Denver Children’s Theatre Educational Resource Packet...the jungle, the tiger begins to turn the Wolf Pack against the Man Cub. In desperation Baloo and Bagheera send Mowgli to the

Denver Children’s TheatreEducational Resource Packet

denver children’s theatre

mizel arts and culture center | 350 s dahlia st, denver co 80246 | 303.316.6360 | maccjcc.org

2017 Denver Children’s Theatre | 303.316.6360 | maccjcc.org

About the Mizel Arts and Culture Center (MACC)

The MACC is a multidisciplinary arts center whose mission is to illuminate the human experiencethrough creative and cultural programs in the performing, visual, and literary arts for the Jewishcommunity and the community at large.

Programs:The Denver Children’s TheatreIn School Arts Integration Workshops, The Wolf Theatre Academy Youth and Adult Art AcademyThe JAAMM Festival (Jewish Authors Artists Movies and Music)The Denver Jewish Film Festival

To learn more visit: maccjcc.org/workshops Or email Education Director, Emily MacIntyre, [email protected]

TABLE OF CONTENTS From the Director of Education 2 Colorado Academic Standards 2 Before Your Visit 3 Reminders for Teachers 3 The Role of the Audience 3 About the Play 4 Synopsis 4 Meet the Characters 4 The Playwright: Thatcher Hurd 4 Context and Meaning Making 5 Vanished Masterpieces – How and Why People Steal Art 5 Saving the Mona Lisa 6 Street Art vs Graffiti 7 Try This! Activities, Prompts and Projects 8 Questions to Explore 8 Practice Theatre Etiquette 8 You Become the Artist 8 Wax Museum 9 A Day in the Life: Narrative Pantomime 9 Worksheets 10 Write Mona Lisa a Letter 10 Squiggle Drawing 10 Art Dog Comic Strip 10 Booklists 10 Theatrical Process and Vocabulary 11


FROM THE DIRECTOR OF EDUCATION

COLORADO ACADEMIC STANDARDSThrough attending the production and exploring this guide, students will have experienced learning opportunities that contribute to achieving the standards and academic expectations outlined below.

2017 Denver Children’s Theatre | 303.316.6360 | maccjcc.orgI

Thank you for brining your students to Denver Children’s Theatre’s production ofThe Jungle Book. We believe that providing pre and post show resources enhancesstudents’ enjoyment of the play and allows a deeper understanding of the play’s themes.

The materials in this guide were developed broadly to connect with the curriculumfor students in grades 1 – 5. Please adapt and share these cross-curricular activitieswith fellow teachers, and feel free to reach out to us with feedback and questions.

Warm Regards,

Emily MacIntyreDirector of Education, Mizel Arts and Culture [email protected]

Themes and Concepts Family, Coming of Age, Man vs. Beast, Weighing Risk and Reward

21st Century skillsPerseverance, Creative and Critical Thinking, Collaboration

Standards and Prepared Graduate Expectations Addressed:Drama and Theatre Arts1.Create PG: Employ drama and theatre skills, and articulate the aesthetics of a variety of characters and roles

3. Critically Respond PG: Make informed, critical evaluations of theatrical performance from an audience member and a participant point of view, and develop a framework for making informed theatrical choices

Social Studies2. Geography: PG: Provide students with an understanding of spatial perspectives and technologies for spatial analysis, awareness of interdependence of world regions and resources and how places are connected on local, national and global scales.

4. Civics PG: teaches students the complexity of the origins, structure, and functions, of governments; the rights, roles and responsibilities of ethical citizenship; the importance of law; and the skills necessary to participate in all levels of government.

Reading, Writing, and Communicating1. Oral Expression and Listening PG: Use language appropriate for purpose and audience

3. Writing and Comprehension PG: Write with a clear focus, coherent organization, sufficient elaboration, and detail PG: Apply standard English conventions to effectively communicate with written language

4. Research and Reasoning PG: Gather information from a variety of sources; analyze and evaluate the quality and relevance of the source; and use it to answer complex questions.


