Strega Nona, The Musical - Tilles Center for the Performing Arts

Maximum Entertainment
In Association with
Active Arts Theatre for Young Audiences
presents Tomie dePaola’s
Strega Nona, The Musical
Based on the beloved children's books by Tomie dePaola, Strega Nona, The Musical is
the tale of a friendly, magical witch who strives to cure the everyday ills of the tiny
Italian town of Calabria. When a fool tampers with the magic pot, pasta threatens to
engulf the whole town -- unless Strega Nona can save the day! Featuring an energetic
score by composer Aron Accurso, the use of traditional Commedia dell’arte and a set
design inspired by the Strega Nona pop-up book; this enchanting production illustrates
the importance of the adage “be careful what you wish for, lest it come true” and that
you can’t judge a pot by its pasta!
Dear Teacher,
Welcome to another exciting season of performances for young audiences at Tilles Center
for the Performing Arts.
This season marks the 23rd year of bringing enriching, professional performances to the students of Nassau and Suffolk counties and the New York City boroughs. Thank you for joining
us as our programs continue to grow!
The Arts Education program at Tilles Center, Long Island’s premier performing arts presenter, now welcomes over 13,000 students annually to experience the joys of live music,
dance, and theater. Our mission is to nurture an interest in the arts by providing enriching
performances for young audiences. We offer programs which encourage self expression in
the belief that the arts provide insight into the nature of human experience and are essential to every learner.
Professional performances, by world-class artists, are enhanced by in-school artist workshops and residencies, professional development workshops for educators, and intensive
school partnerships. All of our programs share a common goal: to allow participants to experience the performing arts firsthand, and to develop greater awareness of how the arts
relate to our lives and to our world.
All of our programs are chosen to be both educational and entertaining. In order to give
your students the richest experience possible, please read this guide and share the information and activities with your students.
If you have any questions, would like information about pre-performance workshops or
need additional study materials to prepare your students, please don’t hesitate to contact
Stephanie Turner, Director of Arts Education at (516) 299-2388, stephanie.turner@liu.edu.
Thank you for your support of
education and the arts.
We look forward to seeing you in the theater!
Tilles Center for the Performing Arts Department of Arts Education
TABLE OF CONTENTS
Objectives of the Performance ..................................................................... 4
Attending a Performance at Tilles Center..................................................... 5
Your Role As an Audience Member .............................................................. 7
About The Performance................................................................................ 9
About the Company ....................................................................................10
Cultural Context ..........................................................................................14
Activities Before The Performance ............................................................. 18
Activities After The Performance................................................................19
Elements of a Show.....................................................................................23
Places in the Theater...................................................................................25
Glossary of Terms........................................................................................26
Resources ....................................................................................................28
Emergency Cancellation..............................................................................29
OBJECTIVES OF THE PERFORMANCE
Standard 2: Knowing and Using Arts
Materials and Resources
Students will be knowledgeable about and
make use of the materials and resources
available for participation in the arts in various
roles.
Theatre: Students will know the basic tools,
media, and techniques involved in theatrical
production. Students will locate and use
school, community, and professional
resources for theatre experiences. Students
This teacher’s guide is designed to extend the will understand the job opportunities available
in all aspects of theatre.
impact of the performance by providing
discussion ideas, experiential activities, and
Standard 3: Responding to and Analyzing
further reading that can promote learning
Works of Art
across the curriculum. This program can be
Students will respond critically to a variety of
incorporated into study addressing the
Learning Standards for the Arts as stipulated works in the arts, connecting the individual
work to other works and to other aspects of
by the N.Y. State Education Department.
human endeavor and thought.
Detailed information is available at:
Theatre: Students will reflect on, interpret,
www.emsc.nysed.gov/ciai/arts/pub/
and evaluate plays and theatrical
artlearn.pdf .
performances, both live and recorded, using
the language of dramatic criticism. Students
Learning Standards for the Arts (Theatre):
will analyze the meaning and role of theatre in
society. Students will identify ways in which
Standard 1: Creating, Performing, and
drama/theatre connects to film and video,
Participating in the Arts
Students will actively engage in the processes other arts, and other disciplines.
that constitute creation and performance in
Standard 4: Understanding the Cultural
the arts (dance, music, theatre, and visual
Dimensions and Contributions of the Arts
arts) and participate in various roles in the
Students will develop an understanding of the
arts.
personal and cultural forces that shape artistic
Theatre: Students will create and perform
communication and how the arts in turn
theatre pieces as well as improvisational
drama. They will understand and use the basic shape the diverse cultures of past and present
elements of theatre in their characterizations, society.
improvisations, and play writing. Students will Theatre: Students will gain knowledge about
engage in individual and group theatrical and past and present cultures as expressed
through theatre. They will interpret how
theatre-related tasks, and they will describe
theatre reflects the beliefs, issues, and events
the various roles and means of creating,
of societies past and present.
performing, and producing theatre.
This performance serves to:
• Introduce students to the environment
of a professional performing arts center;
• Expose students to a live performance
with high caliber performers;
• Maximize students’ enjoyment and
appreciation of the performing arts;
• Help students develop an understanding
of the arts as a means of expression and
communication.
STREGA NONA, THE MUSICAL
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ATTENDING A PERFORMANCE AT TILLES CENTER
Main Stage at Tilles Center seats 2,200 people. Hillwood Recital Hall seats 500 people.
