StageNOTES
A FIELD GUIDE FOR TEACHERS
®
Summer 2007
C A M P
B R O A D W A Y
N E W
Y O R K
L L C
Table of
Contents
Welcome from Dallas Summer Musicals . . . . . . . . . . . . . . . . . .3
Using the Field Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
A Brief History of the Broadway Musical . . . . . . . . . . . . . . . . . .5
The Lion King: The Talent Behind the Show . . . . . . . . . . . . . . . .8
The Lion King: Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
The Lion King: Background Information | African Dance . . . .10
The Lion King: Lesson Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
The Broadway Guide to Theatergoing Etiquette . . . . . . . . . . . .14
The Dallas Summer Musicals
School of Musical Theatre and Kids Club . . . . . . . . . . . . .16
2
Welcome from
Dallas Summer Musicals
Summer 2007
Welcome to Dallas Summer Musicals!
We’re so glad you could join us! Musical theater is a
unique American creation. It’s also a joyful mixture of
song and story, and, since 1945, Dallas Summer Musicals
has brought the finest musicals to Dallas.
Want to know what goes into making a musical? Just two
simple ingredients: singing and acting (song and story).
There’s just something about a song that makes a story
mean more than just regular speech. It touches us in a
different way.
Whether a show uses classical music or rock, a musical uses music to tell its story, to suggest feelings, emotions, and attitudes. As long as it mixes song and story, musical theater can be about literally anything, and this season’s shows are great examples of the wide range of subjects. From the
blockbuster musical Wicked to the sweeping epic of Camelot, each production reveals a different
aspect of what makes musical theater so special.
The story of Dallas Summer Musicals is a long and honored one, and by learning about and
attending one of our shows, you are now part of that story too!
Sincerely,
Michael A. Jenkins
President and Managing Director
3
Using
The Field Guide
Camp Broadway® is pleased to bring you the Dallas Summer Musicals edi®
tion of StageNOTES , the 22nd in our series. We are proud to be affiliated with this presenter and
offer a comprehensive guide that incorporates their entire season of musical theater. This guide has
been developed as a teaching tool to assist educators in the classroom
who are introducing their students to the stories in conjunction with the
musical theater productions.
The Camp Broadway creative team, consisting of theater educators,
scholars, researchers, and theater professionals, has developed a series of
lesson plans that, although inspired by and themed around the musicals,
can also accompany class study of the periods and other related literary
works. To assist you in preparing your presentation of each lesson, we
have included: an objective and teaching tips along with each lesson unit.
There are four types of lesson ideas including a written exercise; a discussion
activity; an experiential exercise; and an "after hours activity" that encourages
students to interact with family, friends, or the community at large.
The curriculum categories in this guide have been developed in accordance with Texas Essential Knowledge and Skills (TEKS). The division
provides information to school administrators, counselors, parents, and
students on course offerings and meeting the learning needs of students
through 19 TAC Chapter 74. In cooperation with the divisions of
Instructional Materials and Educational Technology and Student
Assessment, the goal of the Division of Curriculum provides information and resources to ensure academic success of all students in Texas
public schools.
The Dallas Summer Musicals study guide is for you, the educator, in response to your need for standards-compliant curriculum. We hope this study guide will help you incorporate musical theater into
your classroom activities.
Philip Katz
Producing Director
Camp Broadway
4
A Brief History of
The Broadway Musical
The Broadway musical is one of the few genuinely American art
forms; like America itself, the musical was formed from a collision
of immigrant traditions. British operetta, African-American song
and dance styles, the melodies and humor of Eastern European
Jews: All contributed to the development of the Broadway musical.
Just as America is described as a “melting pot,” the first
American musical was a hasty melding of other works. In
1866, producers Henry C. Jarrett and Harry Palmer had
brought over a French ballet troupe to perform in New York;
however, the theater they had obtained for the performances
was destroyed by fire. Trying to find a way to salvage their
investment, they came to William Wheatley, the manager of
Niblo’s Garden, a popular theater at Broadway and Prince
Streets. He was about to open a production of a piece by
Charles M. Barras, a version of von Weber’s Romantic
opera, Der Freischutz. The two productions were combined, and audiences were treated to a five and one-half
hour spectacle in which the French ballerinas performed
amidst the slim plot of an evil alchemist who pursues
two young lovers through a succession of elaborately
designed scenes. The Black Crook was a success: The
dancers in their pink tights entranced the audience, as
did the intricately painted scenery. The plot was
flexible enough to allow for changes and insertions of new material as
the run continued; producers periodically advertised these “reconstructions” as a lure to bring audiences back for repeat viewings. The Black
Crook ran for 475 performances, closing in 1868.
