Student Matinee Program

Study Guide for Educators view this study guide online at http://www.pcpa.org/outreach/fiddlerstudy.html

Fiddler on the Roof

Book by Joseph Stein

Music by Jerry Bock

Lyrics by Sheldon Harnick

Based on Sholem Aleichem's stories by special permission of Arnold Perl

Produced on the New York Stage by Harold Prince

Original New York Stage Production Directed and Choreographed

by Jerome Robbins

Welcome to PCPA Theaterfest

A NOTE TO THE TEACHER

Thank you for bringing your students to PCPA Theaterfest at Allan Hancock College. Here

are some helpful hints for your visit to the Clark Center. The top priority of our staff is to

provide an enjoyable day of live theatre for you and your students. We offer you this study

guide as a tool to prepare your students prior to the performance.

SUGGESTIONS FOR STUDENT ETIQUETTE

Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual

event. It is a special occasion. If students are prepared properly, it will be a memorable,

educational experience they will remember for years.

1. Have students enter the theater in a single file. Chaperones should be one adult for every

ten students. Our ushers will assist you with locating your seats. Please wait until the usher

has seated your party before any rearranging of seats to avoid injury and confusion. While

seated, teachers should space themselves so they are visible, between every groups of ten

students. Teachers and adults must remain with their group during the entire performance.

2. Once seated in the theater, students may go to the bathroom in small groups and with the

teacher's permission. Please chaperone younger students. Once the show is over, please

remain seated until the House Manager dismisses your school.

3. Please remind your students that we do not permit:

- food, gum, (we also ask the teachers and Adults not to have gum either, the rule is for

everyone.) drinks, smoking, hats, backpacks or large purses (backpacks and lunch bags stay

in the lobby along the wall by school, however this is only for the schools that are planning

on lunch outside after the program). We do let the teachers have a bottle of water for just in

case. But it is limited to adults only. Kid with special needs will be taken care of as needed.

This information is always given to us about a week ahead but we can deal with it on the

day.

- disruptive talking.

- disorderly and inappropriate behavior (stepping on/over seats, throwing objects, etc.)

- cameras, iPods, cell phones, beepers, tape recorders, hand held video games. (Adults are

asked to put any beepers or cell phones on silent or vibrate.) In cases of disorderly behavior,

groups may be asked to leave the theater without ticket refunds.

4. Teachers should take time to remind students before attending the show of the following

about a live performance: Sometimes we forget when we come into a theatre that we are one

of the most important parts of the production. Without an audience there would be no

performance. Your contribution of laughter, quiet attention and applause is part of the play.

When we watch movies or television we are watching images on a screen, and what we say

or do cannot affect them. In the theatre the actors are real people who are present and

creating an experience with us at that very moment. They see and hear us and are sensitive

to our response. They know how we feel about the play by how we watch and listen. An

invisible bond is formed between actors and a good audience, and it enables the actors to do

their best for you. A good audience helps make a good performance.

PCPA Theaterfest welcomes you as a partner in the live theatre experience from the moment

you take your seats. We hope that your visit will be a highlight of your school year.

