Alice in Wonderland Follies - Tilles Center for the Performing Arts

Transcription

Teacher’s Guide For
Alice in Wonderland Follies
New York Theatre Ballet
New York Theatre Ballet has earned high acclaim for its innovave and meculously rendered
ballets based on children’s literature. Springing to life are a host of favorite scenes and characters: Alice and the White Rabbit, the Red Queen, the Cheshire Cat, the Caterpillar, the Mad
Ha,er’s Tea Party, Tweedledum and Tweedledee, the Jabberwocky poem and the triumphant
crowning of Queen Alice. Whimsy and charm overflow from each vigne,e in this charming and
professional ballet.
Dear Teacher,
Thank you for taking the me to bring your students to Tilles Center.
Never has there been a more important me for creavity and innovaon in
educaon. Bringing students to live performance helps them to view the world
through a new lens, to use their senses in different ways and to appreciate a
wide array of art forms and different cultures.
This season marks the 24th year of bringing K-12 students to Tilles Center’s
school-me manee series. We are proud to offer professional performances of
the highest caliber of arsc excellence. Each program is carefully chosen to
both educate and entertain students. We are honored to welcome over 13,000
students through our doors each year.
In order to give your group the richest experience possible, please read and
share this guide with all teachers and students who will a,end the performance. Addional study guides can be downloaded from llescenter.org.
Thank you again for your support. See you at the theater!
Ellio, Sroka
Execuve Director
Stephanie Turner
Director of Arts Educaon
Deborah Robbins
Assistant Director of Arts Educaon
Emily Lembo
Arts Educaon Associate
Table of Contents
Objecves of the Performance ..................................................................... 4
A,ending a Performance at Tilles Center..................................................... 5
Your Role As an Audience Member .............................................................. 7
About The Performance ................................................................................ 9
About the Author ........................................................................................ 10
History of the Producon............................................................................ 11
About the Company .................................................................................... 12
Cultural Context .......................................................................................... 13
Acvies Before The Performance ............................................................. 19
Acvies A:er The Performance ................................................................ 20
Elements of a Show..................................................................................... 23
Places in the Theater................................................................................... 25
Glossary of Terms........................................................................................ 26
Resources .................................................................................................... 28
Emergency Cancellaon.............................................................................. 29
OBJECTIVES OF THE PERFORMANCE
Standard 2: Knowing and Using Arts
Materials and Resources
Students will be knowledgeable about and
make use of the materials and resources
available for parcipaon in the arts in various
roles.
Theater: Students will know the basic tools,
media, and techniques involved in theatrical
producon. Students will locate and use
school, community, and professional
resources for theater experiences. Students
This teacher’s guide is designed to extend the will understand the job opportunies available
in all aspects of theater.
impact of the performance by providing
discussion ideas, experienal acvies, and
Standard 3: Responding to and Analyzing
further reading that can promote learning
Works of Art
across the curriculum. This program can be
Students will respond crically to a variety of
incorporated into study addressing the
Learning Standards for the Arts as spulated works in the arts, connecng the individual
work to other works and to other aspects of
by the N.Y. State Educaon Department.
human endeavor and thought.
Detailed informaon is available at:
Theater: Students will reflect on, interpret,
www.emsc.nysed.gov/ciai/arts/pub/
and evaluate plays and theatrical
artlearn.pdf .
performances, both live and recorded, using
the language of dramac cricism. Students
Learning Standards for the Arts (Theater):
will analyze the meaning and role of theater in
society. Students will idenfy ways in which
Standard 1: Creang, Performing, and
drama/theater connects to film and video,
Parcipang in the Arts
Students will acvely engage in the processes other arts, and other disciplines.
that constute creaon and performance in
Standard 4: Understanding the Cultural
the arts (dance, music, theater, and visual
Dimensions and Contribuons of the Arts
arts) and parcipate in various roles in the
Students will develop an understanding of the
arts.
personal and cultural forces that shape arsc
Theater: Students will create and perform
communicaon and how the arts in turn
theatre pieces as well as improvisaonal
drama. They will understand and use the basic shape the diverse cultures of past and present
elements of theatre in their characterizaons, society.
improvisaons, and play wring. Students will Theater: Students will gain knowledge about
engage in individual and group theatrical and past and present cultures as expressed
through theater. They will interpret how
theatre-related tasks, and they will describe
theater reflects the beliefs, issues, and events
the various roles and means of creang,
of sociees past and present.
performing, and producing theatre.
This performance serves to:
• Introduce students to the environment
of a professional performing arts center;
• Expose students to a live performance
with high caliber performers;
• Maximize students’ enjoyment and
appreciaon of the performing arts;
• Help students develop an understanding
of the arts as a means of expression and
communicaon.
Page 4
Attending a Performance at Tilles Center
Main Stage at Tilles Center seats 2,200 people. Hillwood Recital Hall seats 500 people.
When you a,end a performance at Tilles Center for the Performing Arts, there are a few
things you should remember.
ARRIVAL AND DEPARTURE
• Groups will be seated in the theater on a first-come, first-serve basis.
• Tilles Center cannot reserve seats for school performances.
• Plan to arrive approximately 30 minutes prior to the show.
• Performances cannot be held for late buses.
• C. W. Post Public Safety will direct buses to parking areas.
• Remain seated on the bus unl instructed to unload.
• Shows generally last one hour.
ENTERING THE THEATER
• Please stagger chaperones throughout the group to help keep students in line and moving quickly to the seang area.
• Groups are directed into the theater in the order that they arrive.
GETTING SEATED
• Upon entering the theater for seang, ushers will direct students and teachers row by
row. It’s possible that classes may be split up into two or more rows. With adequate
adult supervision, a group split into two or more rows should have enough chaperones
to ensure safety.
• Please allow ushers to seat your group in its enrety before making adjustments. This
allows us to connue seang groups that arrive a:er you. You are free to rearrange students to new seats and to go to restrooms once the group is seated.
ENJOY THE SHOW
So that everyone can enjoy the performance:
• There is no food or drink permi,ed in the theater or lobby areas.
• Photography and audio/video recording is not permi,ed during the performance.
• Please turn off (or leave behind) all ipods or MP3 players, pagers, cell phones. The devices
may interfere with the theater’s sound system and ringing, alerts, etc are extremely disrupve to both the audience and the performers.
• Please do not talk, whisper, shuffle or ra,le papers or candy wrappers during the performance.
• Please do not leave and re-enter the theater during the performance. There is no intermission so make sure you visit the restroom prior to the start of the show.
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DISMISSAL
• A Tilles Center representave will come onstage following the performance to provide direcons for dismissal. Please remain seated unl you have received these direcons.
