Discovery

Guide

P.L.A.Y. (Performance = Literature + Art + You)

Student Matinee Series

2015-2016 Season

BOOK & LYRICS

by ERIC IDLE

MUSICby

JOHN DU PREZ

&ERIC IDLE

DIRECTED by

MELISSARAIN

ANDERSON

DEAR EDUCATORS,If you have even a passing knowledge of Monty Python, you know that Spamalot, like muchof the group’s work, is full of ridiculousness and silliness and oddity. That’s such a big partof Monty Python’s charm – the acknowledgment and embrace of how much of our days arespent on the ridiculous, the silly, and the odd. But what sets them apart is the incredibly highlevel of intelligence and empathy with which they embrace the lunacy. This, in turn, grantsus access to their singular universe through any number of entry points.

There is, of course, the initial humor of it all; the immediate visceral reaction to, say, oneman slapping another in the face with a gigantic fish, or heroic knights seemingly unawarethat their horses are merely servants clapping together two coconut halves. But oncewe make our way past the physical, we find that there is so much more to discover withinthe joke.

Spamalot, at various points, touches on the nature of political power, how that power isderived, and to what ends it is employed; on the frustrations of unrequited love and theloneliness that accompanies it; on the ability to affirm a belief in ourselves against constantstruggles with adversity; on the power of self-determination in the quest to find apersonal grail; and, finally, on the value of finding the bright spots in even the darkest ofsituations. Quite a lot going on for a play with fish slapping and invisible horses, right?

The question for us is always if the students will see some version of themselves in the story.Will they be able to connect themselves to what they’re seeing on the stage? And, we believe,that the answer is yes. Maybe they’ll identify with the put-upon and underappreciated Patsy.Or perhaps they’ll recognize themselves in Prince Herbert and Lancelot straining against theill-fitting plans set out before them. Maybe the more politically-minded Dennis will strike achord? Or, possibly, even King Arthur himself will provide the connection, as he is given atask that he doesn’t quite understand and is not equipped with a solid plan for completingthat task – a set of circumstances with which we can all, most likely, identify.

As always, we thank you for the privilege of sharing the power of theatre with your students.We’re so eager to witness them make these connections for themselves.

Sincerely,

Eric EvansEducation Administratoreevans@gevatheatre.org(585) 420-2035

1

“LIFE IS REALLY UP TO YOU, YOU MUST CHOOSEWHAT TO PURSUE.” – THE LADY OF THE LAKE

Participation in this production and supplementalactivities suggested in this guide support the

following NYS Learning Standards:A: 2, 3; ELA: 1, 2, 3; SS: 2, 3, 4

TABLE OFCONTENTS

About Spamalot . . . . 2

Eric Idle and John Du Prez . . 2

The Cast . . . . . 2

SpamalotProductionHistory . . . . . . 3

Activities . . . . 3

EnglandDuring TheMiddle Ages . . 4

ArthurianLegends . . . . . 5

Monty Python:HighlyIntelligent andSilly . . . . . . . . 6

How To CreateA Play in 20Quick & EasySteps ForUnder$700,000(Abridged). . . . 7

SpamalotFun Facts . . . 10

For a list of resources used in the creation of this Discovery Guide, please visit

www.gevatheatre.org/programs-for-students/

WARNING:Spamalot contains some mature language and content.

While Spamalot is a musical comedy, some of the languageand content in the production are suited for more mature

middle and high school students. It is recommended that alleducators take the opportunity to read the script of

Spamalot prior to attending with their students.

If you have questions or concerns about the content of theplay or would like to request an electronic reading copy,

please do not hesitate to contact the education department.

2

Bes dréamlic fréogan áwrítan nigontíenlic-hundseofontiggéare-fífwintre filmen, Monty Python and the Holy Grail,onbutan brytencyning Ænglisc…you didn’t think we were going to make you translate the whole thing from OldeEnglish, did you?