Crowds enjoyed not only romantic spectacles like those that followed
in The Black Crook’s footsteps, but also knockabout-comedy shows
that traded in ethnic humor like Harrigan and Hart’s The Mulligan
Guards Ball. The team of Harrigan and Hart found inspiration for
their comedy in the chaotic streets of New York of their day: a sea
5
A Brief History of
The Broadway Musical
of immigrants all trying to get along and get ahead in
a strange new country.
By the turn of the century, opulent revues featuring
statuesque chorus girls in breathtaking costumes were
popular; the Ziegfeld Follies were producer Florenz
Ziegfeld’s showcase of elegant (but slightly naughty)
entertainment. The first smash hit of the Twenties
was Shuffle Along, with Eubie Blake’s “I’m Just Wild
About Harry” as the standout song;
the show was the first to have an all
African-American writing team and
cast. The pulse of the Jazz Age continued to beat in the fast-paced
comedy of shows like Lady, Be
Good!, the first of 14 musicals written by brothers George and Ira
Gershwin; the plots of Twenties
musicals were often loosely strung
Florenz Ziegfeld
together vaudeville routines intermixed with snappy, danceable tunes.
to a manageable few; composing the memorable
music was Jerome Kern. In contrast to the bubbleheaded plots of the musicals of the time, Show Boat
dealt with serious themes such as racism, alcoholism,
and racial intermarriage. It was an immediate popular and critical success, making it possible for musicals to take on subject matter of all kinds.
The Thirties were a time when a Depression-weary
public went to the theater for frothy escapism, such
as the elegant wackiness of Cole Porter’s Anything
Goes, featuring Ethel Merman singing “You’re the
Top” and “I Get a Kick Out of You.”
The patriotism of the World War II years made audiences respond emotionally to the heartfelt nostalgia
of Oklahoma! Oscar Hammerstein and composer
Richard Rodgers took the musical another step forward by creating a “musical play” in which dialogue,
dance, and music were thoroughly integrated.
Because of this integration of all elements, directorchoreographers such as Jerome Robbins soon came
to prominence in musical theater. After honing his
craft on a number of shows like Peter Pan, Robbins
The musical reached a turning point when
Ziegfeld took a risk and
produced something
different – a musical
adaptation of Edna
Ferber’s novel about
generations of a theatrical family on the
Mississippi, Show Boat.
Ziegfeld hired Oscar
Hammerstein to handle
the task of reducing the
novel’s sprawling plotlines
Richard Rodgers and Oscar Hammerstein
6
pushed the boundaries of
musical theater yet again
when he reinterpreted ballet
steps to create a new dance
vocabulary in West Side Story.
In this modern retelling of
Romeo and Juliet, dance was
made even more central to the
musical’s structure.
Other director-choreographers like Bob
Fosse and Michael Bennett began to
Broadway Timeline
1866
1879
1907
1924
1927
1934
1943
1954
1957
1970
1971
1973
1975
1982
1987
1988
1994
1996
1998
2001
2002
2003
2004
2005
2006
The Black Crook
The Mulligan Guards Ball
First edition of the Ziegfeld Follies
Lady, Be Good!
Show Boat
Anything Goes
Oklahoma!
Peter Pan
West Side Story
Company
Follies
A Little Night Music
Chicago, A Chorus Line
Cats
Les Miserables
Phantom of the Opera
Beauty and the Beast
Rent
The Lion King
The Producers
Thoroughly Modern Millie
Hairspray
Avenue Q
Monty Python's Spamalot
Jersey Boys
move away from plotdriven shows, ultimately creating “concept musicals” like
Chicago and A Chorus
Line, where dance was
the dominant driving
force. Deconstructing
the standard “book
musical” in another
way was composer/lyricist Stephen
Sondheim, who brought layers of dramatic irony and musical dissonance to
the scores of his collaborations with
director
Hal
Prince,
such
as
gritty rock reimagining of Puccini’s La
Boheme. The decade also saw the emergence of Disney as a theatrical force
with films reimagined for the stage like
Beauty and the Beast and The Lion King.