When you attend a performance at Tilles Center for the Performing Arts, there are a few
things you should remember.
ARRIVAL AND DEPARTURE
• Groups will be seated in the theater on a first-come, first-serve basis.
• Tilles Center cannot reserve seats for school performances.
• Plan to arrive approximately 30 minutes prior to the show.
• Performances cannot be held for late buses.
• C. W. Post Public Safety will direct buses to parking areas.
• Remain seated on the bus until instructed to unload.
• Shows generally last one hour.
ENTERING THE THEATER
• Please stagger chaperones throughout the group to help keep students in line and moving quickly to the seating area.
• Groups are directed into the theater in the order that they arrive.
GETTING SEATED
Upon entering the theater for seating, ushers will direct students and teachers row by
row. It’s possible that classes may be split up into two or more rows. With adequate
adult supervision, a group split into two or more rows should have enough chaperones
to ensure safety.
• Please allow ushers to seat your group in its entirety before making adjustments. This
allows us to continue seating groups that arrive after you. You are free to rearrange students to new seats and to go to restrooms once the group is seated.
•
ENJOY THE SHOW
So that everyone can enjoy the performance:
• There is no food or drink permitted in the theater or lobby areas.
• Photography and audio/video recording is not permitted during the performance.
• Please turn off (or leave behind) all ipods or MP3 players, pagers, cell phones. The devices
may interfere with the theater’s sound system and ringing, alerts, etc are extremely disruptive to both the audience and the performers.
• Please do not talk, whisper, shuffle or rattle papers or candy wrappers during the performance.
• Please do not leave and re-enter the theater during the performance. There is no intermission so make sure you visit the restroom prior to the start of the show.
STREGA NONA, THE MUSICAL
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DISMISSAL
• A Tilles Center representative will come onstage following the performance to provide directions for dismissal. Please remain seated until you have received these directions.
_____________________________________________
Please Note:
⇒
CHILDREN UNDER THE AGE OF 4 WILL NOT BE PERMITTED IN THE THEATER UNDER ANY
CIRCUMSTANCES – PLEASE MAKE CHAPERONES AWARE OF THIS POLICY.
⇒
TILLES CENTER RESERVES THE RIGHT TO REMOVE STUDENTS (UNDER SUPERVISION OF
THEIR TEACHER OR CHAPERONE) FROM THE VENUE SHOULD THEY BE OF INAPPROPRIATE AGE OR A DISRUPTION TO THE PERFORMANCE.
⇒
FOOD AND DRINK ARE NOT PERMITTED IN THE LOBBY AREAS OR THE THEATER. UNFORTUNATELY, WE CAN NOT PROVIDE SEATING IN THE BUILDING FOR STUDENTS TO EAT
BAGGED LUNCHES.
Thank you and enjoy the show!
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YOUR ROLE AS AN AUDIENCE MEMBER
TO THE TEACHER:
The audience is a very important part of the performance. Please talk to your students about
what it means to be an audience member and how a “live” performance is different from TV
and movies. Please share the following information with your students prior to your visit to
Tilles Center. Some performances may involve audience participation so students should be
prepared to behave appropriately, given the nature of the performance and the requests of
the artists on the stage.
BEING AN AUDIENCE MEMBER:
A theater is an energetically charged space. When the “house lights” (the lights that illuminate the audience seating) go down, everyone feels a thrill of anticipation. By discussing appropriate audience behavior as a class ahead of time, the students will be much better
equipped to handle their feelings and express their enthusiasm in acceptable ways during the
performance.
Audience members play an important role— until an audience shows up, the performers are
only rehearsing! When there is a “great house” (an outstanding audience) it makes the show
even better, because the artists feel a live connection with everyone who is watching them.
The most important quality of a good audience member is the ability to respond appropriately
to what’s happening on stage… sometimes it’s important to be quiet, but other times, it’s acceptable to laugh, clap, or make noise!
GOOD AUDIENCE MEMBERS KNOW THESE KEY WORDS:
Concentration: Performers use concentration to focus their energy on stage. If the audience
watches in a concentrated, quiet way, this supports the performers and they can do their best
work. They can feel that you are with them!
Quiet: The theater is a very “live” space. This means that sound carries very well, usually all
over the auditorium. Theaters are designed in this way so that the voices of singers and actors
can be heard. It also means that any sounds in the audience - whispering, rustling papers, or
speaking - can be heard by other audience members and by the performers. This can destroy
everyone’s concentration and spoil a performance. Do not make any unnecessary noise that
would distract the people sitting around you. Be respectful!
Keep in mind that sometimes the performers will request the audience to take part in the action by coming on stage, asking questions, or calling out answers. At these times, it is appropriate to respond in the manner in which you are directed. Above all, listen to the performer
(s) on stage and follow directions.
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Respect: The audience shows respect for the performers by being attentive. The performers
show respect for their art form and for the audience by doing their best possible work. Professional actors and musicians always show up for work ready to entertain you. As a good audience member, you have a responsibility to bring your best behavior to the theater as well.
Doing so shows respect for the actors—who have rehearsed long hours to prepare for this
day—and the audience around you.
Appreciation: Applause is the best way for an audience in a theater to share its enthusiasm
and to appreciate the performers. In a musical or opera, it is not usually acceptable to applaud in the middle of a song. However, it is appropriate to applaud after each song has finished.
