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Table of ContentsWelcome from Dallas Summer Musicals . . . . . . . . . . . . . . . . . .3

Using the Field Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

A Brief History of the Broadway Musical . . . . . . . . . . . . . . . . . .5

The Lion King: The Talent Behind the Show . . . . . . . . . . . . . . . .8

The Lion King: Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

The Lion King: Background Information | African Dance . . . .10

The Lion King: Lesson Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

The Broadway Guide to Theatergoing Etiquette . . . . . . . . . . . .14

The Dallas Summer Musicals School of Musical Theatre and Kids Club . . . . . . . . . . . . .16

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Welcome fromDallas Summer Musicals

Summer 2007Welcome to Dallas Summer Musicals!

We’re so glad you could join us! Musical theater is aunique American creation. It’s also a joyful mixture ofsong and story, and, since 1945, Dallas Summer Musicalshas brought the finest musicals to Dallas.

Want to know what goes into making a musical? Just twosimple ingredients: singing and acting (song and story).There’s just something about a song that makes a storymean more than just regular speech. It touches us in adifferent way.

Whether a show uses classical music or rock, a musical uses music to tell its story, to suggest feel-ings, emotions, and attitudes. As long as it mixes song and story, musical theater can be about lit-erally anything, and this season’s shows are great examples of the wide range of subjects. From theblockbuster musical Wicked to the sweeping epic of Camelot, each production reveals a differentaspect of what makes musical theater so special.

The story of Dallas Summer Musicals is a long and honored one, and by learning about andattending one of our shows, you are now part of that story too!

Sincerely,

Michael A. JenkinsPresident and Managing Director

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UsingThe Field Guide

Camp Broadway® is pleased to bring you the Dallas Summer Musicals edi-tion of StageNOTES®, the 22nd in our series. We are proud to be affiliated with this presenter andoffer a comprehensive guide that incorporates their entire season of musical theater. This guide has

been developed as a teaching tool to assist educators in the classroomwho are introducing their students to the stories in conjunction with themusical theater productions.

The Camp Broadway creative team, consisting of theater educators,scholars, researchers, and theater professionals, has developed a series oflesson plans that, although inspired by and themed around the musicals,can also accompany class study of the periods and other related literaryworks. To assist you in preparing your presentation of each lesson, wehave included: an objective and teaching tips along with each lesson unit.There are four types of lesson ideas including a written exercise; a discussionactivity; an experiential exercise; and an "after hours activity" that encouragesstudents to interact with family, friends, or the community at large.

The curriculum categories in this guide have been developed in accor-dance with Texas Essential Knowledge and Skills (TEKS). The divisionprovides information to school administrators, counselors, parents, andstudents on course offerings and meeting the learning needs of studentsthrough 19 TAC Chapter 74. In cooperation with the divisions ofInstructional Materials and Educational Technology and StudentAssessment, the goal of the Division of Curriculum provides informa-tion and resources to ensure academic success of all students in Texaspublic schools.

The Dallas Summer Musicals study guide is for you, the educator, in response to your need for stan-dards-compliant curriculum. We hope this study guide will help you incorporate musical theater intoyour classroom activities.

Philip KatzProducing DirectorCamp Broadway

A Brief History of

The Broadway musical is one of the few genuinely American artforms; like America itself, the musical was formed from a collisionof immigrant traditions. British operetta, African-American songand dance styles, the melodies and humor of Eastern EuropeanJews: All contributed to the development of the Broadway musi-cal.

Just as America is described as a “melting pot,” the firstAmerican musical was a hasty melding of other works. In1866, producers Henry C. Jarrett and Harry Palmer hadbrought over a French ballet troupe to perform in New York;however, the theater they had obtained for the performanceswas destroyed by fire. Trying to find a way to salvage theirinvestment, they came to William Wheatley, the manager ofNiblo’s Garden, a popular theater at Broadway and PrinceStreets. He was about to open a production of a piece byCharles M. Barras, a version of von Weber’s Romanticopera, Der Freischutz. The two productions were com-bined, and audiences were treated to a five and one-halfhour spectacle in which the French ballerinas performedamidst the slim plot of an evil alchemist who pursuestwo young lovers through a succession of elaboratelydesigned scenes. The Black Crook was a success: Thedancers in their pink tights entranced the audience, as

did the intricately painted scenery. The plot wasflexible enough to allow for changes and insertions of new material asthe run continued; producers periodically advertised these “reconstruc-tions” as a lure to bring audiences back for repeat viewings. The BlackCrook ran for 475 performances, closing in 1868.