At the turn of the Twenty-first century,
it seems that Broadway has a little bit of
everything. Classic vaudevillian humor
lives on in The Producers while down
the street you can find sing-your-gutsout pop opera like Wicked, dance-driven
shows like Movin’ Out, and optimistic
musical comedy like Hairspray. Each of
the golden eras of Broadway’s past are
reinvented for the audiences of today to
discover and delight in.
Company, Follies, and A Little Night
Music.
The opulent Eighties heralded the
“British Invasion”: lavish pop-opera
spectacles like Cats, Les Miserables, and
Phantom of the Opera. The big-hairand-shoulder-pads excesses of the
decade were reflected in the lush music
and over-the-top scenic effects of these
long-running hit shows.
The slacker Nineties brought Rent, a
7
A scene from the original Broadway production
of Hairspray
The Lion King
The Talent Behind
ELTON JOHN
The monumental career of international singer/songwriter and performer Elton John has spanned more
than three decades. He is one of the
top-selling solo artists of all time
with 35 gold and 25 platinum
albums and over 200 million records
sold worldwide. The National
Academy of Recording Arts and
Sciences has awarded Elton multiple
Grammys, including the Grammy
Legend Award and Music Cares
Person of the Year Award. In the early 1990s, Elton
collaborated with lyricist Tim Rice on the soundtrack
for Walt Disney Pictures blockbuster The Lion King,
winning him an Academy Award®. The album produced two top-selling, award-winning singles for
Elton: "Can You Feel the Love Tonight" and "Circle
of Life." Tony Award® winning Broadway productions of The Lion King and Aida both awarded Elton
with GRAMMYS for Best Musical Show Album.
TIM RICE
Tim Rice was born in 1944. From 1956-1965 he
wanted to be Elvis. Then he met Andrew Lloyd
Webber, whose musical ambitions were in theatre
rather than rock. They joined forces
as one could knock out a decent
tune, the other had a way with
words. They wrote four shows
together. The first, The Likes of Us
(1965-66), was never performed,
but Joseph and the Amazing
Technicolor Dreamcoat (1968), Jesus
Christ Superstar (1969-71) and
8
Evita (1976-78) became, and indeed remain, hugely
successful all around the world, on both stage and
screen. In the '90s Rice worked primarily with the
Disney empire, contributing lyrics to the movies
Aladdin (music Alan Menken) and The Lion King
(music Elton John and Hans Zimmer) and to the stage
shows Beauty and the Beast (Alan Menken), The Lion
King and Aida (both Sir Elton).
GARTH FAGAN
Garth Fagan is the recipient of the 1998 Tony Award®
as well as the Drama Desk Award, the Astaire Award,
the Outer Critics Circle Award and the 2000
Laurence Olivier Award (London, UK) for his work
with The Lion King. Mr. Fagan
was born in Kingston, Jamaica,
and for more than 35 years has
toured the world with Garth
Fagan Dance. On television the
company has appeared on "Great
Performances," "The Tonight
Show" and the Academy Awards.
Mr. Fagan forged his own dance language and technique, drawing from modern dance, Afro-Caribbean
and ballet. He has choreographed for Alvin Ailey
American Dance Theater, New York City Ballet,
Dance Theatre of Harlem, the Jose Limon Company
and others. He directed and choreographed Duke
Ellington's Queenie Pie at the Kennedy Center. A distinguished professor emeritus at SUNY Brockport, he
has received honors including the 2001 Samuel H.
Scripps American Dance Festival Award, a Bessie
Award, a George Eastman Medal and a Fulbright
50th Anniversary Distinguished Fellow.
The Lion King Synopsis
The show opens up, at
sunrise, on the Savanna in
Africa. Gathering at Pride Rock all
the animals descend into the theatre to witness the presentation of
Simba, the newborn son of Mufasa
and Sarabi, The Lion King and
Queen. The only animal not to
attend the ceremony is Mufasa’s
wicked brother Scar. Scar resents
of the birth of Simba, who will
now be the next in line to be the
new king.
As time passes, we see that
Simba has grown into a foolish
and rambunctious young cub.
Father and Son head to the top of
Pride Rock to look out over the
Pridelands as Mufasa explains the
delicate balance of the circle of
life. Mufasa warns Simba about
the danger beyond the boundaries
of the Pridelands. As any curious
and defiant child, Simba disobeys
his Father’s instruction, taking
lioness cub Nala on a dangerous
adventure. Here, the two cubs,
encounter a trio of hungary hyenas
who want to eat them for dinner.
