La OfrendaA play by José Casas

10.23–11.25

2019

L E A R N I N G G U I D E

TABLE OF CONTENTS

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INTRODUCTIONLetter from the Education Department

ON THE STAGEThe World of the Play Putting the Play into Context

OFF THE STAGEStarting PointsCoping with Grief and LossArts Integrated Activities Connect with the CastRecommended Resources

AT THE THEATERPlanning Your Visit Directions to the Theater

WHAT ELSE IS HAPPENING AT ASC?Neighborhood BridgesGhost

ACKNOWLEDGEMENTS

L E A R N I N G G U I D E

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Dear Educators, Parents, and Artists: Thank you for taking the time to explore and use this guide. We hope it helps bring the arts to your kids in a rich and meaningful way.

Adventure Stage Chicago is extremely proud to be the participatory arts program of the Northwestern Settlement. ASC strives to serve the Settlement’s larger mission of disrupting generational poverty by creating productions that connect to three main disruptors: Literacy, Hunger, and this year’s focus, Shelter. La Ofrenda opens our season dedicated to Shelter

La Ofrenda starts on September 11th, 2001 – a day that stands out so distinctly for many adults. It lives in our collective memories. But for the young people we serve, 9/11 exists as a history lesson. Every day, young people live with the consequences of a post-9/11 world. The students who graduated high school in 2019 have lived their entire lives under the War on Terror. They have felt the reverberations of 9/11 deeply despite not having experienced it physically. In many ways, our country is still grappling with how to overcome this huge turning point in American history. We are still grieving from the loss of life, the loss of security, and the loss of skyline. We are still seeking shelter from this storm.

La Ofrenda does more than shed light on a tragic event for this younger generation. It offers us a path to healing and rebuilding. Shelter can mean so much: It is our community, our families, our culture, our security, and our sense of self. When we lose our shelter, we lose so much more than a house. We see this vividly in La Ofrenda as our young protagonist struggles with the abrupt and tragic loss of his parents. His grandmother uses memory and culture to bridge the distances created by age and grief in order to build a new familial foundation. In the same manner, we can bridge the gaps of time and space for this younger generation through stories and community to create a new shelter of understanding and empathy.

As always, we at ASC seek to provide a path for dialogue between children and adults, students and teachers. We encourage you to use this guide to begin those conversations, tie themes from the play into your curriculum, and follow up after the show by going deeper through activities and discussions. We would love to be included in the conversations the play generates; we encourage you and the young people in your lives to write us letters after the show.

Thank you for being a part of our ASC community--we look forward to seeing you at the theater!

INTRODUCTION

Adventure Stage Chicago

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Synopsis of the Play After the tragic loss of his parents on 9/11, fourth grader Alex —Alejandro to his Abuela, Marta— is forced to leave behind the home he loves in New York City and move across the country to live with his grandmother. Struggling to connect under the weight of his grief, Alex pushes Marta away. He does not want to live in California or in his mother’s old room, and has not accepted that his parents have died. But one night during a storm, Califas (a paper-mache skeleton his mother made when she was in grade school) comes to life to visit Alex. Califas pokes at Alex, and urges him to accept his grief and his parents’ passing. He suggests talking to Marta, saying that families can help each other to heal.

As El Día de los Muertos—the celebration which bridges the gap between the living and spiritual worlds— approaches, Marta must bridge the gap of grief, age, and culture between her and Alex so they may find shelter in each other. A deeply human reflection of a nation grappling with tragedy and a new way forward, La Ofrenda reminds us of the importance of memory and culture as a connection to those we have lost.

WORLD OF THE PLAY

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Historical Context of September 11, 2001 On September 11, 2001, the United States experienced a multi-staged attack. Early in the morning, four planes were hijacked by terrorists, and purposely crashed into the World Trade Center in New York, and the Pentagon in Washington, D.C. The last plane crashed in a field in Shanksville, Pennsylvania. Officials believe that the intended target for this airplane was perhaps the White House, but that passengers were able to alter the course of the plane and crashed it before the plane could reach its destination. This was the first attack on American soil since World War II. In total, 2,996 people were killed by the terrorist attacks. All 246 passengers and crew on the four airplanes died along with 2,606 people at the World Trade Center and 125 at the Pentagon.

