Harold and the Purple Crayon - Seattle Children's Theatre

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Harold and the Purple Crayon - Seattle Children's Theatre

EDUCATOR RESOURCE GUIDEHarold and the Purple CrayonLyrics by Rob Burgess, Music by Auston James and Book by DonDarryl Rivera; Based on the books by Crockett Johnson; All RightsReserved by The Estate of Ruth Krauss, Stewart I. Edelstein, ExecutorSEPT 22 - OCT 30, 2011AGES 4+Grades PreK+SEASONSPONSORS

presentsTable of ContentsSynopsis................................................................................................................. 3Curriculum Connections and EALRs......................................................... 4-5Crockett Johnson - The Man Behind the Books.................................... 6Where it All Began............................................................................................ 7-8A Chat with Stefan Gruber, Animator........................................................ 9About the Puppets............................................................................................ 10-11Making Harold’s World................................................................................... 12-13How Are You Going To Do That?................................................................. 14Draw a Story, Paint a World.......................................................................... 15-16Words That Might Be New To You.............................................................. 17Activity Page........................................................................................................ 18Booklist.................................................................................................................. 19Evaluation Form................................................................................................. 202

SYNOPSISHarold is a creative little boy with an extraordinary crayon. When we first meet him, he ishappily drawing and wondering what his next adventure should be. With a sudden burst ofinspiration, he sketches the moon and a horizon that leads out of his room and into theenormous realm of his imagination.His first stop is a clearing where he draws seeds to plant and acloud to water them. Trees grow into a forest filled with creaturesthat welcome Harold. When he’s hungry, he draws himselfan apple tree, but can’t seem to keep the fruit for himself. So hedraws a dragon to guard the tree. His drawing is a little too good.The dragon scares Harold and, as he nervously backs away fromit, he finds himself falling into an undersea world. He discovers asunken ship and a mischievous puffer fish. Together Harold andhis new friend evade a pinching crab, restore the boat and sail offacross the sea with the moon following along.Harold and the puffer fish part ways when they reach an island.Harold steps into the center of an argument between a porcupineand moose. They are cranky because they’re hungry. Harold canhelp with that. He draws an enormous pie that accidentally fallsright atop the porcupine. During the playful food fight thatfollows, pie gets on everything. Including the moon. Harold feels responsible for the mess andsets off in a rocket ship to do some cleaning up. Unfortunately, the rocket packs more power thanhe can handle and he goes shooting past the moon into deep space.Just as he gets the moon back in his sight, an alien spaceship careens towards him. They collideand go plummeting to a distant planet. Harold helps the alien pilot repair his ship and hitches aride home. But first they stop by the alien’s home where Harold is made an honorary citizen. Inthe midst of the celebration, Harold gets too enthusiastic and jumps right off the planet. He floatshis way back to Earth’s atmosphere and is enjoying the beautiful clouds when he thinks he sees acloud shaped like a dragon. Wait. That’s no cloud! It is adragon. A hungry dragon who thinks crayons lookdelicious. When Harold finally manages to get hiscrayon back from the dragon, it’s broken in two. Thedragon sees how heartbroken that makes Harold andmends the crayon with some magic dragon fire.It’s been a long busy day for Harold. It’s time to gohome. He heads into the city where he gets lost in thebustle of activity around him. He can’t even find themoon to guide him. With the help of a police officer,Harold finds his way back home and into bed. He driftsoff to sleep in awe of the moon, pleased with his newfriendships and filled with peace.3