Mufasa rescues Simba and Nala
and expresses great disappointment
in their judgement. Very worried
with Simba’s inability to follow
orders, Mufasa takes Simba on a
walk to discuss the responsibilities
of a king; a position he must take
over one day.
Scar, a social misfit, has now
befriended the hyenas. At this
point he begins to plot the deaths
of Mufasa and Simba in an
attempt to take over as king. Scar
orchestrates a stampede which kills
go, believing he would never
return to the Pridelands.
Convinced he is responsible for
his father's death, Simba hides in
the jungle where he meets the
hilarious outcasts,Timon and
Pumba, a meerkat and warthog.
Timon and Pumba realize that if
they have a lion cub on their side
his brother but not Simba.
Upon telling Simba he is
directly responsible for the
death of his father, Scar instructs
him to run away from Pride Rock
and never return. Scar demands
that the hyenas go after Simba and
kill him. Scar takes the throne and
informs the rest of the Savanna
that he was killed in the stampede
with Mufasa. What Scar does not
know is that the hyenas let Simba
that no harm can come to them.
Once Timon and Pumba teach
Simba, the art of having no worries, the three become fast friends.
Back at Pride Rock, under
Scar’s careless rule, the delicate balance of the circle of life has been
thrown off. The hyenas have taken
over and there is no food or water
left for anyone. Lionesses are
forced to do all of the hunting, and
9
continued on page 15
The Lion King
Background Information
African Dance
Dance in the Community
Dance is an ancient, universal form of expression, celebration and communication. Sub-Saharan and West Africa in
particular have a rich history of traditional dances. Regional
dances are tied to indigenous instruments, and in these
parts of Africa the drum is the most important component
in creating the dances’ rhythm and feel.
Drumbeats can express a variety of moods and
feelings. Its rhythm is often a representation
of the human heartbeat: faster when we are
happy or excited, slower when we are sad.
In many African communities,
drumming is used at public
events to create a feeling of
community and solidarity.
Everyone in the community
is joined by the collective
rhythm. Just as a drumbeat provides the rhythm that holds dancers
together, so can it can unite the members of a community.
10
The Body in African Dance
In African dance the body is used, not as a single unit,
but through several, segmented centers of movement.
Each segment can be moved to different rhythmical
components of the music or even add rhythmical
components of their own. As such, complex movements are visible in a single body, as opposed in that
body’s movement through space. Many of these theories of movement are have now been incorporated into
contemporary American dance and choreographies.
Occasions for Dance
African dance is to externalize the feelings synonymous with special occasions. The Dances of Love, for
example, are performed at special occasions such as
weddings and anniversaries. In contrast, Warrior
Dances may include mimicked battlefield tactics and
combat-like movements. There are also dances for
Rites of Passage and Coming of Age which celebrate
young men and women’s passage into adulthood.
These dances are meant to foster courage and pride, as
well as to build a stronger sense of community
11
The Lion King L E S S O N I D E A S
WRITING
DISCUSSION
Objective:
Objective:
Students will gain deeper self reflection through the
recounting of their own histories.
Students will gain universal knowledge of cultural storytelling through dance and music.
Exercise:
Exercise:
Using the ideas from the discussion, students will create and write a short account of an important event
in their life.
Collectively explore the various ways in which
our culture preserves and recounts our histories.
Compare these to the storytelling methods used
by African tribes.
Teaching Tips:
• The more specific the students can be in their word
choices, the better. Encourage use of interesting
vocabulary and action.
Teaching Tips:
• Our art comes out of our popular culture. Art
is entirely a reflection of the times in which it
was created. The comparisons of hip hop
music’s reflection of the black community to traditional Ghana storytelling are clear. People
wishing to express frustration or hardship or history have had outlets in various forms throughout history and across cultures. The desire to
express oneself is indeed universal.
Texas Essential Knowledge and Skills (TEKS) guidelines
addressed:
Social Studies Standard 113.22:
Social Studies (22) Social studies skills. The student communicates in
written, oral, and visual forms. The student is expected to (B) incorporate main and supporting ideas in verbal and written communication
(C) express ideas orally based on research and experiences and (D)
create written and visual material such as journal entries, reports,
graphic organizers, outlines, and bibliographies.