Spamalot, which is “(lovingly) ripped off” of the 1975 film, Monty Python and the Holy Grail, is centered aroundthe story of King Arthur and his fellow Knights of the Round Table, as they embark on a brave quest to find the HolyGrail. Their journey is a noble one. Set in England (not to be confused with FINland) in 932 AD, we see King Arthurmeet the Lady of the Lake, we watch Sir Lancelot come to grips with who he really is, and we witness Arthur’sservant, Patsy, struggle with a lack of appreciation. With some divine intervention, chaotic battle scenes, andcheesy, stereotypical love songs along the way, Spamalot is sure to bring smiles, laughs, and a reminder to “alwayslook on the bright side of life.” u

Eric Idle has been a writer, song-writer, comedian, and performer for over forty years. He is mostwell-known as one of the six members of Monty Python along with John Cleese, Graham Chapman,Michael Palin, Terry Jones, and animator Terry Gilliam. As Monty Python, they produced a highly-regarded television series as well as four feature films, among a number of other projects. Idle iscredited with the authorship of Spamalot but, in fact, the bulk of the story and the dialogue is derivedfrom the film, which was co-authored and created by all of the members of Monty Python in 1975.

John Du Prez is a musician, conductor, and composer who has since written severalfilm scores including Oxford Blues, Once Bitten, and Carry On Columbus. Du Prezoften worked with members of Monty Python, most notably for Monty Python's Lifeof Brian, Monty Python's The Meaning of Life, A Fish Called Wanda, and TimeBandits. Du Prez also co-wrote the music for Spamalot. u

“THE NEW TEST IS YOU MUST PUT ONA BROADWAY MUSICAL.” – NI KNIGHT

ABOUT SPAMALOT

ERIC IDLE & JOHN DU PREZ

Above: Eric Idle; Far right:

John Du Prez

Top row (from left to right) : Brandon Andrus (Sir Dennis Galahad/Black Knight/Prince Herbert’s Father); Jessica Azenberg (Ensemble); Jennifer Cody(Patsy/Guard #2); John Cummings (Ensemble); Mike DiSalvo (Sir Lancelot/French Taunter/Knight of Ni/Tim the Enchanter); Nicole Eras (Ensemble);Andy Frank (Ensemble); Leah Hassett (Ensemble); Hunter Foster (King Arthur). Bottom row: Jacob Hoffman (Historian/Not Dead Fred/FrenchGuard/Prince Herbert/Minstrel); Ashley Dawn Mortensen (Lady of the Lake); Shannon Mullen (Ensemble); Frankie Paparone (Ensemble);Adam Pellegrine (Ensemble); Jim Poulos (Sir Robin/Guard #1/Brother Maynard); Jacob Stewart (Ensemble); Michael Warrell (SirBedevere/Mayor/Dennis’ Mother/Concorde).

THE CAST

“STRANGE WOMEN LYING IN PONDS DISTRIBUTING SWORDSIS NO BASIS FOR A SYSTEM OF GOVERNMENT. ” - DENNIS

3

SPAMALOT’S PRODUCTION HISTORY“I think Spamalot turned out splendidly. It’s had a tremendous run. I defy anyone to go and not have a really funevening. It’s the silliest thing I’ve ever seen and I think Eric did a great job.”– John Cleese, Monty Python member

Since its Chicago preview in December of 2004, Spamalot has gone on to become one of the most successfulmusicals in theatre history. The profits from the show’s initial New York run are said to have made Broadway boxoffice history. Below is an abbreviated production history for Spamalot.

In addition, Spamalot has had innumerable productions throughout the United States as well as Australia, Spain,Sweden, France, Germany, Hungary, Belgium, the Czech Republic, Canada, Italy, and Japan. u

The Politics of Spamalot

ARTHUR: I am your king

MOTHER: Well, I didn't vote for you.

ARTHUR: You don't vote for kings.

MOTHER: Well, how did you become king then?

Though many may consider Spamalot to simply bea silly musical, it actually boasts several politicalunderpinnings. Consider, for example, the abovedialogue and the question posed by Dennis’ mother.Over the course of the scene, a number of politicalphilosophies are mentioned. Several are listedbelow. Research them and their different systemsof governance.

* Autonomous collective

* Dictatorship

* A self-perpetuating autocracy

* Anarcho-syndicalist commune

Fact Checking Spamalot

While theatre often requires audience members to suspend their disbelief, it is still the goal of the production tobe as believable as possible. Spamalot, however, features a number of items that have no business in a story setin 932 A.D. Research technological advances during the Middle Ages and see what would have been considered“cutting edge” for its time. How many modern items you can spot in this prodution?