Before Your VisitReminders for Teachers • Arrive at theatre 15-30 minutes prior to when the play is scheduled to begin.

• Teachers and adult chaperones should be seated interspersed within their group of students rather than only at the aisles or behind.

• We discourage infant children to accompany parent chaperones on the fieldtrip.

• If attending Encore, lunches will be stored outside the theatre.

The Role of the AudienceTheatre is different than TV, the Circus or Sports events!The performers are live, and the performanceis a unique ‘one-time’ only event that can neverbe exactly duplicated. Unlike entertainment onfilm, television or the computer, the energy ofthe audience can either enhance or detractfrom the quality of the performance. Actorsgive their best performances for the best audi-ences because they are fueled by the activeconnection between good listeners and goodstorytellers.

• We encourage laughing and clapping at appropriate places in the show.

• We remind our audience to turn off all digital devices. No text messaging during the show.

• As a courtesy to other theatergoers, we ask that teachers or guardians escort children who are crying, talking excessively, or otherwise behaving inappropriately into the lobby until they are ready to return to the theatre.

• No food or drink is allowed in theatre.

• The taking of any photographs (flash or non-flash) and the use of recording equipment are strictly prohibited.

About the PlaySynopsisAfter killing Mowgli’s parents, Shere Khan ischasing baby Mowgli through the jungle. Whenthe baby wanders into a Wolf den, the injuredtiger is met by Mother and Father Wolf, who aredetermined to protect the helpless child.Mother and Father Wolf adopt Mowgli into theirfamily and defend him to the Wolf Pack. AsMowgli, the Man Cub grows older, Bagheera theblack panther and Baloo the bear are chargedwith his training. They teach him the ways of thejungle and the language of the animals. Mowgli’sadventures take him to visit with the monkeys,who promise to make him their king. Since theyhave fingers too, Mowgli is talked into runningaway with the monkeys who take him deep intothe jungle. Baloo and Bagheera, enlist the helpof Kaa, the snake to track him down. Meanwhile,Mowgli finds himself trapped in a pit by themonkeys, who did not keep their promise. Heuses the language of the jungle to enlist thehelp of the vultures to carry a message to Balooand Bagheera. Baloo, Bagheera and Kaa finallyfind the monkey city and begin the battle tosave Mowgli. The chaos almost ends in Kaa accidently eating Bagheera, but Mowgli stopsher in time.

Ten years pass. As Mowgli grows up running withhis brothers in the Wolf Pack, Shere Kahn contin-ues to track him and wait for the opportunity toclaim Mowgli as his dinner. When a drought hitsthe jungle, the tiger begins to turn the Wolf Packagainst the Man Cub. In desperation Baloo andBagheera send Mowgli to the village for fire, theone thing that Shere Kahn is afraid of. By thetime Shere Kahn challenges the Wolf Pack oncemore to give up Mowgli, the Pack has beengripped by fear by the rumors spread by ShereKahn. When the Pack votes against Mowgli, heproduces the fire to keep Shere Kahn fromkilling him. In the struggle, Shere Kahn steps offa cliff and falls to his death.

His heart broken by the Pack’s betrayal, Mowglidecides to return to where he belongs in thevillage with other men. He bids goodbye tothose who love him, to begin a new life.

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2017 Denver Children’s Theatre | 303.316.6360 | maccjcc.org3

Meet the Characters Mowgli: The child whose parents were killed by Shere Khan. He is adopted by the Wolf Pack and raised by Baloo and Bagheera. Shere Kahn: The injured tiger that hunts Mowgli Mother Wolf: The She-Wolf who adopts Mowgli as her son Father Wolf: The He-Wolf who adopts Mowgli as his son Baloo: The bear in charge of teaching all wolf cubs the rules of the forest. He is put in charge of Mowgli’s education. Bagheera: A black panther who stands up for Mowgli at the Wolf Council and is tasked with caring for Mowgli and keeping him safe. Kaa: A python, enemy of the monkeys, who helps rescue Mowgli Monkeys: Carefree, mischievous monkeys who wish to be like men. Vultures: Birds of the forest to whom Mowgli appeals for help.