_____________________________________________
Please Note:
⇒
CHILDREN UNDER THE AGE OF 4 WILL NOT BE PERMITTED IN THE THEATER UNDER ANY
CIRCUMSTANCES – PLEASE MAKE CHAPERONES AWARE OF THIS POLICY.
⇒
TILLES CENTER RESERVES THE RIGHT TO REMOVE STUDENTS (UNDER SUPERVISION OF
THEIR TEACHER OR CHAPERONE) FROM THE VENUE SHOULD THEY BE OF INAPPROPRIATE AGE OR A DISRUPTION TO THE PERFORMANCE.
⇒
FOOD AND DRINK ARE NOT PERMITTED IN THE LOBBY AREAS OR THE THEATER. UNFORTUNATELY, WE CAN NOT PROVIDE SEATING IN THE BUILDING FOR STUDENTS TO EAT
BAGGED LUNCHES.
o o so!
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Your Role as an Audience Member
TO THE TEACHER:
The audience is a very important part of the performance. Please talk to your students about
what it means to be an audience member and how a “live” performance is different from TV
and movies. Please share the following informaon with your students prior to your visit to
Tilles Center. Some performances may involve audience parcipaon so students should be
prepared to behave appropriately, given the nature of the performance and the requests of
the arsts on the stage.
BEING AN AUDIENCE MEMBER:
A theater is an energecally charged space. When the “house lights” (the lights that illuminate the audience seang) go down, everyone feels a thrill of ancipaon. By discussing appropriate audience behavior as a class ahead of me, the students will be much be,er
equipped to handle their feelings and express their enthusiasm in acceptable ways during the
performance.
Audience members play an important role— unl an audience shows up, the performers are
only rehearsing! When there is a “great house” (an outstanding audience) it makes the show
even be,er, because the arsts feel a live connecon with everyone who is watching them.
The most important quality of a good audience member is the ability to respond appropriately
to what’s happening on stage… somemes it’s important to be quiet, but other mes, it’s acceptable to laugh, clap, or make noise!
GOOD AUDIENCE MEMBERS KNOW THESE KEY WORDS:
Concentraon: Performers use concentraon to focus their energy on stage. If the audience
watches in a concentrated, quiet way, this supports the performers and they can do their best
work. They can feel that you are with them!
Quiet: The theater is a very “live” space. This means that sound carries very well, usually all
over the auditorium. Theaters are designed in this way so that the voices of singers and actors
can be heard. It also means that any sounds in the audience - whispering, rustling papers, or
speaking - can be heard by other audience members and by the performers. This can destroy
everyone’s concentraon and spoil a performance. Do not make any unnecessary noise that
would distract the people siRng around you. Be respecSul!
Keep in mind that somemes the performers will request the audience to take part in the acon by coming on stage, asking quesons, or calling out answers. At these mes, it is appropriate to respond in the manner in which you are directed. Above all, listen to the performer
(s) on stage and follow direcons.
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Respect: The audience shows respect for the performers by being a,enve. The performers
show respect for their art form and for the audience by doing their best possible work. Professional actors and musicians always show up for work ready to entertain you. As a good audience member, you have a responsibility to bring your best behavior to the theater as well.
Doing so shows respect for the actors—who have rehearsed long hours to prepare for this
day—and the audience around you.
Appreciaon: Applause is the best way for an audience in a theater to share its enthusiasm
and to appreciate the performers. In a musical or opera, it is not usually acceptable to applaud in the middle of a song. However, it is appropriate to applaud a:er each song has finished.
If the program is of classical music, applaud at the conclusion of the enre piece, not between
movements.
At the end of the performance, it is customary to connue clapping unl the curtain drops or
the lights on stage go dark. During the curtain call, the performers bow to show their appreciaon to the audience. If you really enjoyed the performance, you might even thank the arsts
with a standing ovaon!
Common Sense: The same rules of behavior that are appropriate in any formal public place
apply to the theater. If audience members conduct themselves in orderly, quiet ways, with
each person respecng the space of those around him or her, everyone will be able to fully
enjoy the performance experience.
Page 8
About thePerformance
Alice’s Adventures in Wonderland, the
classic fairy tale by Lewis Carroll, has
been adapted in this producon by The
New York Theater Ballet to express the
imaginaon and adventure themes of
the story. This more theatrical and
shortened version of a typical dance concert makes the producon especially
suited to audiences of children.
Alice in Wonderland Follies was created
by choreographer Keith Michael in 2000.
The music of Sousa, Joplin, Verdi, Schumann, Elgar, Debussy, and many other composers is used. A colorful, fun-filled romp, the producon features the ancs of the White Rabbit, the Mad Ha,er, The Caterpillar, the Chesire
Cat, Tweedledum and Tweedledee, and other beloved Alice in Wonderland characters. Tap
your toes to ragme, waltzes, popular tunes and marches. Join in a clap-tap-rap version of the
wacky Jabberwocky poem. See burlesque, African juba, Irish step-dancing, ballroom dancing,
acrobacs and classical point (up on the toes) dancing.
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Is it ballet, or something different? If you answered “something
different,” you would be correct. Alice in Wonderland Follies is ‘A
Ballet Vaudeville’ that combines many different styles of dance
and music from turn-of-the-century vaudeville houses.
Ballet is a dance form that began in Italy in the 1400’s. It combines music, movement, costumes, lights, and o:en painted
scenery to help tell a story without words.
Vaudeville was a popular form of entertainment in the late 1800’s
through the early 1900’s. It was a variety show of specialty acts including songs, dances, skits,
acrobacs, and pantomime.
New York Theatre Ballet has combined these elements to create a turn-of-the-century “romp”
complete with costumes that create the characters, scenery, and lively music. All of these capture the mood of mysterious Wonderland, where nothing happens as you might expect.
This high-spirited, one-hour ballet, performed without an intermission, was conceived by Keith
Michael as a vaudeville producon to commemorate the 50th anniversary of the publicaon of
the original tale. It is meant to take place at the Palace Theatre in New York in 1915.
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A Dancer’s Life
Like dancers everywhere, members of the
New York Theatre Ballet have a very strict
schedule. They take a two-hour dance
class six days a week. This helps them
pracce their technique and keeps their
muscles toned so they do not hurt themselves while dancing. A:er pracce,
they rehearse dance pa,erns another
four and-a-half hours for their upcoming
performance.
Dancers need to develop a strong and
supple body, a huge vocabulary of steps and styles,
learn music and know great literature, painng and sculpture.