Realism in Spamalot

In Spamalot, we see many situations with little basis inreality. You will never, for example, meet up with astubborn man in armor who refuses to let you pass,thus forcing you to de-limb him. Some of the situationsthat actually are grounded in reality quickly escalate farbeyond any sort of recognizabe scale. However,despite the immense silliness of much of Spamalot,there are many themes present that will beimmediately recognizable to many audience members.As you watch the play. consider some of the following:

* The relationship between King Arthur and Patsy

* Prince Herbert’s relationship with his father

* The Lady of the Lake’s feelings about her place in thestory

Try to notice how many other instances you recognizewhile watching Spamalot, and how quickly they spinout of control.

2004 - Chicago (preview) (Shubert Theatre)

2005 - Broadway run (Shubert Theatre)

2006 - West End (Palace Theatre)

2006 - 2009 - 1st North American tour

2010 - 1st UK Tour

2012 - West End revival

2013 - 2nd North American tour

2015 - 2nd UK Tour

ACTIVITIES

4

“WHY ARE WE CALLED THE MIDDLE AGES WHEN NOTHING COMES AFTER US?” - KING ARTHUR

ENGLAND DURING THE MIDDLE AGESWe learn early on that Spamalot is set during the Middle Ages in 932 A.D. However, as Monty Python member TerryGilliam has pointed out, the Arthurian stories that the group used as inspiration (such as the works of Sir ThomasMalory and Chretien Le Troyes) were written in the 12th century and set in the 10th century. As a result, Gilliam andthe other members of the group were afforded an enormous amount of material from which to craft their skeweredversion of the Arthurian legend.

The Middle Ages ran from roughly the end of the 5th century through to the startof the Early Modern period in 1485. When England emerged from the collapse ofthe Roman Empire, its economy was in decline and many of its towns had beenabandoned. Following several centuries of Germanic immigration to the area, aseries of predatory kingdoms developed, with all of them in competition forpower. Over time, the Anglo-Saxons rose as the dominant force in the country.Their rise also resulted in a large increase in conversions to Christianity, leadingto the establishment of a network of monasteries and convents across thecountry. The 8th and 9th centuries witnessed fierce Viking attacks until Wessex was eventually established as thedominant kingdom. Despite repeated crisis’ of succession and a Danish seizure of power at the start of the 11thcentury, by the 1060s England was a powerful, centralized state with a strong military and successful economy.

The Norman invasion of England in 1066 led to the replacement of the Anglo-Saxon elite with Norman and Frenchnobles and their supporters. William the Conqueror and his successors took over the existing state system,repressing local revolts and controlling the population through a network of castles. The new rulers introduced afeudal approach to governing England, eradicating the practice of slavery but creating a much wider body of unfreelaborers called serfs. England's population more than doubled during the 12th and 13th centuries, fueling anexpansion of towns, cities, and trades. A new wave of monasteries and friaries were established, whileecclesiastical reforms led to tensions between successive kings and archbishops. Despite developments in England'sgovernance and legal system, infighting between the Anglo-Norman elite resulted in multiple civil wars and the lossof Normandy.

The 14th century in England saw the Great Famine and the Black Death, catastrophic events that killedapproximately half of England's population, throwing the economy into chaosand undermining the old political order. The Black Death, or Plague, as it iscommonly known, was a fatally infectious disease caused by powerful bacteriaspread in the air, by direct contact, or by contaminated, undercooked food ormaterials. While treatable, if detected early, plagues were responsible forthousands of deaths throughout the world during the Middle Ages.

Social unrest followed the Black Death, leading to changes in the economy andthe emergence of a new class of gentry as the nobility began to exercise powerthrough a system termed feudalism. Nearly 1,500 villages were deserted by theirinhabitants as people sought new opportunities in the towns and cities. New

technologies were introduced, and England produced some of the great medieval philosophers and naturalscientists. English kings in the 14th and 15th centuries laid claim to the French throne, resulting in the HundredYears' War. Following several important military victories, England enjoyed an economy buoyed by profits from theinternational wool and cloth trade. By 1450, however, the country was, again, in crisis, facing military failure inFrance and an ongoing recession. More social unrest broke out followed by the Wars of the Roses, fought betweenrival factions in the English nobility. Henry VII's victory in 1485 typically marks the end of the Middle Ages in Englandand the start of the Early Modern period. u

