The Magic Flute \

Home , 42nd Street (musical)

® A NEW 42ND STREET ® PROJECT SHOW ART: TOM SLAUGHTER, ILLUSTRATIONS: KATIE DIAMOND, PHOTOS: KEITH PATTISON KEITH PHOTOS: DIAMOND, KATIE ILLUSTRATIONS: SLAUGHTER, ART: TOM SHOW

INSIDE BEFORE EN ROUTE AFTER BEYOND © THE NEW 42ND STREET, INC. © THE NEW 42ND STREET, INC. 1 ® welcome

INSIDE BEFORE EN ROUTE AFTER BEYOND

NEW VICTORY® SCHOOL TOOLTM RESOURCE GUIDES

Available to Education Partners for every THE NEW VICTORY THEATER show in our season, New Victory School Tool Resource Guides provide educators with The New Victory Theater is New York City’s first full-time performing comprehensive materials that explore the arts theater for kids, their families and classmates. Since it opened in 1995, artistry and key themes of each production. The New Victory has quickly become an integral part of the cultural Filled with practical, ready-to-implement landscape in New York City, presenting a full season of adventurous activities that allow any teacher to incorporate multidisciplinary works from around the globe and close to home. The New Victory into their classroom, the The New Vic seeks out sophisticated, thought-provoking, professional New Victory School Tool Resource Guides productions that are as artistically rich as they are entertaining. are designed to enrich the performance experience before, during and after the The international productions on New Victory stages inform and inspire students’ trip to the theater. the work of the award-winning New Victory Education Program through a dynamic combination of school and public programs. Our school programs serve over 34,000 Pre-K through 12th grade students and teachers each THE NEW VICTORY THEATER season at almost no cost to the kids or their schools. Many of our partners 209 W 42ND STREET are NYC-area Title I schools, with a high percentage of students who would NEW YORK, NY 10036 be unable to experience live theater if it weren’t for The New Victory. The enthusiastic young people who greet you on your way into the theater are CONTACT INFORMATION part of the New Vic Usher Corps, a 3-year program that provides 27,000 [email protected] hours of paid employment for 75-80 high school and college-age youth 646.223.3090 each season. Families who attend the New Vic together combine their theater-going with New Victory Family Workshops, as well as free in-theater engagement activities. Together, these nationally-recognized programs exemplify the organization’s long-standing commitment to the intrinsic MAKING CONNECTIONS value of cultural participation in the lives of young people and families. TO LEARNING STANDARDS

New Victory School Tool Resource Guides align with the Common Core State Standards, New NEW VICTORY EDUCATION PARTNERSHIP York State Learning Standards and New York City Blueprint for Teaching and Learning in the Arts. The New Victory Education Department is committed to building We believe that these standards support both the impactful and long-lasting relationships with schools and after-school high quality instruction and deep engagement programs. We believe that creating strong and meaningful partnerships that The New Victory Theater strives to achieve in its arts education practice. between schools and arts organizations allows school communities to deeply enrich their arts programs and infuse creativity across the curriculum. By annually enrolling in the unique and award-winning New Victory Education Partnership Program, schools take advantage Please be advised that the unauthorized reproduction or distribution of New Victory School Tool Resource Guides for of $2 tickets to New Victory school-time and after-school performances, any purpose other than educational, such as for commercial free classroom workshops led by highly skilled teaching artists, in-depth or monetary gain, may constitute copyright infringement resources and professional development that allow teachers to incorporate and may be punishable by law. For more information, the arts into their classrooms. please contact the New Victory Education Department at [email protected].

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 2 New Victory® School ToolTM Resource Guides are made possible by a generous gift in memory of Fr. John R. Scarangello, OFM whose lifelong passion for the theater was a powerful influence on all who were fortunate to know and love him.

TABLE OF CONTENTS INSIDE A behind-the-curtain look at the artists, the company and the art form of this production.

5 INSIDE THE SHOW/COMPANY • CLOSER LOOK • WHERE IN THE WORLD

6 INSIDE THE ART FORM

7 HANDOUT: OPERA LINGO

BEFORE Ready-to-implement classroom activities that explore the themes and artistry of the show.

9 ACTIVITY 1: OPERA OR NOT · 10 ACTIVITY 2: A TEAM TRIAL · 11 CREATIVITY PAGES: PREPARE TO SEE THE MAGIC FLUTE \

EN ROUTE Trip logistics and a brief student activity to be completed shortly before seeing the show (either in class or on the way to 42nd Street).

15 INFO TO GO • GET THE WHEELS TURNING • HEADS UP!

16 RESOURCE FOR FAMILIES

17 TRIP GUIDE

19 CREATIVITY PAGE: WHICH MAGIC FLUTE CHARACTER ARE YOU?

AFTER Ready-to-implement classroom activities that offer the opportunity to reflect on and extend the experience of attending the performance.

