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BEHINDTHE CURTAIN

NEW WORK DEVELOPMENT A NEW BEGINNING

VINCENT VANVLEETNEW JOURNEY

COMMUNITY PARTNERSOUTHWESOUTHWEST AUTISM RESEARCH& RESOURCE CENTER

DEE DEE WOOD“STEP IN TIME”

FOR THE LOVE OF LEARNINGCONTINUING EDUCATION

WINTER 2014

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BEHIND THE CURTAIN WINTER ISSUEMichael BarnardProducing Artistic Director

Vincent VanVleetManaging Director

“BEHIND THE CURTAIN” CASTLindsay HalvorsonDirector of Marketing & Communications

Melanie DillmanDirector of Visual Communications & Graphic Design

Abby HullMarketing Coordinator

CONTRIBUTORSMarylou StephensRhiannon HelmsSydney Kreuzmann

FEATUREDDirector’s NoteNew Work DevelopmentVincent VanVleetCommunity Partnership: SARRCDee Dee Wood: “Step In Time”For the Love of LearningDonor Profile: Edwin Briggs

CONTACT USBox Office, Group Sales & Concierge602.254.2151Facility Rentals & Events602.889.5294General Administration602.258.1974

BOX OFFICE HOURS: M-F 12-6P

SEASON HOST SPONSORRobert Machiz

MUSICAL SPONSOR Phoenix Theatre Guild COMMUNITY PARTNER Phoenix Office of Arts & Culture

OFFICIAL PIANO SPONSOR Steinway Piano

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34-58-910-1112-131416

contents

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Director’s Note

Dear Patrons,

This season, Phoenix Theatre is asking you to believe in the power of live theatre. As you experience the joy of watching the world famous Mary Poppins fly over the rooftops of London each night it’s impossible not to feel the wonder. From the social change it can invoke to the young lives it can transform, theatre has an incredible power that can truly make the world a better place. In this issue of Behind the Curtain, we explore multiple ways that theatre looks to do this. We are striding forward with a mission to bring new work to the stage and strengthen the American canon of theatre. This important undertaking is central to the future of Phoenix Theatre and to providing for our patrons. This is our opportunity to seek out and deliver to our audiences new and exciting opportunities in all aspects of the theatre. Whether it is our Hormel Festival of New Plays and Musicals, now it its 17th year, or our summer programs for youth where students experience firsthand the process of bringing an original work to the stage, we look to excite and engage our community through the power of live theatre. Enjoy this issue of Behind the Curtain and thank you for being an integral part of the Phoenix Theatre Family.

Michael Barnard Producing Artistic Director

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Written by Abby Hull

airytales make up a huge portion of the theatre available for young audiences. Improvised music, gypsy storytelling and actors playing inanimate objects, however, are not your typical youth theatre fare.

Phoenix Theatre’s Producing Artistic Director Michael Barnard hopes to change that.

“Plays and musicals written for a younger audience tend to speak down to children unfairly. I think today’s kids are much smarter and more imaginative than we give them credit for,” Barnard said.

The Magic Books is a completely new story written by Phoenix Theatre’s resident dramaturge Pasha Yamotahari. Using just four actors playing several different characters and elements of music and improvisation, Yamotahari has brought to life three beloved Grimm’s fairytales: Little Red Riding Hood, The Frog Prince, and Sleeping Beauty. In this production, a child’s participation from the audience helps propel the action forward.

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arnard and Managing Director Vincent VanVleet hope this piece will signify a new beginning in the development of new

work at Phoenix Theatre. The theatre received an Implementation Award grant from the Flinn Foundation based on a proposal that champions the production of new work.

“We’re in a unique position to be able to contribute to the canon of American Theatre. There are countless voices that need to be heard and we have a chance to become a true home for artists,” VanVleet said.

In the coming seasons, VanVleet and Barnard hope to place a higher emphasis on producing new pieces. Dream a Little Dream and The Quiltmaker’s Gift are two productions that received world premieres at Phoenix Theatre and went on to future productions elsewhere. The theatre hopes to continue this trend but on a national scale by fostering a piece that could go on to performances in New York City, Los Angeles or Chicago.