The 19 attackers were part of Al-Qaeda, an extremist-Islamic terrorist organization based out of Afghanistan led by Osama bin-Laden. U.S. Intelligence believed that the Taliban —the government organization in Afghanistan at the time— financially supported the group.

The United States’ President in 2001, George W. Bush, responded by ordering an invasion of Afghanistan to shut down the Taliban and locate bin Laden and the rest of Al-Qaeda. This military operation began what’s known as the War on Terror. Domestically, 9/11 has led to increased security measures in airports as well as the Patriot Act and the creation of the Department of Homeland Security. The attack on September 11th can be seen as a turning point in American history. The events of that day and the subsequent actions have informed all parts of the way U.S. government operates, including international relations, immigration policy, privacy laws, the First Amendment, and trade relations.

PUTTING THE PLAY IN CONTEXT

World Trade Center Towers and the New York City skyline, New York, New York Photographs in the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division

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Geographical Context: New York City versus Los Angeles In today’s age of Facetime, Skype and live streaming, it’s easy to feel connected with people all over the globe. But for Alex in 2001, New York and Los Angeles seem like worlds away from each other. The two cities are on opposite sides of the country - 2790 miles, a five-hour plane ride, and three time zones apart. New York City is on the very edge of the east coast and the Atlantic Ocean, while LA sits on the southern beaches of California, looking out onto the Pacific Ocean. For Alex, the move feels quite far indeed.

Beyond the physical, literal distance between the two cities, New York and Los Angeles have historically been considered polar opposites in terms of American culture: Hollywood vs. Broadway; the stereotypical “California Surfer Dude” vs. the “New Yorker Fuhgeddaboudit.” etc. The climate of both cities is extremely different, as is the architecture and how the cities are designed. New York City is made of five boroughs (The Bronx, Brooklyn, Manhattan, Queens and Staten Island) that cover approximately 300 square miles with a population of more than 8.6 million people. Los Angeles is slightly bigger at approximately 500 square miles but at 3.8 million people, the population is less than half of New York City. That tells us there’s a lot more space for Los Angelenos to live. Perhaps that’s why New York City homes feel small by comparison.

In 2001, New York and Los Angeles were listed as America’s two largest cities by population, respectively; and though both cities boast sizable Latinx populations, they’re made up on very different cultures of Spanish speakers. New York claims host to predominantly Dominican, Cuban and South American communities, along with the largest population of Puerto Ricans outside of Puerto Rico. And though Latinx people from all over the Spanish-speaking diaspora consider Los Angeles home, California was originally part of Mexico and therefore has a strong history of Mexican-American culture.

For Alex, the move means not only will he be unable to attend a game at Yankee Stadium to see his beloved players play live, in 2001, he also wasn’t able to hear them on the radio, or live-stream the game. It means having to connect with a side of his heritage he barely knows.

PUTTING THE PLAY IN CONTEXT

Thomas Wolf, www.foto-tw.de /Wikimedia Commons / CC BY-SA 3.0 Source for population information: biggestuscities.com

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Califas & Skeletons in Mexican Culture In the play, Califas is a large paper-mache skeleton made by Alex’s mother, Estrella, when she was in grade school. Califas comes to life to help Alex come to terms with his parents’ death. “Califas” is Spanish slang used by the Hispanic community to refer to Southern California (another nod to Alex’s move from East Coast to West Coast). A skeleton is also a Calavera—a skull—a predominant image in Día de los Muertos iconography. Though skulls have long been a common symbol for death across many cultures, many credit Jose Guadalupe Posada as the artist responsible for popularizing the image of skulls/skeletons in connection with Día de los Muertos. A Mexican artist from the turn of the 20th century (1852–1913), Posada created many images and lithographs in connection with Día de los Muertos. Most notably, La Calavera Catrina is considered by many to be the most famous calavera in Mexico. Posadas was a political cartoonist and engraver and, as such, the majority of his calaveras either depicted the vanity of the wealthy, the glamour of celebrities or the humanity of everyday people. His artwork was responsible for inspiring future generations of calavera designs that have become popular today in Mexican and Chicano culture.