21 PERFORMANCE REFLECTION · 23 IN-CLASSROOM WORKSHOP EXTENSION: CAN YOU WRITE AN ARIA?

24 CLASSROOM CONNECTIONS: OUR THEATER

25 CREATIVITY PAGE: THE MAGIC #HASHTAG

BEYOND Innovative ideas on ways to amplify the impact of the performance experience outside of the classroom.

28 EXTENDING THE EXPERIENCE: DESIGN YOUR OWN MAGIC FLUTE

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 3 This section is part of a full New Victory® School ToolTM Resource Guide. For the complete guide, including information about the New Victory Education Department check out: NEWVICTORY.ORG/SCHOOLTOOLS

inside | THE MAGIC FLUTE

BEFORE EN ROUTE AFTER BEYOND INSIDE

COMMON CORE STANDARDS NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS

Speaking and Listening: 1; 2; 6 The Arts: 4 Theater: Developing Theater Literacy; Language: 1, 3; 4; 6 ELA: 1; 4 Making Connections Music: Developing Music Literacy; Making Connections

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 4 inside | THE MAGIC FLUTE

BEFORE EN ROUTE AFTER BEYOND INSIDE

WHERE IN THE WORLD IS THE MAGIC FLUTE FROM? Mozart + Opera

NORTH + South African Culture = EUROPE AMERICA ASIA

THE MAGIC FLUTE PACIFIC AFRICA [ ] OCEAN

From the townships of South Africa, Isango Ensemble bursts onto INDIAN OCEAN AUSTRALIA the stage in an inspired reimagining of Mozart's masterpiece opera ATLANTIC THE MAGIC FLUTE: Impempe Yomlingo. Sung in English and South OCEAN X African dialects by an ensemble of more than two dozen vibrant voices, classic arias are enlivened with exhilarating orchestrations of merry marimbas and powerful percussion. A brilliant fusion of fairy tale and African myth, the show shines especially bright when the majestic Queen of the Night performs her acclaimed aria. Winner of an Olivier Award for Best Musical Revival (Young Vic, London) and a Globes de Cristal for Best Opera (Théâtre du Châtelet, Paris), this fresh, fearless and fantastical production, co-produced by Eric Abraham and the Young Vic, brims with dazzling drama, crisp comedy and the sublime joy of finding true love. SOUTH AFRICA

THE MAGIC FLUTE CLOSER LOOK AT CAPE TOWN • The original German opera was composed by Wolfgang X Amadeus Mozart in 1791 when he was only 35. It was the last opera he worked on in his lifetime. CAPE TOWN, SOUTH AFRICA • Isango Ensemble is known for their clever adaptations of classic • Did you know that in South Africa tales. To create theatrical experiences that will resonate with the seasons are the inverse of ours? audiences, they transform beloved masterpieces, including, December, smack dab in the middle previously, A Christmas Carol and La Boheme, to incorporate art of summer, is their hottest month! forms native to South Africa. • According to Zulu legend, a goddess • When the show starts, you're in for a surprise. In this production named Marimba placed wooden bars of THE MAGIC FLUTE, the orchestra includes a number of atop hanging gourds, which is the instruments commonly played in South Africa, such as marimbas drum named after her. and djembes.

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 5 inside | THE MAGIC FLUTE

BEFORE EN ROUTE AFTER BEYOND INSIDE

INSIDE THE ART FORM WHAT DO YOUR STUDENTS KNOW NOW?

Prior to exploring THE MAGIC FLUTE with your students, find out how much they already know about Opera and African dance. In addition, allow them to explore the themes of love and of overcoming tests and trials to achieve something they want.

Have you ever seen an opera? How was it different from musical theater?

How can dance tell a story? How do you think choreographers imagine the kind of dance they want to make?

Do you believe that someone can fall in love at first sight? Why or why not? OPERA Dating back to the 16th century, opera is a theatrical art form What kind of trials do you encounter every that uses music to tell a story. A composer and a librettist work day? Are there trials or tests you must pass to together to set text to classical music. Often the performances achieve something you want? are quite spectacular, involving large set pieces and elaborate costumes. Traditionally, operas were written in Italian or French What do your clothes say about who you are but thanks to Mozart, the German language became quite popular. and where you live? How can the costumes Since then, opera has expanded to include music styles other than the performers wear inform the world of the classical. It also inspired a whole new art form: musical theater. opera? AFRICAN DANCE African dance is rooted in physical expression of ritual experience. Many African cultures strongly uphold tradition and use dance as a participatory social custom. There are dances for marriage, maturity, funerals, praise and many other community-based events. The dance technique is very rhythmic and relies on repetition so that spectators can quickly catch on and join in. The music is rich with drumbeats and other distinctive percussion. Isango Ensemble incorporates South African instruments into THE MAGIC FLUTE's traditional score to craft music that embodies the sound of the country.