PraBalls and Slapsck
You will see the dancers engage in zany ancs such as praSalls, slapsck, and acrobacs. These
comic rounes have their roots in the 16th-century Italian tradion of commedia dell’arte,
where stock characters performed silly physical stunts to make the audience laugh. This tradion was passed down to the vaudeville stage, and can sll be seen today.
Pra,alls are staged falls the performers learn to do to make it look like they’ve fallen down, but
they do not actually hurt themselves.
A slapsck is a so: “sck” made of foam or other so: material, which the performers somemes use to strike each other in comedy sketches.
Lewis Carroll: (1832-1898), an English mathemacian, created the characters that inspired this
ballet vaudeville in two books wri,en over 130 years ago: Alice in Wonderland and Through the
Looking Glass. Carroll, whose real name was Charles Lutwidge Dodgson, also loved to create
math games, word puzzles, and poems with hidden meanings.
Lewis had no children of his own, but liked making up stories to entertain his friends’ children.
Once, while boang with his young friends, Alice Liddell and her sisters, Lewis made up a story
that Alice liked so much, she begged him to write it, and he came up with Alice in Wonderland.
A synopsis of Alice in Wonderland Follies
Once upon a me there was girl named Alice. She and some family members and friends took a
trip in a rowboat down a long, winding river. It was a hot, bright day and she and her sister were
relaxing on the riverbank a:er the trip. She was growing very red of having nothing to do.
Suddenly, a White Rabbit appears. Curiosity overtakes Alice and she decides to follow him down
a hole into an underground world. Throughout her journey in this strange land she meets many
eccentric creatures. First she meets a caterpillar, then a Cheshire cat who keeps disappearing
and reappearing. She has a tea party with a Mad Ha,er.
Page 10
This turns out to be a rather comical situaon of which she can’t seem to make any sense.
Tweedledee and Tweedledum pay her a visit, and a baby turns into a pig in the cook’s kitchen.
She plays croquet using flamingoes as the mallets and hedgehogs as the balls. As if this isn’t
strange enough, The Red Queen wants her decapitated! Luckily, she is saved by a deck of cards
that are painng rosebushes red. Nothing is more thrilling than when she is crowned Queen
Alice!
Then, just as briskly as she had followed the White Rabbit down the rabbit hole, she finds herself back on the riverbank. Were her travels all a dream? As she brushes away the fallen
leaves, she realizes it was her imaginaon that took her on this magical journey.
Page 11
The Alice in Wonderland Follies:
A Ballet Vaudeville
Inspired by Lewis Carroll’s
Alice’s Adventures in Wonderland
And Through the Looking-Glass
And the Illustraons of
John Tenniel
Concept and Choreography:
Keith Michael
Costume Design:
Sylvia Nolan
Décor Design and Pain)ng:
Gillian Bradshaw-Smith
Lighng Design:
Ted Sullivan
Doll House Built by:
Brian W. Griffin
Doll House Painted by:
Nancy Horne
Page 12
Jabberwocky Poem
(Carroll, Lewis. Through the Looking-Glass, New York: Bantum, 1981).
The Alice in Wonderland Follies producon, this poem is an important and unique secon
where the text is used as the music. Many of the words used were made up by Lewis Carroll.
These word creaons are called “portmanteaus” – words that have two meanings.
‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogroves,
And the mome raths outgrabe.
“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!”
He took his vorpal sword in hand:
Long me the manxome foe he sought
So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He le: it dead, and with its head
He went Galumphing back.
‘And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Calloh! Callay!
He chortled in his joy.
‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogroves,
And the mome raths outgrabe.
Page 13
Music in the Performance
The music, a mélange of many musical style, uses work by many composers. Here are the
scenes comprising the ballet with musical a,ribuons:
1. Overture: St. Louis Rag (1903), Tom Turpin
2. The Follies Opening: Echoes from the Snowball Club (1898), Harry P. Guy
3.
4.
5.
6.
All in the Golden ACernoon: Home Sweet Home (1823), Henry Bishop
Alice: La Plus que Lent (1910), Claude Debussy
Through the Looking Glass: Excerpt from Varia)ons on a Nursery Song (1913), Ernst von Dohnanyi
The Caterpillar: Glow Worm (1907), Paul Lincke
7. Pig and Pepper: Czardas (Tradional)
8. The White Rabbit: “Trammeswirren” from Fantasiestücke, op. 12 (1837), Robert Schumann
9. Alice and the White Rabbit: Oh! You Beau)ful Doll (1911), Nat D. Ayer
10. The Cheshire Cat: Silver Birds (1915), Charles le Thiere
11. Alice: The Grasshopper's Dance (1905), Ernest Bucalossi
12. Tweedledee and Tweedledum: Humpty Dumpty Rag (1914), Charles Straight
13. Jabberwocky: Text by Lewis Carroll
14. The Queen of Hearts and Cards: El Capitan (1895), John Philip Sousa
15. Alice and the White Rabbit: Excerpt from Varia)ons on a Nursery Song, Ernst von Dohnanyi, and
Salut d'Amour (1888), Sir Edgar Elgar
16. Queen Alice: Pomp & Circumstance, March #1 (1901), Sir Edgar Elgar
17. What if I Dreamed It?: Varia)ons on Twinkle, Twinkle Li;le Star (1778),Wolfgang Amadeus Mozart
18. Finale: Black & White Rag (1908), George Botsford
Page 14
The New York Theatre Ballet was founded in 1978 by Diana Byer who is sll Arsc Director. It has been lauded as
“a miniature American treasure” by Dance Magazine. The
Company offers a disncve classical repertory which includes contemporary choreography as well as revivals of
classical works by many of the most esteemed choreographers of this century. NYTB has become known for its theatrical expressiveness, high producon quality, excellence
of technique, accessibility, and emphasis on inmacy with
its audiences.
The company's aesthec roots are in the CeccheR tradion of Diaghilev's Ballet Russe, a tradion passed on directly by the world-renowned Margaret Craske. Before
coming to NYTB as its coach and ballet mistress where she
taught unl her rerement at age 94, Ms. Craske had performed
with Diaghilev and was personally cerfied by Enrico CeccheR to teach
his method. She was originally brought to America by Antony Tudor to be
ballet mistress of American Ballet Theatre under Lucia Chase.
Photo by: Richard Termine
About the Company
New York Theatre Ballet has earned crical acclaim for the integrity and quality of its revivals
of Les Sylphides, Le Carnaval, Annabel Lee, Judgment of Paris, and other classic ballets, drawing on such master choreographers as Michel Fokine, Anton Dolin, August Bournonville, and
Antony Tudor. To ensure authencity of the work in these restoraons, original dancers and
set designers are brought in whenever possible. Also, extensive research in costume reconstrucon and all other producon values is conducted.