‘Calavera Oaxaqueña’, (c.1903). Relief etching. Source: Library of Congress Source: illustrationchronicles.com

PUTTING THE PLAY IN CONTEXT

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Día de los Muertos / Day of the Dead Día de los Muertos (or “Day of the Dead” in English) is a Mexican/Mexican American heritage holiday celebrated from October 31st - November 2nd. The holiday is dedicated to celebrating the memory of those that have passed away, both those within one’s family as well as notable members of society. This is not limited to deaths within the past year, but seeks to embrace generations of ancestors stretching back as long as living memory.

In Mexican culture, it is believed a person experiences three deaths – the first being when they shut their eyes, the second when they are buried and the third when there is no one left to remember them. Día de los Muertos helps ensure that the memory of loved ones is preserved so as to keep their spirit alive.

Within the home, a family creates an ofrenda (an altar) filled with photographs as well as objects dedicated to their memory. These can include favorite foods, old toys, instruments, etc. Other objects on the ofrenda include: candles; pan dulce/pan de los muertos (sweet bread/bread of the dead); Calaveras (sugar skulls); incense; religious iconography such as a statue of la virgen de guadelupe or a rosary. Marigolds and marigold petals are also prevalent as they are believed to help guide the spirits across the bridge between the worlds of the dead and the living.

PUTTING THE PLAY IN CONTEXT

“Calvario de Metepec” by AmbarCCPM is licensed under CC BY-SA 4.0

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During the month of October, the family prepares by cleaning the house and constructing the ofrenda. Families visit the cemeteries to clean the gravesites and spend time honoring the dead by sharing stories and memories in hopes of encouraging visits from the spirits of loved ones. The visits are often humorous in tone rather than somber or sad — the holiday serves to recognize death as a natural part of the cycle of life, and lifts up the memory of those passed so that they are not forgotten.

In the United States, Día de Los Muertos is celebrated in many places, including California, Texas, Minnesota, Arizona, New Mexico, and of course, Illinois. In Chicago, celebrations take place all over the city, including a parade on Maxwell Street and the National Museum of Mexican Art, crafts and events in the Pilsen neighborhood. There’s even a 5k run.

Learn more about Día de los Muertos festivities in Chicago:

• National Museum of Mexican Art annual Día de los Muertos Xicágo

• Race of the Dead, Nov. 2nd

• ElevArte Community Studio and SGA Youth & Family Services for the 39th Annual Day of the Dead Celebration.

• Chicago Latina Moms group — Day of the Dead: Festival for Children

PUTTING THE PLAY IN CONTEXT

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Inquiry Questions At ASC, we start every performance with a question for the audience. We ask them to keep that question in mind as they watch the show. We return to the question afterwards, allowing students, teachers, and parents to share observations and draw connections to their own lives. We encourage you to prepare your students for their field trip by investigating some of the following questions:

• What makes your home feel like your home?

• What does it mean to provide shelter to another?

• What are the steps for making a new place feel like home?

• How can those that came before us guide and inform our future?

• How can we rebuild and move on from tragedy without forgetting those we’ve lost?

• How can talking about tragedy help us heal?

• How do we miss someone and let them go at the same time?

• How can we recognize someone else’s grief?

• What strategies can we use to cope with grief, either our own or another’s?

• Why is it important for a community to have spaces to grieve?

• How do we remember as a community versus remembering in private?

STARTING POINTS

ThemesFamily

Rebuilding

Shelter

Day of the Dead/ Día de los Muertos

Tolerance

Grief

Loss

New Beginnings

Inter-generational relationships

Mexican Heritage

Memory

Death

Legacy

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In the play, several characters experience serious grief and loss. Grief is an emotional experience following a loss of any kind. Both Alex and his grandmother, Marta, have experienced the death of several close family members. Though Alex initially is very reluctant to talk about the loss of his parents and the trauma he’s experienced, he comes to understand (with the help of Califas) how dealing with that loss—or not dealing with it—ultimately affects their lives.

Grief can feel like a lonely place to be. It is especially important for young people who have experienced a loss to know that they are not alone in their grief and that caring adults are available to be a support to them.