VanVleet believes that this kind of growth is impossible without the support of Phoenix Theatre’s patrons.

“With the Flinn Foundation grant, we’re able to offer patrons unprecedented access to the new work development process. Their feedback and support is absolutely essential,” he said.

One way of involving patrons in the creation of new works is ramping up the exposure for The Hormel Festival of New Plays and Musicals. Going into its 17th year, the Festival has been a testing ground for new works. The Festival features staged readings, sit-down performances and a composer/lyricist cabaret for new musicals.

“A staged reading is a minimalistic staging of a playwright’s piece so that they can step away from it and listen and observe their script being put up on its feet,” Festival director and Associate Artistic Director Robert Kolby Harper explains.

Each staged reading receives 20 hours of rehearsal, a professional director and a cast on book (scripts in hand), as well as staging, suggested costumes, lights, settings, and sound cues. Most importantly, a guided feedback session with the audience follows every performance. This is an opportunity for the playwright to hear what works and what doesn’t and for them to make changes.

This interaction with the community is exactly what Barnard hopes will propel Phoenix Theatre to the national stage. Through the Festival and similar workshop efforts, he hopes to bring several new pieces of theatre fully to life.

“By nurturing new pieces, we’re giving these storytellers an outlet and hopefully providing our community with a new way of entertainment or a new way of thinking about the world,” Barnard said.

VanVleet believes that this kind of growth is impossible without the support of Phoenix Theatre’s patrons.

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Phoenix Theatre is pleased to announce that Managing Director, Vincent VanVleet, has been named by Virginia G. Piper Charitable Trust as one of its two Piper Fellows for 2014.

The Piper Fellows program acknowledges the never-ceasing demands of nonprofit leadership and provides opportunities for Maricopa County leaders to retool, refresh, and renew their skills. Piper Fellows are selected annually via a competitive process and provide the awarded nonprofit professional with support for their proposed sabbaticals (up to $30,000 each). Additionally, recognizing the need to stimulate learning and exploration among the

organization’s staff and board, the Trust provides $10,000 to each organization for professional staff and board development. A Piper Fellowship also makes the Fellow’s organization eligible for a Piper Fellows Organizational Enhancement Award of up to $50,000.“A healthy, growing artistic community is built from the ground up by incubating new artists, new work, and new organizations. New beginnings require leading-edge associations and the Piper Fellowship offers the opportunity to develop them. The chance to hit “refresh” and cultivate new relationships and partnerships through networking will help me lead our organization to the next chapter,” says Vincent VanVleet, Managing Director of Phoenix Theatre.

Vin

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t Van

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etWritten by Marylou Stephens

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Vincent is celebrating his 17th season with Phoenix Theatre. As Managing Director, he has led the organization toward unprecedented earned revenue growth through the development of a “patron-centric” culture using real-time data capture and analysis. He was a driving force behind the Community Database, currently in use by more than 20 Arizona arts organizations to expand their access to area theatre-goers. He assisted arts and culture venues in the central corridor to elevate brand identity through the creation of the Central Arts

District, launched in May 2014. VanVleet received his Bachelor of Arts degree in Acting and Directing at Barat College on Chicago’s North Shore. In line with Phoenix Theatre’s current focus on growing the number and size of donations it receives, VanVleet’s Fellowship will focus on best practices with respect to converting individual transactions into long-term patron relationships. Site visits include Steppenwolf Theatre and Lyric Opera in Chicago, Actors Theatre of Louisville, Milwaukee Rep, and the National Center for Arts Research in Dallas to discuss

the use of data in creating patron loyalty. VanVleet will also visit Guthrie Theatre in Minneapolis and WolfBrown to learn more about their groundbreaking research on how artistic programming can be used to increase organizational loyalty. He will spend a week at the Edinburgh Fringe Festival viewing new and innovative performances from all over the globe.

“A healthy, growing artistic community is built from the ground up by incubating new artists, new work, and new organizations.”