NYTB has a strong community service commitment, carried out largely through its LIFT Community Service Program. In this award-winning program for at-risk and
homeless children, in operaon since 1989, about 30
children a year get scholarships for year-round ballet
study, along with other help vital for producve learning. For its work with children from the
shelters of NYC and Women In Need (Project LIFT), NYTB has a,racted major television and
press coverage including a special filmed segment in Good Morning America's tribute to the
100th Anniversary of The Nutcracker. At White House ceremonies, The First Lady and the
President's Commi,ee on the Arts and Humanies recognized NYTB's Project LIFT as a model
community arts program of naonal significance.
Page 15
About the Arsc Director
Diana Byer (founder, president & arsc director of New York Theatre Ballet and Ballet School NY) has performed as a soloist with Les
Grandes Ballets Canadians, Manha,an Fesval Ballet, New York City
Opera, and the Juilliard Ensemble. She received her principal dance
training from Margaret Craske and Antony Tudor. She teaches adult
professional ballet and pointe technique and is director of ballet instrucon in BSNY’s children’s division. She has taught at Manha,an
School of Dance, Compagnie de Michel Hallet (Lyon, France), and
Cascina Bella (Milan, Italy). She has been guest instructor at the CeccheR Society of America, Cornell and New York Universies, SUNY
at Purchase, the Martha Graham School, and the CeccheR Society of
Canada (Toronto).
Diana Byer
Ms. Byer received extensive media a,enon for her ongoing work with homeless and at-risk
children, winning special citaons from President George Bush, First Lady Hillary Clinton, the
Naonal Endowment for the Arts, and the President’s Commi,ee on the Arts & the Humanies. Ms. Byer coached the principals in the Columbia Pictures film, Center Stage. In the summer of 2003, she gave master classes in the Ballet School of Pecs, Hungary and she regularly
provides master classes in schools and performance seRngs across the U.S. She was a member of the Antony Tudor Centennial Celebraon Commi,ee and staged Antony Tudor’s Judgment of Paris for the May 19, 2008 American Ballet Theatre Gala at the Metropolitan Opera House. She is a répéteur for the Antony Tudor Ballet Trust and a member of the
Board of Directors of the Dance Notaon Bureau. In November, she will stage Agnes de
Mille’s Three Virgins and A Devil for Alabama Ballet.
About the Choreography
Keith Michael choreographed The Alice in Wonderland Follies. In 2000, the play was selected
by Lincoln Center Instute for their 2002-2003 touring season. Mr. Michael has choreographed for the Juilliard School Vocal Arts Division and The Acng Company. He also conceived and choreographed New York Theatre Ballet’s producon of The Nutcracker in 1985.
He contributed dances to Dreams on a Shoestring for the Lincoln Center Celebraon Series at
Alice Tully Hall, created a dozen ballets for Keith Michael Dance Group; directed 35 dance/
theater/music collaboraons for Madison Avenue Dance Ensemble; choreographed Off-OffBroadway musicals, and many regional musical theater producons. Mr. Michael has performed as a principal dancer and guest arst with New York Theatre Ballet (1980-2003) and
many other companies. He has been Producon Coordinator for the Dance Division at The
Juilliard School since 1997.
Page 16
NYTB 2011-12 DANCERS
Joshua Andino-Nieto was born and raised in Stu,gart, Germany. He graduated
from the John Cranko Balle, Akademie in Stu,gart, Germany with a Diploma of
a Professional Classical Ballet Dancer. He was a Fellowship Student at The Ailey
School and performed in Alvin Ailey’s Memoria. Mr. Andino Nieto was a member
of the Ballet Carmen Roche in Madrid, Spain and has performed with Lane and
Co., and 360º Dance Company.
Manuel Barriga was born in Madrid, Spain and studied with Victor Ullate, Carmina Ocaña and Pablo Savoye. He was a member of Ballet San Jose for two
seasons. In 2008 he danced with Corella Ballet Caslla y León at the Teatro Real (Madrid) in Natalia Makarova’s producon of La Bayadere.
Tanya Chumak is originally from Calgary, Alberta, Canada. She trained at the
School of Alberta under the direcon of Nancy and Murray Kilgour and performed with Alberta Ballet Company.
Amanda Garre, is a 2008 graduate of Florida State University. She was a member
of The Tallahassee Ballet and danced in Balanchine’s In the Inn, staged by Suzanne
Farrell at F.S.U.
Carmella Imrie is originally from Flagstaff, AZ. She trained at Virginia School of the
Arts where she performed Ashton’s Les Pa)neurs and Bud Kerwin’s Ellington. Before joining NYTB, Ms. Imrie danced with Nashville Ballet, Ballet Tucson, and
Saeko Ichinohe Dance Company.
Mitchell Kilby is a nave of Newcastle, Australia. He began his training at the Marie Walton Mahon Dance Academy at age 16. A:er two years, he was accepted and
received a full scholarship to The Joffrey Ballet School in New York.
Page 17
Amanda Lynch grew up in Los Angeles and trained under Patrick Frantz, formerly
of the Paris Opera. She has performed with La Danserie in LA, Larissa Douglas Contemporary Dance in Boston, and Ballet Teatro Internacional in DC.
Steven Melendez started his training at Ballet School NY at the age of 7. He
joined NYTB as an apprence in 2006 and was promoted to principal, performing leading roles in works by Ashton, Balanchine, Butler, de Mille, and
Tudor. He has performed as guest soloist with Ballet Concierto in Buenos
Aires and in 2007 became a Principal at the Vanemuine Theater Ballet Company in Tartu, Estonia. In 2008 he received a diploma from the 5th Rudolf Nureyev Internaonal
Ballet Compeon in Budapest, Hungary.
Rie Ogura is from Tokyo and trained at the School of Alberta Ballet under Murray and Nancy Kilgour. She received honors for the Advanced, Intermediate,
and Elementary CeccheR exams. She was a member of the Alberta Ballet Company in Calgary, Canada.
Danielle Shupe studied at the Woodbury Ballet and Conneccut Dance Theatre. She
was a trainee at The Joffrey Ballet School. This is her second season with NYTB.
Elena Zahlmann trained with Elisabeth Carroll at Princeton Ballet, and on scholarship at the
New Jersey Governor’s School of the Arts. Before joining NYTB, she was a member of American Repertory Ballet’s junior company. She has received acclaim for
roles in The King & I, Oklahoma!, and 90 Years of MUNY Magic at the MUNY in St.
