mfie ~fitlabelpfiia )Inquirer Children's Theater

For Adults AFT is Exciting, Top Notch and Innovative

By Leslie Bennetts

P hiladelphia is not exactly re­nowned as a mecca for legiti­

mate theater these days, you must admit. But we seem to have spawned -and so far are even helping to flour­ish -a brilliantly-clad, cavorting and caroling troupe of merrymakers who have been doing some wonderful things for Philadelphia stages lately.

Did you know that we possess what is probably the most fully produced professional family theater company in the country? A company which, moreover, produced more Equity the­ater in this town than any other or­ganization and that reaches almost two million students in 300 cities na­tionwide; whose shows are all com­pletely original, and whose last pro­duction - of "Alice in Wonderland" no less -broke its own attendance records?

Children's theater, you mumble in disappointment. Amateurish ... kind of schlocky ... not exactly lavish or glamorous.

Not this time. How about full or­chestration, top-notch New York tal­ent, elaborate sets and lighting, gor­geous costumes · a genuinely sump­tuous production. Yes, here!

The precedent-setting group, American Family Theatre, is respon­sible for bringing not only the Giant Caterpillar, Mad Hatter and a real live Alice to Philadelphia, but a number of other equally attractive things as well. An organization formed to bring quality professional theater to young people of all ages (not just the little ones), AFT is the

beloved progeny of founding mother Laurie Wagman.

"If you believe, as I do, that thea­ter is one of the cornerstones of a gentle civilization, it must be kept alive. The performing and graphic arts are just as important to the quality of our lives as keeping SEP­TA going."

Keeping theater alive is more easi­ly said than done. Surveys indicate that today's theater going audience is predominantly middle-aged ... and hovering on the far rather than the near side, at that. <~Children are not often invited to

tune into theater. But the adults who do care will almost. always tell you that they were originally turned on to it the very flrst time they ever went to a play. If we introduced kids at an early age to relevant, exciting, quality theater, they'll come back again and again ·and we are devel­oping an audience for the future that will keep theater alive."

An audience for the future we don't know about yet, but turned on they are. The recent "Alice in Won­derland" presented the traditional story line and characters and started out demurely enough in frilly Victor­ians, but from the arrival in Wonder­land it was soft rock all the way.

The Wonderland characters leaped happily into a rock dance: The giant 8-foot Caterpillar shimmying, his yellow-and-green segments swaying and undulating to the music, fea­thery antennae waving gaily: all nine feet of the imposing Queen,

NOW

Aladdin consistent with zip and flair

WHEN IT comes to staging musicals for children and adults, the American Family Theater does a Jot of things right.

The Philadelphia-based touring company last night paid its second visit inside two months to Hamilton Place. In late December, AFT brought an original version of Beauty & The Beast. This time the show was Aladdin and The Magic Lamp.'

Of the two, my preference is for Aladdin. It seemed to have more consistent zip and flair. But both musicals revealed lots of appealing touches that I suspect would keep audiences particularly young audiences -looking forward to future visits.

Norma1ly, I think that six years of age is about the earliest to take youngsters to live theater unless the show is specifically geared for smaller fry, encourages audience participation and runs about one hour with no intermission. Well American Family Theater comes close. Both visits have begun with a cheerful welcome and a reminder about "theater manners," meaning no flash cameras or tape recorders and no talking, so that everyone can hear the performance.

Now it's true that every three and four-year old at Hamilton Place didn't necessarily take this advice to heart last night, but it's a start.

What else is good? Well, the shows run about 70

brisk minutes with no intermission. Both Beauty & The Beast and Aladdin were buoyant and bouncy plays with no

Stewart Brown · . .

lulls, toe-tapping pop-oriented music, lots of dancing attractive sets, costumes, props and all kinds of special effects.

OK, they sure overdid the smoke in Aladdin. It's not necessary to choke an audience out in the opening number, one that you couldn't see through the haze. But in small doses, the smoke worked fine, particularly for the Genie's first appearance.

Another thing - both Beauty & The Beast and Aladdin were original musicals, showing children that there is fairy-tale life beyond Walt Disney, good as his film versions have been.

Both AFT shows have featured young enthusiastic casts of performers who are suitably amplified so that they can be heard loud and clear, even by chattering toddlers. The Aladdin cast of eight -mainly recent university graduates- was attractive and . the singing, especially from Carrie Houchins as Princess Leah, Jennifer Rice as Aladdin's sister, Jil Abramovitz as a servant and Genie, Fabio Polanco was strong.

And at $10 and $12 a ticket, the price was definitely righl

The custom of having the cast in costume greet the audience in the lobby to sign autographs is a generous gesture. It does clog out-going traffic though and can get claustrophobic for tiny tots.

Hearing a New 'Anne Frank' American Family Theater musical about Holocaust figure to the stage

• MICHAEL ELKIN Exponent Staff

The echoes of Anne Frank's fight for life and freedom reverberate still, decades after she committed her thoughts and feelings to paper.

Laurie Wagman has heard those words and has done what she does best; Prepare a musical about the young woman whose leg­endary diary is a reminder of U1e invincibil­ity of the human spiriL

Wagman, founder/chairman of the America Family Theater and it's sister orga­rtization, American Theater Arts For Youth, commissioned "Anne Frank: A Voice Heard", recently staged at the Academy of Music in front of 2,200 school-children and representatives of the President's Summit celebration.