If the program is of classical music, applaud at the conclusion of the entire piece, not between
movements.
At the end of the performance, it is customary to continue clapping until the curtain drops or
the lights on stage go dark. During the curtain call, the performers bow to show their appreciation to the audience. If you really enjoyed the performance, you might even thank the artists with a standing ovation!
Common Sense: The same rules of behavior that are appropriate in any formal public place
apply to the theater. If audience members conduct themselves in orderly, quiet ways, with
each person respecting the space of those around him or her, everyone will be able to fully
enjoy the performance experience.
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ABOUT THE PERFORMANCE
Thomas Olson and Roberta Carlson’s theatrical adaptation of Tomie
dePaola’s Strega Nona stories was originally developed as a touring
production for the renowned Children’s Theater Company in Minneapolis. This lively musical about a magical Italian grandmother and her
mischievous apprentice boasts a score by Aron Accurso, an awardwinning member of the famed BMI Lehman Engel Musical Theatre
Workshop in New York. Throughout the creation of the musical, as
well as its rehearsal process, Tomie dePaola was involved giving creative color and inspiration to the story’s evolvement.
Starring:
Gilberto Esqueda
Jeremy Kreamer
Kate McCormick
Jessica Payne
Kyle Payne
Laura Pyper
Kristin Schmitz
Director: Tracy Ward
Musical Supervision: Sean Fenton
Choreographed by: Nicole McGann
Scenic Design: Andrea Bechert
Costume Design: Ulises Alcala
Lighting Design: Brian Pergamit
Puppeteer: Doyle Ott
Educational materials provided, in part, by Maximum Entertainment Productions.
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ABOUT THE COMPANY
Maximum Entertainment Productions (Producer/General Manager): MEP is a producing, developing and management company in all aspects of the entertainment industry. It was
founded by Mary Beth Dale, Avram C. Freedberg and Eva Price.
Active Arts Theatre (Associate Producer): Active Arts Theatre for Young Audiences was
founded in 2004 to enchant Bay Area children with live performances. The founding company
members were all dedicated artists and educators who believe that live theatre inspires imagination and creativity in young people. Since its inception, Active Arts Theatre has produced
twelve productions; both touring and main stage, and reached over 14,000 audience members
with shows drawn from history and children’s literature. Successful partnerships have included the Bay Area Discovery Museum, the Oakland Zoo, and currently the Clown Conservatory of the San Francisco Circus Center. The main stage productions have been housed at the
Julia Morgan Center for the Arts and have included Junie B. Jones and a Little Monkey
Business, adapted from Barbara Park, Dragonwings by Laurence Yep and the California premiere of The Emperor’s New Clothes by Ahrens and Flaherty.
Educational materials provided, in part, by Maximum Entertainment Productions.
STREGA NONA, THE MUSICAL
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ABOUT THE BOOK
In Calabria, Italy, a long time ago, there lived an old lady everyone
called Strega Nona, which meant “Grandma Witch.” She had the magic
touch and everyone in the village went to see her for a cure if they had
troubles. But Strega Nona was getting old and she needed someone to
help her keep her little house and garden so she put up a sign in the
town square. Big Anthony, who didn’t pay attention, came to work for
her. Strega Nona gives him the list of chores he must do, and what he
will be given in exchange for his work. Strega Nona also tells him what
he must not do: He must never touch her magic pasta pot.
One day Big Anthony overhears Strega Nona singing her magic spell and to
his astonishment the pot is full of steaming pasta. He then hears the spell
to end the cooking, but, alas, for Big Anthony he does not see Strega Nona
blow three kisses to the pot.
Big Anthony tells the townspeople of the magic pasta pot that cooks by
itself. They laugh at him and tell him he has told a big lie, which makes Big
Anthony very angry. “I’ll show them!” he says to himself.
When Strega Nona leaves to visit her niece, Big Anthony sees his chance. He invites the entire
town to a feast. He says the magic spell and the pasta pot begins to cook. When everyone is
full, he says the magic spell to stop the pot, except he doesn’t know to blow three kisses. The
magic pasta pots cooks and cooks and cooks. Soon it is bubbling over and heading toward
town. Big Anthony is in big trouble. Will Strega Nona save the day?
Educational materials provided, in part, by Wild Swan Theater.
STREGA NONA, THE MUSICAL
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How Strega Nona began:
Like Strega Nona, many of dePaola's characters and stories have roots in his own childhood.
Born in Connecticut to an Italian father and Irish mother, he grew up with an older brother
and two younger sisters. As a four-year-old, he says, his "best friend" was his Irish greatgrandmother, who became the central figure in the book "Nana Upstairs & Nana Downstairs."
The character Strega Nona, with her big pasta pot, was partly inspired by dePaola's Italian
grandmother. "Her house was really strange," he says. "Cooking was a really huge part of her
life, and so she had a stove right by the table." Most of all, dePaola recalls the "endless" servings of spaghetti she would force him to eat.
Tomie talks about how Strega Nona came about:
(from www.Tomie.com)
Tomie dePaola: “In the early 1970s, I was teaching in the theater department at what is now
Colby-Sawyer College in New Hampshire (where I live). My books were beginning to get noticed, so my editor at Prentice-Hall (now Simon & Schuster), Ellen Roberts, suggested that I
look into re-telling a folk tale. Of course, I would also illustrate it.