CURRICULUM CONNECTIONS & EALRSHarold and the Purple Crayon touches on many themes and ideas. Here are a few webelieve would make good Curriculum Connections: Imagination, Creativity,Adventure, Travel, Problem Solving, Self-esteem.We believe that seeing the show and using our Educator Resource Guidecan help you meet the following EALRs:State Standards:TheatreVisual Arts1. The student understands and applies arts knowledge and skills.1.1 Understand arts concepts and vocabulary, specifically, identifies and describescharacters, setting, actions, conflict, sounds1.2 Develops theatre skills and techniques.1.4 Understands and applies audience conventions in a variety of settings andperformances of theatre.3. Theatre: The student communicates through the arts (dance, music, theatre, andvisual arts).3.1 Uses theatre to express feelings and present ideas.3.2 Uses theatre to communicate for a specific purpose.1. Visual Arts: The student understands and applies arts knowledge and skills indance, music, theatre, and visual arts.1.1 Understands and applies visual arts concepts and vocabulary.1.2 Develops visual arts skills and techniques.3. Visual Arts: The student communicates through the arts (dance, music, theatre, andvisual arts).3.1 Uses visual arts to express feelings and present ideas.3.2 Uses visual arts to communicate for a specific purpose.4. Visual Arts: The student makes connections within and across the arts (dance,music, theatre, and visual arts) to other disciplines, life, cultures, and work.4.1 Demonstrates and analyzes the connections among the arts (dance, music,theatre, and visual arts).4.5 Understands how arts knowledge and skills are used in the world of work,including careers in the arts.Continued on the next page...4

ReadingScienceCommunicationState Standards continued:1. The student understands and uses different skills and strategies to read.1.1 Use word recognition skills and strategies to read and comprehend text.1.2 Use vocabulary (word meaning) strategies to comprehend text.1.3 Build vocabulary through wide reading.1.4 Apply word recognition skills and strategies to read fluently.2. The student understands the meaning of what is read.2.1 Demonstrate evidence of reading comprehension.2.3 Expand comprehension by analyzing, interpreting, and synthesizinginformation and ideas in literary and informational text.2.4 Think critically and analyze author’s use of language, style, purpose, andperspective in literary and informational text.3. The student reads different materials for a variety of purposes.3.1 Read to learn new information.3.2 Read to perform a task.3.4 Read for literary experience in a variety of genres.EALR 2: Inquiry. Big Idea: Inquiry (INQ). Core Content: Making ObservationsStudents learn that scientific investigations involve trying to answer questionsby making observations or trying things out, rather than just asking an adult.Children are naturally curious about nearly everything—butterflies and clouds,and why the Moon seems to follow them at night. The essence of this standard isto channel students’ natural curiosity about the world, so that they becomebetter questioners, observers, and thinkers, laying the groundwork forincreasing understanding and abilities in science inquiry in the years to come.1. The student uses listening and observation skills and strategies to gainunderstanding.1.1 Uses listening and observation skills and strategies to focus attentionand interpret information.1.2 Understands, analyzes, synthesizes, or evaluates information from avariety of sources.5

CROCKETT JOHNSON - THE MAN BEHIND THE BOOKSCrockett Johnson in 1943, with the cover drawing for BarnabyCrockett Johnson was born DavidJohnson Leisk on October 20, 1906, in NewYork City. He chose his pen name because, ashe said, “Crockett is my childhoodnickname. My real name, Leisk, was too hardto pronounce - so - I am now CrockettJohnson!” According to the Third Book ofJunior Authors, he was “six feet tall, tan, husky,and blue-eyed”. Like Barnaby and Harold,his most famous characters, Johnson wasbald. “I draw people without hair becauseit’s so much easier! Besides, to me, peoplewith hair look funny.”For a man who described himself as “the laziest man in the world” and claimed that he neverintended to be an artist, Johnson had a remarkably productive artistic career. Before he becamea well-known writer and illustrator of children’s books, he created some of the most belovedcomic strip characters of the 20th century. Barnaby first appeared in a newspaper on April 20,1942. The comic followed the adventures of a little boy named Barnaby Baxter and Mr. O’Malley,his bumbling Fairy Godfather. Barnaby’s parents never saw the Fairy Godfather, but readersknew he existed.Johnson’s first book, Who’s Upside Down?, was published in 1952. He wrote and illustrated over20 books for children, providing illustrations (but not the story) for seven more. Harold, the heroof his best-known series, began his many journeys in Harold and the Purple Crayon in 1955. Thiswas followed by Harold’s Fairy Tale (1956), Harold’s Trip to the Sky (1957), Harold at the NorthPole (1958), Harold’s Circus (1959), A Picture for Harold’s Room (1960), and Harold’s ABC(1963).Johnson married author Ruth Krauss in the early 1940s and lived on the shore of Long IslandSound. During the 1950s, author and illustrator Maurice Sendak spent many weekends at theirhome as a friend and apprentice. Crockett Johnson finished outhis career as a fine artist, painting over 100 large, vivid canvasesof geometric forms. He died in 1975.Excerpted from:Children’s Literature Network:http://www.childrensliteraturenetwork.org/index.phpThe Crockett Johnson Homepage:http://www.k-state.edu/english/nelp/purple/index.html6