"Anne Frank," with book and score by E. A. Alexander and Lezley Steele will be staged Sunday, May 18 at the Gershman Branch \vith Jewish Community Center of Greater Philadelphia. Performances are set at 1:30 p.m. and 3:30 p.m.

"Anne Frank has become a legend tl1at expands beyond the Holocaust," notes Wagman.

"What she endured speaks to the violence and bigotry we see around us -that humankind is capable of such lnsanlty."

The idea of the musical has been on Wagman's mind for tbe past decade. The Frank family story fits perfectly, she says, into the American Family Theater's goals­offering me.1.rtingful musicals that entertain and energize their youthful audiences.

When it comes to such musicals, Wagman certainly knows the score; AFT has been active for close to 30 years.

But do today's kids have a place in their hearts for the narro,ving hell Anne Frank went through?

Avid Readers "We were planning a show aimed at

Jennifer Lee Gambatese portrays the title character in "Anne Frank: A Voice Heard. "

junior high and high school audiences and sent away for their reading curricula," recalls, Wagman of the company's survey to see what children were interested in.

''We were astounded to find out how many young people were reading 'The Diary of Anne Frank,' down to the fourth grade. We were shocked."

What may jolt readers - "those who only think of Anne Frank as this fey, serious, pal­lid creature who would go off in a corner to do her writing" - is an image that emerged after much research.

"TIJis child had energy," says Wagman, ''She had an enormous sense of humor and was a little irreverent.''

Can a revered figure such as Anne be treated musically?

"Music is a way to move action forward,' ' says Wagman, adding that songs such as "Our Little Attic," "Why," and "Dear

Friend," help define the dialogue of the play. Closed off to the world in an attic, the

Frank family nevertheless was open to the celebration of life, as saluted in "We're Alive."

"It is full of hope," says Wagman of the lively number that records the Franks' feisti­ness.

Craft and Consideration Yet Wagman is aware that some may ques­

tion whether such a topic is suited to the musical form. It has all been orchestrated with craft and consideration, she says.

Director Don Kersey, AFT playwright /director-in-residence since 1975, "has impeccable taste. I knew he'd hit the bal­ance of sensitivity and restraint.''

In a world where balance is so rarely achieved, where concepts of right and wrong are often askew, Wagman tltinks the musical has a universal message. That is reOected by it's catholic cast.

"When we were casting, we obviously did not pay any attention to the religious make­up of the performers," says Wagman.

"Afterward I realized that all the roles of the Jewish Franks were taken on by gentiles. And the only actress who is Jewish plays Miep Gies, the Righteous Gentile who helped hide the Franks in the attic," remarks Wagman.

There is no hiding Wagman's affection for the site of Sunday's performance. She calls the JCC "one of the most splendid agencies serving our community. It is an audience 1 have very real links to."

"We hope,"says Wagman, "TI1at our Anne Frank \vill inspire students to hold on to their optimism. And that the young people and the adults accompanying them \vill rec­ognize the marvelous light thatllves within us all .. . the light we have to defend and not let outside events put out."

That is the voice Wagman hope audiences hear from "Anne Frank: A Voice Heard.'' •

Sunday, July 10, 1992 Press & Sun-Bulletin 11c

: ··:. · . ·. · ARTS & ENTERTAINMENT · ·. ·. :··:

•oz• troupe takes .Broadway values on tour By Gene Grey The Wizard of oz Staff Writer WHAT: Children's

Families are the bread and butter of Musical the American Family Theater. . WHEN: 2 and 7 p.m.

Adrienne Crane, president and W'3dnesday producer of the national touring WHERE· Anderson company, said this year has been the • best ever for the 21-year-old company Center, Binghamton that spedallzes In creaUng what she \Jniversity. calls "Broadway for children." ADMISSION d

The company's current production ~ a ults, wlll be at the Anderson Center $7.50; Children $5. Wednesday as the first show of the INFORMATION: Call 1992 Binghamton Summer M~tsic 777 Art 5 30 Festival. • s, noon- : p.m.

Tht Wlurd of Oz isn't the MGM weekdays. . movie version that every chlld has L-------------1 seen, but a new musical based on the children's theater, Crane thinks those characters • Dorothy the tln words are something of a misnomer. Woodsman, the Scar~crow, the "'They are family shows; parents will~· Cowardly lion and The Wizard • as delighted as their kids are about the made famOU5 In the series of books by quality and content of the shows. The L Frank Baum. parents won't be bored."

In a telephone interview Crane said She also said the definition of "famlly" the shows are contempor~, with the itself is changing. "The family also music scenery and a cast of means a single parent family or one in professional pcrfonncrs "We don' put which the grandparents have the shows on the road, if we haven't tested responsibility of taking care of the them and gotten a lot of Input from chJldren. A she said. "lt ls a time ln whkh educators, parents and kids during parents a~e searching for activity and preview performances," she said. "We entertal.nment for kids." think we know whnt works for She said the current state of the children • econo~y is such that parents can't

"This Isn't some 'back of the van' afford ;so and $60 theater tickets and touring operation. We calllt Broadway are, rather, looking for things that they for children, and we mean lt. We have can do as a family and with their full scenery, costumes, recorded chlldre:n. original music an(\, for Oz, a cast of "There's a limited number of dollars seven professional performers." she c.ut there, so parents are inclined to do said. thlnfr> together," she said.