Well, some months before at a required weekly college faculty meeting
(I always sat in the back row with a legal pad and doodled. The administration thought I was taking notes.), I was, as usual, doodling. I was
‘obsessed’ with the Italian commedia dell'arte character Punchinello.
So many of my doodles were of him - big nose, big chin.
On my pad, I drew the profile, but suddenly I found I had drawn a headscarf. I put in the eye and the smiling mouth and continued to draw a
little chubby body complete with long skirt and apron. And I scribbled
the words ‘Strega Nona’ next to the drawing.
I was tickled pink. She was so cute, so Italian, I thought I might be able to use her in a book
someday. I pinned the doodle up on my studio wall.
Back to Ellen Roberts and her suggestion that I re-tell a folk tale. ‘What was one of your favorite folk tales when you were a child?’ she asked. ‘The Porridge Pot story,’ I answered immediately. (The Porridge Pot story is a German folktale about a little girl who is given a magical pot
by a mysterious old woman. The magic pot cooks and cooks and cooks porridge until it is told
to stop.)
Educational materials provided, in part, by Wild Swan Theater and www.tomie.com.
STREGA NONA, THE MUSICAL
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So, I re-read the story. But, I didn't really like it. Suddenly, LIGHT BULB TIME! Maybe I could
change PORRIDGE to PASTA and I could use my little Strega Nona (who was already ‘telling’
me who she was).
The original manuscript written by hand on a yellow legal pad is at the Kerlan Children's Literature Research Collection at the University of Minnesota in Minneapolis. (Children's book writers and illustrators give their book manuscript materials and illustration materials to the Kerlan to safely preserve forever. Similar repositories are at the University of Connecticut and at
the University of Southern Mississippi.) If you ever get a chance to see the original manuscript,
you'll notice that Big Anthony was originally a GIRL named Concetta! But, I felt that the world
did not need one more not-too-bright servant girl in folklore, so I crossed out ‘Concetta’ and
wrote instead ‘Big Anthony, who did not pay attention.’”
Educational materials provided, in part, by Wild Swan Theater and www.tomie.com.
STREGA NONA, THE MUSICAL
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ABOUT THE AUTHOR
Tomie dePaola is an author that has been published for 40 years and has written and/or illustrated over 200 books. Best known for his books for children, his work has been recognized
with the Caldecott Honor Award, the Newbery Honor Award and the New Hampshire Governor’s Arts Award of Living Treasure. As one of four children, dePaola was born and raised in
Meriden, Connecticut into an Irish/Italian family. From an early age, dePaola was renowned
for his love of the arts, whether it was drawing, writing, singing, or dancing. His strong family
ties and encouragement from both his mother and brother are said to be the big influence in
dePaola’s development of his talent as an artist. With his mother reading to him daily, he developed a gift for creating his own books for his younger siblings. As he grew, he maintained
his love of the arts through art classes and creating for exhibitions, theatre productions, and
other unique projects. Following high school, dePaola attended art school at the Pratt Institute in Brooklyn, New York. After graduating in 1956, dePaola worked as an art professor at
Newton College of the Sacred Heart for four years. Then, he moved to California where he
taught at San Francisco College for Women. He received a Master of Fine Arts degree from
California College of Arts and Crafts in Oakland, as well as a doctoral equivalency from Lone
Mountain College in San Francisco. From 1972 until 1979, dePaola taught at numerous colleges in Massachusetts and New Hampshire. Twelve years after dePaola graduated, he was
contracted as an illustrator for a science book called Sound. Shortly after this, he wrote and
illustrated his first book, The Wonderful Dragon of Timlin. His career flourished and he combined his professional career as a teacher in New England with his success as an author/
illustrator, where he sometimes produced up to four books per year. His work is seen in many
settings, from church walls to greeting cards. His most recent book release is Jamie O’Rourke
and the Pooka. DePaola currently resides in New London, New Hampshire. He works as an
actor and has made multiple appearances in children’s programming such as Barney & Friends.
Tomie dePaola
Educational materials provided, in part, by tomie.com.
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CULTURAL CONTEXT
ITALY
Location: Italy is a country in southern Europe. It is a bootshaped peninsula that extends into the Mediterranean
Sea. Italy is bordered by Monaco, France, Switzerland, Austria, and Slovenia.
Capital: Rome is the capital of Italy.
Size: Italy covers 116,306 square miles (301,230 sq km),
including the islands of Sicily and Sardinia.
Population: The population of Italy is 59,832,179.
History: Founded, according to legend, by Romulus and
Remus in 753 BC, Rome was first the center of the Roman
Republic, then of the Roman Empire, and it became the capital of the Christian world in the
4th century.
Flag: Italy's flag is made of three equal-sized rectangles of red, white and green. The green is
always closest to the flagpole.
Climate: Italy mostly has a mild, Mediterranean climate. The far north
is cold and mountainous; the south is rugged, hot and dry.
The Italian flag
Major Rivers: The major rivers in Italy are: the Po River (which flows
from the Alps near the French border, through Turin, and eastward into
the Adriatic Sea), the Arno River (which flows from the north-central
Apennines, through Florence, and into the Tyrrhenian Sea), and the
Tiber River (which flows from the north-central Apennines, south
through Rome, and into the Tyrrhenian Sea).
