plays Alice's cat Dinah(Julia Talbot), and then dons a puppet to take on the persona of the Cheshire Cat.  At only 14 years old, both her physical interpretation of a cat's behavior and her vocal deliverance of the lines were strikingly accurate and those realms of reality and fantasy began to collide.

Alice's interactions with the Mouse (William Gardiner) were especially endearing; displaying tender conversations and moments of what you imagine might go on between Alice and her father.  The scenes with the Duchess and Cook as well as the Tea Party with the Mad Hatter, Hare, and Dormouse infused physical comedy into the show. There was also action in the aisles at times.  A range of emotions are felt as Alice finally finds her garden, is disappointed as it no longer looks how she imagined, and then comes to a realization about growing up.  Even my 7 year old looked up at me at one point with tears in his eyes.  Even as a young theatre goer, he was able to be drawn into the lives and emotions of the characters.  It is truly a magical show when a performance can cross ages and generations and have the same effect on vastly different people with different experiences.

I have to mention that by far the best part of the show for my son was after it was over, when the cast lined up in the foyer and were available for pictures and autographs.  He was enamored!  And although we got pictures with almost all of the cast, I'll share just a couple. The cast does this after every Sunday afternoon show.

Here he is with Alice and then with a couple of the Flower Buds. If you hadn't considered going to see the show, consider it.  Alice runs on Friday nights at 7:30, Saturdays and Sundays at 3pm.  

Please note:  I was given press tickets to review this show for my readers.  All of the ideas and statements in this article are my own.  

Circus Spendida at WFT

Our summer students (7-9 yrs. old) have prepared the mini-musical, CIRCUS SPLENDIDA.

SPRING SEMESTER of 5 week classes for children, youth, and teens!

FOR CHILDREN AGES 6-8

Spring Semester I:  5 Saturdays, 3/16-4/13/13– Tuition: $275

·         B7.  Many Voices Inside of You.   9-11am. Begins with the voice and the imagination to create unique characters and situations.  Improvisation, movement exercises, and vocal work all help let those internal voices be heard!

Spring Semester II:  5 Saturdays, 4/20-5/18/13– Tuition: $275

·         B8.  Tiny Dancers.  9-11am. Builds upon spontaneous movement to explore beginning ideas for shaping movement pictures and stories.  Ideal class for the kinesthetic learner and for any student who loves to move!

FOR YOUTH AGES 9-11

Spring Semester I:  5 Saturdays, 3/16-4/13/13– Tuition: $275

·         C7a.  QUICK!  It’s Improv Time!  9am-11am. When panic isn’t an option… Students will learn how to calmly, creatively, and quickly respond in a variety of unexpected situations, proving that quick thinking can save a scene or a play!

·         C7b.  Creating 5-Minute Plays.  11am-1pm. A bonsai approach to playwriting.  Students will write, cast, act, direct, and produce brief, original dramas in less than ten hours! 

Spring Semester II:  5 Saturdays, 4/20-5/18/13– Tuition: $275

·         C8a.  The Voice:  Exploring Characters Through Accents and Dialects.  9-11am. Connects vocal work to character development for focus and strength.  Explores and applies the principles of pronunciation, stress, and placement in creating specific and authentic accents and dialects.

·         C8b.  Broadway Hits:  Building a Singing Character. 11am-1pm. Examines the relationship between singer, character, and story.  Students will explore how to balance these elements using hit songs from Broadway.

FOR TEENS AGES 12-16

Spring Semester I:  5 Saturdays, 3/16-4/13/13– Tuition: $275

·         D7.  Stage Combat:  Duels and Battles.  11am-1pm. Emphasizes the safe and graceful dance behind the illusion of onstage violence.  In addition to the basics of stage combat, students will learn how to add character details and to place combat in the context of the dramatic scene. 

Spring Semester II:  5 Saturdays, 4/20-5/18/13– Tuition: $275

·         D8.  Comedy Improv. 11am-1pm. Covers the basics of comedic improvisation. Students will learn how to initiate and build on scenes, practice active listening, use the environment, and support scene partners. 

 

Register by Phone: 617-879-2235

Register online: www.WheelockFamilyTheatre.org

Register by mail: WFT Education Programs. 200 The Riverway, Boston MA 02215

An old friend responds to The Little Mermaid

Hi Jane and Sue!

I don't know if you remember me, Darcy Long, but I worked in the box office from 1989-1993. I still have such dear and fond memories of the both of you as well as everyone else in the theatre. Working at WFT was one of the best parts of being at Wheelock!

