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2008 - 2009 EDUCATIONAL OUTREACH SPONSORS STUDENT MATINEE PROGRAM Playwrights Circle ($5,000 - $7,499) National Grid Directors Circle ($1,500 - $2,799) Grandma Brown Foundation Price Chopper’s Golub Foundation

CARRIER BACKSTORY PROGRAM Regents Circle ($7,500 - $13,999) Carrier Corporation Syracuse Campus-Community Entrepreneurship Initiative, funded by the Kauffman Foundation Syracuse University GEAR-UP Playwrights Circle ($5,000 - $7,499) KARE Foundation Directors Circle ($1,500 - $2,799) Time Warner Cable Lockheed Martin Employees Federated Fund

LOCKHEED MARTIN PROJECT BLUEPRINT Regents Circle ($7,500 - $13,999) Lockheed Martin MS2

BANK OF AMERICA CHILDREN’S TOUR Founders Circle ($14,000 - $24,999) Bank of America Producers Circle ($2,800 - $4,999) Lockheed Martin Employees Federated Fund Directors Circle ($1,500 - $2,799) Wegmans Benefactors ($1,000 - $1,499) Excellus BlueCross BlueShield

CHASE YOUNG PLAYWRIGHTS FESTIVAL Founders Circle ($14,000 - $24,999) Chase

ARTS EMERGING Founders Circle ($14,000 - $24,999) Partnership for Better Education Regents Circle ($7,500 - $13,999) NYS Assembly through the office of William Magnarelli Directors Circle ($1,500 - $2,799) Bristol-Myers Squibb Company

2008 - 2009 Educational Outreach Corporate Sponsors Since 1849 National Grid and its predecessor companies have been part of the Syracuse community, helping to meet the energy needs of over two million Upstate New York customers. We are proud to contribute to the quality of life through the energy we deliver and through the many ways we give back to the communities we serve.

2008 - 2009 Syracuse Stage Season Sponsors

TALES FROM THE SALT CITY STUDY GUIDE CONTENTS Timothy Bond Producing Artistic Director Jeffrey Woodward Managing Director

__ 820 E. Genesee Street Syracuse, NY 13210 Artistic Office (315) 443 - 4008 Educational Outreach (315) 443 - 1150 (315) 442 - 7755 Box Office (315) 443 - 3275 Group Sales and Matinees (315) 443 - 9844

4. Planning Your Visit 5. Theatre & Education 6. Elements of Theatre 7. Production Information 8. Meet the Creators 9. In the Press 10. The Creative Process 12. Around the Globe 13. Additional Resources 14. Notes 15. About Educational Outreach © 2008 Syracuse Stage Educational Outreach Chief Editor Lauren Unbekant Edited by Nichole Gantshar and Adam Zurbruegg Interior Design & Layout by Adam Zurbruegg Cover design by Campdesign; Cover photos by Scherzi Studios

___ www.syracusestage.org ___ Syracuse Stage is Central New York’s premiere professional theatre. Founded as a not-for-profit theatre in 1974, Stage has produced more than 220 plays in 34 seasons including numerous world and American premieres. Each season, upwards of 90,000 patrons enjoy an exciting mix of comedies, dramas and musicals featuring the finest professional theatre artists. Stage attracts leading designers, directors, and performers from New York and across the country. These visiting artists are supported by a full-time and seasonal staff of artisans, technicians, and administrators. Syracuse Stage is a member of The League of Resident Theatres (LORT,) Theatre Communications Group (TCG,) the Syracuse Chamber of Commerce, the Arts & Cultural Leadership Alliance (ACLA,) the East Genesee Regent Association, and the Partnership for Better Education.

