2016/17 RESOURCE GUIDE Erth's DINOSAUR ZOO LIVE

ONSTAGE

JERRY SH

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ABOUT OVERTURE CENTER

FOR THE ARTS

Overture Center for the Arts fills a city block in downtown Madison with world-class venues for the performing and visual arts. Made possible by an extraordinary gift from Madison businessman W. Jerome Frautschi, the center presents the highest-quality arts and entertainment programming in a wide variety of disciplines for diverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers; touring Broadway musicals; quality children’s entertainment; and world-class ballet, modern and jazz dance. Overture Center’s extensive outreach and educational programs serve thousands of Madison-area residents annually, including youth, older adults, people with limited financial resources and people with disabilities. The center is also home to ten independent resident organizations.

RESIDENT ORGANIZATIONS

Bach Dancing and Dynamite Society Children's Theater of Madison

Forward Theater Company Kanopy Dance Company

Li Chiao-Ping Dance Company Madison Ballet

Madison Opera Madison Symphony Orchestra

Wisconsin Academy’s James Watrous Gallery Wisconsin Chamber Orchestra

Internationally renowned architect Cesar Pelli designed the center to provide the best possible environment for artists and audiences, as well as to complement Madison’s urban environment. Performance spaces range from the spectacular 2,250-seat Overture Hall to the casual and intimate Rotunda Stage. The renovated Capitol Theater seats approximately 1,110, and The Playhouse seats 350. In addition, three multi-purpose spaces provide flexible performance, meeting and rehearsal facilities. Overture Center also features several art exhibit spaces. Overture Galleries I, II and III display works by Dane County artists. The Playhouse Gallery features regional artists with an emphasis on collaborations with local organizations. The Wisconsin Academy of Sciences, Arts and Letters’ Watrous Gallery displays works by Wisconsin artists, and the Madison Museum of Contemporary Art offers works by national and international artists.

RESOURCE GUIDE CREDITS

Executive Editor Writer/Designer

Alanna Medearis Jim Burling

Erth’s Dinosaur Zoo Overture Center – OnStage 1 

Dear Teachers,

In this resource guide you will find valuable information that will help you apply your academic goals to your students’ performance experience. We have included suggestions for activities which can help you prepare students to see this performance, ideas for follow-up activities, and additional resources you can access on the web. Along with these activities and resources, we’ve also included the applicable Wisconsin Academic Standards in order to help you align the experience with your curriculum requirements.

This Educator’s Resource Guide for this OnStage presentation of Erth’s Dinosaur Zoo is designed to:

• Extend the scholastic impact of the performance by providingdiscussion ideas, activities and further reading which promotelearning across the curriculum;

• Promote arts literacy by expanding students’ knowledge of music,science, storytelling and theatre;

• Illustrate that the arts are a legacy reflecting the values, custom,beliefs, expressions and reflections of a culture;

• Use the arts to teach about the cultures of other people and tocelebrate students’ own heritage through self-reflection;

• Maximize students’ enjoyment and appreciation of theperformance.

We hope this performance and the suggestions in this resource guide will provide you and your students opportunities to apply art learning in your curricula, expanding it in new and enriching ways.

Enjoy the Show!

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Arts

Table of Contents

About Erth's DINOSAUR ZOO LIVE........ 2

Discussion: Puppetry and Theater Conventions. .......................................... 3

Puppetry: a Worldwide Art Form ...............4

Focus On: Arts Integration .......................5

Pre-Show Activity: Objects, Emotions, Ourselves ...............................................6

Books to Read ........................................9

Academic Standards .............................. 10

About Live Performance .........................11

Social Emotional Social Studies

Language Arts

Education Categories

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Erth’s DINOSAUR ZOO LIVE guides your family on a breathtaking tour through pre-historic Australia. Observe, meet and interact with an eye-popping collection of amazingly life-like dinosaurs and other creatures presented in a theatrical performance that will thrill and entertain kids while stimulating their imaginations in ways that will forever connect them to their world. Brought to life by a team of skilled performers and puppeteers, and designed with the help of professional paleontologists, Erth’s DINOSAUR ZOO LIVE’s puppets are extraordinarily realistic.