Crowds enjoyed not only romantic spectacles like those that followedin The Black Crook’s footsteps, but also knockabout-comedy showsthat traded in ethnic humor like Harrigan and Hart’s The MulliganGuards Ball. The team of Harrigan and Hart found inspiration fortheir comedy in the chaotic streets of New York of their day: a sea

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The Broadway Musical

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A Brief History ofThe Broadway Musical

of immigrants all trying to get along and get ahead ina strange new country.

By the turn of the century, opulent revues featuringstatuesque chorus girls in breathtaking costumes werepopular; the Ziegfeld Follies were producer FlorenzZiegfeld’s showcase of elegant (but slightly naughty)entertainment. The first smash hit of the Twentieswas Shuffle Along, with Eubie Blake’s “I’m Just Wild

About Harry” as the standout song;the show was the first to have an allAfrican-American writing team andcast. The pulse of the Jazz Age con-tinued to beat in the fast-pacedcomedy of shows like Lady, BeGood!, the first of 14 musicals writ-ten by brothers George and IraGershwin; the plots of Twentiesmusicals were often loosely strung

together vaudeville routines inter-mixed with snappy, danceable tunes.

The musical reached a turning point whenZiegfeld took a risk andproduced somethingdifferent – a musicaladaptation of EdnaFerber’s novel aboutgenerations of a theatri-cal family on theMississippi, Show Boat.Ziegfeld hired OscarHammerstein to handlethe task of reducing thenovel’s sprawling plotlines

to a manageable few; composing the memorablemusic was Jerome Kern. In contrast to the bubble-headed plots of the musicals of the time, Show Boatdealt with serious themes such as racism, alcoholism,and racial intermarriage. It was an immediate popu-lar and critical success, making it possible for musi-cals to take on subject matter of all kinds.

The Thirties were a time when a Depression-wearypublic went to the theater for frothy escapism, suchas the elegant wackiness of Cole Porter’s AnythingGoes, featuring Ethel Merman singing “You’re theTop” and “I Get a Kick Out of You.”

The patriotism of the World War II years made audi-ences respond emotionally to the heartfelt nostalgiaof Oklahoma! Oscar Hammerstein and composerRichard Rodgers took the musical another step for-ward by creating a “musical play” in which dialogue,dance, and music were thoroughly integrated.

Because of this integration of all elements, director-choreographers such as Jerome Robbins soon cameto prominence in musical theater. After honing hiscraft on a number of shows like Peter Pan, Robbins

Florenz Ziegfeld

Richard Rodgers and Oscar Hammerstein

pushed the boundaries ofmusical theater yet againwhen he reinterpreted balletsteps to create a new dancevocabulary in West Side Story.In this modern retelling ofRomeo and Juliet, dance wasmade even more central to themusical’s structure.

Other director-choreographers like BobFosse and Michael Bennett began to

move away from plot-driven shows, ulti-mately creating “con-cept musicals” likeChicago and A ChorusLine, where dance wasthe dominant drivingforce. Deconstructingthe standard “bookmusical” in another

way was composer/lyricist StephenSondheim, who brought layers of dra-matic irony and musical dissonance tothe scores of his collaborations with

direc-torHalPrince,suchas

Company, Follies, and A Little NightMusic.

The opulent Eighties heralded the“British Invasion”: lavish pop-operaspectacles like Cats, Les Miserables, andPhantom of the Opera. The big-hair-and-shoulder-pads excesses of thedecade were reflected in the lush musicand over-the-top scenic effects of theselong-running hit shows.

The slacker Nineties brought Rent, a

gritty rock reimagining of Puccini’s LaBoheme. The decade also saw the emer-gence of Disney as a theatrical forcewith films reimagined for the stage likeBeauty and the Beast and The Lion King.

At the turn of the Twenty-first century,it seems that Broadway has a little bit ofeverything. Classic vaudevillian humorlives on in The Producers while downthe street you can find sing-your-guts-out pop opera like Wicked, dance-drivenshows like Movin’ Out, and optimisticmusical comedy like Hairspray. Each ofthe golden eras of Broadway’s past arereinvented for the audiences of today todiscover and delight in.