On Friday, I brought my children (plus parents and husband!) to the matinee of The Little Mermaid. I just wanted to tell you how much we all LOVED it. My kids were mesmerized by the costumes, the set, the sea creatures, the mermaids, well, just about everything, and especially your character, Jane! It truly was the best performance they have ever seen! I loved how you have stayed true to your philosophy of diversity and offering theatre to everyone.

It made me so proud to have been a part of WFT at one point in my life! You both are amazing and should be so very proud. I wished I could have seen you both. I still think of you and hope you are well! I hope life has been very good to you over these past years.

I hope to come back to WFT soon!
With love,
Darcy Long (now Darcy Scholz) :)

Great Review in Boston Globe!

Mermaid moves along swimmingly... by Terry Byrne, Boston Globe 20 April 2010

Sharks, jellyfish, eels, and other assorted schools of fish swim freely about in the Wheelock Family Theatre’s beautifully realized production of “The Little Mermaid.’’

Director and designer James P. Byrne taps the talents of every member of his design team to suggest an underwater atmosphere with the simplest touches: huge swaths of translucent turquoise cloth represent waves; Stacey Stephens’s clever costumes bring crabs, eels, and mermaids to life; Karen Perlow’s shimmering lighting creates murky underwater scenes while bright, clear colors indicate the world on land; choreographer Kristen Richnavsky’s fluid movements make us believe the merpeople are floating or swimming about; and J. Hagenbuckle’s musical motifs provide punctuation for the storm, playful splashing, and eerie, deep sea sounds.

Even with all these rich, evocative elements, don’t go expecting Disney’s musical version, with Sebastian the crab and a redheaded mermaid named Ariel. For this adaptation, playwright Linda Daugherty returns to Hans Christian Andersen’s original story, adds more plot twists, and places more emphasis on the struggle between good and evil and the sacrifices that must be made for good to prevail. Perhaps as a nod toDisney or recognition of the vocal talents of award-winning actress Andrea Ross, who plays Pearl, the Little Mermaid, Wheelock cofounder Jane Staab wrote “Pearl’s Song,’’ which expresses the mermaid’s longing for the land at the top of the show and at the end. Ross has a beautiful voice, and although I confess I wished we could hear her sing “Part of Your World,’’ the simplicity and sincerity of her performance is charming. Ross also makes Pearl’s struggle to communicate — without the voice she gave up in exchange for legs — believable without resorting to mugging or bad pantomime.

Daugherty captures the mermaid’s love for the human Prince Stefan (David Kaim) and the price she must pay to pursue her love and walk on the land. Unfortunately, she also gets bogged down in scenes devoted to unnecessary exposition and a heavy-handed moral about ecology and the balance of life. Her script touches all the high points of the story, but with little insight into her characters and a penchant for cliches: “Can we ever understand anything we have not lived ourselves?’’ is one line we hear more than once, but it never feels connected to any real emotion.

Byrne (no relation to this reporter) keeps the action moving swiftly between the land and the sea and has wisely cast an ensemble of first-rate actors who rise above Daugherty’s tangled net of words. Margaret Ann Brady nearly steals the show as the Sea Witch, who sent the little boy in front of me cowering with her fearsome threats and the crowd of creepy eels surrounding her, and then had him howling with laughter as she sang the songs of the whales. Johnny Lee Davenport, best known for his performances in Shakespearean plays, is a noble Sea King and caring father, and Ricardo Engermann keeps the comic elements sharp with some terrific slapstick and pratfalls.

It’s hard to compete with the Disney version, but the Wheelock Family Theatre’s “The Little Mermaid’’ rises above the limitations of the script for a production that delivers a convincing undersea adventure.

Mermaid Fun Facts

The word is a compound of mere, the Old English word for "sea", and maid, a woman. The male equivalent is a merman.

The first mermaid was actually a man. He was the god Oannes from Babylon. He is often shown as a man with a fish's tail. According to written descriptions he had the head and body of a fish but under the fish head is a human head and under the tail are human feet.

Originally the sirens, often depicted as mermaids, were bird-women. This is the source of their beautiful singing voices.

A two-tailed mermaid is the basis for the Starbuck's logo. It has been somewhat edited because some people found the original image too sexually suggestive.

Two important mermaid facts are the symbols of the comb and mirror, which come from the goddess Venus. The mirror is so closely associated with Venus that the symbol for the planet Venus is a mirror (the circle with the "+" under it).

In heraldry the two-tailed mermaid is shown full face with the ends of her tails held in each hand. Both single-tailed and double-tailed varieties symbolize eloquence. If she has her comb and mirror with her then it means vanity.

For a brief period during the Middle Ages mer-ladies with wings were carved on tombstones. These are probably descendents of the bird-sirens used in classical times. They are meant to represent both mourners and guides bringing the spirit of the dead to the afterlife.