EDUCATIONAL OUTREACH AT SYRACUSE STAGE Syracuse Stage is committed to providing students with rich theatre experiences that connect to and reveal what it is to be human. Research shows that students who participate in or are exposed to the arts show higher academic achievement, stronger self-esteem, and an improved ability to plan and work toward a future goal. Last season more than 35,000 students from 24 counties attended or participated in in-depth integrated arts partnerships with Syracuse Stage. For more information, call (315) 443-1150 or (315) 442-7755.

The Bank of America CHILDREN’S TOUR brings high-energy, interactive, and culturally diverse performances to elementary school audiences. The Carrier BACKSTORY! Program brings history to life, as professional actors portray historical figures in classrooms and other venues. Lockheed Martin PROJECT BLUEPRINT merges scientific discovery and the arts, as an actor portraying a scientist/mathematician introduces students to the connections between scientific discovery and the arts. artsEMERGING takes high school students on an in-depth exploration of a mainstage play using a multi-cultural, multi-arts lens. The Chase YOUNG PLAYWRIGHTS FESTIVAL challenges high school students to submit original plays for a chance to see their work performed at Syracuse Stage.

Planning Your Visit Teachers! Please speak with your students about the role of the audience in watching a live performance. The following are some helpful suggestions and guidelines to make the day more enjoyable.

GIVE your students plenty of time to arrive, find their seats, and get situated. We ask that you arrive 30 minutes prior to the performance. Our student matinees begin promptly at 10:30AM. Latecomers are seated at the discretion of House Management. BUSSES not staying should load and unload on East Genesee Street, where bagged meters will indicate bus-only parking. Please do not park in the Centro Bus Stop. When you exit the bus, have your group stay together inside the main lobby. USHERS will escort you to your seats - we do not use tickets for our student matinees. Students will be asked to fill in the rows and not move around once seated. We request that teachers and chaperones distribute themselves throughout the students and not sit together. Remember, we need to seat 500 people as quickly as possible, so your help is greatly appreciated. BACKPACKS, cameras, food, and drinks are not allowed into the theatre. We do not have storage facilities for these items, so please leave them at school or on the bus. PHOTOGRAPHS or video taken with a camera or cell phone are illegal, disruptive, and sometimes dangerous to the performers. All cameras or other recording devices are prohibited and will be confiscated. SNACKS and soda will be sold whenever possible during intermission, at a cost of $1. Food and drinks are to be consumed in the lobby, as they are not allowed into the theatre. RESTROOMS are located in the main lobby. We ask that students use the facilities only before the show and during intermission, and not leave during the show.

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The Audience’s Role A performance needs an audience. It is as much a part of the theatre event as actors, designers, technicians, and crew. Each playwright invites you into the world he/she has created - but this world is different than television or movies. The actors need your responses (laughter and applause) but conversations, cell phones, and other distractions will disrupt that world. If any student becomes disruptive to the point of interference with the performers or audience, a chaperone will be asked to remove that student. If you play your part well, the actors can do the same, and all will enjoy the show!

Theatre & Education

“Theatre brings life to life.”

-Zelda Fichandler


hen the first cave-dweller got up to tell a story, theatre began. Almost every culture has some sort of live performance tradition to tell stories. Television and film may have diminished the desire for access to theatre, but they have not diminished the importance. Live theatre gives each audience member an opportunity to connect with the peformers in a way he or she never could with Tom Cruise or Lindsay Lohan. The emotions can be more intense because the events are happening right in front of the audience.


n the classroom, theatre can be used in a variety of ways. In many respects the teacher is much like an actor on stage - with an audience, a script (lesson plan,) props (visual aids,) and scenery (the classroom setting.) Both theatre and teaching rely on the interplay between performer and audience. From this perspective, all of what can be taught can be taught theatrically. Young children can create a pretend bank to learn about money and mathematics. Older students may be asked to act out scenes from a play or novel. Theatre provides both an opportunity to teach , and the means to do so.