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PLAZAARTS

CENTRAL

Central Arts Plaza (formerly Viad Corporate Center) stands proudly at the heart of burgeoning Central Arts District. Home to its own theatre, Playhouse on the Park, and located at the doorstep of Phoenix’s most notable cultural institutions including Phoenix Theatre, the Phoenix Art Museum, the Heard Museum and the Arizona Opera to name a few, it ’s the perfect place to find yourself inspired.

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apsAs our Spotlight Sponsor, APS is lighting the way for corporate sponsorship opportunities.

Contact us at 602.889.6309 or j.bindel@phoenixtheatre.com

Join APS and become a corporate sponsor.

Support the arts in our community.

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Southwest Autism Research &

Resource Center

Written by Marylou Stephens

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Established in 1997, the Southwest Autism Research & Resource Center (SARRC) is an internationally recognized nonprofit organization dedicated to autism research, education, evidence-based treatment, and community outreach.

SARRC is one of the only autism organizations in the world that provides a lifetime of services for individuals and their families while also conducting cutting edge research.

SARRC is also an entrepreneurial nonprofit, with less than three percent of annual revenue coming from state and federal funding. Their 18,000-square-foot Campus for Exceptional Children and the 10,000-square-foot Colonel Harland D. Sanders Center for Autism Studies, co-located with the Vocational & Life Skills Academy, are state-of-the-art clinical centers that serve as models for similar research and resource facilities.Phoenix Theatre has partnered with SARRC for many years now with ‘Adventure Stage’ – a summer program designed for campers on the autism spectrum to be in an inclusive theatre camp with typical peers.

The camp focuses on the basic skills of musical theatre – singing, acting, and dancing; but more importantly the camp is designed to give every camper the opportunity to shine on and off stage and learn important lessons in collaboration and team work. The SARRC clients involved in this program range in age from 12 to 18 years old.

“To watch the joy that the campers exhibit on stage is truly remarkable. And when the parents come up to our staff with huge grins and gratitude, it is a program that we are very happy to offer and grow from year to year”, commented Vincent Vanvleet, Managing Director of Phoenix Theatre.SARRC and Phoenix Theatre have also collaborated in the past on seeking grants to fund unique programs that benefit SARRC clients. Last year a grant from CVS Caremark allowed the two organizations to work together on a Holiday Show with young adults on the spectrum. The program was a huge success with the participants and with the family and friends that were invited to the final showcase.

These types of partnerships are so valuable - we can do so much more when we combine our resources and find opportunities to provide meaningful programming in our community.

To see all of the programs offered by SARRC, visit their web site: www.autismcenter.org.

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Last November, as I sat across from Dee Dee Wood, the veteran choreographer of film favorites Mary Poppins and The Sound of Music, I was instantly struck by her enthusiasm for life and her part in musical theatre history.“I grew up in Westport, Connecticut and didn’t start dancing until my junior year in high school. I went with a girlfriend one day to her ballet class, and once I started doing the ballet exercises at the bar, I said, ‘I don’t care if I make a living out of this, but I have to dance for the rest of my life.’ So that’s what I did.”Soon after that fateful ballet class, Dee Dee attended Jacob’s Pillow, a dance center, school and performance space in Becket, Massachusetts. She was so impressed by all of the dance teachers who came to teach from all over the world, that she went home and told her family that she wanted to move to New York to pursue a dance career. At 18, she started at the American School of Ballet.It was the early 1950s when she saw an ad for show auditions in the newspaper and, even though she had never really considered being in a show, decided to go to the auditions just to see what would happen.“I went to the audition and of course the choreographer Michael Kidd, who would later become my mentor, dismissed me and I didn’t make the show. So I sat outside the stage door and waited for Michael and his assistant to come out. I just knew that I wanted to dance and if someone refused me, I

DEE DEE WOOD:“STEP iN TiME”

Written by Sydney Kreuzmann

Picture 1: Dee Dee Wood picturedat her favorite coffee shop in AZPicture 2: Dee Dee Wood on the coverof Life Magazine January 1957