Pieter Bruegel the Edler’s The Fall of the Rebel Angels

Pieter Bruegel the Edler’s Feast of Fools

5

“AND REMEMBER, GENTLEMEN: WHAT HAPPENS IN CAMELOT, STAYS IN CAMELOT.” - KING ARTHUR

King Arthur

King Arthur was a legendary British leader of the late5th and early 6th centuries who, according to medieval

history, led the defense of Britain againstSaxon invaders in the early 6th century.The details of Arthur's story are mainlycomposed of folklore and literaryinvention, and his historical existence isdebated and largely disputed by modernhistorians. Arthurian legends tell tales of

Arthur’s kingdom, battles, valor, hismarriage to Guinevere and the gift of the Round Tableupon their union, the adulterous love affair betweenGuinevere and Arthur’s knight Lancelot, his quest forthe Holy Grail, the acquisition of a sword from Merlinand the stone, the Lady of the Lake, Excalibur, and thedestruction of his kingdom.

Holy Grail

According to a Welsh poem, the Grail was a “magiccauldron” that King Arthur and his men were sent on aquest to retrieve. It was capable of providing enlighten-ment, happiness, eternal youth, and food in infiniteabundance. As time progressed, the Holy Grail came torepresent the chalice that Christ drank from at the LastSupper and the vessel used to catch his blood as hehung on the cross. It was said to have been brought toBritain and later became the object of knightly quests -only those godly enough, noble enough, and those witha true heart were said to be worthy of finding the Grail.

The Knights of the Round Table

Knights were usually of noble birth and formed thebackbone of an army since they could afford expensivearmor and weaponry. When knights attended afestival or council at King Arthur’s castle, those whosat at the head of the table usually held precedence orhad a higher position than the others. To resolvequarrels over status woes, King Arthur’s table wasconstructed in a rounded shape. The ingenuity of thisdesign made all the knights equal, regardless of stature,and represented equality, comradeship, eternity, and aunited purpose. Arthur’s knights were heroes,renowned for their strength, courage, honor, dignity,courtesy, and skill in combat and warfare as they

undertook quests and strove to protect the king andthe citizens of the kingdom.

The Legend of the Lady of the Lake

The Lady of the Lake is bestknown for presenting KingArthur with the sword,Excalibur. She does so at therequest of Merlin who, asArthur’s advisor, fears for hissafety in battle. Later in thelegend, the sword is returned to

her. While Arthur is off battling the Saxons, his nephewor illegitimate son (depending on the legend),Mordred, raises an army against him. He engagesArthur in battle upon his return and both Mordred andArthur are mortally wounded. As he draws his lastbreaths, Arthur asks his most loyal knight, Bedevere,to throw Excalibur into the lake, and then to returnand tell him what he sees. Bedevere tries twice tothrow the sword into the lake and each time he isreminded of what a faithful sword it has been and findshe cannot bear to do it. He hides the sword and tellsArthur he has done his bidding. Each time Arthuraccuses Bedevere of lying and sends him back to throwin the sword. On his third attempt, Bedevere finallymanages to throw the sword in the lake. He returns toArthur and tells him that, as he threw the sword, hesaw a hand - undoubtedly belonging to the Lady -emerge from the lake and take it down into the water.At this, Arthur nods and closes his eyes. As Arthurpasses away, Bedevere sees the ghosts of pastkings and queens appear and carry his body out overthe lake.

Camelot

In Literature, Camelot (an imaginary place), is usuallysituated in the South of England. Camelot is sometimesidentified with Cadbury Castle. When the site wasexcavated in the late 1960s, it was confirmed that alarge fort and enclosure was there in the Arthurian eraand was probably occupied by a powerful leader andhis followers. If Arthur existed, he would have neededa base for his operations and, in most medieval texts,Arthur holds court at Camelot. u

King ArthurArthur meets the Lady of

the Lake and gets theSword Excalibur

by Henry Justive Ford

ARTHURIAN LEGENDS

One of the central themes in writer David Morgan’s book, Monty Python Speaks!, is the endurance of one of thegroup’s guiding principles – the willful collision of intelligence and ridiculousness as a means to examine and spoofthe extremes of both. Throughout the book, Morgan reflects how truly ground-breaking that combination felt toaudiences in the late 1960s and through the 1970s, when Monty Python was at its most popular peak.

“The revolution was televised,” writes Morgan. “Monty Python was not about jokes; it was really about a state ofmind. It was a way of looking at the world as a place where walking like a contortionist is not only considerednormal, but is rewarded with government funding; where people speak in anagrams; where highwaymenredistribute wealth in floral currencies; and where BBC (British Broadcasting Corporation) newsreaders usearcane hand signals when delivering the day’s events.”