WHERE IT ALL BEGANWe asked Auston James,Don Darryl Rivera and RobBurgess, the creators of thisadaptation of Harold and the PurpleCrayon, to get together and talkabout how they wrote this show.DON: Shall we start?ROB: We should get a picture. Where’sthe timer on this? (camera chimes)Alright!(Flash!)ROB: OK. Well, ok - we want to start at the beginning when Don Darryl had the idea. We were inthe SCT dressing room...AUSTON: Wait! Let’s make up an interesting story. We were at NASA training in Huntsville, AL...ROB: The way I remember it, we were on a cruise and they had told us that it was fresh squeezedorange juice and it was clearly frozen and we were miffed. I then recalled a drink that my mothermade called Swamp Water, made with orange juice and grape Kool-Aid...DON: Well, it actually happened as an idea that sprung up in conversation in the dressing room.Rob and I were doing If You Give A Mouse A Cookie and Auston was doing Peter Pan. Earlier thatweek I was talking to SCT’s literary manager about a show idea I had.AUSTON: See the NASA story would’ve been so much more interesting...(They all laugh!)From left to right: Auston, Don and RobROB: Don had asked me about writing lyrics, because in my I Was A Rat! bio I had mentionedthat I do that. Don said that SCT should do a new adaptation of Harold... and that I should writethe lyrics, Auston should write the music and that Don was going to write the script.DON: I did a loose outline of the action of the show and the three of us came together andbounced ideas off each other. I then went and wrote 27 pages of stage directions - the action ofthe play. We wanted to use three of Crockett Johnson’s books: Harold and the Purple Crayon,Harold’s Trip to the Sky and Harold’s ABC. But in the end, we concentrated on using Harold andthe Purple Crayon and part of Harold’s Trip to the Sky.AUSTON: We thought that the first book was perfect to base the show on, but we wanted just abit more, so we added some of the action from ...Trip to the Sky.DON: I started writing the first version of the script in July 2010 and turned in the one we’ll usein rehearsal in March 2011.Continued on the next page...7

ROB: Musically, song-wise, Auston and I tried to figure out if the music or the lyrics should bewritten first.AUSTON: I had already written two songs before we even started with the script.ROB: And I sent Auston three sets of dry lyrics, or lyrics without music - which Rocket In The Skycame out of.DON: Oooh, this is exciting!ROB: The melody to the hero song Great To Be Me actually started off as the melody to the CitySong but we both agreed the song sounded more like the hero song.AUSTON: I had a bunch of tunes and melodies. I was just trying to find a spot to put them. And soRob came over and I played a bunch of little tidbits I had for him and thought, “could we use anyof these?”ROB: We discovered that melody first was a great way to write our songs because, you know, it’ssimpler to adjust lyrics than to adjust a composition.AUSTON: Because I write from a music side, it was hard for me to write from a dry lyric. And Robwas fast writing that way, too - like bam (he snaps his fingers)! I made sure that the music alwayshelps us understand Harold and opens up a bigger world, too. It sets the structure for the story,something to build on.DON: Especially since there’s no dialogue, except the singing. Should we talk about thedifferences between the books and our show?ROB: WOW, THAT’S MASSIVE!AUSTON: Well, the book, I mean - you imagine so many things about that little character andwith our play, we’ve shown what we see in him.ROB: For me it’s like an apple pie recipe. Everyone knows apple pie, everyone knows Harold andthe Purple Crayon - this is our recipe for Harold. We took our three ingredients and put togetherthis...dessert.DON: We filled it with moments of play and moments of wonder - it was like Harold and thePurple Crayon was a coloring book for us and we filled it in how we wanted to.ROB: Basically, we wrote a show that we wanted to see.AUSTON & DON & ROB: Or be in!ROB: What are some of the other things we want audiences to look for in the show?DON: They should listen very carefully for the fun little lines between lyrics in the songs.AUSTON: And how Harold solves the problems he creates. Like Star Trek.(They all laugh!)8