ringing your students to productions at Syracuse Stage, and utilizing this study guide to integrate the play into your lesson plans, fulfills elements of the New York State core requirements. We know that as educators, you are more qualified to determine how our plays and study guides blend with your goals and requirements. We hope that we can help you to discover possibilities spanning many disciplines. As you bring your students to the shows, you may want them to examine not merely the thematic elements of the play, but also how production elements explore these themes. Everything you see on the stage has been created specifically for this production. There are no standard sets for Ma Rainey’s Black Bottom, no rules for costuming Crowns. Our designers meet with our directors months before rehearsals start, and shows are built to their specifications, which are in line with their vision of the work. Exploring design elements with your students is a way of opening the door to the production they will be seeing. We’ll begin with activites and questioning that can be applied to any play, and then move into details regarding specific plays. So, without further ado, welcome to Syracuse Stage... and enjoy the show!

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Elements of Theatre Elements of Visual Art: Any piece of visual art (including scenery, costumes, etc.) contain the following ‘elements of art.’

Theatre usually engages many forms of art including: -Writing -Visual/Design • Scenery & Props • Costumes • Sound • Lighting • Casting -Music -Dance/Movement



Line Shape Form

Principles of Design: Art (or any of the elements listed above) can be examined further through the ‘principles of design.’ Balance Proportion Rhythm Emphasis Unity

How have the designers utilized these elements and principles?


Why have they done so?

- Character WHO are the characters and what is their relationship to each other? - Plot/Story WHAT is the story line? What happened before the play started? What do the characters want? What will they do to get it? What do they stand to gain or lose? - Setting WHERE does the story take place? How does this affect the characters’ behavior? How does it affect the plot? How does it affect the design? - Time WHEN does the story take place? What year is it? What season? What time of day? How does this affect the characters, plot and design of the play?

Other Elements to Explore: Conflict/Resolution, Action, Improvisation, Non-verbal communication, Staging, Humor, Realism and other styles, Metaphor, Language, Tone, Pattern and repetition, Emotion, Point of view.

What are the trying to convey visually? What would be other options? CREATING QUESTIONS FOR EXPLORATION Creating an open-ended question using an element for exploration (otherwise known as a “line of inquiry”) can help students make discoveries about a piece of theatre and its relevance to their lives. A line of inquiry is also useful for kinesthetic activities (on-your-feet exercises.) Examples of Lines of Inquiry: 1. How does an actor create a character using his/her body? How would you imply setting using your body? 2. How might a director create a sense of realism on stage? Why might you not want to use realism? 3. How does an actor use the language of gesture to convey emotion/feeling? 4. How does the use of music convey the mood of a scene?

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Space Color Texture




e h t m o TALES fr






Sara Michelle Zatz

Darren W. McCroom

Maya Ciarrocchi



Kyle Bass

Amber Dickerson PERFORMERS

Lino Ariloka, Gordana Dudevski, Rebecca Fuentes, José Miquel Hernandez, Albert Marshall, Emad Rahim, and Jeanne Shenandoah

Timothy Bond

Jeffrey Woodward

Producing Artistic Director

Managing Director

Ping Chong’s ‘Undesirable Elements’ series is supported by the National Endowment for the Arts and the Nathan Cummings Foundation. MetLife Foundation is the National Sponsor of the Undesirable Elements series. SPONSORS