The American Family Theater production of The Wizard of Oz will be at the Anderson Center Wednesday as the first show In the 1992 Binghamton Summer Music Festival.

'n\e company runs seven to 11 tours the International Festival of Theater for a year, with 28 dllment productions. Young People In Moscow. The Among th" company's theatrical Freedom Foundation gave the stodcpUe ate versionS of Tom Sawytr, company its Medal of Honor for Ondm11A and Tht Uttlt Mtrm~~ld. enhancing the quality of life for )-oung

In 1983, the company was awarded people nationwide. a White House Citation for theatrical achievement on behalf of young American Family Theater has played people and was selected in 1990 to to more than two million people in 324 represent the United States at cities nationwide.

The Arts

'Cinderella's' a Play for Children And Mixes Old Charm With the New

A successful show for chil­dren follows a tried and true formula: It shouJd be a favor­ite tale but not too clullered with characters; the produc­tion should be simple and di­rect, with some singing and dancing. If there's music, there should be some physical action, such as horseplay and­or running up and down the aisles; and the children should be encouraged to par­ticipate when possible.

Laurie Wagman, producer­host of the former NBC-TV series, "Laurie's Magic World," follows this pattern for "Cinderella," the musi­cal for children that opened Monday at Town Hall and will play there through next Tuesday morning.

Wagman has added in an important new character to the well-loved story - Mor­timer Mouse. Mortimer not only helps Cinderella and her Fairy Godmother, he urges his audience to use "imagina­tion and pretending,'' and persuades them to make the Prince "wait!" when he vis­its Cinderella's house.

Don Hoyt, as the king 's

prime minister in charge of the glass slipper, does the pratfalls and leads the search through the aisles for the missing Cinderella after the ball. The kids love it.

The appealing sets - the kitchen and the palace ball­room - are back-to-back on a turntable that moves in view of the audience The sets and beautiful costumes are the work of Gerr) Leah~.

There are half a dozen songs, including "We're Beautifur' sung by the two stepsisters. who aren't ugly at all. and a couple of ballets -"Fun" at the ball and an um­brella ballet. ln their song. in­cidentally, the stepsisters give a bit of sophisticated advice -"When you're out to get a man - Do it any way you can.· · There's a four-piece combo in the orchestra pit.

Leah Martin is personable and petite in the title role, with Walt Nichcake as the Prince, Elowyn Castle as the Stepmother, Maureen Catter­all and Maggie Rash as her daughters, and Marianne Ho­laday as the Fairy Godmother.

"Cinderella" is being seen by thousands of New York children from public and pa­rochial schools.

Reprint 4/29/89

The Arts

'Babes in Toyland' is A Treat for Youngsters

Victor Herbert probably didn't have children in mind when he wrote "Babes in Toyland" in 1903, but, bo) are young­sters having a ball with the AFT adapta­tion of ''Babes in Toy land."

American Family Theater, Inc., a thea­ter ensemble that produces original chil­dren's plays nationally. has ''Babes·' as its latest offering. Thanks to an engaging adaptation of Herbert's musical, plus some original tunes by director/composer Don K!:rsey, ·'Babes" is a rollicking holi­day treat for the young set.

With lots of audience participation, gai­ly decorated sets, costumes and lightin& and a strong and able-voiced cast, young audiences squeal. clap. scream and giggle for a little over an hour.

The spirit is contagious. We ha,·e a wicked villain, a lovely young damsel he wants to marry, a nephew who is sup­posed to marry the same young damsel, a widowed mother and three recognizable friends called Jack and Jill and Simple Simon. The ingredients are aJJ here for a romp through Toyland, for true love to conquer and for the wicked villain not to get his wish.

We arc not disappointed. This profes­sional cast knows how to sing and dance.

how to command the attention of its young audience with outrageous gestures and good-time buffoonery.

Especially delightful is Michael W. Corr, who is as appealing a villain as one would c\er hope to find on a musicaJ stage. His voice is sinister, his singing is superbly robust and children definitely pay attention to him. Holding the other bag of big laughs is Kathy Robinson, who plays Jack's sidekick, Jill.

There is a happy ending to this holiday treat and all along the way, the audience is treated to some catchy original tunes like "When You've Got Talent" by Kersey and some classic tunes like "Toyland, Toyland" and "1 Can't Do This Sum" by Herbert.

With "Babes in Toyland," American Family Theater proves just how strong it can be at creating original and contempo­rary theater pieces for young audiences.

Last year alone, this company attracted more than two million children and their parents, grandparents and teachers to their theater productions around the coun­try. "Babes in Toyland'' plays Monday through Friday with performances at 10 a.m. and 1 ~: 30 p.m. daily. Group rates arc available.

Reprint 11124/89

.. I·"Frlday .. NbVOml:iet2t>l;hl!18~Vegas Review-Journai/3 5 J

ARTS ' h ~ ., ;

• • • • • • • • • • • • • • • • • • , , , , , , , , , , , , , I I I I I I , I I I I I : • \

P1nocchio (Rusty Van Praag) discusses his nose with the F1nnicky Fox (Bill Folman) in the American Theatre Arts tor Youth production.