Broadway Timeline

1866 The Black Crook1879 The Mulligan Guards Ball1907 First edition of the Ziegfeld Follies1924 Lady, Be Good!1927 Show Boat1934 Anything Goes1943 Oklahoma!1954 Peter Pan1957 West Side Story1970 Company1971 Follies1973 A Little Night Music1975 Chicago, A Chorus Line1982 Cats1987 Les Miserables1988 Phantom of the Opera1994 Beauty and the Beast1996 Rent1998 The Lion King2001 The Producers2002 Thoroughly Modern Millie2003 Hairspray2004 Avenue Q2005 Monty Python's Spamalot2006 Jersey Boys

A scene from the original Broadway production of Hairspray

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The Lion King

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The Talent BehindELTON JOHNThe monumental career of international singer/song-writer and performer Elton John has spanned more

than three decades. He is one of thetop-selling solo artists of all timewith 35 gold and 25 platinumalbums and over 200 million recordssold worldwide. The NationalAcademy of Recording Arts andSciences has awarded Elton multipleGrammys, including the GrammyLegend Award and Music Cares

Person of the Year Award. In the early 1990s, Eltoncollaborated with lyricist Tim Rice on the soundtrackfor Walt Disney Pictures blockbuster The Lion King,winning him an Academy Award®. The album pro-duced two top-selling, award-winning singles forElton: "Can You Feel the Love Tonight" and "Circleof Life." Tony Award® winning Broadway produc-tions of The Lion King and Aida both awarded Eltonwith GRAMMYS for Best Musical Show Album.

TIM RICETim Rice was born in 1944. From 1956-1965 hewanted to be Elvis. Then he met Andrew LloydWebber, whose musical ambitions were in theatre

rather than rock. They joined forcesas one could knock out a decenttune, the other had a way withwords. They wrote four showstogether. The first, The Likes of Us(1965-66), was never performed,but Joseph and the AmazingTechnicolor Dreamcoat (1968), JesusChrist Superstar (1969-71) and

Evita (1976-78) became, and indeed remain, hugelysuccessful all around the world, on both stage andscreen. In the '90s Rice worked primarily with theDisney empire, contributing lyrics to the moviesAladdin (music Alan Menken) and The Lion King(music Elton John and Hans Zimmer) and to the stageshows Beauty and the Beast (Alan Menken), The LionKing and Aida (both Sir Elton).

GARTH FAGANGarth Fagan is the recipient of the 1998 Tony Award®

as well as the Drama Desk Award, the Astaire Award,the Outer Critics Circle Award and the 2000Laurence Olivier Award (London, UK) for his workwith The Lion King. Mr. Faganwas born in Kingston, Jamaica,and for more than 35 years hastoured the world with GarthFagan Dance. On television thecompany has appeared on "GreatPerformances," "The TonightShow" and the Academy Awards.Mr. Fagan forged his own dance language and tech-nique, drawing from modern dance, Afro-Caribbeanand ballet. He has choreographed for Alvin AileyAmerican Dance Theater, New York City Ballet,Dance Theatre of Harlem, the Jose Limon Companyand others. He directed and choreographed DukeEllington's Queenie Pie at the Kennedy Center. A dis-tinguished professor emeritus at SUNY Brockport, hehas received honors including the 2001 Samuel H.Scripps American Dance Festival Award, a BessieAward, a George Eastman Medal and a Fulbright50th Anniversary Distinguished Fellow.

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The show opens up, atsunrise, on the Savanna inAfrica. Gathering at Pride Rock allthe animals descend into the the-atre to witness the presentation ofSimba, the newborn son of Mufasaand Sarabi, The Lion King andQueen. The only animal not toattend the ceremony is Mufasa’swicked brother Scar. Scar resentsof the birth of Simba, who willnow be the next in line to be thenew king.

As time passes, we see thatSimba has grown into a foolishand rambunctious young cub.Father and Son head to the top ofPride Rock to look out over thePridelands as Mufasa explains thedelicate balance of the circle oflife. Mufasa warns Simba aboutthe danger beyond the boundariesof the Pridelands. As any curiousand defiant child, Simba disobeyshis Father’s instruction, takinglioness cub Nala on a dangerousadventure. Here, the two cubs,encounter a trio of hungary hyenaswho want to eat them for dinner.Mufasa rescues Simba and Nalaand expresses great disappointmentin their judgement. Very worriedwith Simba’s inability to followorders, Mufasa takes Simba on a

walk to discuss the responsibilitiesof a king; a position he must takeover one day.

