Presents

APRIL, 2014

Study Guide

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SETTING THE STAGE:

SYNOPSIS A group of Fairies in Training gather to celebrate yet

another “perfectly granted” wish of the Blue Fairy (When

You Wish Upon a Star). Their celebration is interrupted by

the toy maker Geppetto, who complains that Pinocchio,

the puppet she brought to life as his son, is defective. To uncover the truth, the Blue Fairy takes

us back in time to the day of Geppetto’s wish. Geppetto’s toy shop is filled with parents and

their eager children (Toys). Having no children of his own, Geppetto envies them and wishes for

his heart to be full (Empty Heart). The Blue Fairy grants his wish and brings Pinocchio to life.

The next day, the overjoyed Geppetto teaches Pinocchio a song he learned from his father

(Geppetto and Son) and introduces him to the Town Fathers, but Pinocchio wanders away. We

then travel forward in time (Rise and Shine) to see Geppetto attempt to teach Pinocchio about

toy making. When the disinterested Pinocchio lies, his nose grows. Still not convinced of

Pinocchio’s imperfection, the Blue Fairy takes us forward again to Pinocchio’s first day of

school. Heeding Geppetto’s instructions to “act like everyone else,” Pinocchio begins mimicking

other students and gets into trouble. In the town square, the puppeteer Stromboli notices that

Pinocchio is a string less puppet and tries to recruit him for his marionette show, but the Blue

Fairy sends Stromboli away.

Now back in the present, Geppetto repeats his request for the Blue Fairy to take Pinocchio

back. Pinocchio overhears and runs away (When You Wish Upon a Star – Reprise). Geppetto

goes looking for Pinocchio and finds him performing for Stromboli (I’ve Got No Strings). After

the show, Stromboli locks up Pinocchio but tells Geppetto that the puppet left. Meanwhile,

Pinocchio escapes, but Stromboli vows to find him (Brave Stromboli). The Blue Fairy finally

agrees to take Pinocchio back once Geppetto finds him (Just Because It’s Magic). In Idyllia,

Geppetto encounters Professore Buonragazzo and his “perfect child” machine, which creates a

series of Perfect Children (Satisfaction Guaranteed), but none can replace Pinocchio. Back on

the road, Geppetto meets talking Animals who act like something else because of their parent’s

expectations. Meanwhile, the Blue Fairy offers Pinocchio to Stromboli, since Geppetto still

doesn’t want him (Brave Stromboli – Reprise).

A Ringleader and his Roustabouts introduce us to a children’s paradise (Pleasure Island).

Geppetto finds Pinocchio there but fails to convince him to come home. Suddenly, Pinocchio

and the other Delinquents become donkeys and are sent away on a ship, which Geppetto

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pursues in a rowboat. The young fairy Sue conjures a whale to save them, but it swallows

Geppetto and Pinocchio. Inside the whale, Geppetto promises to be a better father if they ever

get home (Geppetto and Son – Reprise). Pinocchio lies so that his nose tickles the whale’s

throat and it sneezes them out. Back at the toy shop, Stromboli and the Blue Fairy await them.

Having learned how to appreciate fatherhood, Geppetto offers Stromboli anything in his shop

in exchange for letting him keep Pinocchio (Since I Gave My Heart Away). Stromboli refuses,

and the Blue Fairy must grant Stromboli his wish. But the young fairies point out that Pinocchio

has learned to become a real boy, rendering him useless for Stromboli’s show. With father and

son now transformed and united for good, the Blue Fairy’s perfect record remains intact!

ABOUT THE PLAYWRIGHT:

CARLO COLLODI Carlo Collodi is the pen-name of Carlo Lorenzini (1826-90). Collodi is the name of the little

village in Tuscany where his mother was born. He was born in Florence, the son of a cook and a

servant, and spent his childhood as much in the rough and tumble of the streets of his native

Florence as in the classroom. No doubt this stood him in good stead in his two periods as a

soldier - once in 1848 when Tuscany rose in revolt against its Habsburg rulers, and again in the

war between Italy and Austria in1859.

Collodi started his writing career as a newspaperman:

he wrote for other papers, and also started his own

satirical paper Il Lampione (The Lantern) - but the

government closed it down. Later he became a

government official himself, working as a civil servant

for the education department and trying to push

through much-needed educational reforms.

