OLIVÉRio: A Brazillian Twist

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“ You don’t wish more for yourself but more of yourself.

And that is when the world starts to change.”—Oli

Presenting Sponsor of Performances for Young Audiences

A World Premiere Kennedy Center Commission Inspired by Charles Dickens’s Oliver Twist Book and lyrics by Karen Zacarías Music by Deborah Wicks La Puma Directed by Juliette Carrillo

Washington, DC

USA

“But in some ways, it makes you feel like you have more .” — Oli Oliver + Rio (and More)!

What happens when you re-imagine a classic story in a new time and place? You’re about to find out in OLIVÉRio (OL-ee-VEH-ree-oh), a brand new musical—that’s a story told on stage with actors, songs, and dancing. OLIVÉRio adapts the themes, events, and characters of the novel Oliver Twist into a story full of the sights and sounds of modern-day Rio de Janeiro (REE-oh dey-zhuh-NAIR-oh), Brazil.

iles 97 m 4,7

“Anything you share, will make you have less.” — Falcão

Brazil’s Biggest Parties Oli’s story begins and ends with Brazil’s two biggest parties. The first is the New Year’s Eve celebration called Reveillon (reh-vey-YON). People wear white and gather on the beach to offer sweets, flowers, and other gifts to Iemanja. Weeks later, Brazilians celebrate Carnival (“Carnaval” in Portuguese), a four-day street party with parades, dancing, samba (SAM-buh) music, and costumes. Rio’s Carnival is considered the largest and most festive celebration in the world.

South America

The Story’s Setting

Brazil takes up about half of South America Brazil and it is the world’s fifth largest country.

From 1500 through 1822, it was a colony of Portugal and that’s why Brazil’s official language is Portuguese—making it the only non-Spanish-speaking Rio de Janeiro nation in South America. Brazil has beautiful rainforests (including the famous Amazon Rainforest), big cities, and great wealth contrasted with even greater poverty. Rio de Janeiro, the “Rio” in OLIVÉRio, is the second largest city in Brazil and is known as the “marvelous city” for its natural beauty and dynamic culture.

Meet the Characters (listed in order of appearance)

It’s a Play Within a Play!

The audience is seated. The theater lights dim. A group of actors wander on to an empty stage. Suddenly, one of the actors drags in a rather large book—an old, dusty copy of Oliver Twist. But instead of reading the book, these actors decide to turn this famous story into a play…but with a Brazilian twist!

How Oliver’s Tale Becomes Oli’s Story It’s New Year’s Eve on Rio’s beach. Everyone has come to ask Iemanja, the goddess of the sea, for a favor. When their selfishness angers the goddess, she’s about ready to flood the entire city. That is until she meets the penniless orphan girl Esperança (“hope” in Portuguese) Olivério. “Oli,” as she’s called for short, has traveled thousands of miles by herself only to give praise and thanks. Since Iemanja is impressed with Oli’s innocence and goodness, she decides to give the humans another chance.

2

Meanwhile, Oli must find her way in this unsafe, unfamiliar city. A con man named Falcão offers to “supervise” her and gives her shelter in the favela (fah-VE-lah) along with pickpocket Zé and kind maid Nancí. Oli thinks everyone is being super nice, unable to see the favela as a slum and unaware that Falcão intends to turn her into a thief. But what will happen when the evil policeman Sykes wants to collect his bribes and snatch more power? Will Oli be destined for life in prison, or worse? Will Iemanja lose her patience?

Can “hope” survive?

Falcão

Iemanja

(ee-ya-mah-JAH) Brazil’s goddess of the sea

(fal-COW)

Zé Esquiva

a con man

(zeh es-KEE-vah) a clever pickpocket

Rosa Maria (HO-zah ma-REE-ah) a fearful rich woman

Silas Sykes a corrupt and power-hungry police officer

Nancí Falcão’s wash (laundry) maid

Esperança Olivério or Oli a young orphan girl

At Home in the Favelas A favela, where Oli finds friends and shelter, is a crowded makeshift housing area (also known as a slum) found in many of Brazil’s cities. In favelas, people build small homes out of scrap materials on land they don’t own because they can’t find or afford anywhere else to live.