\ \ \ \ \ \ \ \ \

' Pinocchio' production hits the Artemus Ham Hall stage By Ken White Reii!OW.JOtJrnal

T he American Theatre Art$ for Youth, an ac· claimed theater IITOUP for

children based in Philadelphia, bnngs "Pinocchio" to hf~ in 1ts current production.

Uilled as the largest pro.Juc· lion company of musicals for children in the United States. ATAYY has been touring for 28 of its 29 years of existence, and performs in 500 cities each year.

The company, which presents Lwo performances of "Pinocchio" Monday at ArtcmuH Hom Hall aL the University of Nevada, Las Vegas, has produced 44 onginal musical productions lhat have played before more l.h3n 1. 7 million people.

The most familiar vers1on of tho "Pinoc:chio" story. written by Italian author Carlo Collodi in 1883, was done by Wall Disney Pictures in a1940 animated film, bul a 1983 production star· ring James Coburn, Carl Rein· er, Paul Reubens, Jamea Be­luahi, Lai.nie Kaun and Don Novello also received critical ac­claim.

Preview What: "Pinocchio'' When: 1 0 a.m .• noon Mon·

day Where: Artemus Ham Hall,

Umversity or Nevada, las Vegas, 4505 s. Maryland Parkway

ilckets: SS.SO

In Collodi's story, Pinocchio is a wooden puppet made by Gep­petto, a woodcarver. Pinocchio comes to life, but his laziness and selfishness lead to an un· happy life.

At the end of the tale, Pinoc· chio learns to be generous. work hard and to be honest. He is re· warded by a fairy who grnnta Pl· nocchio his wish to be a real boy.

ATAYY founder and president Lourie Wagman says the compa· ny's at.llgc vers1on of "Pinocchio," whicb is produced by Amuricun Family Theater, a division of ATAFY. is a •straightforward and honest telling of the story. • Don Kersey did the book, lyrics and muaic for the show.

Professional actors from New

Yo1·k, Chicogo ><nd Los Angeles are usud in ATAFY productions, she says.

The cast includes Rusty Van Pra11g as Pinoc:chio. Geoffrey Bums as Gcppetto, Elizabeth Angeloni as Gina, Natal1e Bllublitz as the 1llue Fairy, Aaron Moreland as Candlcwyck, Annn Sheffield as Carmella Cat and Bill Folmoo as Fin11icky Fox.

Wagman, who has a back· ground in education and theal· rica) performance, began the company nfWr writing a show for kids thal consisted of 11 characters. She played one, und a malo actor played the other 10.

"So 1 wrote another and an· other (~how) and began produc· ing them myself," says Wag· man, who also is vice chairman or the Opero Company of Phila· delphia nnd serves on the board of the Afro American Museum, the Liberty Museum, the Cre· ative Glass Center of America and the American Interfaith In· stitute.

' The arl8, she says, ·a.re the most pbwerfuJ teaching tool," and each production bas study

guides available for schoolchil· \ drijn. \

The musicals hove played in \ such venues as Philadelphia's ' Academy of Music; the Grand ' Ole Opry in Nashvdle. Tenn.; ' and New York's Carnegie Hall. '

Productions have included ' "Portraits in American History" ' (Ben Franklin, Thomus Jeffer· ' son and Ellis Island), "Black ' Journey." "Pied Piper of Har· ' lem," "Anne Frank: A Voice ' Heard" and classics such as • A ' Christmas Carol," "Beauty and ' the Beast.• "Cinderella." "Huck ' Finn,""OliverTwist,""Wind tn ' the Willows." "Torn Sawyer," " "Alice in Wonderland" and "Pip· " pi Longstocking.• "

The company employs more • than 300 actors and tech per- • sonnel each year. •

ATAFY also presents pro­grams such as workshops and residencies with school districts • across the country and free the· • ater access for children who are • physically or mentally disabled, • and children who have been

• •

• • abused and neglected. For ticket information, call

(BOO) 523-4540. Group rates are • available. < 1 : l 2 •

• •

Christian Riese Lassen's "Eyes or the Tiger" is one ol several new wildlife pieces that will be on display at Galerie lassen at Caesars.

Artist Lassen will unveil works at holiday show

Galerie Lasson at The Forum Shops at Caosars, 3500 Las Vegas Blvd. South. Will hold its hOliday show 8-10 p.m. today and Saturday feabJring the newest Wildlife WOIXs by artist Christian Riese Lassen.

Big Cat Encounters will be on-hand to assist In elevating awareness o f tho Importance of wildlife education and the preservation of ondaogered species. Nala, a 4·monlh-old lioness from Big Cat Encounters, will be at the event.

The new collection to be unveilfxl the evening of the show includes, "Eyes of the ilger, • priced at $125,000; 'Majesty Ill," $120,000; "Secrot Place." S300,000; and the ar11sts latest llfptycll, a continuous ocean image priced at $120,000. Urnited editions of each of the newest wo,XS are available. The.s~w Is open to the public. but reservations are necessruy by caJ11og 731-6900.

with her heart-studded headdress and flaming scarlet robe, the fat round Dormouse, hooped and enor­mous - they all joined in and started t.o boogie.

"The reaction of the audience is always wonderful," Laurie recalls. "First there is a stunned silence, and then they break into these squeals and claps of delight. The contemporary sound is so much a part of kids' lives today that they respond to it very strongly."