Mountain Ranges: The Alps are a mountain range located along the north of Italy. The Apennines are another mountain range that runs through the center of Italy.
Highest Point: The highest point in Italy is Mont Blanc, in the Alps on the border of Italy and
France. Mont Blanc (Monte Bianco) is 15,770 feet (4,807 m) tall.
Lowest Point: The lowest points in Italy are at sea level (the level of the Mediterranean Sea).
Educational materials provided, in part, by www.state.gov.
STREGA NONA, THE MUSICAL
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Calabria is located in southern Italy. It forms the tip of
the Italian Peninsula and is sometimes referred to as
the “toe of the Italian boot” because of it’s location.
Calabria consists of rugged mountains, wheat fields,
and clear seas. It also separates the Tyrrhenian and
Ionian Seas.
There are five provinces that make up Calabria. They
are: the province of Catanzaro, Cosenza, Crotone, Reggio Calabria, and Vibo Valentia.
Economy:
Most of the population is situated along the coast and
in the plains. The economy primarily depends on tourism because agriculture and industry development is
not very successful.
History:
The Greeks colonized Calabria between 8 and 3 B.C. They are said to have come from the Island of Eubeo, located in the Ionian Sea. They named this land “Magna Graecia” (Great
Greece). Then, the Romans transformed “Magna Graecia” into Bruttium. There were many
name changes that took place hereafter. However, the region is now known as Calabria.
Geography:
Calabria is mountainous and hilly. There are two furrows that divide Calabria into green
woods, pastures and spring waters. There are also isolated urban areas were most of the
population lives.
Calabria is full of rugged territory, which kept Calabria isolated from the rest of Italy. In fact,
upon the unification of Italy, there was only one road throughout the entire region.
Calabria Today:
Today, Calabria is full of abandoned rail road tracks and roadside
fountains which disperse natural mineral water. Women balance
terra cotta jars full of water on their head while men play cards in
main squares. Many foods such as fish, vegetables, cheese, sausage,
salami and wild mushrooms are commonly grown and eaten in
Calabria.
Calabria, Italy
Educational materials provided, in part, by Italyheaven.co.uk.
STREGA NONA, THE MUSICAL
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The impulse of collecting folk tales by the Brothers Grimm was not confined to Germany in the
1800’s. In fact, the earliest literary collection of stories with a popular origin was created in
the 1500s by an Italian, Giovanni Francesco Straparola. He came from Caravaggio, a town halfway between Milan and Cremona. Some believe Straparola to be the first to introduce the
fairy tale into modern European literature.
Italo Calvino (1923-85) was a much-read Italian journalist and writer of short stories and novels. In 1956, he published 200 Italian folktales entitled Fiabe Italiane (Italian Folktales). Calvino
aimed at producing a popular collection of Italian fairy tales for the general reader and emulating the Grimm Brothers.
The witch is a popular figure in many fairy/folk tales. The character represents a range of
things, from evil to wisdom. When children read or hear fairy tales, many believe that lessons
are learned about “good” behavior, especially when a witch appears and there are consequences; much like what happens to Big Anthony when he doesn’t listen.
“Stregoneria” or “Strega” is the modern word in Italian that is commonly translated into English as the word witch. Clearly, in Tomie dePaola’s tales, Strega Nona is a wise, kind witch who
serves and helps the people in her village.
Educational materials provided, in part, by oaks.nvg.org.
STREGA NONA, THE MUSICAL
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ACTIVITIES
BEFORE THE PERFORMANCE
1. Read Strega Nona by Tomie dePaola.
2. If you could be any character in Strega Nona, which character would you be? Why?
3. If you could ask Strega Nona a question, what would you ask her? Why?
4. Why do you think Big Anthony didn’t listen to Strega Nona?
5. Did you ever not follow directions? When? What happened? What did you learn from that
experience?
6. Ask students to locate Italy on a map. On which continent is Italy located? Help students
find Italy on a map and on a globe. Locate Calabria in the southern part of Italy. Compare
the size of Italy to the state in which the students live.
7. Make a list of words that come to mind when students think of Italy. After making the list,
draw pictures in response to the words. Save the list, pictures, and notes you may have
taken during the discussion.
8. Study the author. Learn about Tomie dePaola through his books. Many of his stories are
autobiographical. Have your students create a pictorial timeline of events in Tomie de
Paola’s life based on his stories.
9. Act out different parts of the story. Have students take roles of characters in the book.
10. Explain that the production of Strega Nona that the students will see is a musical (defined
as a form of theater combining music, songs, spoken dialogue and dance.) Ask students if
they have ever seen a musical before. Have students explore singing to each other instead
of talking. Use a familiar tune (such as “Twinkle Twinkle Little Star” or “Mary Had a Little
Lamb”) and have students describe their day or an event while singing.
Educational materials provided, in part, by www.dedicatedteacher.com.
STREGA NONA, THE MUSICAL
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ACTIVITIES
AFTER THE PERFORMANCE
1. Reflection: In discussing a theater performance, it is often more productive to ask the
question “What did you see in the production?” or “What do you remember most strongly
about the play?” rather than “Did you like the play?” The first two questions lead to observation or analysis of the performance, encouraging recall of details, while the third question encourages more judgmental responses. Although audience members respond positively and/or negatively to a work of art, critique should come in later in the discussion
process. Discussion of which aspects of a play remain in one’s memory often reveals the
artistic choices at the heart of a work. Have students describe a memorable moment from
the play in various ways —verbally, in writing, by drawing, or through movement.