Mermaids were noted in British folklore as unlucky omens – both foretelling disaster and provoking it.

Some mermaids were described as monstrous in size, up to 2,000 feet

Mermaids sometimes sing to people and gods and enchant them, distracting them from their work and causing them to walk off the deck or run their ships aground. Other stories depict them squeezing the life out of drowning men while attempting to rescue them.

Mermaids are said to carry humans down to their underwater kingdoms. In Hans Christian Andersen's "The Little Mermaid", it is said that they forget that humans cannot breathe underwater, while others say they drown men out of spite.

The Mermaid by Alfred Tennyson (1809-1892)

The Mermaid
by: Alfred Tennyson (1809-1892)

1
Who would be
A mermaid fair,
Singing alone,
Combing her hair
Under the sea,
In a golden curl
With a comb of pearl,
On a throne?

2
I would be a mermaid fair;
I would sing to myself the whole of the day;
With a comb of pearl I would comb my hair;
And still as I comb'd I would sing and say,
"Who is it loves me? who loves not me?"
I would comb my hair till my ringlets would fall,
Low adown, low adown,
From under my starry sea-bud crown
Low adown and around,
And I should look like a fountain of gold
Springing alone
With a shrill inner sound,
Over the throne
In the midst of the hall;
Till that great sea-snake under the sea
From his coiled sleeps in the central deeps
Would slowly trail himself sevenfold
Round the hall where I sate, and look in at the gate
With his large calm eyes for the love of me.
And all the mermen under the sea
Would feel their immortality
Die in their hearts for the love of me.

3
But at night I would wander away, away,
I would fling on each side my low-flowing locks,
And lightly vault from the throne and play
With the mermen in and out of the rocks;
We would run to and fro, and hide and seek,
On the broad sea-wolds in the crimson shells,
Whose silvery spikes are nighest the sea.
But if any came near I would call, and shriek,
And adown the steep like a wave I would leap
From the diamond-ledges that jut from the dells;
For I would not be kiss'd by all who would list,
Of the bold merry mermen under the sea;
They would sue me, and woo me, and flatter me,
In the purple twilights under the sea;
But the king of them all would carry me,
Woo me, and win me, and marry me,
In the branching jaspers under the sea;
Then all the dry pied things that be
In the hueless mosses under the sea
Would curl round my silver feet silently,
All looking up for the love of me.
And if I should carol aloud, from aloft
All things that are forked, and horned, and soft
Would lean out from the hollow sphere of the sea,
All looking down for the love of me.

Fuzzy Rehearsal Shots: The Little Mermaid

All photos by Padraig Sullivan.

Ducks and Frogs and Geese, Oh My!

by Mary ElizaBeth Peters
Teaching Artist at WFT blog contributor

When you look for a play that the whole family will enjoy, you look first to Wheelock Family Theatre. WFT is known for creating plays that are not only enjoyable to young kids – as young as three! – but to entire families. WFT simply does not believe in staging plays that are “just for the kiddies,” and they go overboard to make sure their dance, comedy and acting styles are truly inclusive to every person who comes through the door. Because of this commitment – everyone comes through the door.

That being said, I entered the opening night performance of Honk! with some trepidation. WFT usually plans a season that has a play for each child age group: lower elementary; upper elementary; middle and high school. However, the young show doesn’t usually go that young. I was not that intrigued by the idea of this simple story. And to be brutally honest, Honk! is sort of known for turning out poorly. The script by Drewe and Stiles is simply not that strong.

To my surprise, I was entertained from start to finish, not only by the performance of Honk! itself, but by the WFT experience at opening night. It was wonderful to read the bios of young WFT actors, as well as seasoned professionals, and see them work alongside one another. I felt a giddy feeling in my stomach for my former students when I saw each of them onstage, knowing that the experience alone of being in professional rehearsals will affect them as actors second and as young emotion-filled human beings first.

The production is visual dazzling – the colors and textures in the set and lighting design envelope you into the story. You are in the story book of young Ugly Duckling, and able to follow him on this visual journey as the play progresses.

The casting was quite impressive, incorporating actors in age from elementary school to retirement, and containing an ethnically diverse cast as we have come to take for granted at WFT. I can honestly say that performances were strong throughout the cast, and particularly from the young dancers, who made their performances as fish, frogs and chickens seem effortless. Jane Staab directed, and her choice to have the actors-as-animals play more human, than animal, worked well for me. Young audience members did not seem confused at all and the story was made clearer without hammy animal accents or cheesy indicative motions. The actors, instead, worked to represent their animal selves through subtle gesture and a way of walking, running, or dancing. In this way, their movement was fluid and beautiful in its storytelling.