Meet the Creators

Ping Chong & Company Ping Chong was born in 1946 and raised in the Chinatown section of New York City. He studied film-making and graphic design at the School of Visual Arts and the Pratt Institute. Ping Chong began his theatrical career as a member of Meredith Monk's The House Foundation. He collaborated with her on several major works including The Travelogue Series and The Games, for which they shared the Outstanding Achievement in Music Theatre Award in 1986. In 1972, Ping Chong gathered a group of artists at Meredith Monk's loft in New York City to create Lazarus, his first independent theatre work. Since then, he has created over fifty major works for the stage including Humboldt's Current (Obie Award, 1977), A.M./A.M. - The Articulated Man (Villager Award, 1982), Nosferatu (Maharam Design Award, 1985), Angels of Swedenborg (1985), Kind Ness (USA Playwrights' Award, 1988), Brightness, which garnered two 1990 Bessie Awards, Deshima, Chinoiserie and After Sorrow. In 1998 he created Kwaidan, his first full-length puppetry work, in collaboration with Jon Ludwig and Mitsuru Ishii. His work has been performed at such major New York venues as The Brooklyn Academy of Music's Next Wave Festival, The Joyce Theatre, La MaMa E.T.C., St. Clement's Theatre and The Central Park Summerstage, as well as at major museums, theatres and festivals in North America, Europe and Asia. His explorations reach beyond live performance to include video and visual arts installations. Today, Ping Chong is recognized as one of our country's most significant theatre artists, and a seminal figure in the Asian-American arts arena. Ping Chong & Company, originally The Fiji Theatre Company, was founded in 1975 to explore the meaning of contemporary theatre and art on a national and international level. The company's mission is to explore the intersections of race, culture, history, art, media and technology in the modern world. Today, the company creates unfailingly innovative works of theatre and art for modern, multi-cultural audiences in New York and throughout the world. Ping Chong & Company is a modestly sized, not-for-profit experimental arts organization. The company is artist-run and maintains a small full-time staff, offices and storage facilities in New York City. In addition, the company provides an artistic home and professional base for a multi-racial core group of performers, designers and theatre artists who collaborate with Ping Chong on a project basis.

Portrait by Stephen Garrett

“To create is its own reward. I think if more people would think of their daily lives in creative terms, whether they are plumbers or dentists or city planners or whatever - I think people would be less frustrated in their lives.�

-Ping Chong

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Biography courtesy of www.pingchong.org

In the Press



From the Outside Looking In

People outside the mainstream will create a portrait of Syracuse onstage by Laura T. Ryan Courtesy of the Syracuse Post-Standard Print date: Thursday, May 08, 2008

For most Syracuse Stage productions, the director has a completed script in hand during the casting process. But in the case of Tales From the Salt City, director and playwright Ping Chong is holding auditions now, months before he’s written a word. That’s because the cast members’ personal stories will determine the play’s message. It’s all part of a series of oral history productions, collectively called Undesirable Elements, that shine a light on those stories unfolding outside the view of mainstream culture. Since 1992, the Ping Chong Company has mounted at least 36 productions of Undesirable Elements in cities around the world, including Seattle in 1995 with Stage’s Producing Artistic Director Timothy Bond [...] “I had no plans for it other than doing that first one,” Chong said. “I had never done anything like this before, this kind of documentary, real-life, real-people whatchamacallit. Whatsit. It’s not a play; it’s a whatsit.” Chong and collaborator Sara Zatz, project manager for Undesirable Elements, just wrapped up a two-week visit to Syracuse, to interview prospective cast members for the next incarnation of the series, called Tales From the Salt City. The pair will write the script together this summer. Then the play will have its world premiere at Syracuse Stage in October. Zatz and Chong met with 17 Syracusans, ages 16 to 89, including residents from Macedonia, Ghana, Vietnam, Cambodia, Sudan, and Ukraine, as well as AfricanAmericans, a Mexican-American, Jewish Americans of various ancestries and a person whose parents hail from Belgium and Burundi. “It’s important that people understand it’s not just a project about immigration,” Zatz added. “Some people have said, ‘Oh, well, I was born in Syracuse, so they wouldn’t be interested in talking to me.’ And that’s not the case. It’s people who, for whatever reason, have lived outside the mainstream culture, in whatever way that is.”