2. Was anything different in the performance that you did not read about in the book? What
was different?
3. Who is Strega Nona? Why does everyone want to see her?
4. Why does Strega Nona need someone to help her around her house? How does it feel to
need help? How do you feel when someone helps you? How do you feel when you help
someone?
5. Name some of the jobs Big Anthony has to do. Do you have jobs to do at your house or at
school. What are some of those jobs?
3. If you were Strega Nona, would you have punished Big Anthony the same way? What
would you have done?
4. Did you ever tell anyone not to do something and they did it anyway? Explain.
5. Do you think Big Anthony was wrong to disobey Strega Nona? Why or why not?
6. Explore the feelings of different characters during different times in the book. Make a paper plate pie chart that matches the feelings of the characters with situations in the book.
7. Make a pasta picture frame! Step 1: Have students decorate the mat with assorted shapes
of pasta. Glue these onto the mat frame, and let dry. Place art inside mat. Optional: Add
colored glitter, beads, buttons and/or sequins. Step 2: Cut 4 pieces of magnetic strips and
glue them to the back of the mat. Use this decorated mat to display student’s drawings on
their home refrigerator. You can alternate the art inside the mat, and use the frame for
other occasions, such as mother’s or father’s day gifts, etc.
Educational materials provided, in part, by Wild Swan Theater.
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Words and Meanings
Directions: Reading all the words and all the meanings. Place the
number of the word next to the meaning that best fits the word.
WORDS
MEANINGS
Core Words
1. Witch
_________ Noodles
2. House
_________ Funny
3. Pasta
_________ Shelter
4. Silly
`
_________ Magic maker
Bonus Words
1. Crime
_________ Hard times
2. Troubles
_________ Amazing stuff
3. Magic
_________ Bad deed
4. Bowls
`
_________ Holds pasta
Educational materials provided, in part, by www.litart.com.
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What Do You Remember?
Directions: Circle the best answer to each question.
1. Why does Strega Nona put a sign in the town square?
A. Because she works for a sign shop.
B. Because she lost her cat.
C. Because she needed help with her house and garden.
2. What does Strega Nona tell Big Anthony to do?
A. Never touch the pasta pot.
B. Always touch the pasta pot.
C. Mow the lawn.
3. What does Big Anthony see Strega Nona do?
A. Knit.
B. Herd sheep.
C. Do magic over the pasta pot.
4. What part of the magic does Big Anthony miss?
A. The magic wand part.
B. The blowing three kisses part.
C. The abracadabra part.
5. Why doesn’t Big Anthony follow Strega Nona’s rules?
A. Because he was really hungry.
B. Because he wanted to prove the townspeople wrong.
C. Because he didn’t hear the rule.
Educational materials provided, in part, by www.litart.com.
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Educational materials provided, in part, by www.tomie.com.
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ELEMENTS OF A SHOW
choreography—patterns of movement and stillness
classic—having lasting significance or worth; enduring
climax—the crucial moment, turning point, or dramatic high point in the action of a play,
book, story, or film that can bring the previous events together, usually at the end
costumes—what the performer wears to help enhance qualities of the character that they are
portraying
curtain call—the appearance of performers or a performer at the end of the show to receive
applause from the audience. They enter in order of importance, with the stars coming last and
usually taking more than one bow
dialogue—conversation in a play, usually between two or more characters
director—a person who creates an overall concept for a production, supervises all elements of
the production and guides the performers in the show
dramatization—a work adapted from another medium, such as a novel, for dramatic presentation
interpretation—the expression through performance of a particular concept of a role, scene,
play, or musical composition
lighting effects—the atmosphere, moods, and time of day created by the use of light
monologue—a form of dramatic entertainment or comedic solo by a single speaker
music—patterned sound changes in pitch, rhythm, loudness, melody and other qualities, capable of setting mood, time, or atmosphere
narrator—a person who reads or speaks lines that advance a story, apart from the characters’
lines
props—a property which a performer handles on stage, ex: a wallet, an umbrella, or a letter
producer—a person responsible for mounting and financing a production, selecting the material, choosing the creative artists, staff, and administration, arranging the publicity
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scene—unit within a play
scenery—onstage decoration to help show the place and period of the show
script—the written text of a play. It includes what is said and what is to happen
sketch—a hasty or un-detailed drawing or painting often made as a preliminary study
sound effects—sounds characteristic of humans, animals, objects, and forces of nature (e.g.