The Playwright: Greg BanksGreg Banks' studied theatre at Dartington College of Arts. His work as an actor, writer anddirector has taken him all over the world from Singapore to Seattle via the Arctic Circle. Inthe 1980’s Greg was the co-founder of a hugely successful company called Dr Fosters Trav-elling Theatre. He has written over 20 plays and directed over 100 productions. His playsare highly physical and most include live music on stage with the actors. Greg’s plays include Tir Na N’og (Travelling Light/West End, Broadway,Touring/ Winner of Samuel Beck-ett Award/TMA nominee for best play for young people 1998), Huck Finn, Pinnochio, RobinHood, and Antigone (Minneapolis Children's Theatre). He has directed for many companiesincluding The Bristol Old Vic, The Unicorn Children's Theatre London, Minneapolis Children's Theatre, Vedogon Theatre, Moscow, American Drama Group, The BirminghamStage Company ,Seattle Children's Theatre and The New York State Theatre and many others. Adapted From: The Jungle Book

The Author: Rudyard KiplingRudyard Kipling was born in Bombay on December 30, 1865 to JohnLockwood Kipling, an artist and teacher of architectural sculpture,and his wife Alice. At the age of five, Kipling was sent to England tobe fostered and schooled. He returned to India at the age of 16, to work at the Civiland Military Gazette. In his spare time he wrote poetry and short-stories thatwould become his early work. In 1889 he returned to England, and two years latermarried Carrie Balestier and moved to Vermont, USA. Here he wrote The JungleBook for his daughter Josephine. They moved back to England in 1896 after a fam-ily quarrel and raised three children, only one of which, Elsie, survived. Josephinedied young and John in World War I. Kipling became the People’s Laureate and the

poet of the Empire. In 1907, he was awarded the Nobel Prize for Literature. Kipling published an enormouscanon of adult material and children’s poems and books. His more famous works include Jungle Book, JustSo Stories, Kim, Captains Courageous and Something of Myself.Other Books by Kipling: Just So Stories, Jungle Book 2 and Kim

2017 Denver Children’s Theatre | 303.316.6360 | maccjcc.org 4

Context and Meaning MakingThe Jungle as Civilization or Allegory

The Jungle has laws and if Mowgli is to live there, he must learn them. The laws pertain to hunting, respecting each other’s territory, and a bond of community. The words that Mowgli is taught by Baloo,“We be of one blood, ye and I”, are to be spoken in times of trouble. Mowgli is required to learn them inall the different languages of the jungle. They serve to remind everyone when they are in need, thatthe Jungle is community and all must get along to survive. The only breakers of this law are the monkeys. Because they cannot obey the law, they live in the ruined city instead of the civilizations ofthe jungle or the village.

The two worlds, the Jungle and the Village exist side by side as different civilizations. Mowgli goes fromone to the other as he grows up. Literary critics delving into Kipling’s full stories about Mowgli, point outthat the two civilizations represent a Coming of Age. The Jungle is childhood, carefree and filled withlearning and adventure. The Village is growing up and represents work, identity and relationships.

Our story ends with Mowgli being castout of the jungle because man is a dangerto the jungle; he must go where he be-longs. He bids goodbye to his childhoodand embraces his future. But in the com-plete Jungle Book stories, Mowgli returnsto the Jungle, unable to adapt to man’scivilization. It is only when he falls inlove that he returns to the Village for good. We are asked toembrace the concept that growingup is not without it’s setbacks andlongings to return to childhood.