Louis and in the Reagle Players’ producon of The King & I in Massachuse,s. She
assisted choreographer Gemze de Lappe at Theater of the Stars in Atlanta, Georgia; and assisted Diana Byer in the staging of Agnes de Mille’s Three Virgins and a Devil for the
Alabama Ballet and Judgment of Paris and Soiree Musicale for American Ballet Theatre. A 2006
and 2011 Byer Fellowship recipient, Ms. Zahlmann marks her twel:h season with NYTB.
Page 18
COSTUME AND SCENIC DESIGN
Sylvia Taalsohn Nolan (costume designer) is the Resident Costume Designer of The Metropolitan Opera. In addion to opera, she has a special interest in dance design. For NYTB, she has
designed costumes for classical ballet as well as original repertoire by: Nicolo Fonte, Martha
Connerton, Clove Galilee, Christopher Gillis, Edward Henkel, Ma,hew Nash, Ma,hew Neenan,
Keith Michael, Marco Pelle, James Su,on, and Benoit Swan-Pouffer. She also designed new
costumes for NYTB’s reconstrucons of Fandango and Les Mains Gauches (Tudor),Designs
with Strings (Taras) and the A. De Mille Celebra)on.
Gillian Bradshaw-Smith (set & property design, scenic painng) was born in India, educated in
England, moved to Dallas in 1963 and then New York in 1967. As a fine arst, she showed her
work in art galleries and museums, including the presgious Cordier & Ekstrom Gallery. Her
work in scenic design, principally for the ballet, started in 1990. Since then she has designed
over twenty producons, including work for NYTB: Sleeping Beauty, The Nutcracker, The Alicein-Wonderland Follies, Carnival of the Animals, and Jardin aux Lilas. She has done scenic work
for Dance Patrelle, St. Louis Ballet, and Central Pennsylvania Youth Ballet.
Page 19
Cultural Context
LGHIJ CKLLMNN KOP ANIQG
Rev. Charles Lutwidge Dodgson, whose pen name was Lewis
Carroll, was the third of eleven children. He was born in
Cheshire, England, on January 27, 1832. His father was a
priest. Carroll was an accomplished photographer, a mathemacian, and a church deacon. He was going to become a
priest, but never reached that goal. He was also interested in
logic, art, theater, medicine, and science.
Carroll was educated at home by his father unl he began
a,ending Mr. Tate's school in Richmond, England at age 12.
From Richmond, Carroll went to Rugby to further his educaon, and then on to Christ Church College, University of Oxford, his father's college. He was an excellent student who
earned much recognion for his academic accomplishments.
Charles Lutwidge Dodgson
From 1855 to 1881 he was a member of the faculty of mathemacs at Oxford. Carroll was the
author of several mathemacal theses, including Euclid and His Modern Rivals (1879). He was
very fond of children since he did not have a wife or any of his own children. He loved to create puzzles and games for them. The Alice stories were originally wri,en for Alice Liddell, a
daughter of Henry George Liddell, the dean of Christ Church College. During a social boat trip
with the Liddells, on July 4, 1862, Lewis Carroll invented the fairy tale of Alice's Adventures Underground. Delighted, Alice requested that he write it out. In an arcle in the New York Times
of April 4th 1928 Alice Liddell recalled that: "The beginning of Alice was told to me one summer a:ernoon when the sun was so hot we landed in the meadows down the river, deserng
the boat to take refuge in the only bit of shade to be found, which was under a newly made
hayrick. Here from all three of us, my sisters and myself, came the old peon, 'Tell us a story'
and Mr. Dodgson began it. Somemes to tease us, Mr. Dodgson would stop and say suddenly,
'That's all ll next me.' 'Oh,' we would cry, 'it's not bedme already!' and he would go on.
Another me the story would begin in the boat and Mr. Dodgson would pretend to fall asleep
in the middle, to our great dismay."
Robinson Duckworth, one of his companions on the boat trip, described this experience: "I
rowed stroke and he rowed bow (the three li,le girls sat in the stern) ... and the story was actually composed over my shoulder for the benefit of Alice Liddell, who was acng as 'cox' of
our gig ... I remember turning round and saying, 'Dodgson, is this an extempore romance of
yours?' And he replied, 'Yes, I'm invenng it as we go along.' "
Charles Dodgson himself also recalled that day and others that followed: "Many a day we
Page 20
rowed together on that quiet stream - the three li,le maidens and I - and many a fairy tale
had been extemporized for their benefit- .. -yet none of these tales got wri,en down: they
lived and died, like summer midges, each in its own golden a:ernoon unl there came a day
when, as it chanced, one of the listeners peoned that the tale might be wri,en down for
her."
Quotes Courtesy Christ Church
In 1865, Carroll published Alice's Adventures in Wonderland.
The work became immediately popular as a children's book.
The sequel, Through the Looking-Glass and What Alice Found
There was published in 1872. The Alice stories made Lewis
Carroll famous throughout the world, and have been translated into many languages. The later works of Lewis Carroll,
Phantasmagoria and Other Poems (1869), The Hun)ng of the
Snark (1876), and a novel, Sylvie and Bruno (1889-93) never
reached the popularity of the Alice books.
Carroll died in Surrey, England on January 14, 1898 of influenza, 2 weeks before his 66th birthday. His memory is appropriately kept alive by perpetual public endowment of a cot in the
Children's Hospital, Great Ormond Street, London.
Dodgson wrote four versions of Alice. The first manuscript,
which was called Alice's Adventures Underground, is thought to have been destroyed in 1864
and, on November 26th, 1864, Dodgson presented Alice Liddell with a more elaborate handprinted second version which included 37 of his own illustraons as a Christmas present.
The manuscript, entled Alice's Adventures Underground was presented to Alice Liddell, inscribed with "A Christmas Gi: to a Dear Child, in Memory of a Summer Day". Sir John Tenniel was the arst who agreed to illustrate a revised and expanded third version of the text
which was now called Alice's Adventures in Wonderland. The fourth version was a complete
rewring of the tale for very young children "from nought to five" which was published by
Macmillan in 1889 with 20 of Tenniel's illustraons. This version was simplified and did not
include the puns and irony of the original. The story originally created to amuse Alice Liddell
enjoyed wide-spread popularity, even sparking a stage producon and related toys.
There have been many illustrators of this popular tale over the years. The characters appearance varied, according to each arsts' style and personal preferences. It is interesng to
note the variaons in Alice's clothing and hair. In Carroll's original manuscript for the story,
Alice's Adventures Underground, which he personally illustrated, Alice was not the li,le
blonde girl in a pinafore we have come to know from subsequent illustraons. Instead, she
was originally a charming, dark haired child, whose likeness had been pa,erned a:er Alice
Liddell. Details in some of the earlier illustraons are parcularly extraordinary. Tea Party
Page 21
scenes, by both Rackham and Jackson, show even the folds in the tablecloth, caused by it having been stored in a cupboard prior to the table being set.