Since its beginnings in 1990, Erth has sought to provide audiences with eye popping visual experiences; giant puppetry, stilt-walkers, inflatable environments, aerial

and flying creatures. In demand for events and festivals, the Company inspires audiences with their unique and dynamic vision. Erth have built an Australia wide, and increasingly international reputation based on exceptional work and a distinctive visual aesthetic. Erth’s signature production, Erth’s DINOSAUR ZOO is consistently touring through North America, UK and Australia with multiple teams touring simultaneously. Erth’s productions have been presented all around Australia, in venues large and small, from community halls in the remote outback to the Sydney Opera House. Erth is renowned for construction of stunning puppets of all scales, and frequently undertakes bespoke commissions for museums, zoos, theatre producers and festivals around Australia.

About Erth’s DINOSAUR ZOO

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When we watch a play, we willingly let ourselves pretend that the characters are real people and not actors, and that the events we see are actually happening. To help establish the relationship between the actors and the audience, playwrights and directors often make use of certain techniques. The following are common techniques that help to tell the story and engage the audience.

Sets and Scene Changes

A stage set is made up of rooms, painted backgrounds and/or furniture on stage. It shows us where the story is taking place. Often, the characters change locations during a play.

Pre-Performance Activity: Take a walk as a class before coming to the show. Observe different natural scenery. How might these elements be made into moving scenery for a show? How might some elements of scenery “come to life” more than others? Think about how trees move in the wind or how water travels down a stream.

Post-Performance Questions: How many different settings or locations did we see in this show? How did we know the difference between the different locations?

Puppetry

Puppets are inanimate objects, which mean they can’t move on their own. They are controlled by people called puppeteers who move them with wires, their hands or even their whole bodies. In this show, the puppeteers, who dress in black clothing, are hard to see. The puppets represent people, and animals, and also make non-living objects react to the environment around them!

Pre-Performance Questions: Why might puppets be a good way to tell stories about nature? What do you think the puppets will look like?

Post-Performance Questions: How do you think the puppets were made? How many people do you think it took to move the puppets?

Music

Some plays use music to help tell their story. For example, very soft music might be played when someone is

sleeping. Loud, noisy music might be played when there is a storm in a story.

Pre-Performance Questions: What kind of music do you think will be used in the show to tell different parts of different stories? Think about how different kinds of music might be used to represent different parts of nature. How might a storm sound? What about a sunny day? How might a river sound different from a snow fall?

Post-Performance Questions: What music did you like during the play? Why? How did different music make you feel? What sounds in the music made you feel that way?

Discussion: Puppetry and Theater ConventionsA Few Types of Puppets

Rod Puppet: Supported from below with the help of a central rod attached to the head, it is equipped with additional rods for manipulating the limbs. Its ancestor, the “marotte”, only has a central rod and can be compared to a jester’s stick.

Flat Puppet: The flat puppet is inspired by shadow puppets with its two-dimensional form. It consists of a colored silhouette, cut out of cardboard, plastic or a thin piece of wood that is manipulated in front of the audience, without requiring a screen or a light.

Shadow Puppet: A silhouette cut out of cardboard or plastic. Traditionally, it was made of animal hide or parchment. Each character is manipulated from behind a screen and is lit by a light that is positioned above the manipulator and pointed toward the screen.

Puppet Theatre: The delimited space in which the puppets are manipulated and which traditionally hides the puppeteers. Originally, it designated the area where hand puppets were manipulated. Today, it denotes the general performance area for the puppets and does not necessarily conceal the puppeteers.

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A puppet is a figure whose movements are controlled by someone through, strings, rods, or hand movements. To better understand puppets and their existence in today’s world, it is important to look at the history that brought about this form of entertainment.

Some of the earliest kinds of puppets were tribal ritual masks with hinged jaws or jointed skulls used in religious ceremonies. Puppets seemed to have evolved from these masks to doll like figures with moving limbs. Native Americans used puppets in their corn festivals and ceremonial dances. Egyptians made jointed puppets from terracotta. Puppet theater in Greece is mentioned in both Aristotle and Plato’s writings.

The Chinese made shadow puppets: translucent figures colored in with paints. These puppets are placed in front of a screen with light passing through it. The shadow of the figures appear clearly to the audience on the other side. They usually have three rods or strings attached to them. The puppeteer uses one hand to control the rod attached to the neck and the other hand to control the rods attached to its wrists. Turkish puppeteers added waist movement to their shadow puppets and began controlling arm movements from the side, rather than the bottom, as the Chinese had done. Three dimensional rod puppets also evolved from shadow puppet, and continued the technique of using rods for controlling particular parts of the puppet’s body.