“When the six members of Monty Python embarkedon their unique collaboration,” continues Morgan,“they were reacting against what they saw as thestaid, predictable formats of other comedyprograms. What they brought to their audiences waswriting that was both highly intelligent and silly.What made Monty Python extraordinary from thevery beginning was their total lack of predictability,reveling in a stream-of-consciousness display ofnonsense, satire, sex, and violence. Throughout theircareers they were uncompromising in their workand, consequently, made a mark on popular culturewhich is still being felt today.”

In their 1975 film, Monty Python and the Holy Grail (on which Spamalot is largely based), many of theseattributes are on full display in what Morgan describes as “a joyfully irreverent mixture of comic riffs, mockheroics, and songs in which bits and pieces of Arthurian mythology were all targets for satire.” The faithfulrendering in the film, for example, of setting and costume of the Middle Ages only enhances the absurdity of KingArthur and his knights miming horse-riding while being followed by servants clapping together two coconut halvesin place of horse hooves. You could enjoy the story for its faithfulness to (parts of) Arthur’s story, or for the sheeroddity of how Monty Python told that story. Part of their brilliance was in giving audiences that choice.

Monty Python and the Holy Grail was not, however, a mere period piece with some eccentric touches. Themembers of the group, all college educated with several of them extremely well-versed in the Middle Ages, knewthat they could use this story – in its mocking of the acceptance of myth as fact, for example, or theinconsistencies of political rhetoric – as a way to appeal to the sensibilities of younger (or at least more out-of-themainstream) audience members. This was a time when the Vietnam War was still being fought and the specifics of1960s idealism were being openly questioned. In Monty Python Speaks!, member Michael Palin says, “we foundthat within these characters we could write material that did not need modern references necessarily, but wouldbe modern attitudes – the peasants discussing modern constitutions and how the governmental bodies should be.Now that’s a very modern idea, a sixties and seventies concept that you could stay in costume and do it in a field;you didn’t have to cut to people around a discussion table.”

Monty Python would continue with this scrutiny of institutions – governmental and religious, among others – intheir subsequent films Monty Python’s Life of Brian and Monty Python’s The Meaning of Life as well as their ownindividual projects. And, as David Morgan opines, you can still feel the influence of their work today. u

6

“SO BE YOU WARNED YOU BRAVE KNIGHTS, FOR DEATH AWAITS YOUALL WITH NASTY GREAT BIG POINTY TEETH! ” – TIM THE ENCHANTER

Monthy Python during the filming of Monty Python and the Holy Grail

MONTY PYTHON: HIGHLY INTELLIGENT AND SILLY

7

“GOD THE ALMIGHTY AND ALL KNOWING HAS MISPLACED A CUP?” – SIR ROBIN

From top to bottom: King Arthur(Hunter Foster) and

the Black Knight (BrandonAndrus); Patsy (Jennifer

Cody); Sir Dennis Galahad(Brandon Andrus) and TheLady of the Lake (AshleyDawn Mortensen); God’sfeet and the Holy Grail

All photos courtesyof HuthPhoto

HOW TO CREATE A PLAY IN 20 QUICK &EASY STEPS FOR UNDER $700,000 (ABRIDGED)

8

“THE WOODEN RABBIT, SIRE!, IT’S THE VERY LATESTIN MODERN TECHNOLOGY.” – BEDEVERE

9

“ALL MY KNIGHTS HAVE FLED AND WE’RE LOST IN A DARKAND EXTREMELY EXPENSIVE FOREST.” – KING ARTHUR

“ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE.” – PATSY

10

STAFFSKIP SKIP SKIP

SKIPGREER

DIRECTOR OFEDUCATION/

ARTIST INRESIDENCE

LARARHYNER

ASSOCIATEDIRECTOR OFEDUCATION

ERICEVANSEDUCATION

ADMINISTRATOR

KEVINPLINZKE

EDUCATIONINTERN

JEANGORDON

RYONDRAMATURG

MARKCUDDY

ARTISTICDIRECTOR

TOMPARRISH

EXECUTIVEDIRECTOR

All costume renderings by Costume Designer Susan Branch Towne

* $467,000 – Spamalot’s production budget for direct costs(costumes, set, travel, rentals, actor and designer fees,royalties, etc.) * $185,000 – Spamalot’s production budget for indirect costs(overhead, Geva staff, utilities, etc.)* $66,5000 – Spamalot’s royalties (11% of the show’s totalprojected income)* $50,000 – Spamalot’s marketing budget* $30,000 – Spamalot’s costume budget* Spamalot holds the record for most costumes in a singleproduction in Geva history.* There are over 200 costumes, 100 pairs of shoes, and 40 wigs(not including facial hair).* Equity guidelines