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 6 NEW VICTORY THEATER HANDOUT ® © THE NEW 42ND STREET, INC.

Opera is a renowned art form that pulls together aspects of theater, music, language, history and technical design. Share this page with your students to review the lingo of this legendary style of performance.

BEHIND THE SCENES

Librettist Writes the words to each song.

Composer Writes the musical score.

Conductor Coordinates the music of the orchestra with the singers on stage.

THE PERFORMERS

Orchestra A group of instrumentalists who play the music to accompany the singers.

Soprano The highest female voice (usually the heroine character of an opera who often falls in love).

Coloratura Soprano A high soprano whose solos often feature agile arias, leaps and trills.

Alto The lowest female voice (often an old woman or witch character).

Tenor The highest male voice (usually the love interest).

Baritone The second lowest male voice.

Bass The lowest male voice (often an old man or a funny character).

BUILDING BLOCKS OF OPERA

Recitative Words that are sung to create action in the story.

Aria A piece of music sung by one person (a solo usually sung by one character who sings directly to the audience to give information about who he or she is).

Duet A piece of music written for two singers that can be used for dialogue in a scene.

Quartet A piece of music for four singers with different vocal types that harmonize.

Finale Last number of an opera. It is usually the most extravagant and stirring part of the opera. This section is part of a full New Victory® School ToolTM Resource Guide. For the complete guide, including information about the New Victory Education Department check out: NEWVICTORY.ORG/SCHOOLTOOLS

before | THE MAGIC FLUTE

INSIDE EN ROUTE AFTER BEYOND BEFORE

COMMON CORE STANDARDS NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS

Reading: 1 The Arts: 3; 4 Theater: Developing Theater Literacy; Writing: 4 ELA: 1; 4 Making Connections Speaking and Listening: 1; 2 Music: Developing Music Literacy; Language: 1; 2; 3 Making Connections

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 8 before | THE MAGIC FLUTE

INSIDE EN ROUTE AFTER BEYOND BEFORE

ACTIVITY 1: OPERA OR NOT?

Use this activity to gauge your students preconceived notions of opera and perhaps change their perceptions of what it can be. Play the YouTube clips provided and see if your students can accurately guess which clips are opera and which are not. Materials: YouTube clips MAGIC FLUTE: https://www.youtube.com/watch?v=C2ODfuMMyss JESUS CHRIST SUPERSTAR: https://www.youtube.com/watch?v=jkje4FiH9Qc or https://www.youtube.com/watch?v=IvVr2uks0C8 HADESTOWN: https://www.youtube.com/watch?v=6WDdqWgFos8 SWEENEY TODD: https://www.youtube.com/watch?v=I96RZh8108o&list=RDisfiejaAnL8&index=3 WAGNER’S RING CYCLE: https://www.youtube.com/watch?v=xeRwBiu4wfQ 1. Ask your students what they know about opera. How many different operas can they list? 2. Based on student responses, create a running list of descriptive attributes that operas have in common. 3. Play the first YouTube clip from THE MAGIC FLUTE. Let your students listen for at least a minute. 4. Discuss whether or not the clip could be considered an opera. Add to or adjust your working list accordingly. 5. Repeat Steps 3 and 4 with the four other clips. 6. Reveal to your students that all four clips are considered opera. As a class, consider the list you created. Make revisions to encompass elements from the entire art form. 7. Craft a specific definition of opera with your students based on what you have discovered through this activity.

REFLECTION QUESTIONS What did this variety of video clips teach you about opera? Do you feel like opera has changed over time? Do you feel like opera is a relevant art form today?