wind, rain) that can be performed live or pre-recorded
storyteller—one who relates stories or anecdotes
translation—changing the text from one language to another by selecting words that have the
same meaning and retains the spirit and tone of the text
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PLACES IN THE THEATER
balconies—upper levels of seating
box office—this is where audience members can buy tickets to shows
dressing room—place where performers put on makeup, change clothes, and store their costumes for a show
house—the auditorium or area where the audience sits
lobby—this is the first place you walk into, where the audience waits before the show
light booth and sound booth—located at the top of the balcony or toward the back of the
house, the lights and sound for the production are controlled from these booths
orchestra seats—seats nearest the stage
stage—area where the performance takes place, often raised
wings—area to the right and left of the stage that the audience can’t see, sometimes scenery
is stored here, and performers come on and off stage from here
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GLOSSARY OF TERMS
barricade—a barrier that protects defenders or blocks a route
bubbling—a gurgling sound made by a boiling or effervescent liquid
Calabria—a region in southern Italy that forms the “toe” of the Italian peninsula
confess—admit having done something wrong
convent—a community of women who live a life devoted largely to religious worship
fetch—to go after and bring back somebody or something
grandma witch—an old woman who knows magic
grazie—means “thank you” in Italian
halt—an end or temporary stop
Italy—a country in southern Europe whose mainland area projects as a peninsula into the
Mediterranean Sea
magic—conjuring tricks and illusions that make apparently impossible things seem to happen,
usually performed as entertainment
magic pot—a cooking pot that has magic powers
overflow—flow or pour over
pasta—a fresh or dried food of Italian origin made from a dough, usually of flour, eggs, and
water; it is produced in a variety of shapes and forms such as strings, ribbons, or sheets as spaghetti, macaroni, or lasagne
punishment—a penalty that is imposed on somebody for wrongdoing
simmer—cook just below boil
sputter—to make a popping, spitting sound
sup—to eat your evening meal
supper—evening meal
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RESOURCES
STUDENT RESOURCES
dePaola, Tomie. Big Anthony and the Magic Ring. Sandpiper, 1979.
dePaola, Tomie. Big Anthony: His Story. Putnam Juvenile, 2001.
dePaola, Tomie. Tomie dePaola’s Big Book of Favorite Legends. Putnam Juvenile, 2007.
dePaola, Tomie. Strega Nona. Aladdin, 1979.
dePaola, Tomie. Strega Nona: Her Story. Putnam Juvenile, 2000.
dePaola, Tomie. Strega Nona’s Magic Lessons. Sandpiper, 1984.
dePaola, Tomie. Strega Nona Meets Her Match. Putnam Juvenile, 1996.
dePaola, Tomie. Strega Nona Takes a Vacation. Puffin, 2003.
TEACHER RESOURCES
Basile, Giambattista. Stories From the Pentamarone. BiblioBazzar, LLC.
Carey, Patsy & Kilpatrick, Susan. A Guide for Using Strega Nona in the Classroom. Teacher Created Resources, 2004.
Calvino, Italo. Italian Folktales. Harcourt, Inc., 1980.
Constantino, Mario & Gambella, Lawrence. The Italian Way. McGraw Hill, 1996.
Guicciardini, Francesco. The History of Italy. Princeton University Press, 1984.
Duggan, Christopher. A Concise History of Italy. Cambridge University Press, 1994.
Marrapodi, Michele. Italian Culture in the Drama of Shakespeare & his Contemporaries. Ashgate Pub Co, 2007.
Straparola, Giovanni Francesco. The Facetious Nights of Straparola. Dodo Press, 2010.
VHS/DVDs
Strega Nona...and More Stories About Magic, New Video Group (2009), DVD
Strega Nona...and More Caldecott Award-Winning Folk Tales, New Video Group (2004), DVD
WEBSITES
http://www.ez-tracks.com/Folk-SubCat-Italian%20Folk.html
Download Italian folk music for free
www.tomie.com
Tomie dePaola’s website
http://www.tomie.com/resources/coloring.html
Tomie dePaola’s coloring pages
http://www.youtube.com/watch?v=aGfK26oDhY4
Interview with Tomie dePaola Part I
http://www.youtube.com/watch?v=ofkVKGHoZ
Interview with Tomie dePaola Part II
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Emergency Cancellations
Tilles Center Performance Cancellation Due to Inclement Weather
If schools throughout the area are closed due to inclement weather, Tilles Center performances will be cancelled. If, on the day prior to a performance, it appears that inclement
weather may cause a performance to be cancelled, all schools will be called by our staff to
alert them to this possibility. Schools should be advised to call 516-299-3379 the morning of
the performance to determine if a performance has been cancelled. A message will be posted
on this number by 6:30 AM indicating if the performance has been cancelled.
If a performance is cancelled, Tilles Center will attempt to reschedule performances on a date
convenient to the majority of schools booked for the performance.
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School Partnership Program
Tilles Center for the Performing Arts,
on the C.W. Post campus of Long Island University in Brookville, New York, is Long Island’s premier concert hall. Under the leadership of Executive Director Elliott Sroka,
Tilles Center presents over seventy events
each season in music, dance and theater,
featuring world renowned artists. The Center is also the theatrical home for many of
Long Island’s leading arts organizations,
including the Long Island Philharmonic.
Among the artists and organizations that
have been presented by Tilles Center are
the New York Philharmonic conducted by
Kurt Masur, violinist Itzhak Perlman, Alvin
Ailey American Dance Theater, New York
City Opera National Company, Andrea
Marcovicci, the Paper Bag Players, Wynton
Marsalis, the MET Orchestra with James
Levine and Patti LuPone.
Tilles Center has a 2,242 seat main hall and
a 490 seat, more intimate Hillwood Recital
Hall. The smaller theater features chamber
music, cabaret, solos recitals, and theater
productions for children and adults.