Scar, a social misfit, has nowbefriended the hyenas. At thispoint he begins to plot the deathsof Mufasa and Simba in anattempt to take over as king. Scarorchestrates a stampede which kills

his brother but not Simba.Upon telling Simba he isdirectly responsible for thedeath of his father, Scar instructshim to run away from Pride Rockand never return. Scar demandsthat the hyenas go after Simba andkill him. Scar takes the throne andinforms the rest of the Savannathat he was killed in the stampedewith Mufasa. What Scar does notknow is that the hyenas let Simba

go, believing he would neverreturn to the Pridelands.

Convinced he is responsible forhis father's death, Simba hides inthe jungle where he meets thehilarious outcasts,Timon andPumba, a meerkat and warthog.Timon and Pumba realize that ifthey have a lion cub on their side

that no harm can come to them.Once Timon and Pumba teachSimba, the art of having no wor-ries, the three become fast friends.

Back at Pride Rock, underScar’s careless rule, the delicate bal-ance of the circle of life has beenthrown off. The hyenas have takenover and there is no food or waterleft for anyone. Lionesses areforced to do all of the hunting, and

Synopsis

continued on page 15

The Lion King

African DanceBackground Information

Dance in the Community

Dance is an ancient, universal form of expression, celebra-

tion and communication. Sub-Saharan and West Africa in

particular have a rich history of traditional dances. Regional

dances are tied to indigenous instruments, and in these

parts of Africa the drum is the most important component

in creating the dances’ rhythm and feel.

Drumbeats can express a variety of moods and

feelings. Its rhythm is often a representation

of the human heartbeat: faster when we are

happy or excited, slower when we are sad.

In many African communities,

drumming is used at public

events to create a feeling of

community and solidarity.

Everyone in the community

is joined by the collective

rhythm. Just as a drumbeat pro-

vides the rhythm that holds dancers

together, so can it can unite the mem-

bers of a community.

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The Lion King

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The Body in African Dance

In African dance the body is used, not as a single unit,

but through several, segmented centers of movement.

Each segment can be moved to different rhythmical

components of the music or even add rhythmical

components of their own. As such, complex move-

ments are visible in a single body, as opposed in that

body’s movement through space. Many of these theo-

ries of movement are have now been incorporated into

contemporary American dance and choreographies.

Occasions for Dance

African dance is to externalize the feelings synony-

mous with special occasions. The Dances of Love, for

example, are performed at special occasions such as

weddings and anniversaries. In contrast, Warrior

Dances may include mimicked battlefield tactics and

combat-like movements. There are also dances for

Rites of Passage and Coming of Age which celebrate

young men and women’s passage into adulthood.

These dances are meant to foster courage and pride, as

well as to build a stronger sense of community

L E S S O N I D E A SThe Lion KingW R I T I N G D I S C U S S I O N

Objective:Students will gain universal knowledge of cultur-al storytelling through dance and music.

Exercise:Collectively explore the various ways in whichour culture preserves and recounts our histories.Compare these to the storytelling methods usedby African tribes.

Teaching Tips:• Our art comes out of our popular culture. Artis entirely a reflection of the times in which itwas created. The comparisons of hip hopmusic’s reflection of the black community to tra-ditional Ghana storytelling are clear. Peoplewishing to express frustration or hardship or his-tory have had outlets in various forms through-out history and across cultures. The desire toexpress oneself is indeed universal.

Objective:Students will gain deeper self reflection through therecounting of their own histories.

Exercise:Using the ideas from the discussion, students will cre-ate and write a short account of an important eventin their life.

Teaching Tips:• The more specific the students can be in their wordchoices, the better. Encourage use of interestingvocabulary and action.

Texas Essential Knowledge and Skills (TEKS) guidelinesaddressed:Social Studies Standard 113.22:

Social Studies (22) Social studies skills. The student communicates inwritten, oral, and visual forms. The student is expected to (B) incorpo-rate main and supporting ideas in verbal and written communication(C) express ideas orally based on research and experiences and (D)create written and visual material such as journal entries, reports,graphic organizers, outlines, and bibliographies.