12
The Lion King L E S S O N I D E A S
E XPERIENTIAL
AF TER
HOURS
Objective:
Objective:
Students will work cooperatively and creatively, using various storytelling techniques to dramatize their own written material.
Student gain further cultural awareness and relevance.
Excercise:
Students will dramatize their own story, using whatever
means they wish, creating their own oral histories based
on our present popular culture.
Exercise:
Have the students watch videos on MTV or VH1.
Ask them to bring in three examples of visual and
musical storytelling, detailing the reasons for their
choices.
Teaching Tips:
Teaching Tips:
• Encourage your students to pull from their own collection of music, using the popular music they love to help
tell their own life stories. The incorporation of dance can
be as simple or as elaborate as the students choose, but
mandate that there be at least one dance element in the
presentation of their written account. If there are other
characters in their story, have the students cast their classmates as the various characters. This enables collaboration. Allow for presentation time for each person, as it is
important for the students to feel validated in their
efforts, as this will be a little daunting for some.
• The validation of the students’ listening tastes is not
often found in the classroom, or understood by the
adults in their lives. By encouraging the students to
express WHY they like what they like, and to give
them the idea that their music is directly related to
what they are learning in school, not only makes the
music sound better to teachers, but makes the in-class
learning more relevant.
Texas Essential Knowledge and Skills
(TEKS) guidelines addressed:
Standard 113.24 for Social Studies (27)
Culture. The student understands the relationship between the arts and the times during which they were created. The student is
expected (C) identify examples of American
art, music, and literature that transcend
American culture and convey universal
themes. Art Standard 117.32 (2)
Creative expression/performance. The student expresses ideas through original artworks, using a variety of media with
appropriate skill. The student is expected to (A) express a variety of ideas
based on personal experience and
direct observations.
13
The Broadway Guide to
Theatergoing Etiquette
In the early part of the nineteenth century, theatrical
performances usually began at six o’clock. An
evening would last four or five hours, beginning
with a short “curtain raiser,” followed by a five-act
play, with other short pieces presented during the
intermissions. It might be compared roughly to
today’s prime-time television, a series of shows
designed to pass the time. With no television or
radio, the theater was a place to find companionship, light, and warmth on a cold winter’s evening.
As the century progressed, the theater audience
reflected the changing social climate. More well-todo patrons still arrived at six o’clock for the full program of the evening, while half-price admission was
offered at eight or eight-thirty to the working class.
This allowed for their longer workday and tighter
budgets. Still, the theaters were always full, allowing
people to escape the drudgery of their daily lives and
enjoy themselves.
Because of this popularity, theaters began to be built
larger and larger. New progress in construction
allowed balconies to be built overhanging the seats
below — in contrast to the earlier style of receding
tiers. This meant that the audience on the main
floor (the section called “the orchestra”) were out of
the line of sight of the spectators in the galleries. As
a result, the crowds became less busy people-watching and gossiping among themselves, and more
interested in watching the performance. The theater
managers began the practice of dimming the lights
in the seating area (called the “house lights”), focusing the attention of the audience on the stage. The
advent of gas lighting and the “limelight” (the earliest spotlights) made the elaborate settings even more
attractive to the eye, gaining the audience’s rapt
attention.
By the 1850s, the wealthier audiences were no
longer looking for a full evening’s entertainment.
Curtain time was pushed back to eight o’clock (for
the convenience of patrons arriving from dinner);
only one play would be presented, instead of four or
five, freeing the audience for other social activities
afterward. Matinee (afternoon) performances were
not given regularly until the 1870s, allowing society
ladies, who would not have ventured out late at
night, the opportunity to attend the theater.
Now in a new millennium, many of these traditions
are still with us. The theater is still a place to “see
and be seen”; eight o’clock is still the standard curtain time; and the excited chatter of the audience
falls to a hush when the house lights dim and the
stage lights go up, and another night on Broadway
begins.
You can make sure everyone you know has the very
best experience at the theater by sharing this Theater
Etiquette with them. And now, enjoy the show!
14
Being a Goo
d Audience
Rem
ember, going
to the theate
movie. There
are some diffe r isn’t like going to a
re
when you’re
at a live perfo nt rules to keep in mind
rmance.