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 9 before | THE MAGIC FLUTE

INSIDE EN ROUTE AFTER BEYOND BEFORE

ACTIVITY 2: A TEAM TRIAL This activity allows your students to discover how trust and communication can help you overcome difficult challenges, like the trials Tamino and Pamina undergo in THE MAGIC FLUTE. The objective of this activity is to have one student successfully lead a blindfolded student across the room avoiding obstacles that might be in their way. 1. Depending on your class size, divide students into 4-6 different groups. 2. Explain that the room is now an obstacle course. The goal is for all team members to get to the other side of the room while blindfolded. The first group to successfully guide the most people across the room wins. 3. For safety, each group will appoint a leader who will not wear a blindfold and be in charge of guiding everyone across. Have the groups gather at one end of the room. The leader will stand next to a team member as they move through the space blindfolded, and talk them through the course until they safely reach the other side. 4. Blindfolded students may not speak nor can they come in contact with any object during their journey. If they do, they are disqualified from that round. Leaders may speak but they may not touch the person they are guiding. 5. Prior to starting, give the teams a chance to strategize ways to be successful in this challenge. 6. The leaders will have the opportunity to move desks and objects around to create a more challenging field for the other teams to cross. 7. Once the space is ready, the leaders may begin to guide their team across, one member at a time. For safety, you can choose to let only one or two teams go simultaneously. 8. Determine the winner based on which group was able to finish first with the least amount of mishaps and disqualifications. 9. If there is time, continue to play until everyone has had a chance to guide their team across. REFLECTION QUESTIONS What strategies did the leaders use to be successful? What could the blindfolded members of the team have done to help their leader? Which techniques helped the blindfolded students reach the end of the obstacle course? Where did you struggle?

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 10 NEW VICTORY THEATER CREATIVITY PAGE ® © THE NEW 42ND STREET, INC.

ACT 1

e spir i r e t s O h IN t AM T e Tamino, a young traveler who is passing through the realm of the h

t Queen of the Night is attacked by a giant serpent. Three Ladies, soldiers of the Queen, hear his cries and spear the snake.

o n e g a

a p

As Tamino regains consciousness, Papageno, a bird catcher, claims credit for killing the fire-breathing creature. The Three Ladies punish Papageno for his lie. They then show Tamino a picture of the Queen’s daughter, Pamina, and he immediately falls in love. The Three Ladies say Pamina has been kidnapped by an evil man–Sarastro. s Tamino promises to rescue the beautiful girl. r a o f t h e a n Nig s ee h u t Q e h T

The Queen of the Night arrives and urges a very frightened Tamino to keep his promise to rescue Pamina. To help him, he is presented with a magic flute. She orders Papageno to help Tamino and gives him a set of magic bells. Both instruments, the flute and bells, have the power to help the owners and to change evil into good.

As they make their journey, Papageno and Tamino are pointed in the right direction, but get separated. Papageno happens upon Pamina with her jailer, Monostatos. Papageno shows her a picture of Tamino, and she falls in love with him. Tamino meanwhile learns that Sarastro is not actually evil, but good!

Sarastro’s arrival is announced. Sarastro is angered at the behavior of Monostatos towards Pamina and imprisons him. He then orders that Tamino attempt various trials to prove he is worthy of Pamina’s love. Papageno reluctantly accompanies him. NEW VICTORY THEATER CREATIVITY PAGE ® © THE NEW 42ND STREET, INC.

ACT 2

Sarastro imposes three tests on Tamino before he agrees to hand joint power to both Pamina and Tamino. The first of the trials is a trial of silence. Not knowing of the terms of the first trial, Pamina professes her love for Tamino and when he refuses to answer her words of love, she leaves brokenhearted.

The Queen of the Night appears and orders Pamina to kill Sarastro, giving her a knife for the task. Pamina instead attempts self-harm but is e spir i r e t s h restrained by Three Spirits. Having completed t e the trial of silence, Tamino is reconciled with h t Pamina, and she decides to complete his trials with him. Together they complete the second trial, the trial of fire, and go on to the final trial of water. The couple succeeds!

Papageno, upset at his failure with the trials and disheartened by his failure to find a woman, contemplates self-harm but is stopped by the Three Spirits who introduce him to the girl of his dreams, Papagena. Guided by the wicked Monostatos, the Queen of the Night makes another attempt on Sarastro’s life but fails. Sarastro holds out his hand to her offering reconciliation; she refuses and leaves as all join in celebration of the dawn. NEW VICTORY THEATER CREATIVITY PAGE ® © THE NEW 42ND STREET, INC.

GETTING READY TO SEE

Now that you’ve read a summary of THE MAGIC FLUTE, answer the questions below to get ready for the show!

Why do you think this show is called the THE MAGIC FLUTE? Would you give it a different title?

THE MAGIC FLUTE opera is actually based on a performance style called singspiel, which incorporates both song and spoken word. Why do you think Mozart chose to turn this story into an opera?