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wanted to know why. I think he was taken aback with me. In fact, I don’t think he even remembered that he dismissed me because he told me to come back for the callback the following week. So of course I went back and I got the part. That was for Guys and Dolls, the road company.” Dee Dee toured with the group and used that experience to learn everything she could about the business. After the tour she returned to New York where she got involved in choreographing for television. Dee Dee and her husband at the time, Marc Breaux, were called in one day to choreograph a small number for The Jack Benny Program.“The young performer who was going to be a guest on the show was Dick Van Dyke. So we choreographed a little number for him, and we all just got along so well. I even remember the name of the song, it was Any Place I Hang My Hat is Home. By this time, Dick had already signed with Disney for Mary Poppins. He told Uncle Walt about us, and one day we got a call, ‘Mr. Walt Disney would like to meet you two.’ So we went over to Disney Studios and met him. I think because Marc and I were married, and Walt liked the idea of family, he hired us for the film.”Marc and Dee Dee started right away holding auditions for the dancers. Normally when choreographers are hired for films, production meetings are mostly about the sets and who’s available at what times for shooting. At Disney Studios, they worked with Dee Dee from beginning to end.“If you remember in the film, Julie had a parasol and Dick had a performance cane that he twirled while he danced. We were in a production meeting one day and I said, ‘you know what, in the first part of the number when Mary and Bert jump into the pavement and lean the parasol and cane against the fence, wouldn’t it be wonderful if they jumped up and moved down the path alongside the dancers?’ And then I said, ‘oh never mind, that’s probably impossible.’ The special effects guy in the meeting

looked at me for a second then said, ‘Dee Dee, stop right there. Never say anything is impossible at Disney Studios.’ Three days later they brought us back over to the studio, put on our audio cassette, and all of a sudden the cane and parasol floated away from the fence and started to dance!”Even with the floating parasol and dancing

penguins, Jolly Holiday remains a close second to Dee Dee’s absolute favorite number in Mary Poppins, Step In Time. As the largest number in the film, and the longest, choreographing a piece like that is an impressive feat. It takes more than just dancers and choreographers to bring magic to the stage and screen.“Before you begin to choreograph a dance, someone hands you a cassette with the music, and you sit with a pianist who can work out different arrangements. You also have a skeleton group of maybe two or three dancers to stand in on rehearsals before the actual performers come in. Many times the music tells you what to do. Look at Step In Time for example, ‘Kick your knees up, step in time’, ‘Over the rooftops, step in time’, ‘Link your elbows, step in time’; you can see how the music dictates the motion. Michael Barnard did such a wonderful job directing Mary Poppins at Phoenix Theatre. I have a special place in my heart for the chimneysweeps, and they stole the show. I actually sat up straight on the edge of my seat when they started to tap dance!”For Dee Dee, music and dance become their own characters that bring people together. The idea of moving a play forward with music is one of the most dynamic and engaging ways to tell a story. The thing she loves most about Mary Poppins is that it’s for everyone. The singing and dancing bridge across generations, opening children’s eyes to the magic and helping adults remember what it feels like to believe in it.“It’s not just a story, and it’s not just dancing for the sake of dancing. It’s an adventure.”

“I just knew that I wanted to dance and if someone refused me, I wanted to know why.”

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for the love of learningContinuing Education ThroughOsher Lifelong Learning Institute at Arizona State University

Written by Sydney Kreuzmann

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The Osher Lifelong Learning Institute (OLLI) at ASU started in 1999 under the tutelage of Professor Vincent Waldron. Professor Waldron studies community-based lifelong learning opportunities for older adults as a part of ASU’s College of Human Services. Collaborating with ASU’s Dr. Richard C. Knopf, fall 2001 marked OLLI’s first course offerings in the West Valley. By 2004, the program had become so successful that it was awarded a grant by The Bernard Osher Foundation to help establish it as a self-sustaining institute.The goal of the Osher Lifelong Learning Institute is to help older adults develop new skills and insights, become active resources and leaders in their communities, and to act as a bridge to other learning opportunities in the Valley. The Professors and arts professionals that facilitate the program’s diverse and engaging classes strive to provide university quality learning experiences through campus-based learning environments as well as through offsite cultural exploration opportunities.Phoenix Theatre has partnered with Osher for over four years, engaging students outside of the traditional classroom environment, and providing them with many different interactive and participatory learning opportunities. Each year Phoenix Theatre staff works with a member of the ASU faculty to develop programming that coincides thematically with one of the season’s