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E X P E R I E N T I A L A F T E R H O U R S

Objective:Students will work cooperatively and creatively, using var-ious storytelling techniques to dramatize their own writ-ten material.

Excercise:Students will dramatize their own story, using whatevermeans they wish, creating their own oral histories basedon our present popular culture.

Teaching Tips:• Encourage your students to pull from their own collec-tion of music, using the popular music they love to helptell their own life stories. The incorporation of dance canbe as simple or as elaborate as the students choose, butmandate that there be at least one dance element in thepresentation of their written account. If there are othercharacters in their story, have the students cast their class-mates as the various characters. This enables collabora-tion. Allow for presentation time for each person, as it isimportant for the students to feel validated in theirefforts, as this will be a little daunting for some.

Texas Essential Knowledge and Skills(TEKS) guidelines addressed:

Standard 113.24 for Social Studies (27)Culture. The student understands the rela-tionship between the arts and the times dur-ing which they were created. The student isexpected (C) identify examples of Americanart, music, and literature that transcendAmerican culture and convey universalthemes. Art Standard 117.32 (2)Creative expression/performance. The stu-dent expresses ideas through original art-works, using a variety of media withappropriate skill. The student is expect-ed to (A) express a variety of ideasbased on personal experience anddirect observations.

Objective:Student gain further cultural awareness and relevance.

Exercise:Have the students watch videos on MTV or VH1.Ask them to bring in three examples of visual andmusical storytelling, detailing the reasons for theirchoices.

Teaching Tips:• The validation of the students’ listening tastes is notoften found in the classroom, or understood by theadults in their lives. By encouraging the students toexpress WHY they like what they like, and to givethem the idea that their music is directly related towhat they are learning in school, not only makes themusic sound better to teachers, but makes the in-classlearning more relevant.

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L E S S O N I D E A SThe Lion King

The Broadway Guide toTheatergoing Etiquette

In the early part of the nineteenth century, theatricalperformances usually began at six o’clock. Anevening would last four or five hours, beginningwith a short “curtain raiser,” followed by a five-actplay, with other short pieces presented during theintermissions. It might be compared roughly totoday’s prime-time television, a series of showsdesigned to pass the time. With no television orradio, the theater was a place to find companion-ship, light, and warmth on a cold winter’s evening.

As the century progressed, the theater audiencereflected the changing social climate. More well-to-do patrons still arrived at six o’clock for the full pro-gram of the evening, while half-price admission wasoffered at eight or eight-thirty to the working class.This allowed for their longer workday and tighterbudgets. Still, the theaters were always full, allowingpeople to escape the drudgery of their daily lives andenjoy themselves.

Because of this popularity, theaters began to be builtlarger and larger. New progress in constructionallowed balconies to be built overhanging the seatsbelow — in contrast to the earlier style of recedingtiers. This meant that the audience on the mainfloor (the section called “the orchestra”) were out ofthe line of sight of the spectators in the galleries. Asa result, the crowds became less busy people-watch-ing and gossiping among themselves, and moreinterested in watching the performance. The theatermanagers began the practice of dimming the lights

in the seating area (called the “house lights”), focus-ing the attention of the audience on the stage. Theadvent of gas lighting and the “limelight” (the earli-est spotlights) made the elaborate settings even moreattractive to the eye, gaining the audience’s raptattention.

By the 1850s, the wealthier audiences were nolonger looking for a full evening’s entertainment.Curtain time was pushed back to eight o’clock (forthe convenience of patrons arriving from dinner);only one play would be presented, instead of four orfive, freeing the audience for other social activitiesafterward. Matinee (afternoon) performances werenot given regularly until the 1870s, allowing societyladies, who would not have ventured out late atnight, the opportunity to attend the theater.

Now in a new millennium, many of these traditionsare still with us. The theater is still a place to “seeand be seen”; eight o’clock is still the standard cur-tain time; and the excited chatter of the audiencefalls to a hush when the house lights dim and thestage lights go up, and another night on Broadwaybegins.

You can make sure everyone you know has the verybest experience at the theater by sharing this TheaterEtiquette with them. And now, enjoy the show!

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Being a Good AudienceRemember, going to the theater isn’t like going to amovie. There are some different rules to keep in mindwhen you’re at a live performance.