state that every article of clothing that touches anactor’s skin (undergarments, tights, leotards,socks, etc.) must be doubled so that on two-showdays when we there isn’t enough time to washeverything between performances, every actor hasclean clothing to wear under their costumes. Thecostumes are regularly cleaned and maintained bythe wardrobe crew and costume shop.* Each of the 17 actors in Spamalot had two 1-hourcostume fittings– that’s 34 hours of just fittings in atwo-week period.* There are several trick costumes in Spamalot – be sure to look for them!

SPAMALOT FUN FACTS

Set model by Scenic Designer James Morgan

Geva’s P.L.A.Y.2015-16 Student Matinees

Tickets on-sale now.

For more information, call (585) 420-2035.

75 Woodbury BoulevardRochester, New York 14607

Box Office: (585) 232-Geva (4382)Education Department: (585) 420-2058 or 420-2035

www.GevaTheatre.org

Ames-Amzalak Memorial Trust in Memory of Henry Ames, Semon Amzalak and Dan Amzalak

Jay Birnbaum Canandaigua National Bank & TrustThe Donald F. and Maxine B. Davison

FoundationEnterpriseFeinbloom Supporting FoundationFred & Floy Willmott FoundationLouis S. & Molly B. Wolk FoundationMax and Marian Farash Charitable

Foundation

David & Sharon MathiasonMr. & Mrs. Dennis MullenThe Guido and Ellen Palma

FoundationDr. & Mrs. Richard PoduskaThe Polisseni FoundationEric & Elizabeth RennertRochester Area Community FoundationLynn Rosen & Bradley RosenTime Warner CableMr. & Mrs. Peter van DemarkMs. Katherine Wall & Ms. Madeline WallWegmans Food Markets

Sherwin & Linda Cornell WeinsteinThe Xerox Foundation

Printing Sponsor

Excellus BlueCross BlueShield

To Kill A MockingbirdEducation Program Sponsor

Executive ProducerNocon & Associates, A private

wealth advisory practice of Ameriprise Financial Services, Inc.

Dawn & Jacques Lipson, M.D.Elaine P. & Richard U. Wilson

Foundation

Associate ProducerPamela GiambroneKim & Janet TenreiroSergio & Mary Ann EstebanLLD Enterprise

DirectorJack & Lisa BaronVictoria & Bill CherryCJS ArchitectsConstellation Brands, Inc.Suzanne GouvernetMichael & Joanna GrosodoniaManning Squires Hennig

Co., Inc.REDCOM LaboratoriesJoseph A. Floreano Rochester Riverside

Convention CenterRochester Regional Health

System

Rochester Red WingsTrillium Health U.S. Employee Benefits

Services Group VisitRochesterHelen A. Zamboni &

Steven L. Rosen

With additional support from(585) MagazineBalsam BagelsBlack Button DistillingConolly PrintingDaryl HoggEntre Computer ServicesFioravanti Florist

Hedonist Artisan ChocolatesImageNow by MaharMadeline’s CateringMark’s PizzeriaMarshall Street Bar & GrillThe Melting PotMoonlight CreameryNews 10 NBCNew York Wine &

Culinary CenterNolan’s Rental Inc.Paper Moon ProductionsROC Brewing Co.WXXI Public Broadcasting

Summer Curtain Call Supporters

Thank you to the supporters of the 2015 Summer Curtain Call Event, our annual gala in support of our education programs.

Education PartnersThank you to our corporate and foundation donors who support our education programs.

(Donors are listed for the time period 05/31/2014 through 9/11/2015)

Interested in sponsoring Geva’s Educational

programming? Contact Kelly Smith at (585) 420-2041

December2nd, 3rd, 8th,

9th, 10th,15th & 16that 10:30 am

For all audiences

(ages 5 and up)

January 19th and

February 4th at 10:30 am

For highschool

audiences

February 25thand March 2nd,3rd, 10th, 16th,17th and 18that 10:30 amFor middle

school audiences

and up