Sources: http://www.kiplingsociety.co.ukSocial Studies: Geography and Civics


The Real Animals of the Jungle BookKipling was born in India, raised in England and returned to India at the age of 16. However he never livedin the Seeonee (Seoni) Jungle, the home of Mowgli and his friends. However, he had pictures and books asreference. One of the books he used, Beast and Man in India, was written by his father, who also providedthe original illustrations for The Jungle Book. The real animals of the story are still in existence today, butare sitting on the Endangered List. In 1972, India enacted the Wildlife Protection Act and Project Tiger tosafeguard these animals habitats. India now hosts over 515 wildlife sanctuaries, 18 biosphere reserves,and 26 wetlands are registered under the Ramsar Convention.

Royal Bengal Tiger: Shere Kahn is a RoyalBengal Tiger. With a coat of yellow to lightorange, with stripes ranging from darkbrown to black, the Bengal Tiger is the sec-ond largest subspecies of tiger. However

the last census put the Bengal Tiger population of India ataround 2000, putting them on the Endangered List. At thetime the Jungle Book was written, there were an estimated40,000 of these tigers in India. Shere Kahn is a man-eater, butit should be noted that tigers only turn man-eater when theyare injured and can no longer catch other prey.

Sloth Bear: Baloo is thought to be mod-eled after the Sloth Bear. With his de-scription of sleepy as well as theillustrations of the day, this bear is theclosest match to the beloved character.

However, Sloth Bears prefer a diet of insects, while theAsian bear tends to be a lover of nuts and honey as Baloowas. Both bears are black in color, although the Sloth bearcan sometimes appear as a rust color, which could pass forKipling’s “sleepy old brown bear”. The sloth bear is not yetendangered, but is listed as ‘Vulnerable’.

Black Panther: Bagheera, the black pan-ther is actually an Indian Leapord. Thesepanthers have a melanistic color variantthat makes their fur black. But up closeor in the sun, the Leapord spots can still

be seen, this effect is known as ghost striping. These ani-mals are also listed as ‘Vulnerable’.

Indian Wolf: The Indian Wolf is smallerthan it’s European counterparts, and hasshorter fur, except for the longer ridge onit’s back. The fur is generally greyish-red toreddish-white with grey tones. It too sits

on the Endangered list with it’s population around 2,000. Thelegends of child stealing came from a very real danger. Thesewolves have a history of attacking human children. Kiplingshows us the opposite of this stereotype with the kind,benevolent Mother Wolf who raises Mowgli as her own.

Indian Vulture: Several kinds of vul-tures live in India, but at the time theJungle Book was written, they were alllumped into a category called theLong-billed vulture. They have a bald

head, very broad wings and short tail feathers. It is considereda small vulture, usually weighing 12–14 lbs. with a 6.4 to 7.8 ftwing span. These birds are recovering from a population crisiscreated by a pain medication for livestock. The vultures werepoisoned when they ingested the dead flesh of animals thathad been given this medication. This medication has sincebeen banned and the vulture population is slowly increasing.

India Rock Python: This 9 foot snakeis non-venemous and consumes itsprey by coiling around it to shut offit’s air supply. The prey go limp andthen are consumed head first. The

pythons jaws are not hinged together, allowing it to consumelarge prey. The color pattern is whitish or yellowish with theblotched patterns varying from shades of tan to dark brown.Unlike other snakes, the python can move quickly and in astraight line. This species is on the Near Threatened list.

The Bandar-log: In Hindi, Bandar-log means Monkey-peo-ple. There are several species of monkeys that live in India.Kipling does not give these monkeys a particular physicaldescription, so we are free to use our imaginations.

Discussion: Why are animals an important part of our Ecosystem? Why is it important to care for them and protectthem from becoming extinct?