onstage productions. In addition to the lecture aspect of the program led by distinguished professors and renowned arts professionals, students have the chance to attend the Phoenix Theatre show that their session is based on! The fall program this year took an in-depth look at PT’s production of the longest-running play in the history of American Theatre, Shear Madness. Students learned about the history, development and practice of improvisational theatre with a lecture led by director Robert Kolby Harper and Shear Madness actor Pasha Yamotahari. Students also had the opportunity to see Harper and Yamotahari’s comedic stylings at work as they demonstrated a few popular improvisation games during the second half of the presentation. During the lecture, Harper said “[Improvisation] is about establishing trust and looking for an authentic response. Greatness comes in acting outside of our-selves.” Collaborations like these among arts organizations and institutions of higher learning help support and grow stronger communities. These partnerships allow cultural leaders the opportunity to form a united front by listening to each other, reacting authentically, and by building trust between ourselves and our audiences in the theatre as well as in the classroom.To find out more information about the courses offered by OLLI, visit their website: lifelonglearning.asu.edu.

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Donor Profile:

EDWIN BRIGGS•What inspired you to get involved with Phoenix Theatre?I’m just a little farm boy from Upstate NY; my whole family were dairy farmers and I knew that was just not for me. Right after I graduated from State University of New York, in Farmingdale, NY, I went to the city and got a job with an advertising agency. I got to New York City in 1957 and nothing was air-conditioned, not even the office buildings. Well, the rule of New York at the time was that if the temperature and the humidity were the same, everything closed down, all the businesses. It was so hot, we would go up to Broadway because they kept their air cool. I couldn’t afford to go to shows, but we’d just stand in front of the doors to feel the cold air. That was when I started to get the bug for theatre. I was determined I was going to educate myself in the arts. I went to the Opera, the Metropolitan Museum of Art, and the theatre, and just absolutely loved it. One of my first musicals ever was to see Ethel Merman in her opening night of Gypsy, and I was hooked! My late partner and I moved to Phoenix about 10 years ago. My partner had Alzheimer’s and we just had to get away. Theatre and films really register with people with Alzheimer’s, so that last year we went to 96 movies and shows. We started attending arts events all around the Valley, the ballet, the symphony and shows at Phoenix Theatre. Then we thought, let’s get our names in the programs and make a donation. Being a small donor, I had been invited to an event in conjunction with one of Phoenix Theatre’s productions, and that’s how I really started to get involved. Now I attend the Artistic Director’s Series before each show.

•What was your favorite Phoenix Theatre performance and why? The first time I saw Avenue Q in the Mainstage Theatre it was just wonderful. Then I saw it again last spring, and the two leads had this wonderful chemistry; it was great. I came back a month or so later to see it again and a new lead had joined the cast. It was just so great to see a new person handling the performance so differently and yet the same; I got to see it two ways!

•Why is art important to you and why do you feel others should have it in their lives?I heard something once as to why the U.S. population went to the movies so much during the depression, and the same with theatre; no matter how bad things are, or what you’re going through, it’s a chance to escape from reality for a few hours. It’s something that’s always there, even through hard times. One of the best things that theatre has to offer is the comradery that arts advocates feel for one another. Last year, I was going through cancer treatments, chemotherapy, and it came time to renew my subscription. Times were just so tough. I can’t remember the show we were seeing now, but I showed up to the Theatre one night and mentioned to the couple beside me that I didn’t think I was going to be able to do it next year. The gentleman beside me pulled out his card, found someone in the box office, renewed the whole year for me and said, “It’s just a present.”

•What are your other interests?Well certainly the opera, the ballet, the symphony and I love to travel. I’ve lived all over the country from San Francisco to New York City. When we were living in Florida, my partner and I used to go on these trips; we used to call them the eight day wonders. Every two months we would go to one city in Europe and see all of the shows we could in eight days. We would stay in small hotels and got to know all of the people. We hit ballet season in Paris, and saw theatre and the opera in London, it was just wonderful. Theatre is really a terrific chance to connect with people. My late partner and I were together for 44 years and it didn’t matter what city we were in or what show we were seeing, we always had friends at the theatre.