What part of the story are you most excited to hear performed in song? Why? This section is part of a full New Victory® School ToolTM Resource Guide. For the complete guide, including information about the New Victory Education Department check out: NEWVICTORY.ORG/SCHOOLTOOLS

en route | THE MAGIC FLUTE

INSIDE BEFORE AFTER BEYOND EN ROUTE

COMMON CORE STANDARDS NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS

Speaking and Listening: 1; 2 The Arts: 4 Theater: Theater Making; Developing Language: 1; 2; 3 ELA: 1; 4 Theater Literacy; Making Connections

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 14 ®

en route | THE MAGIC FLUTE

INSIDE BEFORE AFTER BEYOND EN ROUTE

Provide these resources to all teachers and chaperones attending the show. DESTINATION From the townships of South Africa, Isango Ensemble bursts onto the stage in an inspired reimagining of Mozart's masterpiece opera THE MAGIC FLUTE: Impempe HEADS UP yomlingo. Sung in English and South African dialects by an ensemble of more than two dozen vibrant voices, classic This show has a complicated story arias are enlivened with exhilarating orchestrations of merry and due to the nature of opera is marimbas and powerful percussion. not always easy to understand.

Check out this three minute synopsis of THE MAGIC FLUTE INFO TO GO (https://www.youtube.com/ watch?v=-laVXO0IYKY, Courtesy • The original German opera was composed by Wolfgang of Classical Minnesota Public Amadeus Mozart in 1791 when he was only 35. It was the last Radio) and consider showing it to opera he worked on in his lifetime. your class. It is a quick and easy way to give your students some • Isango Ensemble is known for their clever adaptations of background knowledge about classic tales. To create theatrical experiences that will resonate the plot before the show! We with their audiences, they transform beloved masterpieces recommend reading the plot including, previously, A Christmas Carol and La Boheme, to in advance so students can sit incorporate art forms native to South Africa. back and enjoy the show without confusion.

GET THE WHEELS TURNING QUESTIONS TO ASK STUDENTS ON THE WAY TO THE THEATER FAMILY ACTIVITY Have you ever seen an opera? How was it different from musical Distribute the following page theater? in this section to your students’ families with the field trip Do you believe that in love at first sight? Why or why not? permission slips! This page contains information and pre and What kind of trials do you encounter every day? Are there trials post-show activities that will enable or tests you must pass to achieve something you want? families to further enrich their kid’s New Vic experience. What do your clothes say about who you are and where you live? How can did the costumes the performers wear in this production inform the world of the play?

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 15 PHOTOCOPY THIS PAGE AND SEND IT HOME TO YOUR STUDENT’S FAMILY WITH THE PERMISSION FORM BEFORE THE TRIP!

On , your child will see THE MAGIC FLUTE at The New Victory Theater on 42nd Street.

The New Victory Theater is dedicated to bringing extraordinary performing artists from around the globe to kids and families in New York City.

From the townships of South Africa, Isango Ensemble bursts onto the stage in an inspired reimagining of Mozart's masterpiece opera THE MAGIC FLUTE: Impempe Yomlingo. Sung in English and South African dialects by an ensemble of more than two dozen vibrant voices, classic arias are enlivened with exhilarating orchestrations of merry marimbas and powerful percussion.

Enhance your kid’s experience of going to the theater:

EXPLORE

Explore the show and the theater together. Watch the video trailer and learn more about the artists who created THE MAGIC FLUTE at www.NewVictory.org. Ask your kid before the show: • What do you predict a South African opera might be like? • What are you most excited about for your trip to 42nd Street?

PLAY

Play together using the Family Activity created for the show. You can find it at NewVictory.org/FamilyActivities

ASK

Ask your kid about the trip to The New Victory Theater: • What was your favorite part of seeing THE MAGIC FLUTE? • Which did you notice about the set and the lights in the show? • How was THE MAGIC FLUTE different from other shows you’ve seen?

VISIT The New Vic is New York City’s only performing arts theater exclusively devoted to kids, their families and classmates—bringing exhilarating stories, innovative art forms and unparalleled performers from around the world to our historic stage in Times Square. ® For a full list shows in the New Vic’s 2014-15 season, visit NewVictory.org. ®

en route | THE MAGIC FLUTE

INSIDE BEFORE AFTER BEYOND TRIP GUIDE EN ROUTE TRIP GUIDE Provide this resource to the School Trip Leader and all teachers/chaperones attending the performance.

BEFORE YOU LEAVE SCHOOL We advise you to LEAVE ALL BAGS AND LUNCHES at school, if possible. If not, bags will be collected by New Victory staff and stored during the performance.

Plan to arrive at the New Victory® venue at least 30 - 45 minutes before curtain time. The building opens one hour prior to curtain (i.e. 10:00am for an 11:00am performance). If you realize that your group is running late, please contact the theater DIRECTLY at 646.223.3020. If you will be arriving by bus, please ensure that your driver drops your group off on the north side of 42nd Street between 7th and 8th Avenues.