Kyle Bass, literary associate at Syracuse Stage, found the subjects and participated in the sometimes emotionally wrenching interviews. “What Ping and Sara are so good at is really not being afraid to interrupt as (the subjects) speak, to really draw out detail, which is really important,” Bass said. “I’m ruthless,” Chong said, laughing. “I’m gentle,” Zatz countered. Zatz and Chong, whose six-year collaboration has fostered a finish-each-other’s-sentence rhythm, plan to return for a second round of interviews in July, to narrow the field of prospects. In the end, they’ll pick a cast of six or seven from the pool of 17. “I think the thing that really distinguishes this project from a genre of interview-based or documentary-based theatre is that the people who are participating in the interviews are the performers in the show,” Zatz said. “We’re not having actors play them, and that’s the power of the project,” Chong continued. Zatz: “It’s very human.” Chong: “The person up there is the person these experiences happened to.” Zatz: “So there’s no filter through an actor. It’s very direct.” [...] Chong said the production gives cast members and local audiences an opportunity for “widening their world, widening their consciousness, widening the richness of the world right here in their midst.”

Laura T. Ryan is a staff writer for the Syracuse Post-Standard Visit www.syracuse.com

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The Creative Process

A Mirror for the World Ping Chong’s Theatrical Process

by Christopher Sieving Courtesy of the Arts Institute of the Univ. of Wisconsin - Madison 2001

For nearly three decades, Ping Chong has held a mirror up to his adopted culture. During that time, few American artists have captured so truthfully and accurately the rich contradictions and paradoxes of American society. Chong's mirror reveals what lies beneath the surface, beneath the images of tranquil homogeneity America presents to its citizens and to the world. The unbroken, unmarked simulation of American life with which our society comforts itself is splintered and refracted by Chong's theater, exposed as a mosaic of lives, a patchwork of rewoven histories. Whether as a theater or performance maker, choreographer, videographer, or installation artist, Chong has consistently produced art that challenges audiences' preconceptions and rewards their serious engagement. His stage works, video pieces, and environmental installations have been enthusiastically received all over the globe by both spectators and critics, and his achievements have been acknowledged through multiple awards (including two Obie Awards), a Guggenheim fellowship, and six NEA fellowships. When Chong left home in the middle 1960s to study film and graphic design in midtown Manhattan, his culture shock was enormous. A Chinese-American adolescent uprooted from his isolated world, he struggled to find a niche both within white America and within the tumultuous New York art world. Nurtured by the scene's prevailing spirit of unabashed self-expression, Chong came to see himself as part of a heterogeneous world culture. Yet society at large seldom shared his views. Consequently, Chong was often relegated to the role of the "other," the alien outsider, in many of the communities in which he dwelled. Accordingly, the status of the "other" in America has been the signature theme of his career. His investigation of this theme has yielded some of the most quintessentially American art of the last thirty years. His rejection of the

Children of War , performed in Fairfax, VA in 2002. Photo by Chris Hartlove.

compartmentalization of human experience spilled over into his artistic practice. Considering himself "not aggressive enough" to succeed in the white-dominated world of filmmaking, Chong resolved to instead devote his energies to a synthesis of the many art forms that piqued his interest. Indeed, many of his renowned performance pieces are famed for incorporating "cinematic" techniques of lighting and framing. After graduating from the School of Visual Arts in 1969, Chong joined Meredith Monk's vanguard interdisciplinary performance company, The House, as a dancer and became a key collaborator. Blossoming as an artist under this climate of experimentation, Chong went on to form Ping Chong & Co. in 1975. "Meredith made me realize," Chong later recalled, "that performing arts could be anything - art was anything I could make it to be." The principles guiding the dozens of performances staged by Ping Chong since Lazarus (1972), his first independent theater work, have been eloquently summarized by Asianweek's Lia Chang, who wrote of Chong in 1997 as "known for the spare elegance of his multimedia productions and the almost anthropological way in which he pieces together often incongruous bits of cultural information." His signature style and themes evolved over the course of several award-winning shows. The works explored American and European social mores and myths with anthropological precision. And with the production