Sources: National Geographic, How Much Do You KnowAbout the real “Jungle Book” Animals; WikipediaColorado Academic Standards: Reading, Writing, Communicating; Research and ReasoningSocial Studies: Geography, Civics


Try This! Activities, Prompts and ProjectsPractice Theatre EtiquetteAsk students to show you with their body andface, a frozen image of what they look likewhen they: watch TV, cheer for a sporting team,rock out at a concert, and attend a play.Compare and contrast the actions of audiencemembers attending each of the above events. Share with students your expectations of theirbehavior when you attend the play (rememberthat laughing and applause are encouraged).

Questions to ExplorePre ShowHave you ever been lost? How did you get home?

What does it feel like to be a stranger in a newplace or community? Do others include you?How do you make new friends? How can wemake others feel welcome when they are new?

Post ShowThe wolves, Baloo and Bagheera becomeMowgli’s family. Can a friend become a part ofyour family? What does family mean to you?Make a list of people you consider family.The jungle has laws that all must obey to live inpeace. What are the laws of our communities?

Eventually, Mowgli must leave the Animals wholove him to move on to the next chapter of his lifein the Village. It is an extremely difficult decision,but in the end will be better for him. What harddecisions have you had to make that turned outto be for the best? How do we embrace couragewhen faced with a hard choice?

Colorado Academic Standards: Reading, Writing, Communicating; Oral Expression and Listening, Writingand Comprehension, Research and ReasoningSocial Studies: Geography, Civics

Talk to the AnimalsThe legends of wolf-children were common inthe India that Kipling loved. Tales of wolvesstealing children and raising them as their ownwere part of the culture. But these children,when rescued, were unable to adapt to societyhaving no speech, social skills or empathy.Kipling’s version of a wolf child is quite differ-ent. Mowgli is rescued by the wolves ratherthan stolen, and unlike the wolf children of leg-end he learns to speak the language of all thespecies of the Jungle.

In many stories of talking animals, the animalsare speaking human language. In the case ofthe Jungle Book, Mowgli speaks the languageof the animals. But for the purpose of tellingthe story, we hear this language as English. Theanimals of the jungle have been given humancharacteristics and emotions. This is called per-sonification.

Start with a discussion of the personalities ofthe animals found in Jungle Book. Do the stu-dents have other favorite stories about animalswho have been personified? How do their per-sonalities reflect our impression of that animal?Ex: Sly fox, messy pig, nervous bird, slow turtle?

Writing: Ask the students to pick either their favorite ani-mal or even their household pet. Have them brainstorm onpaper their animal’s personalities, likes, dislikes, etc…

Group Work: Put students in groups of three or four to dis-cuss how their very different animals might live togetherand interact. If they speak different languages, how canthey communicate?

Optional Acting Exercise: Ask the students to move aboutlike their animal and combine their animal movementwith human personification. As they move about thespace, ask them to interact with other animals using bothhuman and animal characteristics.

Colorado Academic Standards Cross Curriculum:Reading, Writing, Communicating; Oral Expression, Writ-ing and Comprehension, Research and ReasoningDrama and Theatre: Create, Critically Respond


Jungle ConcertObjective: Create a soundscape of jungle noises usingbody, voice and imagination.

How to Play: 1. Ask the students to be silent and listen to the sounds around them. Even in a quiet classroom, there is sound; breathing, HVAC, ticking clock, etc… 2. Have them choose a location from the play; the wolves cave, the monkey city, council rock, the open jungle. 3. Ask them to pick an object or creature in that area and re-create it with their body. Ex: A student might say tree. 4. After they create the tree with their body, ask them what sound it might make. Ex: wind rustling through leaves, creaking branch. 5. One by one, ask each student to join the scene, until you have created a soundscape. 6. To turn your soundscape into a concert, you will need a conductor. This can be either a teacher or another student. 7. The conductor mimicking the motions of an orchestra conductor, can lift their hands for louder, lower them for softer, point out one “instrument” or “section” to be louder or softer. 8. If more than one student wishes to be the conductor, encourage students to trade in and out of being in the “orchestra” and conducting.