Believe it or not, the actors can actually hear you. Thesame acoustics that make it possible for you to hearthe actors means that they can hear all the noises anaudience makes: talking, unwrapping candy, cellphones ringing. That’s why, when you’re at a show,there is no food or drink at your seats (eat your treats atintermission; save the popcorn-munching for the mul-tiplex)

No talking (even if you’re just explaining the plot to theperson next to you)

Always keep cell phones and beepers turned off (This evenmeans no texting your friends during the show to tellthem how great it is...)

Of course, what the actors like to hear is how muchyou’re enjoying the performance. So go ahead andlaugh at the funny parts, clap for the songs, and saveyour biggest cheers and applause for your favoriteactors at the curtain call. That’s their proof of a jobwell done.

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with there nothing left to hunt, Nala is forced tohunt outside the boundaries of the savanna.

When Pumba finds himself the target of ahungry lioness, Simba steps in to save his friend.At this moment, Simba and Nala, recognize eachother. Nala, who has believed all this time thather old friend was dead, demands that Simbareturn home and claim his rightful place as King.Timon and Pumba, who are in utter shock at thisrevalation, recognize that there is a deep connec-tion between the two lions and their feelings forone another.

Simba returns to Pride Rock, with hisfriends,to challenge Scar. Scar panics upon thesight of Simba and manipulatively gets him toadmit he was responsible for the death of hisFather. Scar and Simba engage in a heavy fight,and in the midst, Scar reveals he was the cause ofMufasa’s death. This information revives thestrength in Simba, who was losing the battle.Simba manages to knock Scar to the bottom ofPride Rock, where Scar is left with the hungryhyena’s who have now turned against him.

With the encouragement of his friends andMother, Simba climbs to the top of Pride Rock,to claim his place as king. Simba lets out an enor-mous roar which calls to the animals to rejoice intheir victory. Nala steps up as Simbas queen. Thefinal scene is the presentation of the newborn cubof Nala and Simba. As Rafiki holds up their new-born cub the animals dance and rejoice as the cir-cle of life continues.

continued from page 9

SynopsisThe Lion King

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School of Musical TheatreThe Dallas Summer Musicals School of Musical Theatre (http://www.dsmschool.org) providesfun, disciplined, and professional training for students 7 to 17 years of age, as well as continuingeducation for adults in the musical theater arts.

The School’s goal is to help students integrate the disciplines of singing, dancing, and acting into theunique genre of musical theater. The result is a well-rounded performer—a "triple threat"—com-fortable and confident as a singer, dancer, and actor. Students are grouped according to a combina-tion of experience and training, providing a challenging, but comfortable environment to investigateand practice their craft.

Besides teaching the essential skills for becoming a well-rounded performer, our unique curriculumexposes students to material from the season’s performances of the Dallas Summer Musicals, as wellas other popular and age-appropriate musicals and plays. Preparation for the audition process is alsoan important part of our program.

The DSM School of Musical Theatre offers its students exciting special events, gifted and talentedguest speakers, and professional staff members.

For more information, please call 214/969-7469

The Dallas Summer Musicals Kids ClubThe DSM Kids Club is a free program for our youngest patrons through High School introducingthem to musical theatre. Upon registration, Kids Club members receive a passport to keep track ofthe shows they attend, and to earn special prizes. We also plan special events for the Kids Club mem-bers with opportunities to meet cast members, take backstage tours, and a variety of other eventsthroughout the season.

For more information on the Dallas Summer Musicals Kids Club, please call Judi Wheeler at 214-421-5678, extension 159, or email her at kidsclub@dallassummermusicals.org.

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Production of StageNOTES®

has been generously underwritten by

Idearc Inc.Annual support for the Seats for Kids program

has been provided in part by

Brinker International, Inc.

The Snyder FoundationWachovia

Mike & Sandy AlbrightMr. & Mrs. Edward Burks

Teresa DisiereRussell & Lana Holley

Frank & Merrie Ann KingThe Margot W. and Ben H. Mitchell Fund of Communities Foundation of Texas

Mr. & Mrs. Peter O'Donnell, Jr.Mr. & Mrs. Gene E. PhillipsMr. & Mrs. Ron Rittenmeyer

Bart & Martye SimmonsMr. & Mrs. Aubrey T. Temple, Jr.

Charles J. Wyly, Jr. Fund of Communities Foundation of Texas