"As an artist, I'm an outsider in American society. As an experimental artist, I'm an outsider within the art world. As a person of color, I'm an outsider; as an immigrant, I'm an outsider; as a gay man, I'm an outsider. It's the position that fate has allotted me, but it's a valuable position to be in, because I think every society should have a mirror held to it by the outsider." -Ping Chong, 1999

The Creative Process (Cont’d) of Kind Ness (1988), an absurdist tour-de-force featuring a gorilla in the role of a Rwandan foreign exchange student, Chong directly confronted the nature of American racism and its consequences. In the 1990s, sensing the time was right for a major work addressing specifically Asian themes, Chong produced a quartet of pieces which scrutinized relations between Western nations and Japan, China, Vietnam and Korea. Formally, the East/West quartet synthesized many of Chong's characteristic techniques. Relatively unconcerned with telling a story in linear fashion, Chong instead fragmented bits of historical narrative in order to foreground the parallels between Western attitudes in the past and in the present. Historical anecdotes are conveyed through a multi-layered style of presentation, which makes use of split-stage action, recorded commentary, direct address, ritualized dance, and stunning projections. The East/West quartet signaled an important change in the content of Chong's work: a shift "from allegory to history," a movement from implicit or metaphorical critique to a more direct engagement with the effects of Western colonizing. In a period defined by conservative backlash against the "excesses" of the 1960s and 1970s, such a shift was natural for Chong. "I believe that one of the possible functions of an artist is to correct distorted history, and to serve as the conscience of a society," Chong has said.

"I wanted to address history not from the point of view of the status quo, but of what actually happened that was not recorded by the official history books." Chong's other major `90s exploration of ethnic difference, Undesirable Elements (also known as Secret History), is similarly rooted in the experiences of historical subjects marginalized by the West. What sets Undesirable Elements apart from the East/West quartet--and from just about any theatrical performance one can think of--is the active participation of those very subjects in its creation and execution. First produced in conjunction with a New York gallery installation in 1992, each version of Undesirable Elements draws its "actors" from the community at large. Few of these performers--or, in Justin Hayford's words, "eyewitnesses to the `human diaspora' of the 20th century"--have any sort of background in acting; rather, all share the experience of living in a culture different from the one into which they were born.



The original concept developed from Chong's desire to interrogate the meaning of democracy in America: "It's a way of educating all of us, because we are all equally insular." The participants, six to eight in number, sit in a semi-circle before projected images, including outlines of countries, and tell the stories of their lives--stories of their experiences as undesirable elements. "The stories are so rich, so fascinating," collaborator Michael Rohd has remarked, "they beat what playwrights try to write." The performers are selected from a pool of applicants on the basis of interviews with Chong, who then weaves the participants' interviews, histories, and personal anecdotes into "a tapestry of the American story." Arranged in chronological order and narrated by the people who lived them, these stories reflect realities of modern life too frequently hidden from view. Combined, they constitute a true "people's history" of the last 100 years, a fascinating report on both the real-life experiences of those swept up in the current carved out by the century's watershed events--World War II, the fall of Communism, the Vietnam Conflict, American and South African apartheid, to name only a few--and their current-day efforts at staying true to themselves while negotiating multiple world views. Supplemented by poems and folk songs delivered in the performers' native languages, each of the stories is singular and unique. Yet, the presentation ultimately works to flatten out the differences between the speakers and emphasize the commonality of human experience. The critics' enthusiasm for Undesirable Elements is aptly summarized by Mari Herreras-Zinman:

“... I can't remember a play that has so closely reflected the benefits of diversity. History and society have been quick at labeling those who are different as "undesirable," but [Chong's] new production shows that the label must include everyone--at one time or another we have all been undesirable.�


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Around the Globe



Syracusans in the Spotlight Each cast member in Tales from the Salt City lives in the Syracuse area - but many come from very different locations. Listed below are the cast members’ names and nations of origin. Can you match these places to their locations on the map? What do you know about each nation?