Alice, the Cheshire cat, and the rest of Carroll's fantasc characters were popularized again in
the 20th century by the animators at the Disney studios. Disney’s version includes elements
of both Alice in Wonderland and Alice’s Adventures Through the Looking Glass and What She
Found There. Because Sir John Tenniel's illustraons for the Carroll books were so well
known, Walt Disney acquired the rights to them as the basis for the visual style of Alice in
Wonderland. Disney's animated versions of Carroll’s characters have been popular for over
four decades, but Carroll's original tale has connued to enchant and amuse us for over one
hundred thirty years.
Sir John Tenniel’s illustraon of The Jabberwock
Page 22
Activities: Before the Performance
1. Find out what the children already know about Alice in Wonderland. What characters
do they know about? What events are they familiar with? Discuss the history of the story. Why was it wri,en? Who was the author? When was it wri,en? What was life like
then? Depending on the grade level of the children, background informaon such as the
society and polics of the me can be discussed.
2. Read parts of Alice in Wonderland in class. You may want to read the book aloud because of the complexity of the dialogue, vocabulary, and Brish English dialeccal discrepancies. Discuss characters, seRngs, and themes. Discuss Alice’s relaonships with
the other characters. How do they interact? What are Alice’s feelings as she meets each
character? How and why do her feelings about them change? Do any of the children
ever feel like Alice does?
3. Find several different versions of the book and show each to the class so they can see
different interpretaons and illustraons. Explain that classic books such as Alice in
Wonderland are o:en adapted in different ways. Discuss the different versions of the
book. In what ways are they different? How are they the same? Why and how are the
illustraons different among the versions? Why are some scenes illustrated in some versions, but others are not?
4. Have children choose an event from the story and illustrate it in their own unique way,
different from the original version of the story.
5. Ask your students to choose a character from the book and show in simple movements
or mime how they think this character would look and act. Have groups of students put
together small scenes from the book using movement or mime.
6. Have students dramaze short scenes from the story, either by first wring a script, or
through improvisaon.
7. Discuss classical ballet and the children’s experiences with it. What does it look like?
Show excerpts from some ballets such as Romeo and Juliet, Swan Lake, or The Nutcracker. What are the elements that make up a ballet performance? Why does the story of
Alice in Wonderland lend itself to being told in a ballet format? What other familiar stories or books have been converted to ballets?
8. Inform the children that when watching the performance, they should noce how the
Page 23
story of the ballet differs from the story of the book. They should noce which characters
are present in the ballet, what the sets look like in order to compare them to illustraons in
the book, what the movements say about the characters, and what the music sounded like
for each character. The children should be prepared to discuss the similaries and differences between the wri,en version of the story, and the dance theater version. This is yet
again another way to emphasize different interpretaons of the same story.
9. Have the children create their own modern day versions of Alice in Wonderland. How
would this story be different today, and in America? How would it be different in their
town? What would the characters look like?
10. Discuss the reasons that reviewers write about performances and how their reviews are
wri,en. Examine wri,en movie reviews and discuss the elements of the movie that the
writer chose to include and why. Have the children think about what they will include in a
review that they will write a:er the performance.
11. Discuss how the themes of imaginaon, adventure, and self-esteem appear in the children’s own lives. What situaons and characters would they include in a fantasy world of
their own creaon? How has imaginaon helped them to solve a problem they encountered in their lives? What kinds of adventures would they like to experience? What situaons may they have overcome and felt good about themselves as a result?
12. Tell the children to observe one character from the performance and be able to illustrate
him, her, or it, and write a summary of what the character’s role was in the story. Children
can also make a collage, puppet, painng, or illustrate the character in other ways.
Page 24
Activities: After the Performance
1. Reflecon: In discussing a performance, it is o:en more producve to ask the queson
“What did you see in the producon?” or “What do you remember most strongly about
the performance?” rather than “Did you like the performance?” The first two quesons
lead to observaon or analysis of the performance, encouraging recall of details, while
the third queson encourages more judgmental responses. Although audience members respond posively and/or negavely to a work of art, crique should come in later
in the discussion process. Discussion of which aspects of a performance remain in one’s
memory o:en reveals the arsc choices at the heart of a work. Have students describe a memorable moment from the performance in various ways —verbally, in
wring, by drawing, or through movement.
2. Fold a large piece of construcon paper into three parts. Have children draw, paint, or
otherwise illustrate Alice, now that they are even more familiar with her character, before, during, and a:er her adventures in Wonderland. Then write about her character,
what is happening in each scene, and what they predict will happen to Alice a:er the
story is finished.
3. Students can choose one character and write a story about him, her, or it. The story
may or may not include adventures encountered in Wonderland and with or without
Alice. They may create another Alice, such as a child, or grownup. Children may imagine that they are Lewis Carroll.
4. Students can write a story, create a storyboard, or simply illustrate to complete the sentence: “If I was Alice, I would have …”
5. Have a Mad Ha,er’s Tea Party, complete with costumes, tea, scones, copies of Alice in
Wonderland, and videos of the story.
6. Watch another fairy tale-based ballet such as Cinderella, and compare and contrast it in
wring or illustraon to Alice in Wonderland Follies.
7. Discuss the children’s experience of the ballet. What elements make this producon a
theater producon? A dance producon? How do the different movements executed
by each character help to illustrate the character? How do the movements express Alice’s feelings? Why do the children think that sounds were used only in Jabberwocky
and in no other part of the show? How does the set compare to the original illustraons
of Carroll’s story?
8. Have the children imagine that they are one of the characters in the ballet. Create a
dance with music if desired, to illustrate their character and perform it for the class.
Page 25
9. Recall the events of the ballet. Write and illustrate a scene with dialogue or a complete
play based on the events in the producon.
10. Discuss the meaning of the word “folly”. Why is this adaptaon of the story called Alice in
Wonderland Follies? Why do they think the director decided to adapt the story in this
way? Are there other fairy tales that have been adapted in this way? Have children
choose a fairy tale and re-tell it as a folly. They can use any type of movement, dance,
music, sets, etc. that they wish.
11. Based on the study of performance reviews conducted before the children saw the ballet,
have them write their own review of the producon for those who have not seen it.
Would they recommend it to others? Why or why not? What did they think of Alice in
Wonderland Follies presented as a ballet? Would it have been be,er adapted in another
way?