About one in five residents of Rio live in favelas. Although favelas can become communities, they are hard places to survive.

Residents have little or no money and face crime, pollution, and difficulty getting clean water, electricity, and medical care.

Many families in the favelas aren’t able to send their children to school, so residents grow up without learning to read.

3

Washington, DC

USA

“But in some ways, it makes you feel like you have more .” — Oli Oliver + Rio (and More)!

What happens when you re-imagine a classic story in a new time and place? You’re about to find out in OLIVÉRio (OL-ee-VEH-ree-oh), a brand new musical—that’s a story told on stage with actors, songs, and dancing. OLIVÉRio adapts the themes, events, and characters of the novel Oliver Twist into a story full of the sights and sounds of modern-day Rio de Janeiro (REE-oh dey-zhuh-NAIR-oh), Brazil.

iles 97 m 4,7

“Anything you share, will make you have less.” — Falcão

Brazil’s Biggest Parties Oli’s story begins and ends with Brazil’s two biggest parties. The first is the New Year’s Eve celebration called Reveillon (reh-vey-YON). People wear white and gather on the beach to offer sweets, flowers, and other gifts to Iemanja. Weeks later, Brazilians celebrate Carnival (“Carnaval” in Portuguese), a four-day street party with parades, dancing, samba (SAM-buh) music, and costumes. Rio’s Carnival is considered the largest and most festive celebration in the world.

South America

The Story’s Setting

Brazil takes up about half of South America Brazil and it is the world’s fifth largest country.

From 1500 through 1822, it was a colony of Portugal and that’s why Brazil’s official language is Portuguese—making it the only non-Spanish-speaking Rio de Janeiro nation in South America. Brazil has beautiful rainforests (including the famous Amazon Rainforest), big cities, and great wealth contrasted with even greater poverty. Rio de Janeiro, the “Rio” in OLIVÉRio, is the second largest city in Brazil and is known as the “marvelous city” for its natural beauty and dynamic culture.

Meet the Characters (listed in order of appearance)

It’s a Play Within a Play!

The audience is seated. The theater lights dim. A group of actors wander on to an empty stage. Suddenly, one of the actors drags in a rather large book—an old, dusty copy of Oliver Twist. But instead of reading the book, these actors decide to turn this famous story into a play…but with a Brazilian twist!

How Oliver’s Tale Becomes Oli’s Story It’s New Year’s Eve on Rio’s beach. Everyone has come to ask Iemanja, the goddess of the sea, for a favor. When their selfishness angers the goddess, she’s about ready to flood the entire city. That is until she meets the penniless orphan girl Esperança (“hope” in Portuguese) Olivério. “Oli,” as she’s called for short, has traveled thousands of miles by herself only to give praise and thanks. Since Iemanja is impressed with Oli’s innocence and goodness, she decides to give the humans another chance.

2

Meanwhile, Oli must find her way in this unsafe, unfamiliar city. A con man named Falcão offers to “supervise” her and gives her shelter in the favela (fah-VE-lah) along with pickpocket Zé and kind maid Nancí. Oli thinks everyone is being super nice, unable to see the favela as a slum and unaware that Falcão intends to turn her into a thief. But what will happen when the evil policeman Sykes wants to collect his bribes and snatch more power? Will Oli be destined for life in prison, or worse? Will Iemanja lose her patience?

Can “hope” survive?

Falcão

Iemanja

(ee-ya-mah-JAH) Brazil’s goddess of the sea

(fal-COW)

Zé Esquiva

a con man

(zeh es-KEE-vah) a clever pickpocket

Rosa Maria (HO-zah ma-REE-ah) a fearful rich woman

Silas Sykes a corrupt and power-hungry police officer

Nancí Falcão’s wash (laundry) maid

Esperança Olivério or Oli a young orphan girl

At Home in the Favelas A favela, where Oli finds friends and shelter, is a crowded makeshift housing area (also known as a slum) found in many of Brazil’s cities. In favelas, people build small homes out of scrap materials on land they don’t own because they can’t find or afford anywhere else to live.