2. Gordana Dudevski Macedonia

5. Albert “Al” Marshall USA (Syracuse) and Jeanne Shenandoah Onondaga Nation

3. Rebecca Fuentes Mexico

* These places share a spot on this map, but have very different histories. The Onondaga Nation is a sovereign, independant nation. Learn more at onondaganation.com

4. José Miquel Hernandez Cuba

6. Emad Rahim Cambodia

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Answers: 1 = E; 2 = D; 3 = A; 4 = C; 5 = B; 6 = F

1. Lino Ariloka Sudan

Additional Resources



Ping Chong & Company www.pingchong.org www.undesirableelements.org Chong, Ping with an introduction by Jessica Hagedorn. The East-West Quartet. New York: Theatre Communications Group, 2004. Academic/Journal Articles

Kurahashi, Yuko. “Search for Home and Identity: Ping Chong and Michael Rohd’s Undesirable Elements-Berlin.” The Journal of the Midwest Modern Language Association 38.1 (2005): 85-100. Kurahashi, Yuko. “Theatre as the Healing Space: Ping Chong’s Children of War.” Studies in Theatre and Performance 24.1 (2004): 23-36. Wehle, Philippa. “Citizens of the World.” PAJ: A Journal of Performance & Art 76.1 (2004): 22-32. Magazine Articles Cheng, Scarlet. "Revealing the Universal." The World and I Aug. 2002: 76. Gener, Randy. “A Nation of Outcasts.” American Theatre Dec. 2002: 29. Hughes, Dana. "Black Stage, Voices in Color." Ford Foundation Report Spring 2003: 4-5. McGray, Douglas. "Out of the Mouths of Babes." Washington Post Magazine, Feb. 2003: 10-30. Reviews/Features Adcock, Joe. “Meditating on Seattle’s ‘Elements.’” Rev. of Undesirable Elements/Seattle, Group Theater, Seattle. Seattle Post-Intelligencer 13 Feb. 1995: C1 Brock, Wendell. " 'Outsiders' in America: an Oral-History Drama, Featuring Young People From Around the World, Tries to Capture the Changing Face of Atlanta.” Atlanta Journal-Constitution 27 Sept. 2001. Brown, DeNeen L. “Foreign No More.” Washington Post 2 June 2000: C1+ Clemetson, Lynette. “How Children Experience War and Its Consequences.” New York Times 7 Dec. 2002, B13. Eng, Monica. “’Elements’ a Simple, 6-sided Success.” Rev. of Undesirable Elements/ Chicago, Chernin Center for the Arts, Chicago. Chicago Tribune 10 May 1999: TEMPO 2. Eng, Monica. “Personal Profiles: Director Ping Chong’s ‘Undesirables’ Promote Tolerance.” Chicago Tribune 6 Jan. 1999: TEMPO 2. Evett, Marianne. “Cultural Diversity Dissected.” Rev. of Undesirable Elements/Cleveland, Cleveland Playhouse. Plain Dealer [Cleveland] 5 March Solomon, Alisa. “The Making of Americans.” Rev. of Secret History, Ohio Theater, New York. Village Voice 12 Dec. 2002:152 Educational Outreach


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NOTES ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________________________ _______________________________________________________________ Educational Outreach

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yracuse Stage is committed to providing students with rich theatre experiences that connect to and reveal what it is to be human. Research shows that children who participate in or are exposed to the arts show higher academic achievement, stronger self-esteem, and improved ability to plan and work towards a future goal.