In the 1850s, he began to have a variety of both

fiction and non-fiction books published. Once, he

translated some French fairy-tales so well that he was

asked whether he would like to write some of his

own. The result was his first major success,

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Giannettino, which is a kind of educational fairly- tale. He now devoted himself to writing for

children" because adults are too hard to please"!

In 1881, he sent to a friend, who edited a newspaper in Rome, a short episode in the life of a

wooden puppet, wondering whether the editor would be interested in publishing this "bit of

foolishness" in his children's section. The editor did, and the children loved it. The Adventures

of Pinocchio were serialized in the paper in 1881-2, and then published in 1883 with huge

success. The first English-language version was just as successful on its publication in 1892. The

1940 Walt Disney cartoon has ensured that the character of Pinocchio remains familiar: but the

book is far richer in the details of the adventures of the naughty puppet in search of boyhood.

PRE-SHOW QUESTIONS

1. MY SON PINOCCHIO is based on the same story as the Disney movie,

Pinocchio. What do you expect to be different in the play from the movie?

What parts do you think will be challenging for our artists (actors,

designers, costumers, set builders) to create? How do you think they will

make the animated feature come to life?

2. Geppetto dreams of having a son of his own. What do you think he looks

forward to doing with his son? What are some of your favorite things to do

with your parents, grandparents, aunts, or uncles?

3. This story is about choices and how they affect us and others. Can you think

of a time that you made a choice that positively affected your life and

others? What about a negative choice? If you had to make that choice

again, what would you do differently?

4. Pinocchio can laugh and dance even though his is carved out of wood.

Choose an inanimate object. Tell about what would happen if it started

laughing and dancing.

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AN ITALIAN

DICTIONARY

Foreign Language Classroom

Activity

In Theatre at the Mount’s production of MY SON PINOCCHIO, the actors will use some Italian

words just like Carlo Collodi used when he first wrote the story of Pinocchio. Included are

common Italian words and phrases. Choose one Italian word or phrase a day and try

incorporating it into your daily conversations.

Buon Giorno (B’WOHN JOHR-NOH) – Good day!

Signore, Signori (SEEN-YOHR-AY, SEEN-YOHR-EE) – Ladies and Gentlemen

Scusatemi (SKOO-ZAH-THE-MEE) – Pardon me

Se solo mi presento (SAY SOH-LO MEE PRAY-ZEN-TOH) – I present

Ragazzi (RAH-GAHT-TZEE) – Boys

Maestro (MY-STROH) – Master

Si (SEE) – Yes

Papa (PAH-PAH) – Father

Bambino (BAHM-BEE-NOH) – Child

Caro Mio (kah-roh mee-oh) – Dear one

Belissimo (BEHL-LEES-EE-MOH) – Beautiful

Arrivederci (AH-REE-VEH-DEHR-CHEE) – Goodbye

Mama mia! (MAH-MAH MEE-AH) – My mother! Used as Good Heavens!

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LIE DETECTORS

Citizenship and Humanities

Activity

Pinocchio – What’s happening to my nose??

Geppetto – You can always tell when a little boy lies, Pinocchio

ACTIVITY:

1. Ask students to write down a statement describing their house, which is either true or false. E.g. We have two TVs at home.

2. Next, have a handful of students stand in front of the class and read out their statements. The rest of the class must vote on whether they think the statements are true or false. Record these votes, and after all the statements have been shared, have the students tell whether their statement was true or false, and compare the answer with the class vote.

3. Afterwards, ask students: How did you decide whether the students making the statements in front of the class were telling the truth or lying?

a. Prompt: Body language, tone of voice, eye movements, and statement doesn’t match prior knowledge.

b. Make a class list of their suggestions. 4. Place students in groups of three, and have students in each group pick a

word at random from a dictionary. a. One member of the group must write down the definition in their

own words. b. The other two group members must each devise an alternative

definition for the word. Tip: Look up words that start .with the same prefix or end with the same suffix. Incorporate these meanings in your made-up definition. It will make it sound more convincing. 5. Give groups about 10 minutes to complete this activity. Then, have each

group present their definitions to the rest of the class, who will vote on the definition they think is the true one.

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6. Afterwards, discuss with students how they made their choices, as to which definition they believed was true and which were false. Did they make a guess based purely on the definitions or did they look for clues in the students’ body language, tone of voice, eye movements etc.?