About one in five residents of Rio live in favelas. Although favelas can become communities, they are hard places to survive.

Residents have little or no money and face crime, pollution, and difficulty getting clean water, electricity, and medical care.

Many families in the favelas aren’t able to send their children to school, so residents grow up without learning to read.

3

The Sights, Sounds and Story “ It’s a dog-eat-dog world here. A puppy like you will be squashed if you don’t start fending for yourself.”— Nancí Here’s the Twist OLIVÉRio is subtitled “A Brazilian Twist.” That’s because the musical’s story, written by playwright Karen Zacarías, was inspired by Oliver Twist, a novel by Charles Dickens. But it’s also because the musical gives the book’s characters, events, time, and place a twist, or change.

Some similarities and “twists” include: Characters—Notice how the names and situations of major characters from Oliver Twist both match and differ from those in OLIVÉRio (in parentheses):

Oliver—an orphan boy (Oli, an orphan girl)

Fagin—the head of a criminal gang (Falcão, a con man who oversees Zé) The Artful Dodger —Fagin’s cleverest pickpocket (Zé Esquiva, which means “Joe Dodge”)

Bill Sikes —a murderous gang member (police officer Silas Sykes)

ancy—gang member and Bill Sikes’s girlfriend N (Falcão’s maid Nancí)

The Sounds of Brazil One way to help you imagine Rio during OLIVÉRio is through the unique and catchy sounds of Brazil’s music, with rhythms and styles influenced by the nation’s European, African, and Native/South American heritages. The show’s composer (person who writes music), Deborah Wicks La Puma, has lived in Rio and long dreamed of incorporating Brazil’s music into a show. Deborah’s songs are performed live on stage by a guitarist, bassist, and a percussionist. These songs feature two of Brazil’s best known musical styles: w “ New Year’s Eve” is a samba, which Deborah describes as “a very traditional, playful, and jazzy introduction to the world of Rio. Sambas can have very intricate melodies and complex jazz chords (several notes played at once), layered with percussion.” w “A Vida Boa” is a bossa nova (BOS-uh NOH-vuh), a blend of samba and jazz. Deborah says bossa novas are smooth sounding, adding, “They have a slower tempo, but still you want to move your hips when you hear them.”

Guitar

Gourd Rattle Be sure to also listen for other songs from the show, and watch for the musicians on stage playing them, including:

Pandeiro

Rocar Claves

“Jeitinho Brasileiro” “Eat or Be Eaten” “A Little More”

Rose Maylie—a kind woman who, with her wealthy aunt, takes in Oliver (Rosa Maria, a rich woman who takes in Oli)

Illustration by George Cruikshank

Type of Story—Unlike Oliver Twist, OLIVÉRio is a fable, a story in which animals or forces of nature (like Iemanja) act like people and which usually has a moral, or lesson.

Olá! Let’s Learn Some Portuguese!

Events—Oliver Twist tells the story of an English orphan during the 1800s whose troubles get even worse when the hungry boy pleads for more food: “Please sir, I want some more.” Facing cruel working conditions, he runs away to London and encounters crime and wicked people. In the end, the characters get what they deserve. Compare this to OLIVÉRio as you watch the story unfold on stage.

Throughout the performance, you’ll hear some Portuguese words (which share some sounds with Spanish).

You’ll probably understand many of the words from what is happening and being said, but here are a few to help you get started:

Themes—Oliver Twist is considered a social novel for dramatizing and drawing attention to problems facing 1800s English society, including economic inequality and the treatment of poor children and their recruitment as street criminals.

Notice how OLIVÉRio addresses those themes as well as the theme of hope.

The Adventures of Oliver Twist; Or The Parish Boy’s Progress. London: Bradbury & Evans, 1846.