ARRIVAL •When you reach 42nd Street, a member of the New Victory Front of House staff wearing a green vest will check in with the school trip leader. • If you arrive by bus, they will direct your bus to a location on the street where it is safest to unload the students. • It is important to wait until our staff checks in the School Trip Leader and Bus Driver, before unloading the students. • They will record the bus number and give the School Trip Leader and the Bus correlating tags. • Please remember to exchange cell numbers between the School Trip Leader and the Bus Driver. • The Front of House staff will give a time for the bus to return to pick up your school group.

THE QUESTION OF LUNCH New Victory venues are not equipped to host lunch/snacks. In the early autumn and spring months, nearby Bryant Park (42nd Street at 6th Avenue) offers a pleasant place for lunching, and there are also public restroom facilities.

SEATING In order to make your experience at the theater as efficient and safe as possible, you will not be issued tickets. Your group will be assigned seats in advance by the Education Department. Your seating assignment will not be available prior to the performance. If you have any questions, please contact the Education Department at: [email protected].

ACCESSIBILITY

Wheelchair accessibility: Wheelchair seating must be requested in advance at the time of the ticket request, and is subject to availability. Assisted listening devices are available for patrons who have hearing impairments. ®

en route | THE MAGIC FLUTE

INSIDE BEFORE AFTER BEYOND EN ROUTE

TRIP GUIDE Provide this resource to the School Trip Leader and all teachers/chaperones attending the performance. If you are traveling by bus, please also share this important information with the bus driver.

DIRECTIONS The New Victory Theater is located at 209 West 42nd Street. The Duke on 42nd Street and the New 42nd Street® Studios are both at 229 West 42nd Street.

BY SCHOOL BUS It is safest to drop off and pick up your school group on the north side of the street in front of the venue. Turn onto 42nd Street from 7th Avenue so students can unload in front of the theater space.

DURING THE SHOW 42nd Street is extremely congested and has a high volume of traffic. According to the New York City Department of Transportation, vehicles are not allowed to sit idle or park on the street without special permission. Once your bus is empty, it is important that the bus driver find parking in a nearby location. Below is a list of possible places to park.

If a driver chooses to park on 42nd Street, they do so at their own risk of being ticketed by the police. The New Victory Theater is not responsible for bus drivers who receive parking tickets.

POSSIBLE PARKING LOCATIONS 8th Avenue (both sides) between 38th and 39th Streets West 44th Street (north side) between 10th and 12th Avenues 11th Avenue (both sides) between 39th and 40th Streets West 45th Street (south side) between 11th and 12th avenues

PICK UP Taking Midtown traffic into consideration, bus drivers should leave their waiting location approximately 10 minutes prior to the return time given by the Front of House staff. In addition, they will help find a spot on 42nd Street to safely load your student group after the show has ended.

BY MTA, SUBWAY OR BUS 1/2/3, N/R/Q/7 Exit the station at 42nd Street/7th Avenue. When you come out of the turnstile, take the stairs to your right. All New Victory venues are directly to the west of the subway station.

A/C/E to Port Authority Exit at 42nd Street/8th Avenue. Walk to 42nd Street, turn east, and continue walking until you arrive at New Victory venues.

B/D/F/M Exit at 42nd Street/6th Avenue. Walk west on 42nd Street until you come to 7th Avenue. The venues are on the north side of the street at 7th Avenue, next to the subway station.

The M10, M16, M27, M42, M104 buses all stop within one block of the venues. NEW VICTORY THEATER CREATIVITY PAGE ® © THE NEW 42ND STREET, INC.

TAKE THIS QUIZ TO FIND OUT! 1. On the weekends, you like to… a) Dream of adventures and long for the future. b) Mope around the house. Being you is hard. c) Cause trouble. Life’s more fun with a bit of drama, right! d) Study. Those books won’t learn themselves!

2. What section are you most likely to be found browsing in the library? a) Romance b) Self-Help c) Mystery & Crime d) Religion & Spirituality

3. Your friends like you because you’re… a) Attractive. Who can resist your looks? b) Funny. That always wins over a crowd. c) Powerful. You have control over every situation. d) Honest. People need to hear what’s good for them.

4. When faced with danger you… a) Breathe. You can do this. b) Run! It’s not worth it! c) Faced with danger? Ha! You MAKE the danger. d) Reason with the danger. There must be a method to this madness!

5. What voice part are you? a) Tenor or soprano. You sing way up high! b) Baritone or alto. You are awesome at those mid-range notes. c) Coloratura soprano. You don’t just hit those high notes, you kill them. d) Bass. You rock those low notes.

6. If you were an animal, which would you be? a) A swan b) A donkey c) A jaguar d) A dog

Add up your scores! A's are 1 point, B's are 2 points, C's are 3 points, D's are 4 points.