A CHAT WITH STEFAN GRUBER, ANIMATORPlease tell us a little bit about your working process.Well, I make about 15 drawings for every second of animation. The firstfilm I made had a stack of drawings that went from the floor to the ceiling!I like to make animation as art, kind of like what you’d find in a museum. Ilook around the world and find things that interest me and I translate thosethings into short cartoons. It takes a ton of patience to make animation, andwhat’s cool is that the more animation you make the more patient you get.My animation is made sometimes using paper and ink on a light-table, andsometimes with a computer and a mouse that looks like a pen. You can makeanimation on one of those little yellow note pads by just starting a drawing on the bottom page,and tracing it a little bit on the second to bottom page, and then continuing that until you fillup the whole pad. My first animations were done like that, and starred a slime-mold creaturenamed Smushy.What is a particularly interesting or unusual challenge on this project, and how are yousetting out to solve it?One thing we’re making is animation of a dancing tree. Our director, Rita, invited in a dancer toshow us exactly how a tree might dance while it’s growing up, and we videotaped that. I put thevideo on my computer screen and copied the dance movements until we had a fully animatedtree, growing up and flowing in the wind. It’s really fun working with a big team of talentedpeople. Everyone gets to inspire each other, and we’re all encouraged to be as creative as can be.What in your childhood got you to where you are today?In 1st grade, I wanted to grow up and be a magician. Themost fun famous magician at the time was Doug Henning,who I’d seen do magic tricks on The Muppet Show. Mymom and I saw him live at the Moore, and I was so lucky - heinvited us backstage after the show, where he taught me howto make a little foam ball disappear.This is a picture from Stefan’s animatedmovie LeashlessnessAt age 10 I saw some animation being projected outdoors at the Seattle Art Walk, and it was sobeautiful and simple. It was just a running greyhound dog drawn in pencil, running and running,and slowly it was erased a little bit at a time until the dog was gone. This was the first time I sawanimation and understood how it was made. It was like the filmmaker had taught me how toanimate, showing me how to do it through his film. My focus on magic shifted to animation, and Itook lots of classes on how to make it. When I grew up and got to animation college, I wasgreeted by my new professor Jules Engel - a 90-year-old wise man, and the maker of that verysame dog film I saw as a kid! The film is called Accident. You used to be able to see it on YouTube,but it looks best on a 16mm projector outdoors at an art walk when you’re 10.Stefan Gruber is a Seattle animator and performance artist. He creates a short hand-drawn, digitally-finished filmevery year. He hosts animation classes at Nova Alternative High School, the Frye Art Museum, and the NorthwestFilm Forum, and does a yearly screening of kid-made animation shorts.9