A number of resources and programs are available to young people who are grieving due to a major loss:

Hearts to Art is a performing arts camp at the Auditorium Theatre of Roosevelt University for young people (ages 7-14) who have experienced the death of a parent. This unique camp combines quality performing arts instruction and healing counseling to create a safe space for expression and growth. Thanks to the generosity of sponsors, each camper can attend for the low cost of $50 for an entire 2-week session. Full tuition scholarships are also available. Can a young person in your life benefit from the healing power of creative play? Visit HTHTA.org for more information or to register.

I Did Not Know What to Say is a deeply personal and inspiring site with online grief support groups, a blog, resources, and links. Grief Song is a site for grief-related music and resources.

Grief Share is a database of grief and recovery support groups at local churches, as well as other grief resources.

The Shiva Foundation offers grief resources, practical advice, and bibliography with eastern spiritual influences.

GriefNet.org is an expansive book and resource list including over 50 e-mail grief support groups.

COPING WITH GRIEF AND LOSS

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Symbols of Peace and Remembrance (This lesson plan comes from the 9/11 Memorial Museum lesson plans collection.)

Objective: Through analyzing different signs and symbols that are prevalent in today’s world, students will gain an understanding of symbolism, and how a community uses images to represent a larger idea or event.

Key Questions:

What is the function of symbols?

How do communities use symbols to commemorate important events and ideas?

How can symbols help us to commemorate the event of Sept. 11th?

Common Core Standards:

W 1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W 2 Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

Materials Needed:

Paper Pencils Crayons/Markers/Colored Pencils Lined paper for writing

ACTIVITY

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Procedure:

1. Show students a sequence of symbols, asking them what they represent (See Noun Project for a searchable repository of images [https://thenounproject.com/]). Allow for discussion of the difference between symbols that have one intended meaning versus ones that may mean different things to different people.

Possible examples include:

• Stop sign; Recycling symbol; Peace symbol (Symbols can have one meaning)

• Light bulb; Lightning bolt (Symbols can have multiple meanings)

• American Flag, Tree, Bald eagle (Symbols can mean different things to different people)

2. Solicit other examples of symbols from students: What are other symbols that come to mind? Where did you see them? (This may be a great time to bring up emojis!)

3. Remind students that symbols are everywhere, and they can often tell us a story and help us in other ways.

4. Lead a review of the events of 9/11, highlighting both the attacks and the heroism throughout, specifically exhibited by first responders. Answer any outstanding questions, referencing the 9/11 FAQ, 9/11 Fact Sheet for Early Childhood Students lesson on the 9/11 Memorial website.

5. Tell students that you are going to design a class banner commemorating 9/11. The class will choose symbols that help memorialize the day, its victims, and heroes. Guided questions may include: What story do you want to tell? What symbols will you choose? Why? How should we integrate the different symbols together? This activity can also be completed individually.

6. In writing, have students write up a brief artist statement, explaining why they selected certain symbols and the rationale behind their design. If you choose to have students present their images to the class or in small groups, allow for discussion comparing the different choices in symbols: What does this symbol make you think of? Why did you choose this image over another? Does it convey in the intended message? If not, how might it be clearer? What happens if the symbols are combined into a larger image?

Evidence of Understanding: The banners and written and oral rationales will reflect students’ understanding of symbols and symbolism. Student discussion analyzing peers’ choices also reflect a deeper understanding of how meaning can be imbedded into different imagery.

ACTIVITY

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Building A Memory Box

Objective: Students will engage in the creation of creating a memorial as a concrete way of exploring the abstract concepts of remembering a loved one who has passed and processing loss.

Key Questions:

What are the ways we remember someone who has died?

How can making a memorial help in the grieving process?

Can we celebrate and grieve at the same time?

Common Core Standards:

SEL 1 A Identify and manage one’s emotions and behavior.

SEL 2 A Recognize the feelings and perspectives of others.

Materials Needed:

Shoe box (may be substituted for a piece of paper)

Colored pencils/Makers/ Crayons

Magazines

Scissors

Glue

Objects from home as desired

ACTIVITY

“White rose at 9/11Memorial, NY, USA” by André Lage Freitas is licensed under CC BY-SA 3.0

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Procedure:

1. Ask students to think of someone they know who has passed away. This may include family members or friends, but may also be expanded to pets or famous people. Note that this activity has the potential to be deeply personal; using famous figures that have died allows a certain level of distancing for students who are uncomfortable or unprepared for dealing with a personal loss.