4

llo morning lah)—he olá (OHh)—good a E E G night (bohm )—good H C Y bom dia O N -ahe (BOW boa noit )—kid Janeiro EH-chee f Rio de o -V e n e e p iz ( it c pivete H-kah)— H-ree-O A K ( a c cario ollars) a)—girl e-NEE-n cy (like d n m ( re r a u in c n n me d a way —Brazilia ck, or fin y-EYES) a e n h ( k — is ) a u e r person -nyo ilian, or a -CHEEN z h ra ju ( B o — ) h h jeitin -LAY-roo some (bra-zee o r ie il s ul or awe if t u Bra a e b razil ah)—how born in B eh-LEH-z b good life y e k ( za -ah)—the W O B que bele h EE-da oa (ah V a vida b beach Y-yah)— R P ( ccer ia pra bol)—so h e h c FOO futebol (

5

The Sights, Sounds and Story “ It’s a dog-eat-dog world here. A puppy like you will be squashed if you don’t start fending for yourself.”— Nancí Here’s the Twist OLIVÉRio is subtitled “A Brazilian Twist.” That’s because the musical’s story, written by playwright Karen Zacarías, was inspired by Oliver Twist, a novel by Charles Dickens. But it’s also because the musical gives the book’s characters, events, time, and place a twist, or change.

Some similarities and “twists” include: Characters—Notice how the names and situations of major characters from Oliver Twist both match and differ from those in OLIVÉRio (in parentheses):

Oliver—an orphan boy (Oli, an orphan girl)

Fagin—the head of a criminal gang (Falcão, a con man who oversees Zé) The Artful Dodger —Fagin’s cleverest pickpocket (Zé Esquiva, which means “Joe Dodge”)

Bill Sikes —a murderous gang member (police officer Silas Sykes)

ancy—gang member and Bill Sikes’s girlfriend N (Falcão’s maid Nancí)

The Sounds of Brazil One way to help you imagine Rio during OLIVÉRio is through the unique and catchy sounds of Brazil’s music, with rhythms and styles influenced by the nation’s European, African, and Native/South American heritages. The show’s composer (person who writes music), Deborah Wicks La Puma, has lived in Rio and long dreamed of incorporating Brazil’s music into a show. Deborah’s songs are performed live on stage by a guitarist, bassist, and a percussionist. These songs feature two of Brazil’s best known musical styles: w “ New Year’s Eve” is a samba, which Deborah describes as “a very traditional, playful, and jazzy introduction to the world of Rio. Sambas can have very intricate melodies and complex jazz chords (several notes played at once), layered with percussion.” w “A Vida Boa” is a bossa nova (BOS-uh NOH-vuh), a blend of samba and jazz. Deborah says bossa novas are smooth sounding, adding, “They have a slower tempo, but still you want to move your hips when you hear them.”

Guitar

Gourd Rattle Be sure to also listen for other songs from the show, and watch for the musicians on stage playing them, including:

Pandeiro

Rocar Claves

“Jeitinho Brasileiro” “Eat or Be Eaten” “A Little More”

Rose Maylie—a kind woman who, with her wealthy aunt, takes in Oliver (Rosa Maria, a rich woman who takes in Oli)

Illustration by George Cruikshank

Type of Story—Unlike Oliver Twist, OLIVÉRio is a fable, a story in which animals or forces of nature (like Iemanja) act like people and which usually has a moral, or lesson.

Olá! Let’s Learn Some Portuguese!

Events—Oliver Twist tells the story of an English orphan during the 1800s whose troubles get even worse when the hungry boy pleads for more food: “Please sir, I want some more.” Facing cruel working conditions, he runs away to London and encounters crime and wicked people. In the end, the characters get what they deserve. Compare this to OLIVÉRio as you watch the story unfold on stage.

Throughout the performance, you’ll hear some Portuguese words (which share some sounds with Spanish).

You’ll probably understand many of the words from what is happening and being said, but here are a few to help you get started:

Themes—Oliver Twist is considered a social novel for dramatizing and drawing attention to problems facing 1800s English society, including economic inequality and the treatment of poor children and their recruitment as street criminals.

Notice how OLIVÉRio addresses those themes as well as the theme of hope.

The Adventures of Oliver Twist; Or The Parish Boy’s Progress. London: Bradbury & Evans, 1846.