Score 6 - 10: You are Pamina or Tamino! You’re a star-crossed lover, ready to do whatever it takes to be with the one you love and live the life you always imagined. With your bravery, no mountain is too high and no fire is too hot.

Score 11 - 14: You are Papageno! You’re the comic relief in THE MAGIC FLUTE. You stick by your friends, but you also have no interest in danger or trouble. Even though you may not believe it, love comes for you when you least expect it...

Score 15 - 20: You are The Queen of the Night! You are an all powerful, dangerous, and ever-feared queen who stops at nothing to get what you want. Watch out for you!

Score 20 - 24: You are Sarastro! You are deeply wise and forever loyal. You never ask for trouble but you cower to no one. Without you around, your friends would most surely be in trouble. This section is part of a full New Victory® School ToolTM Resource Guide. For the complete guide, including information about the New Victory Education Department check out: NEWVICTORY.ORG/SCHOOLTOOLS

after | THE MAGIC FLUTE

INSIDE BEFORE EN ROUTE BEYOND AFTER

COMMON CORE STANDARDS NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS

Writing: 1; 2; 4 The Arts: 1; 2; 3; 4 Theater: Theater Making; Developing Speaking and Listening: 1; 2; 3; 4; 5; 6 ELA: 1; 3; 4 Theater Literacy; Making Connections Language: 1; 2; 3 Music: Music Making; Developing Music Literacy; Making Connections

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TEACHER TIP

Engaging in dialogue, asking questions PERFORMANCE REFLECTION and recalling observations are skills that Following your trip to the New Victory, you may find that your students we believe should be fostered and want to discuss the performance and their own opinions. Reflecting on encouraged. When leading a performance the show and voicing an aesthetic response is an important part of the reflection discussion, try the following model of critical response: theater-going experience. Allowing your students the opportunity to articulate their own thoughts and hear the ideas of their classmates will Describe (I saw…) increase the impact of the theater experience. Analyze (I wonder…) Have your students reflect on the performance by becoming theater critics for THE MAGIC FLUTE. Use the template on the next page as a Interpret (I think/feel…) guide. Evaluate (I believe…)

PERFORMANCE REFLECTION® Be a theater critic and write your own review of THE MAGIC FLUTE. Your review should include the following elements: An eye-catching headline, an opening that clearly states your opinion on the production and how you came to have that opinion, a brief summary of what you saw, and what made this production unique. Don’t forget to think about the set, costumes, lighting, music, and acting choices. HEADLINE:

WHAT I SAW:

WHAT SURPRISED ME:

HOW THE SHOW MADE ME FEEL (What mood were you in after the show? What about the show made you feel that way?):

MY OPINION (Consider the story, set, costumes, and lighting): after | THE MAGIC FLUTE

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IN-CLASSROOM WORKSHOP EXTENSION: CAN YOU WRITE AN ARIA?

In the post-show workshop for THE MAGIC FLUTE, you created a libretto for an original opera inspired by the needs of your community. Use the following activity to expand upon the opera you created in class and create an aria for each character.

1. Remind your students that an aria is a piece of music in an opera that is sung by one person. It is usually a time for one character to give information about who he or she is and to convey emotion about the events have taken place.

Give students the following examples of aria lines from THE MAGIC FLUTE: 2. QUEEN OF THE NIGHT: PAPAGENO: TAMINO: Hell’s vengeance seethes in my heart So merry and carefree can I be, This something I cannot name, the flames of death and despair engulf me! knowing all the birds belong to me. but I feel it burning here. If Sarastro dies not by your hand, The birdcatcher am I- Can this sensation be love? you will be my daughter no more and always merry, tra la la! Yes, yes! This can only be love.

3. As a class, discuss what you know about these characters based on the above excerpts from their arias. What emotions are they feeling? What are their objectives (what does the character want)? What techniques does the librettist use to express these emotions and objectives in the form of song lyrics?

4. Using the two characters created in your libretto in the post-show worksop, brainstorm a list of emotions that each character might be feeling and the objective of each character. Scribe these emotions and objectives on the board under each character’s name.

5. Now it’s time for your students to write their own libretto for an aria! Have each student pick which character they would like to focus on. Their task is to write four lines of an aria for that character. Their aria should express the emotions and objective of the character. They can use the lines above for guidance and inspiration.

Bonus: Think about the music you would compose to accompany the lyrics. Is your aria loud or quiet, legato or staccato, fast or slow?

REFLECTION QUESTIONS What was it like to write your own aria? What was exciting about the writing process? What was challenging? How is writing something that will be set to music different than, or similar to, writing an essay, a short story or a poem?