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DONORSPhoenix Theatre gratefully acknowledges support from our donors who made contributions between October 23rd, 2013 through October 23rd, 2014.

Standing Ovation Platinum($50,000+)

Anonymous Mr. Herman ChanenFlinn-Brown Civic Leadership AcademyJudith L. HardesJudd and Billie Jo Herberger Geordie and Jamie Hormel FoundationRobert Machiz Mr. and Mrs. Larry Read The Melani and Rob Walton Fund of The Walton Family Foundation

Standing Ovation Gold ($25,000-$49,999)Curtain Call Contribution - Thank you for supporting Phoenix TheatreBlue Cross Blue Shield of Arizona Cheryl Hintzen-Gaines and Ira Gaines Nancy Hanley Phoenix Office of Arts and CultureSalt River ProjectWells Fargo

Standing Ovation Silver ($15,000-$24,999)American AirlinesArizona Public Service CompanyChar and Bill Hubble Alfredo MolinaJuliette and Robert NealPhoenix Theatre GuildNancy and Robert Spetzler

Standing Ovation Bronze ($10,000-$14,999)Shannon and Joel Barthelemy

Cox CharitiesBijen and Christopher Dyrek Pamela Overton, Greenberg Traurig, LLP Anne and Robert GregersonVicki and Roger Marce Carole and Arte Moreno/The Moreno Family Foundation Linda and Bill Pope, SunChase Holdings, Inc. Deborah and Kevin Pshebniski R Entertainment Company, LLCThe Arizona Republic/12 News Season for SharingTowers Watson

Standing Ovation Copper ($5,000-$9,999)Bobby L. Barnes JrJennifer and Jon BohnertCancer Treatment Centers of AmericaDr. and Mrs. Joel G. CohenCox Communications, Inc.Arizona Coyotes FoundationDana Law FirmLeroy Hofmann in Memory of Eleanor HofmannCaryll and The Honorable Jon L. KylMs. Lynne Love Lytle Family Fund- Tracy and Larry LytleLarry B. LytleMartha Martin SafewayDr. Sue SisleyThunderbird Charities

Bravo ($2,500-$4,999)AnonymousAnonymous via Valley of the

Sun United WayMs. Marsha Bruner Kim and Rod Cullum/Cullum

Homes Enchantment Resort and Mii

Amo SpaMr. and Mrs. James D. Howard,

JrRuth and Robert LaviniaGracie and Paul LewisMorgan Stanley

Nicholas Family FoundationMary and Matthew PalenicaLaura and Todd PetersonLeona and James PomushScottsdale CharrosLinda and Richard WarrenWilliam L. and Ruth T.

Pendleton Memorial FundBarbara and Barry Zemel

Encore ($500-$2,499)Barbara and P. David AdelsonKimberly and Dr. Nariman

Afkhami Ms. Susie Tyler AlofsAnonymousDede and David AreghiniBette AronsohnLee and Gay AshtonNoelle S. BakerLeslie BarakatDoris BarbagelataJennifer BarrazaBetsey BaylessLeslie and Brian BennerMr. and Mrs. Eugene BentonMaria and Tony BeramChristi Warner-Beyer and Paul

BeyerPolly and Scott BindleyGary and Denise BirnbaumRobert Black and Marc ReidAlan BlevissJohn BlissGuy W. BluffPat and Bob BondurantKay BoumaGeorge BoutellVicki Broman and Jack

WesolowskiCorrine BrooksSallie Brophy NajafiDavid BrunerMaria BrunnerLorrie and Robert BuerkleC.R. Bard FoundationMr. and Mrs. Chester C.