In Europe during the medieval era, the Christian church used puppets to spread church doctrine. Monks and priests were the puppeteers. Generally, marionettes, small jointed figures operated with strings, were used to enact the story. Italian marionettes and the English Punch and Judy were popular in the Renaissance.

The Bunraku Puppet Theater of Japan has been in existence continuously since the 17th century. In the early days of Bunraku, the greatest playwrights often preferred writing for puppets rather than for live actors, as their movements could be precisely controlled and planned.

Masks and puppets live in a world of heightened reality. Used with art and skill, they can expand boundaries, free the imagination, inspire dreams, transform possibilities, and teach us about ourselves.

Puppetry: a Worldwide Art Form

Punch and Judy, Andrew Howe, Flickr

Kyōto - Gion: Gion Corner - Bunraku, Wally Gobetz, Flickr

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Focus On: Arts IntegrationAs you know, the experience of attending an arts performance can have a lasting impact on your students. This guide is designed to help you extend the scholastic aspect of the performance before and after in your classroom. Additionally, live performances like the one your students will be attending provide great opportunities for deep, interdisciplinary lessons using an arts integration approach.

About Arts Integration

Across the nation there has been a growing interest in arts integration as an approach to teaching in which the arts leverage learning in other subject areas such as science, language arts, mathematics, and social studies.

At Overture Center, we are excited by the possibilities arts integration can bring to a school to:

• Motivate students to engage more fully with therelated subject area, encouraging joyful, activelearning.

• Extend how learners process and retain information bycombining several learning modalities (visual, aural, and kinesthetic) and thus, reaching a wider range of students.

• Make content more accessible and allow for personal connections to content.

• Help students understand and express abstract concepts.

Through this model, the arts become the approach to teaching and the vehicle for learning. Students meet dual learning objectives when they engage in the creative process to explore connections between an art form and another subject area to gain greater understanding in both. For example, in a social studies classroom, students can meet objectives in both theater and social studies by dramatizing a historical event. By mutually reinforcing objectives in both theater and social studies, students gain a deeper understanding of the content and are able to demonstrate their learning in an authentic context.

Arts Integration Resources and Activities:

Overture Center offers a variety of Professional Development Workshops for Teachers in Arts Integration each year. To find out about our next workshops and other resources for your teaching, visit overture.org/residencies. For more information on Arts Integration, please visit ArtsEdge, The Kennedy Center’s online resources (https://artsedge.kennedy-center.org/educators/how-to/series/arts-integration/arts-integration).

The following sample activity was developed to give you a taste of an arts integration lesson and to encourage arts integration in your classroom.

The Kennedy Center’s Definition for Arts Integration

Arts Integration is an APPROACH to TEACHING

in which studentsconstruct and demonstrate

UNDERSTANDINGthrough an ART FORM.

Students engage in aCREATIVE PROCESS

which CONNECTSan art form and another subject area

and meets EVOLVING OBJECTIVES

in both.

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Pre-Show Activity: Objects, Emotions, OurselvesAges 8-16

Purpose: To practice devising an improvisational performance using common objects, and to learn how to observe and critique such performances.

Objectives:

Theatre: Students will invent and improvise as common objects, learning how to accentuate a performance by focusing on individual elements of motion and emotion.

Music: Students will work as a group to produce a unified reading of a work of prose or poetry, using rhtym and vocal intonation to create a pattern.

Social/Emotional: Students will observe others using imagination to identify and explore emotional responses, and interrogate their own impulses and reactions through their performance.

Materials:

• 3 paper plates, 1 marker and 3 pieces of tape for the teacher and each student.

Procedure:

Explain to your students that to prepare to see this performance, they will practice making their own performance, learning how to use improvisation, puppetry, and collaborative reading to create a performance.

Part 1: Whole Group Movement

1. To prepare the exercise, draw a circle on three paper plates with a marker and fold each in half.

2. Choose a large object in the classroom that you can reach, like the whiteboard or table or desk.

3. Tell students that together you are going to bring the object to life and learn more about it. Ask students toobserve it silently for a minute and then describe the object. Prompt for color, size, texture, material and detail intheir descriptions.