ABOUT THE PUPPETSFrom Annett Mateo, Puppet DesignerThis production of Harold and the Purple Crayon is a world premiere, which means that no onehas ever done this show before. To help us figure out what was needed to tell this story, we hadsome workshops where we experimented with animation, music, movement, scenery, propsand puppets. It was clear that puppetry could really add to the storytelling and bring a lot of lifeto the production. I am very excited about this show because there are more different kinds ofpuppets on stage than we have ever had before: body puppets, remote control puppets, shadowpuppets, hand and rod puppets, marionettes and more!Body puppet -The dragon that Harold runs into is a body puppet, which means it is worn by the puppeteer.That lets it be large and dramatic. Large wings give the puppet a sense of being much bigger thanit really is and that makes the puppet more important and active than if it were just a projectionor a flat object. The white flowing wings also make it seem as if the dragon is part of the cloudsin which it appears.A sketch of the dragon body puppet,seen from the frontHere’s a drawing of the dragon bodyseen from the sideRemote control puppet -At one point in the workshop, we needed something to drawHarold’s attention to the other side of the stage. We thought abouthim watching a squirrel scooting across the stage. We used a roll oftape to stand in for the squirrel. As I was standing there rolling thetape across the stage, I got the idea that it would be perfect to putthe puppet on a remote-control car body and then it could reallyscamper like a squirrel!Continued on the next page...10A drawing of the remotecontrol squirrel

Shadow puppet -A shadow puppet is not like other puppets, because it is never actually seen. Instead, we see theshadow it makes when a light shines on it. Shadow puppetry is so magical because we canclearly recognize shapes, while we play with size, distance, and where objects are in relation toone another. For example, Harold can appear to be swimming underwater as objects float aroundor drift by him.Rod puppet -Harold’s underwater friend andguide is a puffer fish made froma big, round, paper lanterncontrolled with rods, or sticks,on its fins. The ribbing on thelantern allows the fish to puff inand out, and the lantern can be litfrom the inside to make the fishvery special.A sketch of the puffer fishpuppet, a rod puppetThis is how the puffer fishlooks when it is puffed upMarionette and hand puppet -One of the good things about a marionette (a puppetmoved by attached strings or wires) is that you cansee all sides of the puppet. This is great for aporcupine who sings and dances! If the porcupinewere a hand puppet, it wouldn’t be as complete; itcouldn’t have as much action and it would be harderfor the actor to tell the story. And if the porcupine wasa costume, it would be clumsy and the wrong size forthe scene. Being a marionette, it can be two feet high,smaller than the moose and Harold. You can see theA sketch of the porcupine, a marionettewhole porcupine while its feet wiggle, its body shakesto dance, and its mouth moves to sing. His friend, the moose, is a hand puppet with somethingextra - his head is a hand puppet but he has a full body behind it, too. This allows the moose tosing and yet be a big whole moose.Puppets can do things that people can’t do - like the way the puffer fish can puff in and out. Theyare also a great thing to use when differences in size are needed; Harold’s adventure takes himfrom meeting tiny space aliens to dancing in a city with moving buildings. Puppetry adds anactive element to the story, beyond the actors and scenery. Depending on how you movesomething, almost anything can be a puppet. Even your shoe could be a turtle wearing glasses,or a kangaroo!11

MAKING HAROLD’S WORLDHarold has a big imagination and a crayon that is sort of magic. When he draws things, they cometo life. In the play, we want to show how Harold sees the world while he is on his adventures.How can we make that happen? In many different ways – such as moving scenery, puppets andspecial lighting. We are also using animation to help tell parts of the story.What is animation? If you’ve seen a cartoon, you’ve seen animation. Animation makes picturesappear to move. Thousands of drawings are needed for only a few minutes of animation. Eachdrawing is a bit different from the one before it. For example, to show a character walking, thefirst drawing might show the character with both feet on the ground. The next drawing mightshow the knee with a tiny bend and the foot slightly off the ground. In the third drawing, theknee might be bent more and the foot might be a little farther off the ground, and so on.Why does it look like movement? When the images change quickly enough, your eyes andbrain work to blend them together into one action. Your brain holds on to an image for a fractionof a second longer than the eye actually sees it. That is why the world doesn’t suddenly go blackevery time you blink. Take a pencil and wiggle it around. Do you notice how you see themovement? You are seeing where the pencil is and where it was at almost the same time, like it’sone picture. Those actions look mixed together.Here’s an experiment you can do to get an idea of how animation works. This is based on a toyfrom a long time ago called a thaumatrope (thaw-muh-trohp).WHAT TO DO1. Color in Harold’s rocket and the stars in the pictures on the nextpage.2. With the help of an adult, cut out the circles.3. Use tape or glue to attach a straw or pencil to the center of theback of one of the circles. Line up the back of the other circleand attach it. Make sure the pictures are facing out.4. Roll the straw back and forth between the palms of your hands,while you look at the picture. What do you see?Activity continued on the next page...12