Many students in our community have their first taste of live theatre through Syracuse Stage’s outreach programs. Last season more than 35,000 students from across New York State attended or participated in the Bank of America Children’s Tour, Carrier Backstory, Lockheed Martin Project Blueprint, artsEMERGING, the Chase Young Playwrights Festival, and our Student Matinee Program. We gratefully acknowledge the many corporations, foundations, and government agencies whose donations support our commitment to in-depth arts education for our community. The listing below respresents support towards last season’s 2007-2008 programming. Bank of America - Bank of America Children’s Tour Bristol-Myers Squibb Company - artsEMERGING Carrier Corporation - Carrier Backstory Chase - Chase Young Playwrights Festival Excellus BlueCross BlueShield - Bank of America Children’s Tour Grandma Brown Foundation - Student Matinee Program KARE Foundation - Carrier Backstory Lockheed Martin Employees Federated Fund - Carrier Backstory, Bank of America Children’s Tour Lockheed Martin MS2 - Lockheed Martin Project Blueprint National Grid - Student Matinee Program NYS Assembly through the office of William Magnarelli - artsEMERGING Onondaga County District Attorney’s Office - artsEMERGING Price Chopper’s Golub Foundation - Student Matinee Program Syracuse Police Department - artsEMERGING Syracuse University Division of Student Affairs - Student Matinee Program Syracuse University GEAR-UP - Carrier Backstory Target - Student Matinee Program Time Warner Cable - Carrier Backstory US Department of Justice - artsEMERGING Wegmans - Bank of America Children’s Tour

Actor Rob North signing autographs after a performance of The Mischief Makers.

Teachers from the Syracuse City School District receiving professional development from teaching artist Reenah Golden.

1,500 students from the Syracuse City School District attended matinee performances of The Bomb-itty of Errors.


come dream with uS

August Wilson’s Ma Rainey’s Black Bottom Directed by Timothy Bond September 9 – October 4

The award-winning music-filled play that captured the attention of the theatre world and launched August Wilson’s remarkable career.

Up By Bridget Carpenter Directed by Penny Metropulos February 25 – March 15 East Coast Premiere

A soaring new play about family and following your dreams . . . even if it takes 42 balloons tied to a lawn chair.

The Diary of Anne Frank

Music and Mischief for the Holidays

Godspell The Excellus BlueCross BlueShield Family Holiday Series; A collaboration between Syracuse Stage and SU Drama

Conceived and Directed by Ping Chong October 14 - November 2 World Premiere

By Frances Goodrich and Albert Hackett Newly adapted by Wendy Kesselman Directed by Timothy Bond March 31 – May 3

Conceived and Originally Directed by John-Michael Tebelak Music and New Lyrics by Stephen Schwartz Directed by Rajendra Ramoon Maharaj Choreographed by Anthony Salatino November 25 – December 28

Life stories of real Syracuse residents carry us around the globe and bring us home with a more complete understanding of how we’re all connected.

A 13-year-old girl finds hope in the in face evil and teaches us all an unforgettable lesson in courage. A new adaptation of an American classic.

Filled with popular hit songs and based on the Gospel of St. Matthew, this energetic musical is a celebration of worldwide community.

Putting it Together


A Musical Review Concept by Stephen Sondheim & Julia McKenzie Book, Music & Lyrics by Stephen Sondheim Directed & Choreographed by Rajendra Ramoon Maharaj January 27 - February 15

The Santaland Diaries

By Regina Taylor Adapted from the book by Michael Cunningham and Craig Marberry Directed and choreographed by Patdro Harris May 13 – June 7

By David Sedaris Adapted for the stage by Joe Mantello Directed by Wendy Knox December 2 – January 4

Tales from the Salt City

At a Manhattan cocktail party, a cast of five uses Sondheim’s exquisite songs to examine the ups and downs of two relationships.

A troubled young woman journeys to her ancestral home and finds healing in the warm embrace of family, church, gospel music and tradition

Meet Crumpet, a 33-year-old starving artist turn cranky (but cute) Macy’s elf, in humorist David Sedaris’ witty gem of a lump of coal. For mature elves only. All plays and players subject to change.

SeASon SponSorS:


Box office: 315.443.3275

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Profile for Syracuse Stage

Salt City Guide  

Salt City Study Guide

Salt City Guide  

Salt City Study Guide

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