7. Finally, have each group reveal the true definition. 8. Conclude this activity by brainstorming as a class all the excuses and

rationalizations people give for lying, cheating, and stealing, and then have a discussion about them. How valid are they? What’s wrong with each of them?

9. Conduct a survey in your school or community asking questions like the following: Do you think people are honest enough? What are some examples of dishonesty you really dislike? What are some examples of honesty that you especially appreciate? Compile the results into a report.

Planetary Puppets

SOCIAL STUDIES: Cultures

of the World

USE THIS LESSON TO: explore performance cultures and traditions around the world, and to connect My Son Pinocchio JR. to your social studies curriculum

TIME: 45 minutes

MATERIALS: Printed images of: Balinese shadow puppets, Austrian string puppets, British Punch & Judy puppets, American protest puppets, Japanese Bunraku puppets and European marionettes

“Where in the World” worksheets

Internet access and/or reference books

Colored pencils and paper

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OBJECTIVES: Students will: Critically analyze and observe pieces of art from around the world.

Employ research skills to make sense of their observations.

Work in groups to reapply their learning in novel and creative ways.

Present ideas and findings to their peers.

Work individually to bridge research based learning and original creative content.

INTRODUCTION: My Son Pinocchio JR. is the story of a toy maker who becomes a father to a marionette. Puppets are pieces of art that can be found around the world and are used in many different ways. Let’s explore the puppetry of the world.

WARM-UP: Puppet P.I. (5 minutes) 1. Break your students into small groups.

2. Print images of the following puppet styles and distribute one image to each group: Balinese shadow puppet, Austrian string puppet, British Punch & Judy puppets, American protest puppet, Japanese Bunraku puppet, European marionette. Be sure not to identify the puppet style or origin region on these handouts.

3. Have your groups document their observations about the image. Side-coach with questions like: What is the puppet made of? What do you notice about its design style? How is it operated? Is it simple or elaborate? What do the colors tell you? What does its size tell you? Does it look serious, funny, artistic, or scary?

HOOK: Where in the World? (15 minutes) 1. Distribute the corresponding Where in the World worksheet to each group

(included).

2. Review the directions with the class. Provide access to reference books or the internet and give students 15 minutes to complete their assignment.

MAIN ACTIVITY: Design a Puppet (20 minutes)

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1. Now that students have an understanding of the puppetry style they are investigating, distribute paper and colored pencils and allow students to sketch a puppet inspired by their studies.

2. Side-coach as you float among the groups. What elements must their style of puppet include? How will they incorporate their investigations into their designs?

3. At the end of the activity, have each group present their work. What was their original image? What did they discover through research? What did they come up with for their own puppet design?

REFLECTION: Puppet Theatre (5 minutes) 1. Remind students that puppetry is a type of theatre. Using what they learned

through their group work and their classmates’ presentations, instruct the students to write a short scene in which two styles of puppets interact.

2. Use these prompts to encourage deep reflection: What might a Balinese shadow puppet say or do to a Punch puppet? How might a Bunraku puppet respond to a protest puppet?

___________________________________________________________________________

WHERE IN THE WORLD?

Directions: Work with your group to research your puppet and complete the worksheet. Puppet: Balinese shadow Country of origin: How is the puppet manipulated? How is this style of puppetry used (entertainment, ceremony, etc.)? What makes this puppetry style unique?

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WHERE IN THE WORLD?

Directions: Work with your group to research your puppet and complete the worksheet. Puppet: Bunraku Country of origin: How is the puppet manipulated? How is this style of puppetry used (entertainment, ceremony, etc.)? What makes this puppetry style unique?

___________________________________________________________________

WHERE IN THE WORLD?

Directions: Work with your group to research your puppet and complete the worksheet. Puppet: Punch and Judy Country of origin: How is the puppet manipulated? How is this style of puppetry used (entertainment, ceremony, etc.)? What makes this puppetry style unique?

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WHERE IN THE WORLD?

Directions: Work with your group to research your puppet and complete the worksheet. Puppet: Austrian String Puppet Country of origin: How is the puppet manipulated? How is this style of puppetry used (entertainment, ceremony, etc.)? What makes this puppetry style unique?

___________________________________________________________________

WHERE IN THE WORLD?

Directions: Work with your group to research your puppet and complete the worksheet. Puppet: Protest Puppet Country of origin: How is the puppet manipulated? How is this style of puppetry used (entertainment, ceremony, etc.)? What makes this puppetry style unique?