4. Ask students to suggest where the object’s left eye could be. Tape a folded paper plate in place as an eye. Askstudents where the right eye could be and tape it there. Ask students what the object can see from the vantagepoint of where the eyes are.

5. Ask students to suggest another place the eyes could be. Move the eyes to a new location, preferably significantlydifferent than the first location. Ask students if what the object can see from the new vantage point is differentfrom the first location.

6. Ask students to suggest where the mouth could go and tape it there. Ask for another location for the mouth andmove it there. Discuss the differences. How does it change the shape of the face? Does the personality of theobject seem different?

7. Brainstorm three questions students wonder about the object and would like to ask it. Suggestions could include“What makes you happy?” and “What makes you sad?” Write the questions on the board.

8. Brainstorm possible ways the object might answer these questions and write them on the board.

Arts Integration Activity

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9. Have a volunteer ask a question of the object. Ask three student volunteers to have the object give an answer thatcame out of the brainstorm by manipulating its mouth and eyes.

10. Prompt the students performing the eyes to look at the student asking the question. Prompt the studentperforming the mouth to try to match the motion of the mouth to the words the words he or she is saying. Promptthe student asking the question to consider who might be asking this question. (For example, are they a local newsreporter?) How can they phrase the question to show who they are? Prompt the audience to listen and observecarefully.

11. Ask new volunteers to ask and answer remaining questions on the board. Encourage students to build on whatthey saw in the first dialogue and experiment with how to show expression using the mouth and the eyes.Examples: blinking or crossing the eyes; opening the eyes or mouth wide.

Modification: With more time, this could also be done in small groups of four. One person for the mouth, two for the eyes and one to ask the questions. Each group could create a question or two with answers and present the short dialogue for the class.

Part 2: Partner Exercises

1. Have each student draw a circle on three paper plates with a marker and fold each in half.

2. In pairs, have students work with one desk and one chair. One student will be the desk and one student will be thechair.

3. Tell students that as a team they are going to bring the desk and chair to life and learn more about them. Ask thestudents to observe the desk and chair silently for a minute and then describe the objects to their partner. Promptstudents to include color, size, texture, material and detail in their description.

4. Give students tape. Ask them to discover where the eyes are on their desk or chair and tape two paper plates tothat area. Ask students to find another place the eyes could be on their object and move them there. Have themdecide where the eyes will be.

5. Ask students to find where the mouth could be on the object and tape it there. Then have them find anotherlocation for the mouth. They should take into consideration that the mouth needs to be in a place they can easilymanipulate it for the dialogue.

6. Ask students to brainstorm a dialogue together that would include a description of the object and questions theywould like to ask. A general structure would be for the desk to describe the chair and ask the chair questions. Thenthey would reverse roles and the chair would ask the desk questions. Encourage students to show the object’smovement even when it is listening and not talking.

7. Here is a sample dialogue:

Desk: Opens mouth to say “I see a chair! It is brown and silver. It is not very big.”Chair: Opens eyes and looks at the desk in surprise.Desk: “I wonder about this chair. What makes it happy? What makes it sad?”Chair: Opens mouth to say “Are you talking to me?!”Desk: “Why yes I am! I was wondering what makes you happy.”Chair: It makes me happy when everyone is here in the room. When the children are sing in their seats,and I hear interesting stories they tell.Desk: I like that too! I wonder what makes you sad.Chair: It makes me sad when they leave for recess or for lunch.

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Desk: That is very interesting to know.Chair: I would like to ask you a couple questions, if you don’t mind.Desk: Please go right ahead!Chair: I notice that you are big and strong and hold many things. I wonder…

—Dialogue continues with Chair asking questions and Desk answering them—

8. This can be done as an improvisational exercise or students can write down and script their dialogue.

9. Have pairs join with another pair and perform their duet dialogues for each other.

10. If there is time, have a few pairs share their dialogues with the whole class.

Part 3 Choral Readings: Choose a single poem or part of some prose for the whole group. Try different ways of reading the poem as a group, and ask your students to compare how this affects the way the poem sounds, and how they interpret it.

1. Unison: The whole group reads together. Although the simpliest in one sense, this is the most difficult, since usingall voices limits variation. Some poems, particularlly short ones, are most effective when read or spoken by theentire class.

2. Antiphonal: This is a divison into two groups with each taking certain parts. Many poems are more effective whenread in this way. The poem will dictate the way it should be read.