12. Have the children write a thank you le,er to New York Theater Ballet. What was the moment they most remember? How did they like the ballet in general? The costumes?
Dancing? Music? How did the producon make them feel?
13. Stage design acvity sheet– students use the template on the following page to illustrate
a scene from Alice in Wonderland Follies that was especially memorable, including the
characters and dances they saw on stage; or students can create their own scene. Then
have students create a live tableu vivant (French for “living picture”) and recreate the
characters in the illustraon.
Page 26
Page 27
Elements of a Show
actor – a person who interprets a role and performs it in a play
choreography – pa,erns of movement and sllness
classic – having lasng significance or worth; enduring
climax – the crucial moment, turning point, or dramac high point in the acon of a play,
book, or film that can bring the previous events together, usually at the end of the story
costumes – what the performer wears to help enhance qualies of the character that they are
portraying
curtain – drapery that hides the stage from the audience; when the performance is about to
start, the curtain parts to the sides or rises up out of sight. Usually, the curtain is closed again
during intermission, and at the end of the show
curtain call – the appearance of performers or a performer at the end of the show to receive
applause from the audience. They enter in order of importance, with the stars coming last and
usually taking more than one bow
dialogue – conversaon in a play, usually between two or more characters
director – a person who creates an overall concept for a producon, supervises all elements of
the producon and guides the actors in their performances
dramazaon – a work adapted from another medium, such as a novel or a poem, for dramac presentaon
interpretaon – the expression, through performance, of a parcular concept of a role, scene,
play, or musical composion
lighng effects – the atmosphere, moods, and me of day created by the use of light
monologue - a form of dramac entertainment or comedic solo by a single speaker
music – pa,erned sound changes in pitch, rhythm, loudness, melody and other qualies, capable of seRng mood, me, or atmosphere
narrator – a person who reads or speaks lines that advance a story, apart from the characters’
lines
Page 28
producer – a person responsible for mounng and financing a producon, selecng the material, choosing the creave arsts, staff, and administraon, arranging the publicity
props – a property which a performer handles on stage, ex: a wallet, an umbrella, or a le,er
scene – unit within a play
scenery – onstage decoraon to help show the place and period of the show
script – the wri,en text of a play. It includes what is said and what is to happen
sketch – a hasty or un-detailed drawing or painng o:en made as a preliminary study
sound effects – sounds characterisc of humans, animals, objects, and forces of nature (e.g.
wind, rain) that can be performed live or pre-recorded
storyteller – one who relates stories or anecdotes
translaon – changing the text from one language to another by selecng words that have the
same meaning and retains the spirit and tone of the text
Page 29
Places in the Theater
lobby—this is the first place you walk into, where the audience waits before the show
box office—this is where audience members can buy ckets to shows
house—the auditorium or area where the audience sits
orchestra seats—seats nearest the stage
balconies—upper levels of seang
light booth and sound booth—located at the top of the balcony or toward the back of the
house, the lights and sound for the producon are controlled from these booths
stage—area where the performance takes place, o:en raised
wings—area to the right and le: of the stage that the audience can’t see, somemes scenery
is stored here, and performers come on and off stage from here
dressing room—place where performers put on makeup, change clothes, and store their costumes for a show
Page 30
Glossary
ballet—a theatrical presentaon of one person (solo) or group dancing to a musical accompaniment, usually with costume and scenic effects, to convey a story or theme
choreographer—a person who invents and arranges the steps of a dance or ballet
choreography—the art of arranging each and every step and body movement in a dance or
ballet
classical—when referring to ballet: a style of dance based on convenonal steps and movements performed with graceful and flowing movements
composer—a person who writes music
contemporary—current; modern
ensemble—a group of dancers, musicians, or actors who perform together
follies—acts of foolishness
juba—the juba step is described as going around in a circle with one foot raised, a sort of unusual shuffle; the words and the steps are in a call-and-response form and must ring out rhythmically as in a drummer’s solo
paUng juba (as used in Jabberwocky)—started as any kind of clapping with any dance to encourage another dancer and became a special roune of clapping hands, knees, thighs, and
body in rhythmic display
repertory—the collecon of dances, songs, or plays that an ensemble group or a company
such as New York Theatre Ballet is prepared to perform
vaudeville—A form of stage entertainment consisng of a variety of short acts such as comedy
or song-and-dance rounes
Page 31
Resources
STUDENT RESOURCES
Carroll, Lewis. Alice’s Adventures in Wonderland and Through the Looking Glass. New York:
Bantam, 1981.
Carroll, Lewis. Jabberwocky. Candewick Press, 2003.
Carroll, Lewis. Sylvie and Bruno. Nabu Press, 2010.
Carroll, Lewis. The Hun)ng of the Snark. Brish Library, 2011.
Carroll, Lewis. Through the Looking-Glass. CreateSpace, 2010.
Mendelson, Edward. Poetry for Young People: Lewis Carroll. Sterling, 2008.
TEACHER RESOURCES
Bjork, Chrisna and Eriksson, Inga-Karin. The Other Alice: The Story of Alice Liddell and Alice in
Wonderland. Stockholm: Raben and Sjogren, 1993.
Engen, Rodney. Sir John Tenniel: Alice’s White Knight. Aldershot: Scholar Press, 1991.
Fields, Armond and L. Marc. From the Bowery to Broadway: Lew Fields and the Roots of
American Popular Theater. New York: Oxford, 1993.
Gardner, Marn. The Annotated Alice. Bramhall House: New York, 1960.
WEBSITES
www.nytb.org.
The official website of the New York Theater Ballet
www.ruthannzaroff.com/wonderland/
Alice in Wonderland: An Interacve Adventure
www.lewiscarroll.org
Lewis Carroll Society of North America
VHS/DVD
American Masters: Vaudeville. WNET, 1997.
Page 32
Emergency Cancellations
Tilles Center Performance Cancellaon Due to Inclement Weather
If schools throughout the area are closed due to inclement weather, Tilles Center performances will be cancelled. If, on the day prior to a performance, it appears that inclement weather
may cause a performance to be cancelled, all schools will be called by our staff to alert them
to this possibility. Schools should be advised to call 516 299-3379 the morning of the performance to determine if a performance has been cancelled. A message will be posted on this
number by 6:30 AM indicang if the performance has been cancelled.
If a performance is cancelled, Tilles Center will a,empt to reschedule performances on a date
convenient to the majority of schools booked for the performance.