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WHERE IN THE WORLD?

Directions: Work with your group to research your puppet and complete the worksheet. Puppet: Marionette Country of origin: How is the puppet manipulated? How is this style of puppetry used (entertainment, ceremony, etc.)? What makes this puppetry style unique?

___________________________________________________________________

Turning Tales

ENGLISH LANGUAGE ARTS: Voice

and Perspective

USE THIS LESSON TO: explore character, voice and perspective in expository writing to examine concepts of theme and to connect My Son Pinocchio JR. to your English Language Arts curriculum

TIME: 45 minutes

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MATERIALS: Index cards

“Fairy Tale Form” worksheet

OBJECTIVES: Students will: Connect themes from My Son Pinocchio JR. to their own lives.

Collaborate with their peers to write an original story.

Examine concepts of voice, character and perspective by telling a story from a different point of view.

Connect concepts of perspective to their own lives.

INTRODUCTION: My Son Pinocchio JR. explores a classic story from a new and unexpected point of view. And it all starts when Geppetto wishes upon a star…

WARM-UP: Be Careful What You Wish For... (10 minutes) 1. Distribute index cards to your class.

2. Tell your class to think about something they might wish for if there was a chance their wish could come true. Inform students that they will be sharing these ideas.

3. Have the class write their wishes on their note cards.

4. Divide your class into small groups and instruct the students to share their wishes with the others in their group.

5. Ask each group to select one wish that they would like to explore further.

HOOK: Fairy Tale Form (15 minutes) 1. With their wish selected, give each group a few minutes to document the pros

and cons of their wish coming true. What are the potential repercussions of their wishes? What are the benefits?

2. Next, distribute the “Fairy Tale Form” worksheet. Working as a team, each group should complete the form with ideas based on their wish.

3. Allow the groups to share their stories with the class.

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MAIN ACTIVITY: Fractured Fairy Tale (15 minutes) 1. Collect the worksheets from the groups and redistribute them so that each

group receives another group’s story.

2. Tell the class to write the opening of a play or story told from another point of view. Who or what else in the original story might have a different take on things?

3. Allow the groups to brainstorm and to write their scenes/stories.

4. After the scenes/stories have been written, give the class time to share their work with the class.

REFLECTION: When You Wish... (5 minutes)

Encourage the class to think back to their original wishes, and lead the students in a discussion using these prompts: What changed when you had to weave your wish into a story?

What was it like giving your story to another group?

What was it like working on another group’s story?

Did you prefer the original tale or the new perspective?

In life is there ever more than one version of an event?

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FAIRY TALE FORM

Directions: Work with your group to fill in the blanks and create an original story based on your wish. Once upon a time, __________________, a______________________, wished _____________. (main character name) (main character description) (wish) When ___________ came true, _________________ was thrilled! But _____________________ (wish) (main character) (secondary character) warned ______________ that _____________. ________________ insisted that ____________, (main character) (con) (main character) (pro) but sure enough, ___________________was right. ________________ tried ________________ , (secondary character) (main character) (potential solution) but it only made matters worse. Finally, _____________________________________________. (moment of conflict) So _______________ decided to ___________________________________________________. (main character) (resolution) _____________ and __________________ realized that ________________________________.

(main character) (secondary character) (moral of the story)

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Scaling the Scenery

MATHEMATICS: Scale &

Pre-Algebra

USE THIS LESSON TO: explore scale and pre-algebra concepts through puppets and character, and connect My Son Pinocchio JR. to your math curriculum

TIME: 45 minutes

MATERIALS: Newspaper

Masking Tape

Scissors

Calculators

Rulers

“Puppet Parameters” worksheet (on Resources Disc)

OBJECTIVES: Students will: Make sense of math problems and persevere in solving them

Work with scale, pre-algebra concepts, decimals and measurement in a theatrical scenario

Contribute positively and responsibly to their groups through collaboration, sustained focus and concentration

Draw and build a puppet to scale

Connect math skills to careers in the arts

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INTRODUCTION: Scaling the Story (5 minutes) 1. On the blackboard, draw a picture like this:

1. Ask your class if the drawing is an apple or a cherry. What other information

would they need to make a conclusion?