4

llo morning lah)—he olá (OHh)—good a E E G night (bohm )—good H C Y bom dia O N -ahe (BOW boa noit )—kid Janeiro EH-chee f Rio de o -V e n e e p iz ( it c pivete H-kah)— H-ree-O A K ( a c cario ollars) a)—girl e-NEE-n cy (like d n m ( re r a u in c n n me d a way —Brazilia ck, or fin y-EYES) a e n h ( k — is ) a u e r person -nyo ilian, or a -CHEEN z h ra ju ( B o — ) h h jeitin -LAY-roo some (bra-zee o r ie il s ul or awe if t u Bra a e b razil ah)—how born in B eh-LEH-z b good life y e k ( za -ah)—the W O B que bele h EE-da oa (ah V a vida b beach Y-yah)— R P ( ccer ia pra bol)—so h e h c FOO futebol (

5

Bringing Oli’s World to Life on Stage “ You do what you need to get stuff done .”— Zé Esquiva Meet the Creative Team Telling Oli’s story on stage before a live audience takes some imagination and skill from a whole team of creative people: The playwright came up with the idea of reworking Dickens’s story into a tale about modern Rio and wrote the story so it could be performed on stage with actors, lights, sets, objects, and music. For this show, the playwright also wrote the lyrics (words) to all the songs.

The composer wrote all the music, incorporating Brazilian styles of music in a way that helped create the world of Rio and tell the story.

Set It Up The set, or the scenery you see on stage, gives a sense of where the story takes place—the beach, the favelas, a courtroom, and a luxury apartment. The set designer had to create scenery that could easily and quickly become all these places. Here is a model of some of the very first ideas. Compare and contrast this to what you see on stage.

The director oversaw the whole production and decided how the story should look and sound on stage.

The set designer decided how to create the colorful and contrasting world of Rio and the story using real objects on stage.

The costume designer chose or created what all the performers wear (everything from a goddess’s dress to a police uniform) and used clothes and accessories to help give a sense of Rio.

The Many Ways to Tell a Story Set design by Luciana Stecconi

In OLIVÉRio, the actors talk directly to the audience as well as perform the story. You’ll see them step outside the story, make observations about it, and help you think about the tale in a different way. The musical is also told in episodes, which are short sections of the story (kind of like chapters of a book).

Each “chapter” will have a title—some spoken or projected on a screen—alerting the audience to the time and place of the action. Each one focuses on a key idea or mini-lesson (such as, “it’s better to give than to receive”).

Too Good to Be True In life, people are not all good or all bad. But in books, plays, and movies, characters can be almost unbelievably good, like Oli or Oliver Twist, or entirely evil. Such characters help writers show other ideas—like the plight of poor people and misconceptions about them. In OLIVÉRio, Oli’s kindness and goodness also spark important changes for most of the other characters.

On the Double The actors have a fun job—but it takes lots of practice and hard work, too. Besides becoming their characters, they sing and dance. Also watch closely, because you’ll find them switching from addressing the audience directly to playing roles.

Watch for how the actors quickly change by shifting the pitch of their voices, their accents and manner of speaking, their movement and posture, and their costumes. When actors play more than one role, it is called doubling.

6

Get Creative Imagine you’re on the creative team. Before the performance, plan a costume for Iemanja that suggests she comes from the sea or a set showing the beach and the sea (for example, you could use lighting, fabric, or painted backgrounds). Discuss your ideas with friends. After the performance, compare your ideas with what you saw on stage.

What impressed you the most? Why?

Reimagining a Stor y

With a friend or small group, think of a classic stor y or fair y tale (like R obin Hood or Cinderella) and im agine how you might retell the stor y in a modern time and place.

Brainstorm char acters, what challenges they fa ce, and how they overcome th em.

7

Bringing Oli’s World to Life on Stage “ You do what you need to get stuff done .”— Zé Esquiva Meet the Creative Team Telling Oli’s story on stage before a live audience takes some imagination and skill from a whole team of creative people: The playwright came up with the idea of reworking Dickens’s story into a tale about modern Rio and wrote the story so it could be performed on stage with actors, lights, sets, objects, and music. For this show, the playwright also wrote the lyrics (words) to all the songs.

The composer wrote all the music, incorporating Brazilian styles of music in a way that helped create the world of Rio and tell the story.