And this is not just the glowing report of a proud but prejudiced pro­ducer. "The production is truly fabu­lous," confirms Martin Wilson, a me­dia specialist for the Philadelphia school district. "It was perfect on both levels - delightful for children, delightful for adults. The music was absolutely out of sight! The whole show was definitely comparable to anything you'd see on Broadway."

Even Broadway was impressed. "We've had nothing in New York to compare with this," admitted one New York big-shot.

All of AFT's productions are com­pletely original, from the lively script, exuberant music and funny, tender lyrics to all production de­sign. Does "Alice's" success mean we're in for a whole run of soft rock fairy tales? Not at all.

"We feel very strongly that each production must be treated individu­ally, as a creative entity unto itself," says Wagman.

The next show in line is certainly a switch. "Abe Lincoln," is a com­pletely new look at one of our cultur­al sacred cows. It takes the man down from the pedestal and out of the myth, and makes him into a hu­man being, warts and all.

Can you see Honest Abe as a squal­ling infant in christening clothes? (The show starts out with a baby-

naming song: "We'll call him Abra­ham!") Or as a fun-loving rough-and­tumble, ordinary 12-year-old boy! Making history come alive in a real, breathing, freckled and faulted way is an important function of AFT.

Amazingly, last year's ambitious "Black Journey," which was a spirit­ed musical survey of 300 years of black experience in America, was commercially as well as artistically successful.

The proof of such fare's potential as education in addition to pleasure seems clear from the enthusiastic re­sponse of educators. AFT is working with the schools to present theater which teachers can relate to their curriculum. A study guide is pro­duced especially for each show, with discussion and project ideas that teachers use according to their own needs.

There is always a certain limited number of parents who, fed up with the incessant tube and rightly con­cerned about their darlings' cultural up-bringing, will dutifully cart off­spring off to children's theater, but the vast majority are never exposed to it. Through the schools, AFT is reaching the greatest possible num­ber of kids with a new and very ex­citing experience. Last year the au­diences attended the local series (which included "Tom Sawyer" and 4'Cinderella" in addition to the inno­vative "Black Journey" and "Babes In Toyland"). Not bad for Philadel­phia!

Magic is pretty hard to come by these days. And when it happens along in so joyous a form as this, it's a lot better than just 44enough."

Reprint 81389

BAY CITY DAILY TRIBUNE Monday, December 9, 1991

•sabes• bright look at storybook favorites for BC youth

Lana Sweeten The Daily Tribune

For young people. stepping into Keye Ingram Auditorium Saturday afternoon was like opening the p~ges of a storybook bursting with fantasy, nursery rhymes and ABC's.

"Babes in Toyland" came complete with the infamous wate~-fetehing Jack and Jill and Mary of the quite contTary fame. Other Toyland babes were Alan, Mary's betrothed, the Widow Piper, Mary's all-too-proper mom. and the evil Barnaby, Alan's uncle.

The storybook characters came together as the first of two performances in the Young People's· Theatre series of the Festival Arts Association. ·Peter and the Wolf." the next show in the series, is slated for March 21.

With the silhcmettes of characters dancing around like ·'couples in a music box, the musical opened to tlte sounds of .. Toyland, Toyland, wonderful girl and boyland" echoing from the distance. Then on came the lights and the many colors jumping out from the stage, including an impressive set of two houses in purples, golds and reds nestled on a mountain top with yellow sun rays

fanned in the background In this story, the sleazy Mr.

Barnaby comes to collect money from young Mary and the Widow Piper. Otherwise, he threatens to foreclose tht mortgage on their house. Unfortunately, the Pipers have no money and the only way Barnaby, the owner of the town's bank. will stop the foreclosure is if Mary agrees to marry him. ·

Much to her despair, Mary plans to marry Alan and cannot bring herself to wed someone so "o·ld". All seems lost until good friends Jack and Jill and of course, fiance Alan, come to the rescue.

Jack the bumbling idiot, with all his "brilJiant" ideas, comes up with several solutions to Mary's dilemma. First, he gets her to ~ee to marry Barnaby and ~nld off the wedding for a week, when Alan turns 18 and inherits hoards of money. Jack's plan fails when Barnaby insists on marrying "tomorrow."

Here's when the real fun begins - when Mary and Alan run off together to Toyland, pursued of course by Barnaby. Remembering

"When There's A Will, There's A Way," turns the evil bank owner into a good person.

Children had plenty of chances to participate in "Babes in Toyland." They helped Jack learn his "ABC's" and helped Mary decide whether or not to marry Barnaby. A lot of the fun came during the exciting chase through a spooky forest, when Barnaby chased Mary and Alan into the audience.

"Babes" wasn't just any other vegetative-type television show. It was a learning· experience and a lot of fun.

All the characters deserve recognition for their performances, but the star of the show by far was Barnaby, played by David Smith, who played the character as well as any cartoon's dastardly villain. The not-too-smart Jack, played by Mich~el Onoratto, off-set Smith's Barnaby perfectly with his silly antics.

Other .. Babes .. players were Kendra Moyer, .. Mary," Angela West, .. Widow Piper," and Margery Gray, "Jill."

with her heart-studded headdress and flaming scarlet robe, the fat round Dormouse, hooped and enor­mous - they all joined in and started to boogie.