2. Now draw a much smaller image next to your original picture, like so:

1. Ask the class which one is the apple and which one is the cherry. How did they know?

2. Explain to the class that they needed a reference point. They know cherries are smaller than apples. When the two pictures are placed side by side, our brains are clever enough to deduce which item is which. This is an example of working in scale.

HOOK: Puppet Parameters (20 minutes) 1. Divide your class into small groups (4-6 students per group). Place the groups

in various workstations around the classroom.

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2. Distribute a “Puppet Parameters” worksheet to each group

3. Instruct your group to choose a puppet from Part I and sketch it to the appropriate scale.

4. Once students have sketched their designs, distribute newspaper and masking tape to the groups. They must now build models of their puppets by measuring, cutting and taping according to their scale.

MAIN ACTIVITY: Measuring the Journey (15 minutes) 1. Give each group a roll of masking tape and have them create a road from their

location to Geppetto’s Toy Shop in the middle of the room.

2. Next, have each group manipulate their puppet-model as a team to follow their road and get to the toy shop. Prompt the students to consider how their puppets might move. What is Stromboli’s stride like? How would the whale move?

3. Instruct the groups to count the number of steps their puppet takes. X = number of steps taken by the puppet to get from their current location to the destination in the center of the room.

4. Once they’ve identified X, have students solve the problem in Part II of the Puppet Parameters worksheet.

REFLECTION: Theatrical Math (5 minutes)

Engage the class in a discussion using the following prompts: . Do the three puppets we created (whale, Pinocchio, Stromboli), make sense in relation to each other? Which of the three doesn’t fit within the scale established by the other two? (The whale.) Why might a puppet designer take this liberty?

. How might some of the skills you used today be employed in the making of a play, a movie or a TV show?

. How was using scale helpful in your puppet design and construction?

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PUPPET PARAMETERS: PART I

Directions: With your group, choose one of the following characters from My Son Pinocchio JR. In the space below, sketch your idea for what a puppet version of this character might look like. Use the scale provided to make your drawing. Choose One: Whale: In nature, blue whales measure about 100 feet long! You decide to make your puppet a whopping three feet long… but you only have the space below to draw your design. Using the scale 1/6 (1 inch on the paper represents 6 inches of the whale), draw your three-foot-long whale puppet below. Pinocchio: When the Blue Fairy brings Pinocchio to life, he might be about 4 feet 5 inches tall. You decide to make your Pinocchio puppet one foot tall. Using the scale ¼ (a quarter of an inch on the paper represents one inch of your Pinocchio puppet), draw your one-foot-tall Pinocchio puppet below. Stromboli: Stromboli is the larger-than-life puppet master in My Son Pinocchio JR. If he were a real person, he might be about 6 feet 5 inches tall! You decide to make your Stromboli puppet 1 foot 6 inches feet tall. Using the scale ¼ (a quarter of an inch on the paper represents 1 inch of your Stromboli puppet), draw your 1 foot 6 inch Stromboli puppet below.

Draw Your Design to Scale Here:

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PUPPET PARAMETERS: PART II Directions: Using your puppet and the road you created, find out how far your puppet must travel to get to Geppetto’s Toy Shop. Manipulate your puppet and count the number of steps (or strokes!) it takes to reach your destination. X (number of steps): _____________________ Use the information below to determine how far your puppet has traveled: Whale: With each flap of its tail, your whale can travel .388 miles. Pinocchio: With each step, Pinocchio can travel .145 miles. Stromboli: With each step, Stromboli can travel .285 miles.

Total Distance Traveled: _____________________

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I’ve Got No Strings On Me

SCIENCE: Anatomy and Life Science

USE THIS LESSON TO: explore the skeletal, muscular, circulatory and nervous systems, and to connect My Son Pinocchio JR. to your science curriculum

TIME: 45 minutes

MATERIALS: “A Real Boy!” worksheet

Internet access and/or reference books

OBJECTIVES: Students will: Kinesthetically identify the ways in which the human body functions.

Identify components to the skeletal, circulatory, muscular and nervous systems.

Work in groups to research anatomy.

Present their research to their peers.

Understand how science can be applied to the arts, and how the arts can be applied to science.

INTRODUCTION: My Son Pinocchio JR. is the story of a marionette and his father. Marionettes are built to resemble the human body; we are going to investigate the similarities and differences between marionettes and the human body.