The audience audibly gasped and murmured seeing the beautiful set reveal at the top of the show, and following each set change. Matthew T. Lazure’s set design, and particularly his choice of color and texture, was beautiful, silly, and left a lot for the audience to visually explore throughout the production. His attention to shape was impeccable, as well. The part of my drama teacher mind that still works like a five year old was entertained finding the stars and triangles throughout the design. The Duckling eggs alone gave me a shape-shifting giggle. Without ruining their surprise use onstage, I will say that seeing the ducks put on their dancing feet first was a silly, energizing choice that still makes me chuckle to remember.

Cheo Bourne was excellent as Ugly, and this young professional actor was a great example to his younger fellow actors backing him up. His timing was wonderful, his speaking voice and articulation were clear, and his emotional journey was both heartwarming and on-par with the intended audience for this production. Stealing the show – Greylag, or the General Goose, played by Scott Severance. He cracked me up, and had the audience rolling. Just when you thought their antics could not get any more ridiculous, Gary Thomas Ng would one-up the group and we would be in stitches again.

Once again, WFT delivers a top-notch production from beginning to end that will be sure to delight audiences throughout the run! In particular, I encourage every WFT drama student and Wheelock College future educator to take in this show!

HONK! the rehearsal

The Duck Family with Amy Doherty, Emily Pinto, Lauren Tempesta, Drew Hawkinson, and Jimmy Larkin

Bullfrog (Peter Carey) and Ugly (Cheo Bourne)

Cheo Bourne as the "Ugly" duckling and Brian Robinson as the Cat

WFT invites you to...

A Brown Bag Lunch sponsored by Wheelock Family Theatre

Boston College/National Science Foundation Study:

Cognitive Skills That Are Developed By Arts Education

Working to answer the question,
‘What are the thinking skills that develop when children study the arts?

Friday, December 4, 2009
12:00 noon – 1:00pm
Wheelock College Alumni Room at Wheelock Family Theatre

Presented by
Thalia Goldstein, Ph.D Candidate
Laboratory for Teaching, Learning and Cognition in the Arts
Boston College

Come and hear about this groundbreaking study by Professor Ellen Winner and Thalia Goldstein, who observed WFT drama students to understand cognitive skills that are developed by arts education.

Bring your lunch and join us for the presentation and discussion. We will provide drinks and dessert.

SEUSSICAL at Wheelock Family Theatre

WFT’s Musical: Seussical
January 30 – March 1, 2009
Friday nights at 7:30;Saturday & Sunday matinees at 3:00
School vacation week matinees Tuesday 2/17 – Friday 2/20 at 1:00

Box Office: 617-879-2300

Based upon the popular books by Dr. Seuss, Music by Stephen Flaherty, Lyrics by Lynn Ahrens, Book by Lynn Ahrens & Stephen Flaherty, Co-Conceived by Lynn Ahrens, Stephen Flaherty, & Eric Idle.

Directed by Grace Napier, Music Direction by Jon Goldberg, Choreography by Laurel Stachowicz, Scenic Design by James Williston, Costume Design by Melissa Miller, Lighting Design by Scott Clyve. Pictured: Andrew Barbato as the Cat in the Hat and Sirena Abalian as Jojo.

“Cure the Winter Blues for there IS a Doctor in the House!””

Seussical is a colorful celebration of the powers of imagination and the rewards of daring to dream. Everyone’s favorite hat-wearing cat is our mischievous master of ceremonies, helping weave together the adventures of two original thinkers; Horton the gentle elephant and Jojo, youngest inhabitant of Whoville. The strength of Seuss’s message, the fun of his wordplay, and the delightful collision of musical styles—make for a rollicking romp with a subtext of substance.

Tickets: $25-$15; Teen Take Overs: $13; Pajama Party Fridays: $10
Box Office: 617-879-2300 tickets@wheelock.edu

Wheelock Family Theatre is wheelchair accessible. Final weekend performances are audio-described live and offer interpretation in American Sign Language. Braille and large format programs are available upon request. Hearing enhancement devices and seating adjustments for low-vision patrons are available. All performances are open-captioned.

Wheelock Family Theatre: 200 The Riverway on the campus of Wheelock College in Boston’s historic Fenway
Directions: http://www.wheelock.edu/about/abodirections.asp
Discounted Parking: 375 Longwood Avenue, MASCO garage
MBTA: Fenway or Longwood – green line Riverside (D train)
CT busses to Longwood/Beth Israel

For additional information please contact:
Charles Baldwin 617-879-2147 cbaldwin@wheelock.edu