"The reaction of the audience is always wonderful," Laurie recalls. "r'irst there is a stunned silence, and then they break into these squeals and claps of delight. The contemporary sound is so much a part of kids' lives today that they respond to it very strongly."

And this is not just the glowing report of a proud but prejudiced pro­ducer. "The production is truly fabu­lous, .. confirms Martin Wtlson, a me­dia specialist for the Philadelphia school district. "It was perfect on both levels - delightful for children, delightful for adults. The music was absolutely out of sight! The whole show was deimitely comparable to anything you'd see on Broadway."

Even Broadway was impressed. "We've bad nothing in New York to compare with this.'' admitted one NeY.• York big-6hot.

All of AFI'"s productions are com­pletely original, from the lively script, exuberant music and funny, tender lyrics to all production de­sign. Does "Alice's" success mean we're in for a whole run of soft rock fairy tales? Not at all.

"We feel very strongly that each production must be treaLed individu­ally, as a creative entity unto itself," says Wagman.

The next sho\V in line is certainly a switch. ''Abe Lincoln," is a com­pletely new look at one of our cultur­al sacred cows. It takes the man down from the pedestal and out of the myth, and makes him into a hu­man being, warts and all.

Can you see Honest Abe as a squal­ling infant in christening clothes? <The show starts out with a baby-

naming song: "We'll call him Abra­ham!") Or as a fun-loving rough-and­tumble, ordinary 12-year-old boy! Making history come alive in a real, breathing, freckled and faulted way is an important function of AFI'.

Amazingly, last year's ambitious "Black Journey," which was a spirit­ed musical survey of 300 years of black experience in America, was commercially as well as artistically successful.

The proof of such fare's potential as education in addition to pleasure seems clear from the enthusiastic re­sponse of educators. AFT is working with the schools to present theater which teachers can relate to their curriculum. A study guide is pro­duced especially for each show, with discussion and project ideas that teachers use according to their own needs.

There is always a certain limited number of parents who, fed up with the incessant tube and rightly con­cerned about their darlings' cultural up-bringing, will dutifully cart off- · spring off to children's theater, but the vast majority are never exposed to it: Through the schools, AFT is reaching the greatest possible num­ber of kids with a new and very ex­citing experience. Last year the au­diences attended the local series (which included c'Tom Sawyer" and "Cinderella" in addition to. the inno­vative "Black Journey" and "Babes In Toyland"). Not bad for Philadel­phia!

Magic is pretty hard to come by these days. And when it happens along in so joyous a form as this, it's a lot better than just "enough."

Reprint 8889

AMUSEMENT BUSINE SS®

AFf Spending More Time In Philly I For Summerlong Freedom Festival 1

The American Family T heatre (AFT), based in Philadelphia, is playing more at home this summer than in years past due to that city's summerlong Freedom FestivaJ. The festival is expected to draw some three million visitors to the city.

"Ben Franklin's Tune Machine: A Great American Adventure,'' a full-scale musicaJ, was presented on the Great Plaza stage through July 1. AFT is offering it to other cities in the fall. The show is being pre­sented at Penn's Landing waterfront area near downtown.

''The Day That Ben Flew Over The Delaware" was created specif­ically for the festival. A roving thea­ter troupe gathers audience/partici­pants pied pier-style for perform­ances every Saturday and Sunday along Penn's Landing. The troupe starts its show at the boat basin, and was scheduled to give out free sou­venirs during Philadelphia's Festival of Firsts, June 30-July 1.

"We have had a lot of interest from other cities about adapting this presentation for their city or sponsor and producing it for them," said Laurie Wagman, president of AFT. "It is something that would be easily adaptable to other communities and sponsors.''

Two other productions, "Ben's Landing Day" and a children's mu­sical theater series which includes "The Wizard Of Oz" and "Pinoc­chio" are also a part of the festival. "Ben's Landing" was scheduled to kick off the Festival of Firsts, hav­ing been renamed (for that weekend) "Ben's First Day ln Philadelphia.

Each of the presentations is being sponsored in whole or part by local banks and other industry in the Philadelphia area.

Wagman said that last year, AFT productions played in 224 cities and communities throughout the U.S. FaJJ productions on the road include "Babes in Thyland" and "A Christ­mas Carol," as well as favorites such as "Pinocchio," "Wizard Of Oz" and "Cinderella."

"The Wizard Of Oz" recently played the Maritimes, where it was well received, especially by chil­dren, according to Wagman.

July 16, 1990

The Hays Daily Nevvs TUESDAY • APAIL6,1993 • THEHAYSDAILYNEWS • 4 .

• OPINIONS EDITOR'S OPINION

Help support children's art programs Yesterday nearly 2,000 local

children, parents and grandparents watched as Beauty tamed the Beast on the stage of Beach-&hmidt Performing Arts Center at Fort Hays State University.

The traveling children's thea~ perform'ance was filled with the stuff of theater that children love - beautiful costumes, wolves and beasts that were a little scary -but not too scary - wondrous scenery, catchy music, lively dances and spectacular lighting effects.

Watching such live theater performances, especially when done so well in such a beautiful facility, is the kind of experience young children remember for years. If they are lucky, they catch an appreciation of the performing arts that will hring them joy for the rest of their lives.