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CLASSROOM CONNECTIONS: OUR THEATER How do your students relate to the cultural landscape of New York City? Is there theater, art and music that speaks to them? How accessible are the arts in New York City? Use this activity to encourage students to think about their connection to the arts.

1. Share the following quote with your students: “Our main goal is to try and get black people to come into the theatre, to go into the theatre, to enjoy themselves as they did before the Apartheid in 1948, and to say to them, theatre is not just for white people or people who are rich.” - Pauline Malefane, Artistic Director of Isango Ensemble

2. Ask your students: Is this an important goal for a theater company? Why? How did the Isango Ensemble accomplish this goal with THE MAGIC FLUTE? How does this quote relate to your experience of theater in New York City? If you were going to create a theater company that was accessible to your community and that you and your friends would be excited to attend, what would that theater be like?

3. Ask your students to write a proposal for their very own theater company! Their proposal should include the following: • What is the name of your theater company? • What is your theater company’s mission statement? • What kind of performances will your theater company present? • Where will the theater be located and what will the space look like? • How will you make your theater company accessible and relatable to your community? • Why is it necessary for your theater company to be established?

4. Finally, have them design their theater. What would it look like? Each group will present their theater proposals and designs to the class.

REFLECTION QUESTIONS Outside of school, do you attend theater or other cultural activities in New York City? Why or why not? Why are the arts important to a community? Why should the arts be accessible to everyone? What could a theater company do to encourage you to attend more often?

® THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 24 NEW VICTORY THEATER CREATIVITY PAGE ® © THE NEW 42ND STREET, INC. THE MAGIC #HASHTAG Could you fall in love with someone just from seeing their photo? In THE MAGIC FLUTE, Tamino immediately falls in love with Pamina before he even meets her. What is your immediate reaction to a photo? How would the characters in THE MAGIC FLUTE #hashtag their adventures? Look at the photos below and decide what #hashtag comments the characters in THE MAGIC FLUTE would leave on each other’s Instagram feeds:

Pamina Papageno

37 Likes Likes

Tamino #loveatfirstsight Three Spirits Papageno #totesjealous Queen of the Night #KILLSARASTRONOW Queen of the Night

Sarastros QueenOTN

Sarastros Queen Of The Night

Likes Likes

Pamina Three Ladies

Queen of the Night Pamina

Monastatos Papageno

BONUS: Now that you’ve #hashtagged the experience of each character, #hashtag YOUR experience of watching THE MAGIC FLUTE! Take a photo of yourself with your New Vic Bill and come up with three #hashtags to describe your experience. Have your teacher post your photos and #hashtags on a wall in your classroom, creating a real Instagram for all to see! If you want, you can even #newvic! This section is part of a full New Victory® School ToolTM Resource Guide. For the complete guide, including information about the New Victory Education Department check out: NEWVICTORY.ORG/SCHOOLTOOLS

beyond | THE MAGIC FLUTE

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COMMON CORE STANDARDS NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS

Speaking and Listening: 1; 2; 3; 6 The Arts: 1; 2; 3 Theater: Theater Making; Developing Language: 1; 2; 3 ELA: 1; 4 Theater Literacy; Making Connections

beyond | THE MAGIC FLUTE

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EXTENDING THE EXPERIENCE: DESIGN YOUR OWN MAGIC FLUTE Reimagine THE MAGIC FLUTE as a class! Use this activity to explore an artistic design process similar to Isango Ensemble, which made their production so special and unique.

Step 1: Brainstorm Brainstorm with your class why THE MAGIC FLUTE is a story that people enjoy seeing again and again. Talk with your class about populations of people that particularly need to hear or would enjoy experiencing this story. Next, tell your students that they are going to pretend they are putting on a production of THE MAGIC FLUTE and have them vote, as a class, on a setting where the story could take place. They should use their conversation about populations as inspiration for their new setting.

Step 2: Research & Design Have your students act as designers for their imaginary production! Divide the class in half. Have half the students brainstorm costumes for the characters; and the other half the set design. The groups should decide amongst themselves how they plan to tackle the various aspects of their task (for example: maybe one group focuses on female leads, one group focuses on the setting for the trials, etc.). Encourage your students to create Pinterest boards, cut out magazine pictures, and do internet and library research to influence their design choices.

Step 3: Present Have your students present their work to the class! Encourage tangible visual displays or internet collages using a SMART Board. Ask your class to question each designer team's choices, as well as provide critical feedback related to their work.

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SOURCES:

HTTP://WWW.CITYSIGHTSEEING.CO.ZA/CAPE-TOWN-FAST-FACTS

THE NEW VICTORY® THEATER® / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. THE NEW VICTORY THEATER / NEWVICTORY.ORG/SCHOOLTOOLS © THE NEW 42ND STREET, INC. 29