3. Cumulative: When this technique is used, it is for the purpose of building towards a climax or certain high points inthe poem. As the term suggest, it involves accumulation of voices, either individually or by groups.

4. Solo: Often lines or stanzas call for individual reading. This can be an effective technique, as well as a way ofgiving an opportunity for individual participation.

5. Line-around: In order, each line is read by a different speaker. Children often enjoy this and it encouraged them tobe alert to the lines they have been assigned.

6. Ad lib: This is where the group members use their own words but all have the same emotion as the text. Great forinterpretation.

You can conclude the activity by combining any or all of the previous three parts together: a choral reading, with some dialogues interspersed. Alternatively, you can have students do silent performances alongside a reading, and let them choose a poem or some prose to read. Explain how meaning comes through similiarity, and through juxtaposition: the fact of two things being seen or placed close together with contrasting effect

Reflection

As a class, reflect on the experience. What did they like about the exercise? Why? What was challenging about the exercise? How did they overcome any challenges? What did they observe about the dialogue they witnessed? What did the experience make them wonder? What does it say about us when we add character to inanimate objects? About creating dialogue?

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Books to ReadBryan, Ashley. Ashley Bryan’s Puppets: Making Something from Everything. Simon & Schuster, 2014. Age 7 and up

Ashley Bryan describes puppets constructed from found objects. The puppets have unique personalities. Bryan uses The Book of African Names as inspiration. Readers are also invited to write poems for three puppets pictured that are voiceless in this volume, and to find the three puppets that “snuck into the book” without being included in the photographs showing the puppets in groups. Via the UW Cooperative Children’s Book Center

Krull, Kathleen, Steve Johnson, and Lou Fancher. Jim Henson: The Guy Who Played with Puppets. New York: Random House, 2011. Ages 6-10

This book describes the work of Jim Henson, of Muppet Show and Sesame Street fame, emphasizing his experimental efforts and willingness to push the boundary of what could be achieved through puppetry.

Blumenthal, Eileen. Puppetry: A World History. New York: Harry N. Abrams, 2005. Ages 11 and up

A comprehensive overview of the history and techniques of puppetry, examining the unique nature and abilities of puppets and illustrating the countless roles they (and their creators) have played in societies across the globe for thousands of years. She draws on examples from an astonishing array of puppeteers, performances, and historical artifacts, providing readers with an in-depth view of this intricate world of constructed actors and the eclectic, and often eccentric, artists who create them.

Bryan, Ashley, Ken Hannon, and Rich Entel. Ashley Bryan’s Puppets: Making Something from Everything. New York: Atheneum for Young Readers, 2014. Print. Ages 7 and up

The boundless creativity of artist Ashley Bryan extends to puppets he constructs from found objects. The puppets have distinct personalities, with stories and voices articulated in poems that speak to their history and purpose and the things from which they are made. Bryan references The Book of African Names as a place to turn to give names to puppets readers might make themselves. Description via the Cooperative Children’s Book Center

Dircks, Phyllis T. American Puppetry: Collections, History and Performance. Jefferson, Car. Du N.: McFarland, 2004. Ages 12 and up

This book consists of essays by the curators of the most significant puppet collections in the United States and by leading scholars in the field. In addition to the descriptive and analytical essays on the collections, the book includes an overview of American puppetry today, a history of puppetry in the United States, and essays on the theater of Julie Taymor, the Jim Henson Company, Howdy Doody’s custody case, puppet conservation, and the development of virtual performance space.

McCaslin, Nellie. Creative Drama in the Classroom and beyond. Boston: Pearson Education, 2006. For teachers, activities for ages 7 and up.

An essential text that helps teachers integrate drama into school classrooms and introduces students to a variety of genres and strategies, including mime, play structure, improvisation, and using drama the special education curriculum. Unlike other texts, McCaslin focuses on drama as an art form as well as a teaching tool. The seventh edition features broader coverage of middle school, high school, and adult learners

Erth’s Dinosaur Zoo Overture Center – OnStage 10 

Theatre:

A.8.1 Attend a live theatrical performance and be able toanalyze, evaluate, and create personal meaning from theexperience through small group discussion

• say what they liked and didn’t like, and why

• explain what happened in the play and discuss why theythink the playwright made particular choices

• explain how the technical aspects of the play helped topresent the message of the play

• explain the message of the play

B.8.1 Create a character through physical movement,adapting movement and making physical choices to fitthe requirements of the scene