Believe it or
not, the actors
can actually he
same acoustic
ar you. The
s that make it
p
the actors m
eans that they ossible for you to hear
can hear all th
audience mak
e noises an
es: talking, u
n
wrapping can
phones ringin
dy, cell
g. That’s why,
when you’re
there is no food
at a show,
or drink at your
seats (eat yo
intermission
ur treats at
; save the po
pcorn-munch
tiplex)
ing for the m
ul-
The Lion King Synopsis
continued from page 9
with there nothing left to hunt, Nala is forced to
hunt outside the boundaries of the savanna.
When Pumba finds himself the target of a
hungry lioness, Simba steps in to save his friend.
At this moment, Simba and Nala, recognize each
other. Nala, who has believed all this time that
her old friend was dead, demands that Simba
return home and claim his rightful place as King.
Timon and Pumba, who are in utter shock at this
revalation, recognize that there is a deep connection between the two lions and their feelings for
one another.
Simba returns to Pride Rock, with his
friends,to challenge Scar. Scar panics upon the
sight of Simba and manipulatively gets him to
admit he was responsible for the death of his
Father. Scar and Simba engage in a heavy fight,
and in the midst, Scar reveals he was the cause of
Mufasa’s death. This information revives the
strength in Simba, who was losing the battle.
Simba manages to knock Scar to the bottom of
Pride Rock, where Scar is left with the hungry
hyena’s who have now turned against him.
With the encouragement of his friends and
Mother, Simba climbs to the top of Pride Rock,
to claim his place as king. Simba lets out an enormous roar which calls to the animals to rejoice in
their victory. Nala steps up as Simbas queen. The
final scene is the presentation of the newborn cub
of Nala and Simba. As Rafiki holds up their newborn cub the animals dance and rejoice as the circle of life continues.
No ta
lking (even if
you’re just ex
person next
plaining the
to you)
plot to the
Always keep
cell phones an
d beepers turn
means no text
ed off (This
ing your frie
even
nds during th
them how gre
e show to tell
at it is...)
Of course, w
hat
you’re enjoyin the actors like to hear is h
ow much
g the perform
ance. So go
laugh at the
ahead and
funny parts,
clap
your biggest
cheers and ap for the songs, and save
plause for yo
actors at the
ur favorite
curtain call.
That’s their p
well done.
roof of a job
15
School of Musical Theatre
The Dallas Summer Musicals School of Musical Theatre (http://www.dsmschool.org) provides
fun, disciplined, and professional training for students 7 to 17 years of age, as well as continuing
education for adults in the musical theater arts.
The School’s goal is to help students integrate the disciplines of singing, dancing, and acting into the
unique genre of musical theater. The result is a well-rounded performer—a "triple threat"—comfortable and confident as a singer, dancer, and actor. Students are grouped according to a combination of experience and training, providing a challenging, but comfortable environment to investigate
and practice their craft.
Besides teaching the essential skills for becoming a well-rounded performer, our unique curriculum
exposes students to material from the season’s performances of the Dallas Summer Musicals, as well
as other popular and age-appropriate musicals and plays. Preparation for the audition process is also
an important part of our program.
The DSM School of Musical Theatre offers its students exciting special events, gifted and talented
guest speakers, and professional staff members.
For more information, please call 214/969-7469
The Dallas Summer Musicals Kids Club
The DSM Kids Club is a free program for our youngest patrons through High School introducing
them to musical theatre. Upon registration, Kids Club members receive a passport to keep track of
the shows they attend, and to earn special prizes. We also plan special events for the Kids Club members with opportunities to meet cast members, take backstage tours, and a variety of other events
throughout the season.
For more information on the Dallas Summer Musicals Kids Club, please call Judi Wheeler at 214421-5678, extension 159, or email her at kidsclub@dallassummermusicals.org.
16
Production of StageNOTES®
has been generously underwritten by
Idearc Inc.
Annual support for the Seats for Kids program
has been provided in part by
Brinker International, Inc.
The Snyder Foundation
Wachovia
Mike & Sandy Albright
Mr. & Mrs. Edward Burks
Teresa Disiere
Russell & Lana Holley
Frank & Merrie Ann King
The Margot W. and Ben H. Mitchell Fund of Communities Foundation of Texas
Mr. & Mrs. Peter O'Donnell, Jr.
Mr. & Mrs. Gene E. Phillips
Mr. & Mrs. Ron Rittenmeyer
Bart & Martye Simmons
Mr. & Mrs. Aubrey T. Temple, Jr.
Charles J. Wyly, Jr. Fund of Communities Foundation of Texas
17