2. On a sheet of paper, ask students to brainstorm or make a word-map of all the different words and memories associated with the person or pet they’ve selected.

3. Reviewing the list they’ve created, ask students to circle any images they notice.

4. In the shoe box, ask students to create a collage of images that represent the memory of the person or pet they’ve selected. The collage can be made by cutting images out of magazines, and/or drawing their own images and then pasting them inside the box. If students desire, they may also bring objects from home to add to the shoe-box memorial as well.

5. On a small slip of paper, have students write a short message they’d like to share with the person or pet they’ve chosen to memorialize. Perhaps this is something that the student would like them to know now or a way of saying goodbye. It is a small act of closure.

6. Have the students put out their shoeboxes as a gallery to share with the rest of the class.

7. As closure, have students engage in a personal writing activity, giving them space to write down any feelings or a last memory that they want to hold on to. Tell students that this writing won’t be turned in. It’s a space for them to reflect on what creating the memory box made them feel.

8. Finish by asking students to stand at their desks and engage in a brief shake out of their bodies and a brush off action so that students can have a physical release of their emotions. This may be swapped with a different mindfulness activity or Calm Classroom exercise if preferred. The point is for students to take time to make a physical change before moving on to the next activity.

Extension:

If time allows and feels appropriate, ask students to go around and, either in small groups or as a class, ask them to share one memory of the person/pet they’ve selected. This is a time to honor the memory of those represented by the shoeboxes; students shouldn’t feel the need to respond to each other’s memories.

ACTIVITY

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Inter-Generational Interview

Objective: Students will develop speaking and listening skills through the activity of conducting interviews with an adult figure in their lives that is not their parents.

Key Questions:

What makes a question an effective interview question?

What can we learn by sharing stories from everyday people’s lives?

What impact can a person’s perspective have on a specific event?

What is active listening?

Common Core Standards:

CSS.ELA-Literacy.CCRA.SL.1 Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

CCSS.ELA-Literacy.CCRA.SL.2 Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

CCSS.ELA-Literacy.CCRA.SL.3 Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.

Materials Needed:Paper

Pen

Optional – phone as a recording device or other recording software

ACTIVITY

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Procedure:

1. Have students brainstorm a list of three to four people who are at least two generations older than them (grandparents or neighbors or friends that are older than their parents’ age, etc.)

2. Using the list, have students contact their sources and narrow down to one person who will agree to be a source. The interview subject does not have to necessarily be in the same location (though it’s ideal); Facetime or a phone call may be sufficient for convenience’s sake.

3. As a class, discuss strategies for interviewing. Focus first on formulating questions: what makes a good question? Explain the difference between open and closed lines of questions (questions that allow for more than a one-word response), as well as follow up questions. If time allows, have students ask each other practice questions.

4. Have students make a list of questions they’d like to ask their interview subject. This can be centered around one big inquiry question, such as “What do you remember about where you were on September 11th?” or “What stories can you tell me about our family history?” Remind students to be flexible and open to the potential for impromptu follow-up questions to emerge.

5. Students will then interview their subjects, most likely as a homework assignment. Allow for an appropriate window of time for these interviews to take place, such as a week, or over a weekend. Students may either record their subject on a phone, or take notes with pen and paper.

6. After compiling all the data, have students look over all their notes and choose one story that their subject shared with them that they can turn into a narrative.

7. Have students rewrite the story as a personal narrative in first person.

8. Have students memorize the stories they collected and turn them into mini performance monologues to share with the rest of the class.

ACTIVITY

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Adventure Stage Adventure Stage creates theatrical performances for young people, and we deeply value their insights and reactions. We welcome your students to engage with us by writing letters or sharing artwork, photos, or videos with the cast of the show. We always look forward to getting their feedback, and read through every piece we receive!