B.8.4 Create a character that is appropriate to the contextof the scene, using facial expressions

B.8.7 Create a character (physically, verbally, and facially)from an original idea

C.8.6 Continue to select stories or topics and plan playswith beginnings, middles, and ends

C.8.7 Continue to find information to help developcharacters and the appropriate backgrounds forpresentations

D.8.1 Accept and use criticism constructively to reviseand refine their own work

D.8.2 Share their comments constructively andsupportively within the group

D.8.3 Continue to identify strengths (what worked) andweaknesses (what didn’t work) in character work andscenes presented in class

D.8.4 Identify what they need to do to maketheir character or scene more believable and/orunderstandable

E.8.1 Improvise a scene or play with a problem or conflict

English Language Arts

A.8.7 Describe the movement of people, ideas, diseases,and products throughout the world

A.12.13 Give examples and analyze conflict and cooperation in the establishment of cultural regions and political boundaries

C.4.6 Locate, organize, and use relevant information to understand an issue in the classroom or school, while taking into account the viewpoints and interests of different groups and individuals

C.8.9 Describe the role of international organizationssuch as military alliances and trade associations

Music:

C.4.5 Echo simple rhythmic and melodic patterns

F.4.2 Identify simple music forms upon listening to a given example

F.8.1 Describe specific musical events upon listening to agiven example, using appropriate terminology

F.12.4 Analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive

F.12.15 Compare how musical materials are used in a given example relative to how they are used in other works of the same genre or style

Social Studies

A.8.7 Describe the movement of people, ideas, diseases,and products throughout the world

C.4.6 Locate, organize, and use relevant information to understand an issue in the classroom or school, while taking into account the viewpoints and interests of different groups and individuals

Visual Art

K.4.3 Use what they are learning about life, nature, the physical world and people to create art

Academic Standards

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About Live PerformanceTheater, unlike movies or television, is a LIVE performance. This means that the action unfolds right in front of an audience, and the performance is constantly evolving. The artists respond to the audience’s laughter, clapping, gasps and general reactions. Therefore, the audience is a critical part of the theater experience. In fact, without you in the audience, the artists would still be in rehearsal!

Remember, you are sharing this performance space with the artists and other audience members. Your considerate behavior allows everyone to enjoy a positive theater experience.

Prepare: Be sure to use the restroom before the show begins!

Find Your Seat: When the performance is about to begin, the lights will dim. This is a signal for the artists and the audience to put aside conversations. Settle into your seat and get ready to enjoy the show!

Look and Listen: There is so much to hear (dialogue, music, sound effects) and so much to see (costumes, props, set design, lighting) in this performance. Pay close attention to the artists onstage. Unlike videos, you cannot rewind if you miss something.

Energy and Focus: Artists use concentration to focus their energy during a performance. The audience gives energy to the artist, who uses that energy to give life to the performance. Help the artists focus that energy. They can feel that you are with them!

Talking to neighbors (even whispering) can easily distract the artists onstage. They approach their audiences with respect, and expect the same from you in return. Help the artists concentrate with your attention.

Laugh Out Loud: If something is funny, it’s good to laugh. If you like something a lot, applaud. Artists are thrilled when the audience is engaged and responsive. They want you to laugh, cheer, clap and really enjoy your time at the theater.

Discover New Worlds: Attending a live performance is a time to sit back and look inward, and question what is being presented to you. Be curious about new worlds, experience new ideas, and discover people and lives previously unknown to you. Your open mind, curiosity, and respect will allow a whole other world to unfold right before your eyes!

Please, don’t feed the audience: Food is not allowed in the theater. Soda and snacks are noisy and distracting to both the artists and audience.

Unplug: Please turn off all cell phones and other electronics before the performance. Photographs and recording devices are prohibited.

Help make arts experiences real for hundreds of thousands of people at overturecenter .org/ sup port

SPONSORS

Sponsored by American Girl's Fund for Children. Additional funding provided by the DeAtley FamilyFoundation, Kuehn Family Foundation, A. Paul Jones Charitable Trust, Promega Corporation, WisconsinArts Board with funds from the State of Wisconsin and the National Endowment for the Arts, Green BayPackaging/George F. Kress Foundation, Nancy E. Barklage & Teresa J. Welch, and by contributions toOverture Center for the Arts.

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