Page 33
Tilles Center for the Performing Arts, on the
C.W. Post campus of Long Island University in
Brookville, New York, is Long Island’s premier
concert hall. Under the leadership of Execuve
Director Ellio, Sroka, Tilles Center presents
over seventy events each season in music,
dance and theater, featuring world renowned
arsts. The Center is also the theatrical home
for many of Long Island’s leading arts organizaons, including the Long Island Philharmonic.
Among the arsts and organizaons that have been presented by Tilles Center are the New
York Philharmonic conducted by Kurt Masur, violinist Itzhak Perlman, Alvin Ailey American
Dance Theater, New York City Opera Naonal Company, Andrea Marcovicci, the Paper Bag
Players, Wynton Marsalis, and the MET Orchestra with James Levine and PaR LuPone.
Tilles Center has a 2,242 seat main hall and a 490 seat, more inmate Hillwood Recital Hall.
The smaller theater features chamber music, cabaret, solos recitals, and theater producons for children and adults.
School Partnership Program
An intensive part of Tilles Center’s Arts Educaon program is the School Partnership Program,
modeled on the highly acclaimed aesthec educaon program that has evolved over a 30 year
period at Lincoln Center. The Partnership is a comprehensive approach to teaching and learning about the arts, applicable to all grade levels and academic disciplines. The Partnership inspires students and teachers to approach the arts with an open mind and to gain insights into
the creave process. A,endance at professional performances at Tilles Center and viewing art
works at museums is combined with experienal in-school workshops. Led by teaching arsts
and teachers, students explore their own arsc capabilies while strengthening essenal
skills – abstract thinking, teamwork, crical judgment, problem solving. Guided to a deeper
level of understanding, students learn what to look for, and listen to, in a performance or work
of art.
All new teachers who parcipate in the School Partnership
Program a,end an introductory course in Aesthec Educaon, presented at Tilles Center for one week in the
summer.
The 2011-12 School Partnership program will work with
various K-12 public and private schools in Nassau and
Suffolk counes on Long Island.
For informaon about the School Partnership Program and other performances visit our
website: www.llescenter.org or call (516) 299-2752.
Page 34
2011-12 Partner Schools:
Archer Street School, Freeport
Atkinson School, Freeport
Bayview Avenue School, Freeport
Columbus Avenue School, Freeport
Freeport High School, Freeport
Leo S. Giblyn, Freeport
New Visions, Freeport
Connolly School, Glen Cove
Deasy Elementary School, Glen Cove
Gribbin School, Glen Cove
Landing School, Glen Cove
Portledge School, Locust Valley
Tilles Center’s Arts Educaon Advisory Panel was created in 2007 and is comprised of a diverse group of educators who have shown exceponal interest and commitment to Tilles Center’s School Partnership Program. Each member serves a two-year appointment on the panel
and advises the Arts Educaon Department on the content of the program, study guides and
resource materials, performance programming and curricular connecons.
2011-12 Advisory Panel
Aneesah Abdus-Shakur, New Visions, Freeport
Patricia J. Belfi, Atkinson School, Freeport
Florence Bell, Freeport High School, Freeport
Doris J. Benter, Portledge School, Locust Valley
Marc Checola, Gribbin Elementary School, Glen Cove
Joanne Criblez, Gribbin Elementary School, Glen Cove
Yve,e Goldstein, Bayview Avenue School, Freeport
Mary Jane Gould, Leo S. Giblyn School, Freeport
Jean Henning, Nassau County Museum of Art, Roslyn
Irena Kamola, Gribbin Elementary School, Glen Cove
Valerie Piali, New Visions, Freeport
Nomi Rosen, Glen Cove CSD, Glen Cove
Francine Santoro, Gribbin Elementary School, Glen Cove
Lisa M. Scicchitano, Archer Street School, Freeport
John Segre, Gribbin Elementary School, Glen Cove
Susan Warren, Columbus Avenue School, Freeport
Page 35
ARTS EDUCATION STAFF
Dr. Ellio, Sroka,
Execuve Director, Tilles Center
Stephanie Turner,
Director of Arts Educaon, Tilles Center
Deborah Robbins,
Assistant Director of Arts Educaon
Emily Lembo,
Arts Educaon Associate
For informaon call (516) 299-2752 or visit our website at www.llescenter.org
Tilles Center for the Performing Arts
C.W. Post Campus
Long Island University
Brookville, New York 11548
516-299-2752
Emily Lembo
Study Guides: content, design and eding
Page 36
Tilles Center’s Arts Education Program is supported, in part, by its annual Swing for Kids Golf and Tennis
Tournament. We are grateful to the following supporters of the 2011 event for enabling us to continue to provide the best in Arts Education to Long Island’s schoolchildren:
The Tilles Family Foundaon
Instuonal Insurance Group
KPMG LLP
Lahr, Dillon, Manzulli, Kelley & Pene,, P.C.
Richmond County Savings Foundaon
Sholom & Zuckerbrot Realty LLC
Standard Funding
North Hills Office Services, Inc.
Americana Manhasset
Keefe, Bruye,e & Woods, Inc.
Koeppel, Martone & Leistman, L.L.P.
New York Community Bank Foundaon
The Fay J. Lindner Foundaon
Wells Fargo Advisors
The Bahnik Foundaon
Jonathan & Elysia Doyle
Kilpatrick Townsend & Stockton LLP
Meridian Capital Group
Racanelli Construcon Company, Inc.
Seidman & Associates
Sullivan & Cromwell LLP
The Beechwood Organizaon
Farrell Fritz P.C.
Ruskin Moscou Falschek, P.C.
Superior Air Condioning & Heang System
Paragon Group, LLC
Tummarello & Associates, Inc.
DiFazio Power & Electric, LLC
Bank of America Merrill Lynch
Albanese Organizaon, Inc.
Astoria Federal Savings
Cerlman Balin Adler & Hyman, LLP
Credit Suisse Securies (USA) LLC
Daniel Gale Sotheby's Internaonal Realty
The Garden City Hotel
Kaplan Development Group LLC
The Klar Organizaon
Meltzer, Lippe, Goldstein & Breitstone, LLP
New York Community Bancorp, Inc.
Oppenheimer & Co. Inc.
Sandler O'Neill & Partners LP
Sterling & Sterling, Inc.
Triangle Building Products Corp
The Weeks Lerman Group
Pall Corporaon
Albertson Electric Inc.
Designtex
Mr. and Mrs. Gary Andersen
Mr. Lawrence Liman
Northville Industries
Peter B. Cannell & Co., Inc.
Mr. and Mrs. James Kadamus
Birchwood Park Homes
Thomas Calabrese
Murphy & Lynch, P.C.
TexFabco Far East
Page 37

Alice in Wonderland Follies - Tilles Center for the Performing Arts

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