Adapted from The Rose Performing Arts, Jungle Book Class Show Guide

Colorado Academic Standards Cross Curriculum: Reading,Writing, Communicating; Oral Expression and ListeningSocial Studies: GeographyDrama and Theatre: Create, Critically Respond

I Wanna Be Like YouObjective: For students to experience both being a leader,mimic movement, and work as a team.

How to play: 1. Ask students to discuss why the monkeys want to be like Mowgli? Why do they kidnap him instead of just becoming his friend?

2. Have the students all stand facing the teacher. As the teacher makes slow movements or facial expression, the students should copy them as if they are a reflection in the mirror.

3. Have the students pair up and choose an A and a B. Instruct A to be the leader first with B as the follower. After a few minutes, instruct them to switch.

4. Encourage them to make slow movements and maintain eye contact, they are a team not competition.

5. Change it up by placing the students in triangle formation behind a leader. The leader (facing forward) will make movements that can seen by the group. The loss of eye contact changes the game and the triangle must move as a group or ‘flock of birds’. Try traveling around a space as a flock.

Adapted from The Rose Performing Arts, Jungle Book Class Show Guide

Colorado Academic StandardsCross Curriculum: Reading, Writing, Communicating; Oral Expression and ListeningDrama and Theatre: Create, Critically Respond


WorksheetsVocabulary Crossword

WORD BANK: TRIBE, TRAMPLE, STALK, RUINED, PREY, PACK,HYPNOTIZED, DESPICABLE, DARED, CUB, CREEPERS, COUNCIL


Write Mowgli a letterMowgli has been living in the jungle and must now adapt to life in a human village. He will face enormous challenges like learning to use a knife and fork, sleep in bed, brush his teeth, etc. What advice and encouragement can you give him about how to adapt to human civilization?

Date: ______________________

Dear_______________________________________________________,

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Warmly,

__________________________________________________________________________ (Signature/YourName)


Lost HabitatImagine if you were lost in the desert, the jungle or an island in the middle of the ocean. In the spacebelow, draw a picture of what your life would look like. What would you eat? What kind of shelter couldyou build from found materials? What kinds of animals might become your friends?

2017 Denver Children’s Theatre | 303.316.6360 | maccjcc.orgii

Theatrical Process: How is a theatricalproduction created? 1. Auditions: Many actors try out for parts. 2. Callbacks: Readings from the script by a select few actors from the original audition. 3. Casting: The director picks actors for the roles. 4. Read Thru: The first reading of the play by the cast. 5. Rehearsals: The time frame the director uses to block and work the acting of they play. 6. Run-Thru: A run of the play without stopping. 7. Dry Tech: A technical rehearsal without actors. 8. Tech Rehearsal (Wet Tech): Technical elements are added for the first time with actors. 9. Dress Rehearsals: All technical elements are added to a run-thru. 10. Opening Performance: The first official performance of the play.

Other General Theatre TermsSetting: The surroundings (place, scenery, time) in which the action of the play develops.

Blocking: The director’s arrangement of the actor's movements on stage with respect to each other and the stage space.

Curtain Call: The bows at the end of a performance.

House: The part of the theatre where the audience sits.

Improvisation (sometimes shortened to IMPROV): A spontaneous scene or episode created by an actor or actors without a script.

Intermission: The break between the acts of a performance.

Places: The instruction to the actors and theatre personnel to get ready for the performance to begin.

Set Change: The movement of the setting between scenes or acts. Set changescan be done by the actors or the stage crew.

Theatre: The word “theatre” can denote either a) the theatre building orspace, b) a theatre production or c) the entire discipline or genre of theatre.The discipline or genre of theatre generally includes all areas of work andstudy surrounding the creation and execution of scripted performance worksby live actors for an audience. While spelling theater with a final “er” is accept-able, the “re” spelling is generally preferred among theatre professionals.