You and your students have several ways to get in touch. Students can reach out individually via social media outlets:

Instagram: @adventurestagechicago

Twitter: @adventure_stage

Facebook: www.facebook.com/adventurestage

Students can hand-write or type letters to the cast and send them to:

Email: ascletters@gmail.com

Mail:Adventure Stage Chicago

1012 N Noble St.

Chicago, IL 60642

We will respond to all student correspondence that arrives before the show closes!

Tips for Students: • Make sure your first name and school is on your artwork, photo, video or letter!

• Ask the cast at least one question – they love to talk about the show!

• Share your experience of watching the show!

• You and your friends can pick different actors so that every cast member gets letters, artwork and/or media.

• Send in your letters, artwork, and media as soon as you can so we have time to respond!

We may post letters, artwork, videos, and photos to our Instagram, Twitter, or Facebook pages.

CONNECT WITH THE CAST

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Books

Children Grieve, Too by Joy and Marvin Johnson

A concise guide that explains how to help one’s child through grief during the first few days after a death, describing what to expect from children at different age levels from infant to teen, providing age-specific guidance on how to help a child cope, and discussing how to talk to the child about the funeral and wake or visitation.

Nine, Ten: A September 11th Story by Nora Raleigh Baskin

Unlike many of its contemporaries, this book focuses less on the event itself, and more on the 48 hours leading up to it. We meet Aimee, recently moved to L.A and struggling to adjust to her new school while her mother is away on business in New York. There’s Brooklyn-native Sergio, whose absentee father has shown up again and thrown Sergio into another round of turmoil. In Columbus, Ohio, Naheed has never felt uncomfortable about wearing her hijab in public, but at her new school, things are different. And in Shanksville, Pennsylvania, Will confronts the one-year anniversary of his father’s death. Four children, seemingly unconnected, spread across the country, each about to be profoundly impacted by a singular event. (Ages 8-12)

America Is Under Attack: September 11, 2001: The Day the Towers Fell by Don Brown

How to explain the events, emotions, and tragedy of that day to children who didn’t experience it? Don Brown does just that with this book. These are personal stories, humanizing the first responders, passengers, witnesses, and survivors that were part of that day, while still maintaining a straightforward account of events. The text is engaging, without being sensationalized, the tone direct, but compassionate. A good resource for both parents and teachers. (Ages 9-12)

RECOMMENDED RESOURCES

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14 Cows for America by Carmen Agra Deedy

In June of 2002, a very unusual ceremony begins in a far-flung village in western Kenya. An American diplomat is surrounded by hundreds of Maasai people. A gift is about to be bestowed upon the American men, women, and children, and he is there to accept it. The gift is as unexpected as it is extraordinary.

The Dead Family Diaz by P.J. Bracegirdle

Unlike all the other skeletons in the Land of the Dead, Angelito is not looking forward to celebrate the Day of the Dead with the Living. He is scared of their bulgy eyes, red tongues and squishy skin. When Angelito is separated from his family during the celebrations he is petrified – until he befriends a living boy. The Dead Family Diaz is a fresh and humorous take on the Mexican holiday, brought to life by vibrant, Tim Burton-esque illustrations. (Ages 6-9)

Funny Bones: Posada and His Day of the Dead Calaveras by Duncan Tonatiuh

Funny Bones tells the story of artist José Guadalupe Posada, famous for his skeletons in the park, skeletons wearing fancy hats, and the skeletons for Mexico’s Day of the Dead. With a stunning mix of biography and art, young readers are invited to look at the deeper meaning behind Don Lupe’s artwork: His critiques about social class, quickly changing technology, and violence during the Mexican Revolution. This 2016 Américas Award-winning book lends itself for classroom use. Includes an author’s note, glossary, and bibliography. ~ Elementary School

RECOMMENDED RESOURCES

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We want your trip to ASC at the Vittum Theater to go as smoothly as possible! Here’s an idea of what to expect during your field trip.

SEATING REQUESTS: Seating for our shows is prearranged based on special seating needs and the ages of the students. Please call 773.969.5573 before your arrive if we need to accommodate members of your group with hearing, vision, or mobility impairments.

ARRIVAL: Please arrive between 10:00 – 10:15 am; our shows begin promptly at 10:30. Buses should pull in front of the theater at 1012 N. Noble Street. Remain on your bus until a member of our staff comes to greet you and your students. We will then lead your group into our lobby for a short speech about our theater and the performance you are about to see.