Set It Up The set, or the scenery you see on stage, gives a sense of where the story takes place—the beach, the favelas, a courtroom, and a luxury apartment. The set designer had to create scenery that could easily and quickly become all these places. Here is a model of some of the very first ideas. Compare and contrast this to what you see on stage.

The director oversaw the whole production and decided how the story should look and sound on stage.

The set designer decided how to create the colorful and contrasting world of Rio and the story using real objects on stage.

The costume designer chose or created what all the performers wear (everything from a goddess’s dress to a police uniform) and used clothes and accessories to help give a sense of Rio.

The Many Ways to Tell a Story Set design by Luciana Stecconi

In OLIVÉRio, the actors talk directly to the audience as well as perform the story. You’ll see them step outside the story, make observations about it, and help you think about the tale in a different way. The musical is also told in episodes, which are short sections of the story (kind of like chapters of a book).

Each “chapter” will have a title—some spoken or projected on a screen—alerting the audience to the time and place of the action. Each one focuses on a key idea or mini-lesson (such as, “it’s better to give than to receive”).

Too Good to Be True In life, people are not all good or all bad. But in books, plays, and movies, characters can be almost unbelievably good, like Oli or Oliver Twist, or entirely evil. Such characters help writers show other ideas—like the plight of poor people and misconceptions about them. In OLIVÉRio, Oli’s kindness and goodness also spark important changes for most of the other characters.

On the Double The actors have a fun job—but it takes lots of practice and hard work, too. Besides becoming their characters, they sing and dance. Also watch closely, because you’ll find them switching from addressing the audience directly to playing roles.

Watch for how the actors quickly change by shifting the pitch of their voices, their accents and manner of speaking, their movement and posture, and their costumes. When actors play more than one role, it is called doubling.

6

Get Creative Imagine you’re on the creative team. Before the performance, plan a costume for Iemanja that suggests she comes from the sea or a set showing the beach and the sea (for example, you could use lighting, fabric, or painted backgrounds). Discuss your ideas with friends. After the performance, compare your ideas with what you saw on stage.

What impressed you the most? Why?

Reimagining a Stor y

With a friend or small group, think of a classic stor y or fair y tale (like R obin Hood or Cinderella) and im agine how you might retell the stor y in a modern time and place.

Brainstorm char acters, what challenges they fa ce, and how they overcome th em.

7

“Don’t you have something special inside you that you hope comes true? ”— Oli

Just a Little More

David M. Rubenstein Chairman

Watch for…

Deborah F. Rutter President

w the different episodes of the story and the main ideas or lessons in each one.

Mario R. Rossero Senior Vice President, Education

w how the other characters react when Oli offers to share her small bowl of beans. w the contrast between Falcão’s home and Rosa Maria’s. w how a big ocean wave is shown. w h ow the actors in OLIVERio decide to put on a “play within a play.”

Listen for… w t he live sounds of guitar, bass, and percussion instruments. w sound effects for the ocean and rain. w t he song “A Little More,” which echoes Oliver Twist’s famous request for “some more” but asks for something other than food.

Think about… w how the actors’ speaking directly to the audience changed the way you saw and understood the story.

Musical Theater at the Kennedy Center is made possible through the generosity of the Adrienne Arsht Musical Theater Fund.

Major support for Musical Theater at the Kennedy Center is provided by The Drutz Family Fund for Musical Theater.

Additional support for OLIVERio: A Brazilian Twist is provided by The Clark Charitable Foundation; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; and the U.S. Department of Education.

Funding for Access and Accommodation Programs at the Kennedy Center is provided

by Mike and Julie Connors and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

w how what the characters ask from Iemanja changes from the beginning to the end of the story and why this happens. w what you would ask Iemanja, and why. w what moral or lesson you learned from this fable. w what changes to the characters and story from Oliver Twist you think worked best, and why.

Let the Games Begin!

Keep your eye on Rio. Brazil’s city by the sea will host the 2016 Summer Olympics—the first time the Games will be held in a South American city.

www.artsedge.kennedy-center/org Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about Education at the Kennedy Center at www.kennedy-center.org /education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2016 The John F. Kennedy Center for the Performing Arts

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