Carmer IIIDr. and Mrs. Michael CaskeyLuanne CastleKatherine and Rick CecalaJane and Culley ChristensenFerial and Scott Clay

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DONORSCarol and Larry ClemmensenMarianne and Joe ColeRosemary and Alfred ColettaJennifer and Michael CollinsConnie CombsLaurie ConaheyCathy and Randy CooperPat and Bill CorbinDorothy and Fred CowleyElizabeth Worsley CrouchSydney DavisScott Dewald and Deborah

JamiesonMelanie and Christopher

DillmanDr. Jeff Donahue and Mrs. Liz

Dawn DonahueMr. and Mrs. Richard DoriaDavid M. DrennonAnne and David DudleyDennis EmondCarol FinkHarriet and Jack FriedlandGreg FullmerJill and George GarciaGary Gelzer and Charlotte

KafitzDeborah Hoffman and Timothy

GerckeVirginia GinterCarla and Douglas GoodyearNancy and Chuck GustafsonSusan and Nestor GuzmanKathleen and Robert HandMicheal L. Hansberger, JrCathleen HartmanDyan and Larry HaugenClaude HaynesLinda Beck and Donald HenkeLiz Levitt HirschKathleen and Frank HosnerWilliam HowardBetty HumCraig JacksonShelley and William JacobyDonna and Alan JenveyLeAnne Kay JergensenCharleen and Noel JohansonJohn F. Long FoundationKay and Bob JonesDr. Howard and Trudy KandellNancy and Mark KartubSusan and John Katausky

Sandi and Keith KaylerPatsy J. KellyPeggy and Len KirschnerToni and Cliff KlimaMark W. KrivoruchkaJennifer and Jason KushMary and Duwayne LeBlancMelissa Leonesio/Esio

Beverage CompanyLevin Family Charitable

FoundationMichelle Lewis and Marco

BianchiNancy and Herb

LienenbruggerNancy and Mark LoftinAmy LouisElizabeth and Al LucasSandy and Marion Magruder Jr.Mary P. MainLisa and John MansourSamuel MarcusJean MarleyJan Maurer and Marty DavisMr. J. Stuart McIntyreDan McKeithanBetty and Hamilton McRaeGina and Raymond MehrMia Wesbrooks Law Firm,

P.L.L.C.Rosanna MillerDanny MontgomeryJean and Jim MorrisonAndrea and Will MoseleyNational Society of Arts and

LettersCarl and Carolyn NauPriscilla and Michael NicholasVicki NicholsonPatti and Paul OlesonGillian OppedahlLisa PagelRobert Painter Jr. and W.

Richard MasonAnna Marie and Tony PalumboJennifer and Stefan PalysAndrea Parsons Anita and Jim PattersonMr. Sydney Pearl and Dr. Judy

Balan PearlLinda “Mac” and Jon Russell

PerlichDoreen Picerne

Karen PratteJulie and Conrad PrusakEnsi and Airi RiikonenKimberly and Steven RobsonCarolyn and Richard RossChrissy and Mitch SayareFred SchomerTracy and Marc SchwimmerThekla ShackelfordDina ShacknaiMs. ShararMargo, Kate and David SheinLowell and Cheryl ShonkElaine and Robert ShowerTom SimplotJeremy SmithJodie and Peter SorensenMary Jean SpragueTheodore StephanJames and Janet StevenMaureen and Adolf StromFran SucharowMs. Sarah SuggsNoel and Neil SuttonFaye TaitJeanne and Michael TarrMichelle TaylorDaniel Tenn, Gail Tenn and

Sheri SenderKay and Robert TerkhornBruce C. ThoenyKim and Dean ThomasMrs. Ann and Dr. Vic TidwellDeborah ValenzuelaMr. and Mrs. Jimmy WalkerJoyce and Gregory WatsonChris WattsBeth Conway and Hope

WebberWeisblat Philanthropic Fund of

the Dallas Jewish Community Foundation

Nancy and Jeff WernerSusie and Timothy WesleyBill WintermuteDr. Judith G. and Edwin H. WolfLeona and Ames YeeDorothy Zusman

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BASED ON THE GRIMMS FAIRY TALES

THEMAGICBOOKS

Saturday, January 31st, 11 a.m. and 1 p.m. Saturday, February 7th, 11 a.m. and 1 p.m.

Join us on a magical journey and explore themes that children can adapt to their everyday lives such as acceptance, courage, and

friendship. This brand-new theatrical experience will connect the love and value of reading, with exciting characters and opportunities for audience involvement and learning.

Contact the Box Office at 602-254-2151 to purchase tickets today!

GET TICKETS NOW!