An intensive part of Tilles Center’s Arts Education program is the School Partnership Program, modeled on the highly acclaimed aesthetic education program that has evolved
over a 30 year period at Lincoln Center. The
Partnership is a comprehensive approach to
teaching and learning about the arts, applicable to all grade levels and academic disciplines. The Partnership inspires students and
teachers to approach the arts with an open
mind and to gain insights into the creative
process. Attendance at professional
performances at Tilles Center and viewing art
works at museums is combined with experiential in-school workshops. Led by teaching artists and teachers, students explore their own
artistic capabilities while strengthening essential skills – abstract thinking, teamwork, critical judgment, problem solving. Guided to a
deeper level of understanding, students learn
what to look for, and listen to, in a performance or work of art.
All teachers who participate in the School
Partnership Program attend an introductory
course in Aesthetic Education, presented at
Tilles Center for one week in the summer.
In 2008-2009 the program partnered with seventeen schools in Nassau and Suffolk counties
on Long Island.
For information about the School Partnership
Program and other performances visit our
website: www.tillescenter.org or call (516)
299-2388
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2010-11 Partner Schools:
Archer Street School, Freeport
Atkinson School, Freeport
Bayview Avenue School, Freeport
Columbus Avenue School, Freeport
Freeport High School, Freeport
Leo S. Giblyn, Freeport
New Visions, Freeport
Deasy Elementary School, Glen Cove
Gribbin School, Glen Cove
Landing School, Glen Cove
Portledge School, Locust Valley
Tilles Center’s Arts Education Advisory Panel was created in 2007 and is comprised of a diverse group of educators who have shown exceptional interest and commitment to Tilles Center’s School Partnership Program. Each member serves a two-year appointment on the panel
and advises the Arts Education Department on the content of the program, study guides and
resource materials, performance programming and curricular connections.
2007-2009 Advisory Panel
Patricia J. Belfi, Atkinson School, Freeport
Florence Bell, Freeport High School, Freeport
Doris J. Benter, Portledge School, Locust Valley
Joanne Criblez, Gribbin Elementary School, Glen Cove
Lucille Curley, Leo S. Giblyn School, Freeport
Mary Jane Gould, Leo S. Giblyn School, Freeport
Jean Henning, Nassau County Museum of Art, Roslyn
Irena Kamola, Gribbin Elementary School, Glen Cove
Leeann Palazzo, Gribbin Elementary School, Glen Cove
Nomi Rosen, Glen Cove CSD, Glen Cove
Francine Santoro, Gribbin Elementary School, Glen Cove
Lisa M. Scicchitano, Archer Street School, Freeport
John Segretti, Gribbin Elementary School, Glen Cove
Susan Warren, Columbus Avenue School, Freeport
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ARTS EDUCATION STAFF
Dr. Elliott Sroka,
Executive Director, Tilles Center
Stephanie Turner,
Director of Arts Education, Tilles Center
Deborah Robbins,
Assistant Director of Arts Education
Emily Lembo,
Arts Education Associate
For information call (516) 299-2752 or visit our website at www.tillescenter.org.
Tilles Center for the Performing Arts
C.W. Post Campus
Long Island University
Brookville, New York 11548
516-299-2752
Emily Lembo
Study Guides: content, design and editing
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Tilles Center’s Arts Education Program is supported, in part, by its annual Swing for Kids
Golf and Tennis Tournament. We are grateful to the following supporters of the 2010 event
for enabling us to continue to provide the best in Arts Education to Long Island’s
schoolchildren:
Advantage Title
Albanese Organization, Inc.
Americana Manhasset
Gerda Andersen
Axelrod & Cherveny Architect
The Bahnik Foundation
The Beechwood Organization
Birchwood Park Homes
Jadwiga and Donald Brown
Thomas Calabrese
Certilman Balin Adler & Hyman LLP
Chicago Title Insurance Company
Ingaborg Costa
Country Plaza Assoicates of Carle Place, LP
Cullen and Dykman LLP
Danic Concrete Corp.
Daniel Gale Sotheby's International Realty
Delkap Management, Inc.
DiFazio Power & Electric, LLC
Marianne Doherty
Estreich & Company
The Fay J. Lindner Foundation
The Garden City Hotel
Harvest Real Estate Services & Timber Ridge
Homes
Steve Hess
Island Estates
James A. Kadamus
Gisele Kehl
The Klar Organization
Koeppel Martone & Leistman, LLP.
Brendan Lavin
Lazer, Aptheker, Rosella & Yedid, P.C.
Larry Liman
Ilyssa Lipton
M & T Bank
Margaret Martinez Malito
Meltzer, Lippe, Goldstein & Breitstone, LLP
Mojo Stumer Associates Architects, P.C.
Theresa Mullarkey
National Waste Services
New York Community Bancorp, Inc.
The New York Community Bank Foundation
North Hills Office Services, Inc.
Pall Corporation
Ruskin Moscou Faltischek, P.C.
S & H Building Material Corp.
Sacco Wealth Management Group
Sholom & Zuckerbrot Realty LLC
Sterling & Sterling, Inc.
Sterling Floor Designs. Ltd.
Superior Air Conditioning & Heating Systems,
Inc.
The Tilles Family Foundation
Timber Ridge Homes
Donald and Joan Tobin
Triangle Building Products Corp.
Tummarello & Associates
VHB Engineering, Surveying and Landscape
Architecture, P.C.
The Weeks-Lerman Group
Wells Fargo Advisors
William Morris Endeavor Entertainment
WK Equities
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