PERFORMANCE: A member of our staff will show your group to their seats. Shows run approximately 60 minutes and include a post-show discussion. The entire even usually lasts around 90 minutes. We ask that all members of your group remain in the theater until the performance and discussion are over. If you must leave before the discussion, please let us know in advance.

LUNCH: Unfortunately, we do not have space available for students to eat lunch in the theater or at the Settlement.

DEPARTURE: At the conclusion of the performance and Curtain Conversation, we dismiss the audience school-by-school in order to reduce confusion. Staff will lead you down the stairs to your busses, which will be waiting for you on Augusta Blvd. in the bus lane in front of Rowe Middle School.

DIRECTION TO 1012 N. NOBLE ST.

FROM THE NORTH Take the Kennedy East (90/94 toward Indiana) to the Division St. exit. At the end of the exit ramp, take a right on Division St. and follow it to Ashland Ave. Turn left onto Ashland and follow it one light to August Blvd. Turn left onto August toward Noble St. (next light). Turn left onto Noble St. Arrive at the theater on left.

FROM THE SOUTH Take the Dan Ryan West (90/94 toward Wisconsin). Exit at Milwaukee/Augusta. At the end of the exit ramp, continue west on Augusta Blvd. one block to Noble St. Turn right onto Noble St. Arrive at the theater on the left.

FROM THE WEST Take the Eisenhower East (290 toward the Loop) to the Dan Ryan West (90/94 toward Wisconsin). Exit at Milwaukee/Augusta Blvd. one block to Noble St. Turn right onto Noble St. Arrive at the theater on the left.

IMPORTANT INFORMATION

BOOKING INFORMATION

La Ofrenda

October 23, 24, 25, 29 November 1, 6, 7, 12, 15, 21, 22, 25

CPS: $7 | Non-CPS: $8

All performances begin at 10:30 am.

Groups receive ONE FREE chaperone ticket for every TEN student tickets purchased.

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Bring an ASC TEACHING ARTIST into your classroom! The Neighborhood Bridges Residency Program is a comprehensive storytelling and creative drama program designed to help children develop their critical literacy skills and to transform them into storytellers of their own lives.

Through theatre games, storytelling, improvisation, reading, and creative writing, students develop their ability to write, speak, and think critically. Neighborhood Bridges helps young people grapple with complicated issues, conflicts, and questions found in today’s diverse, changing society.

Participating Classrooms receive:

Partnership: 24 residency hours over the course of 12 weeks.

Exposure: Tickets and transportation to a single ASC performance and the opportunity to present the students’ learning at the Vittum Theater.

Resources: Learning Guide, Promptbook, lesson plans, and supplies.

WORKSHOPS

ASC offers pre and post show workshops for our productions. These Common Core connected theater workshops use storytelling, critical literacy, and creative drama to deepen your students’ experience at our theater.

For more information regarding Neighborhood Bridges or Workshops, contact:

TOM ARVETIS | Producing Artistic Director Education@adventurestage.org | 773.969.5550

NEIGHBORHOOD BRIDGES

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What Else is Happening at ASC? GHOST By Idris Goodwin | Adapted from the award-winning novel by Jason Reynolds Directed by Daryl Brooks

Middle schooler Castle Cranshaw, who prefers the nickname Ghost, knows what it means to run like your life depends on it. When he makes an elite middle school track team, Ghost finds something to run for instead of away from. The past isn’t the only thing that haunts Ghost; but staying on the team means staying out of trouble. With encouragement from Coach and the support of his teammates, can he find a way to stay on track?

An adaptation of the popular novel by Jason Reynolds, Ghost uses humor, wit and friendship to face traumas of the past.

April 15, 16, 21, 24, 29, 30 | May 1, 5, 6, 7, 13, 14

Reservations now Available!

Contact Laura Kollar at laura@adventurestage.org or 773.342.4141 to reserve your class today!

UP NEXT AT ASC

adapted from the award-winning novel by Jason Reynolds

On Your Mark. Get Set.

4.22–5.15.2020 | A PLAY BY IDRIS GOODWIN

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Acknowledgements

ASC Thanks:

THANK YOU

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