HOW ARE YOU GOING TO DO THAT?When Harold, the moose and the porcupine get a little too excited about eating pie, they makequite a mess. Somehow, pie even ends up splattered on the moon! What would be the best way togo clean that up? A rocket ship, of course.These are the lyrics of the song Harold sings as he gets the rocket ready and then takes off on hisspace adventure. What do you think the action on stage will be? How would you act out this partof the story?ROCKET IN THE SKYINTERPLANETARYEXTRAORDINARYSOMETIMES EVEN SUPER SCARYZOOMING HERE AND THERE ANDFEELING EXTRA DARINGCAN’T YOU HEAR MY ENGINES BLARING(The rocket blasts off.)MY ROCKET IN THE SKYI GOT A DESTINATIONIN MY IMAGINATIONAT THE HIGHEST ELEVATIONEENIE MEENY MINYALL THE STARS ARE SHINYTHE EARTH IS LOOKING AWFUL TINYMY ROCKET IN THE SKYI HAD THE MOON THERE IN MY SIGHTSBUT SOMETHING’S GOING WRONGHOLDING ON WITH ALL MY MIGHTMISSED THE MOON – FLYING FARTHER ONMY ROCKET IN THE SKY14

DRAW A STORY, PAINT A WORLDCAVESHarold picks up a crayon and begins to draw— doing something people have been doing forthousands and thousands of years. Even in a time before wheels had been invented, beforepeople could build buildings or make metal tools, therewere great artists. They left paintings on cave walls. Somepaintings are thirty thousand years old.This picture, from the wall of a cave in France, is aboutseventeen thousand years old – twelve thousand yearsolder than the first written word. In Harold and the PurpleCrayon, when Harold gets hungry he draws good things toeat. The artist who drew this might have been doing thesame thing. This picture shows an animal that people fromthat time and place hunted and ate.MOVIESPeople draw things they have seen and things they imagine. They also use pictures to tell stories.Most movies begin with drawings. Storyboard artists make thousands of sketches of differentimages and put them in order. They usually draw these sketches by hand, using pencil or pen.Then the director uses those pictures as a guide to make the movie. This is true for cartoons,but also for movies that use live actors, like The Wizard of Oz, and for movies that use computeranimation, like the Toy Story series. This is an example of a storyboard for a scene about a schoollunch:Continued on the next page...15

BOOKSLots of books tell stories by combining words with pictures.Picture books like Harold and the Purple Crayon do this, ofcourse. So do comic books. They are almost always drawn byhand. Today, people of all ages read comics. Japanese comicbooks, called manga, are very popular all over the world. Comicbooks that tell longer and more complex stories are calledgraphic novels.This little guy is Fone Bone, one of the characters from Bone, afamous graphic novel by Jeff Smith. He spent 13 years writing and drawing the book. The book is1,342 pages long.STAGEMost of the things you see on stage, like sets, puppets andclothes, are drawn before they are built. Melanie Burgess,a costume designer, drew this sketch for Seattle Children’sTheatre’s play Harold and the Purple Crayon. It shows theporcupine puppet and the costume for one of thestorytellers. Over on the right, the designer has attachedsmall pieces of fabric, called swatches, to show what kindof materials and what colors should be used to make theclothes.STREETPeople draw and paint for all sorts of reasons: to makesomething beautiful, to create a new world, or a newstory, or have an adventure. Drawings can make peoplelaugh – they can also make people angry. Often people draw to leave a mark on the world. Somepeople draw and paint on buildings, trains and trucks and other things without permission. Thiskind of drawing is called graffiti, or sometimes, street art, and it is against the law.This is a picture called Return of the Three Funny Types,which was painted on a wall by ces53, a street artistfrom Holland. Would you be happy or angry if somebodypainted a picture like this on your wall withoutpermission?A lot has changed in the world since people first began to draw pictures on cave walls thirtythousand years ago. Today many complicated machines help us express our thoughts, feelingsand stories. But drawing by hand, creating new things the way Harold does with his crayon, is asimportant as it has ever been.16