WARM-UP: I’ve Got No Strings (10 minutes) 1. Clear desks and furniture to make a wide-open space in your classroom.

2. Have students stand in a neutral position throughout the room.

3. Tell the class they are going to come to life as marionettes, one joint at a time.

4. Use these prompts to explore joints with your students:

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Good news! The puppet master has finished your hip joint. You may move your hips only. The hips are a ball and socket joint. Identify components to the skeletal, circulatory, muscular and nervous systems.

The puppet master has now finished your neck joint. This is a pivot joint, which allows you to turn your head from side to side.

Your feet have been attached at your ankle joint. These gliding joints allow you to move your feet.

He has also completed your knee joint. These hinge joints allow you to walk about the space.

Remember, you are marionettes. How do the strings cause you to move differently than a real human? What would you need in order to move as a human?

5. Prompt the students to find their way back to their starting place and neutral position.

HOOK: Systems of Life (10 minutes) 1. Engage the class in a discussion about the activity. What were the limitations

of being a marionette? What do humans have that marionettes don’t? Write students’ ideas on the board (ideas may include: bones, muscles, brains, blood, organs, skin etc.).

2. Categorize the students’ ideas into these classifications: skeletal system, muscular system, circulatory system, nervous system and other.

MAIN ACTIVITY: A Real Boy! (15 minutes) 1. Break your class into four groups. Assign each group to investigate one of the

primary systems identified in the previous discussion.

2. Distribute the “A Real Boy!” worksheet to each group.

3. Using the internet and reference books, prompt students to complete their respective section of the worksheet.

4. Have each group share its findings with the class. These are some of the systems Pinocchio would need to become a real boy!

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REFLECTION: Journal on Acting (5 minutes)

Your students have explored life science through the lens of a piece of theatre. Have you students respond to one of these questions in their notebooks:

Why might an actor playing Pinocchio investigate the skeletal, muscular, circulatory or nervous systems?

Why might a scientist or doctor use a model – similar in shape and function to a marionette – to investigate the human body?

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A REAL BOY

Directions: Work with your group to complete this worksheet. System: Skeletal System Definition: Purpose: What types of animals have this system? How is this system different across species? Which other systems are necessary for this system’s proper function? Explain: Why would Pinocchio need this system in order to become a real boy?

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A REAL BOY

Directions: Work with your group to complete this worksheet. System: Muscular System Definition: Purpose: What types of animals have this system? How is this system different across species? Which other systems are necessary for this system’s proper function? Explain: Why would Pinocchio need this system in order to become a real boy?

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A REAL BOY

Directions: Work with your group to complete this worksheet. System: Circulatory System Definition: Purpose: What types of animals have this system? How is this system different across species? Which other systems are necessary for this system’s proper function? Explain: Why would Pinocchio need this system in order to become a real boy?

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A REAL BOY

Directions: Work with your group to complete this worksheet. System: Nervous System Definition: Purpose: What types of animals have this system? How is this system different across species? Which other systems are necessary for this system’s proper function? Explain: Why would Pinocchio need this system in order to become a real boy?

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POST-SHOW QUESTIONS

1. In the beginning of the play, we find out that Geppetto wants to give back

Pinocchio because he’s “defective.” In the end, Geppetto finds true

happiness in having Pinocchio as his real son. Have you ever had a rough

time sticking with a commitment you made? Do you quit or stick through

it? What happened in the end and how did it make you feel?

2. In the town of Idyllia, parents can create their own children to be what they

want them to be. Do you think this is a good idea? Why or why not?

3. In Pleasure Island, the kids are in charge and get to do whatever they want

to do. Why do you think it turns into such an awful place full of disrespect

and chaos?

4. Geppetto tries to teach Pinocchio that lying is not a good choice. In the end,

Pinocchio needs to lie in order to save himself and his dad. Do you think it is

okay to lie sometimes about certain things? Why or why not? What are the

consequences (outcomes) of telling lies?

5. The Blue Fairy sings the song “When You Wish Upon a Star.” How does this

song represent what is happening in My Son Pinocchio? What does this

song mean to you? What do you wish upon a star for?

Additional - Write to Theatre at the Mount

After watching the play, write about it. Tell what you liked or disliked about

the story, the characters, costumes, or set. Support you thoughts with

examples and reasons. Mail to: Theatre at the Mount, 444 Green Street,

Gardner, MA 01440