The chance to shape children's appreciation of art is one of .the goals of the Hays Arts Council. With financial support from a local patron, the organization has begun expanding children's theater offerings, building on the popularity of the annual performance of the Nutcracker ballet.

The performance yesterday was free to local elementary school students who attended the matinee and to others who attended the evening performance.

The arts council would like to

children, including theater. Doing that takes money and support.

Of the thousands who attended the performance yesterday, only a few are members of the arts council.

Many more could and should be. Family memberships cost only $30 per year. Most families who attended the performance yesterday surely spend far more than that on entertainment that has far less educational value than that provided by the arts council.

Families who recognize the value of the services provided can join the organizatioli to show their .financial support and to demonstrate their commitment to helping local children grow up with an appreciation of the importance of all the arts in our lives. IVlembership applications are available at tl}e center or simply send a check for $30 (or more if you wish to add a donation for a higher membership category) to Hays Arts CounciL 112 E. 11th, Hays, 67601. Be sure to include your name and address for membership.

You'll get some immediate benefits from paying for a membership - including advance notice of performances, classes and other events and discounts on purchases.

But more important, your children, grandchildren and the kids down the block will receive lasting benefits from it.

Reprinted from Agent & Manager FACILITIES February 1995

Entertainment/Touring Shows

Producer-Venue Staff Cooperation Vital to Success of Family Shows

by LESTER SHANE

In a marketplace where amusement parks, video rentals, movies, sporting events and cultural activities compete for the family's discretionary funds, the multimillion-dollar touring family entertainment industry continues to provide a highly desirable product that attracts large audiences and generates substantial income for venues across the country.

According to Vicky Matre, assistanL director of arena operaUons at the Brown County Arena in Green Day Wl , tou ring family shows account for approximately 25 percent of the facilities business. "We love to host family events," she said. "They're noncontroversial and they bring people in."

Representatives from five of the major touring packages offered their thoughts on the industry and the synergy between their product and the venues they play. AJI were optimistic about the future and stressed that long-term satisfying relationsh.ips with the venues are crucial to their success.

Keeping the ticket cost accessible while providing first-class entertain­ment is one of the key goals of the American Family Theater, Inc. Producers of rnusica1 theatre for families and young audiences. AFT has been selling out its "Broadway for Kids" productions for more than 23 years. With 15 companies on the road, AFT plays approximately 650 venues across the country."Last season it logged enough miles to equal tbe circumference of the globe," reported Adrienne Crane, AFf's president.

AFT's shows include popular titles like Tom Sawyer, Pinocchio, Cinderella and the Wizard of Oz. They travel with a cast of seven to ten performers, a lighting director, technical director and stage manager. Offeri ng a complete package with fu ll sets and costumes, AFT brings its own electrics and special effects so that the venue needs to supply only basic stage lights.

Having a history with a venue's staff is a real plus."We work together," Crane said. Basing her comments on AFT's 15 years of pl aying some sites over and over again, she added that the give-and­take relationship between product and building has proved to be enormously successful for all concerned.

This year American Family Theater celebrates a silver anniversary ... 25 years of providing the very best in professional family entertainment throughout the United States and Canada. Currently American Family Theater is touring Asia.

As a producer, AFT knows that producer/venue communication is the key to success. In celebration of this landmark event, AFT has instituted an expanded touring services department to insure that your event goes smoothly, runs efficiently and generates a strong box office draw.

The technical team, all touring professionals themselves, are top designers in the industry. They are ready to work hand-in-hand with your tech director to create a terrific show in your facility.

AFT's promotions department is ready with the media materials you need and the support that you desire to create an impact in your community. American Family Theater is the proven cornerstone of a successful family series. It is now easier than ever to promote an AFT award-winning production sure to please your audiences and build your marketshare.

The 1995-1996 season welcomes an expanded roster of titles. Call 800-822-8487 now for information and routing opportunities. Ask about the new Best of Broadway series.

The Chieftain, Pueblo, Colo., Sunday, March 5, 1995 - page 68

'Pippi Longstocking' big hit with kids By CHRIS WOODKA

A child's outlandish dream. A parent's worst nightmare. Meet Pippi Longstocking.

Just before Saturday's 90-minute revival of the classic children's story at the Sangre de Cristo Arts and Conference Center, the announcer told children to sit back in their seats and hush.

Yeah, sure. So while the seven-member cast of

the American Family Theater company celebrated the pranks and pratfalls of childhood, many parents in the audience struggled in vain to keep their own young children under control.

But it was only natural to develop a bad case of ants-in-the-pants when the actors filled the auditorium with bursting energy. Even a few adults wanted to join the fun of amplified singing, constant dancing and endless chase scenes. A few unexpected puffs of stage smoke added to the excitement.

The musical rendition of "Pippi Longstocking" is up against stiff competition with the collective imagination of children. What kid hasn't dreamed of living in a fun­house with a pile of gold, pets like monkeys or horses and absolutely no rules?

But the American Family Theater players were up to the task.

Elisa Wain, who played Pippi, dreams of being a singing doctor in real life. As Pippi, she sang and danced her way through an obstacle course of inept thieves, clumsy policemen and twisted circus performers (Rick 0. and Jeff with friends Tommy (Dani and Annika (Genni

The chi

American Family Theater cast members dance and sing during their Saturday show.

her plan to become Pippi 's foster mother - that is unti I Captain Longstocking (Stephen Corbett) shows up.