The Places and Things of the TheatreBackstage: Usually the entire stage portion of the theatre building that is notaccessible to the audience.

Apron: The part of the stage that extends toward the audience in front of thecurtain line.

Dressing rooms: The rooms, often located near the stage where the actors puton their costumes and make-up before a performance.

Fly Space: The area of the theatre above the stage. Usually this is wherescenery and backdrops are raised so the audience cannot see them.

Light Board: The machine that operates all of the lighting equipment that illu-minates the stage. Most light boards are small computers that are capable ofrecording hundreds of cues.

Off Stage: All parts of the actual stage floor that are not visible to the audi-ence (usually the area behind the set).

On Stage: The part of the stage enclosed by the setting that is visible to the au-dience in any particular scene.

Props: (short for "properties") everything required during the action of a play,which does not count as furniture, costume, or scenery.

Prop Table: Tables placed offstage on which props are placed so actors canhave easy access to them.

Proscenium Arch: The picture frame through which an audience watches theplay in a proscenium stage theatre.

Proscenium Stage: A theatre with the audience on one side.

Sound Board: The machine that operates all of the sound equipment thatplays music, sound effects and amplifies the actor’s voices.

Wings: The offstage space at the right and left of the acting areas. Wings canalso refer to the curtains that hang at the right and left of the stage to maskactors waiting for entrances from the audience.

The People of the TheatreDirector: The person responsible for the casting of actors, setting the re-hearsal schedule, blocking, running rehearsals, taking notes and focusing thethematic and design concepts for the production of a single play.

Actor: One who performs a role or represents a character in a play. The term isused for both men and women.

Board Operators: The person operating the lighting board that controls thelights, AND the person operating the sound board that controls the sound ef-fects and recorded music for a production.

Designers: The people who design and sometimes build the different ele-ments of the production: the sets, costumes, lights, makeup, masks, sound,props and special effects.

Fight Choreographer: The person who designs, stages and teaches all of thestage combat for a production.

House Manager: The person responsible for making sure that the audiencegets safely in and out of the theatre and over sees all of the ushers.

Patrons: The people who come to watch the performance. The audience.

Stage Manager: The person responsible for the organization of a production.This can include making cast lists and contact sheets, distributing schedulesand other materials, writing down the director's blocking, letting the actorsknow how much time they have to get ready, checking with the House Man-ager before starting the show, and letting board operators know when to per-form their tasks.

Technical Director: The person who coordinates the activities of all of the tech-nical personnel for a theatre. This can include the hiring and scheduling of de-signers and builders and the overseeing of general theatre maintenance.

Usher: The person responsible for taking tickets and sometimes showing pa-trons to their seats.

Theatrical Process and VocabularyAs magical as theatre seems, it takes hard work and long hours by many creative people to bring it to life.How does the play get from the page to the stage?

*The Scientific and Cultural Facilities District(SCFD) resulted from the 1988 initiative in whichDenver voters awarded a one-tenth of one percent sales tax for the direct funding ofnon-profit cultural organizations within the sixmetro counties. Over the last 20 years, hundreds of non-profit arts and science organiza-tions have received funding from SCFD,

supporting thousands of programs and events that have been enjoyed by millionsof people. Quality programming like the production you are attending is made possible through the continued support of you, the taxpayers.

For more information, please visit the SCFD website at www.scfd.org.

It should be noted that as a Tier II organization of SCFD, the Mizel Arts and CultureCenter (of which the Denver Children’s Theatre is a division) is able to participate inseveral education programs that allow underprivileged students increased oppor-tunities to experience cultural activities.

The Denver Children’s Theatre participates in several of these programs. Under theScientific and Cultural Collaborative, the SCFD provides assistance to schools intransportation and reduced priced tickets.

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Denver Children’s Theatre Educational Resource Packet...the jungle, the tiger begins to turn the Wolf Pack against the Man Cub. In desperation Baloo and Bagheera send Mowgli to the