WORDS THAT MIGHT BE NEW TO YOUdaydreams - a pleasant wish or hope you have while you are awakedestination - a place where somebody or something is going or must goelevation - height above a locationextraordinary - very unusual and deserving attention because of being wonderful, excellent,strange, or shockinginterplanetary - situated or happening between the planetskeel - the main structural element of a ship, stretching along the centerline of its bottom fromthe front to the backrigging - the ropes, wires, and pulleys that control the sails of a boatrudder - a pivoting blade under the water that steers a boat or shipLike the sun and moon ascend... - to go upward, usually vertically or into the air...such a different dimension to see... - level of realityPeople are moving, directionless with disregard... - a lack of respectThese waves out before me are fraught with adventure. - filledNothing here will hinder you. - slow, hold back or blockI’ll take this pie to Kalamazoo. - a city in southwestern MichiganSo many possibilities... - things that could happenWhat’s this new place that I’ve found – serendipity! - a natural gift for making useful discoveriesby accidentThere’s no getting over a huge supernova. - explosion of a large star that is 10 to 100 milliontimes brighter than the SunWe all tender you our blessings. - give in payment toShiver me timbers! - large pieces of wood used in the framework of a wooden shipCREATURES THAT HAROLD MEETS ON HIS ADVENTUREScrabcyclopsdragonjellyfishmooseporcupinepuffer fishsharkwhale17

BOOKLISTFor Children & Young Adults:WeslandiaPaul FleischmanAmazing GraceMary HoffmanRoxaboxenAlice McLerranBridge to TerabithiaKatherine PatersonNot a BoxAntoinette PortisIshPeter H. ReynoldsThe DreamerPam Muñoz RyanSkippyjon JonesJudy SchachnerThe Egypt GameZilpha Keatley SnyderShadowSuzy LeeA child uses her imagination to create a magical world in a dark attic.For Adults Working with Children & Young Adults:Unplugged Play: No Batteries. No Plugs. Pure Fun.Bobbi ConnerThe Power of Play: How Spontaneous, Imaginative Activities Lead to Happier, Healthier ChildrenDavid ElkindDiscovering Great Artists: Hands-on Art for Children in the Styles of the Great MastersMaryAnn F. Kohl and Kim SolgaOver 100 activities foster creativity in children of all ages.Booklist prepared by Seung Hee Kang,Pierce County Library System19

HOW DID WE DO?We’d love to know what was helpful to you as you read and used this guide. Please fill out andreturn this short survey to us. We appreciate your feedback.1. For which play/plays did you use the Educator Resource Guide?Harold and the Purple CrayonA Year with Frog and ToadHELPRobin HoodA Single ShardThe Very Hungry Caterpillar2. Was it easy for you to find and download the Educator Resource Guide?Very Somewhat Not very Not at all3. On a scale of 1 – 5 (5 being the highest), how useful was the Educator Resource Guide?1 2 3 4 54. What did you use from the Educator Resource Guide?5. Is there something you would like to see included in the Educator Resource Guide thatwasn’t here?6. Which of the following best describes you? I teach:Preschool Middle school HomeschoolElementary SchoolHigh schoolOther Comments:THANK YOU!MAIL: or FAX: or EMAIL:Seattle Children’s Theatre 206.443.0442 schoolshows@sct.orgAttention: School Shows201 Thomas StreetSeattle, WA 9810920

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