In the end, Pippi resists the urge to go to sea with her father, opting instead to stay with her friends in Villa Villekula.

Pippi is the creation of Astrid Lindgren, a Swedish children's author, born in 1907.

The name, "Pippi Langstrump" in Swedish, was suggested in 1941 by Lindgren's 7 -year-old girl who was ill with pneumonia.

Mother told daughter tales sufficient, 9-year-old gi herself, who was a horse

r is an that her father the

king of the cannibals on island. She has a suitcase full of

gold coins to pay for the things she needs. No one tells her what to do.

According to biographer Johanna Hurwitz, Lindgren originally wrote the Pippi stories to give Karin for her lOth birthday. Instead, she sent them to a publisher, who rejected the manuscript. A year later, the stories won first place in a writing contest.

While parents cringed at antics perpetrated by Pi loved them. As realized

stage version added a few to the joy of being naughty.

Pippi at one point yelled to police, "Well who did you think I was, a Power Ranger?"

Well, maybe. But more entertaining by far.

WORRALL NEWSPAPERS PAGE 84 - THURSDAY, FEBRUARY 27, 1998

Children's theater company handles serious subject with kid gloves

Helping children to understand heavy concepts such as strife, death and war is always a challenge for parents. American Family Theater has accepted this chal­lenge with gusto with their recent pro­duction of "Anne Frank: A Voice Heard," which was presented at Union County Arts Center on Feb. 23.

"The Diary of Anne Frank," long a sta­ple in junior high school classrooms, tells a story of a 13-year-old Jewish girl who, with her family fled to Holland to escape Nazi tyranny during World War ll. The Frank family was hidden away in an attic apartment by Meip Geis, a friend of the family. Hardly daring to speak or move for fear of discovery and imminent death, the irrepressible teen recorded the daily ordeal of their living nightmare from the ever-optimistic perspective of youth.

AFf has made an unorthodox choice in including this serious tale in their Theater presentations for children. They have succeeded in Communicating not only the grim reality of the Holocaust, but also the awe-inspiring zest for life which was the unlikely byproduct of a threat to mortality.

The play gently eased its youthful audience into comprehension of the Frank family's difficult circumstances by keeping the musical numbers and the dialogue in the first five scenes simple and upbeat. In the opening number, the cast sang about the earth as "a very small planet spinning in space" and "how it is a remarkable place," introducing a theme of wonder and dynamism. This same upbeat theme was continued in "Our Little Attic," where the audience was introduced to Anne and her family

Theater View By Jacque McCarthy Associate Editor

and their differing opinions on their new quarters - while Mr. and Mrs. Frank saw a cramped space with few amenities, adolescent Anne saw adventure waiting to happen, and an old wooden table on which to write about it. In "Not A Whisper," Mr. Frank established the rules for maintaining their concealment, and in "Bright and Spunky," Anne was chastened for her teen-age. lethargy by Mrs. Van Damm, who, 'vith her husband and son Peter, had taken refuge in the attic apartment.

The audience was privy to the possi­bility of the family's extinction in Scene 6. The long-confined group finally let down their guard and dared to frolic in their cramped quarters, only to be inter­rupted by the threat of a raid. This scene represented the turning point of the pro­duction, as the audience experienced along with the cast the fear of discovery and the joy of escaping detection. Here the play left saccharin behind for a real­istic joie de vivre, as traditional celebra­tory Jewish music replaced previous lift­ing strains in "We're Alive."

Hereafter, the grave repercussions of Nazi oppression are addressed in a open style. "Dear Friends" found Anne and sister Margo discussing what they wish they could do for friends who were not lucky enough to escape capture. "In Spite of it All" reflected the group's amaze-

menl at Anne's positive attitude in the face of adversity. Each scene was pref­aced by a few words from the voice of Anne writing in her journal, allowing the audience to "turn the page" along with her as she candidly wrote about her e.>..'Pcriences and feelings.

"Anne Frank: A Voice Heard'' was sung and performed by an outstanding cast. Adam Hunt and Jessica E. Sherman were wonderful as Mr. Frank and Margo, respectively as was Jimmy Blackman as Mr. Duesel and Mr. Van Damm. Clayton Reese as Peter Van Damm, and andrea Markmvicz as Meip Geis/Narrator and Mrs. Van Danun. Special note goes to Jennifer Lee Gramatese, who portrayed a properly spunky and defiant Anne.

AFf has presented professional chil­dren's musical theater at Union County Arts Center for the past two years. Established in 1971. AFf is the oldest and largest producer of musical theater for families and young audiences in the country. With a total touring attendance of 2 million, AFT travels to venues around the nation. Upcoming AFf pre­sentations at UCAC include "The Wizard of Oz" on March 23, and "Finocchio" on April 27.

In "Anne Frank: A Voice Heard," a frustrated Anne asks her father why they are forced to live in hiding, and is told that sometimes others unfairly assign blame for problems. For young minds, this presents a succinct conclusion to an emotionally charged and complex situa­tion. Il was hard for tllis reviewer to decide whether to feel up or down upon leaving the theater, both being appropri­ate reactions in the essential story of Anne Frank.