Fiddler on the Roof Cast and Production Team

Director

Roger DeLaurier

Musical Director

Callum Morris

Choreographer

Michael Jenkinson

Scenic Designer

DeAnne Kennedy

Costume Designer

Frederick P. Deeben

Lighting Designer

Jennifer 'Z' Zornow

Sound Designer

Elisabeth Rebel

Production Stage

Manager Christine Collins*

Stage Manager

Heather Patterson

Cast of Characters

Tevye

Erik Stein*

Golde

Kitty Balay*

Tzeitel

Karin Hendricks

Hodel

Krysta Smith

Chava

Jessica Chanliau

Shprintze

Julia Seibert

Bielke

Lucy Genge

Yente/Fruma-Sarah

Elizabeth Stuart*

Motel

Michael Jenkinson*

Shaindel

Stephanie Bull

Perchik

Quinn Mattfeld*

Lazar Wolf

Billy Breed

Mordcha

Leo Cortez

Rabbi

Peter S. Hadres*

Mendel

Cameron Parker

Avram

Toby Tropper

Nachum

Chris Carter

Yussel

Taylor Babcock

Constable

Daniel Rubio

Fyedka

Tony Kupsick

Sasha / Russian

Dancer Steven Jasso

Fiddler

Patrick Anderson

Mother/Grandma

Tzeitel Britney Simpson

Mothers

Katie Wackowski, Rose Blackford,

Kari Cowell

Daughter

Amanda Farbstein

Young Daughter

Kimii White

Russian

George P. Scott

Russian Soloist

Lafras le Roux

Son/Yente Boy

Cameron Rose

Son

Christopher Jensen

Yente Boy

Thomas Appel

Bottle Dancers

Patrick Anderson, Steven Jasso, Tony Kupsick, Lafras le

Roux, George P. Scott

Ensemble

Peter S. Hadres*, Steven Jasso, Tony Kupsick, Lafras le Roux,

George P. Scott, Elizabeth Stuart*, Thomas Appel, Christopher

Jensen, Cameron Rose, Kimi White

HOW TO USE THIS STUDY GUIDE

The Study Guide is a companion piece designed to explore many

ideas depicted in the stage production of Fiddler on the Roof.

Although the guide's intent is to enhance the student's theatrical

experience, it can also be used as an introduction to the elements of a

play (in this case a play with music), and the production elements

involved in the play's presentation. Although many students are

familiar with the general storyline, this specific stage adaptation

presents a wealth of new questions for this generation to answer.

The guide has been organized into three major sections:

Elements of the story

Elements of production

Activities

Erik Stein* as Tevye

Teachers and group leaders will want to select portions of the guide for their specific usage.

Discussion questions are meant to provoke a line of thought about a particular topic. The answers

to the discussion questions in many instances will initiate the process of exploration and

discovery of varied interpretations by everyone involved. This can be as rewarding as the

wonderful experience of sight and sound that Fiddler on the Roof creates on-stage.

ELEMENTS OF THE STORY PLAY SYNOPSIS

Act I

In the early-twentieth century, the Jewish community in the

Russian village of Anatevka is largely concerned with

tradition. One of the most important traditions surrounds

marriage. It has always been the duty of Yente, the

matchmaker, to find the village’s girls husbands that can

support them economically and please their families. This is

of significance to Tevye, father of five. A lowly milkman, he

dreams of being richer and more respected within Anatevka.

Yente informs Tevye’s wife Golde that Lazar, the village’s

butcher, is interested in Tzeitel, the oldest of the couple’s

five daughters. Aware of Lazar’s wealth and status, Golde is

thrilled by the proposition and tells Tevye to meet with

Lazar immediately. Tzeitel, however, does not want to marry

someone so much older than her; she is also in love with the

less-wealthy village tailor, Motel.

Tevye resents Lazar’s attempt to buy his daughter but

ultimately, cannot refuse his proposal. The men drink on the

agreement, but the celebration is dampened by the

constable’s news that the police will be harassing the

village’s Jews in the coming weeks as a means of upholding

the Tsar’s orders for Russia’s ongoing pogroms.

Upset by the news of her marriage, Tzeitel begs Motel to ask

her father for her hand in marriage immediately. Tevye is

incredulous that the two have arranged a match for

themselves and scoffs at the idea of marrying his daughter to

a poor tailor over a wealthy butcher. However, in the interest

of making his daughter happy, he ignores convention and

gives the couple his consent.

Meanwhile, Perchik, a scholar from Kiev who is spending

the Sabbath with Tevye’s family in exchange for tutoring his

daughters, becomes interested in Hodel, the family’s second-

oldest daughter. Chava, the next oldest daughter, breaks

Jewish custom by speaking in public with Fyedka, a non-

Jewish boy who takes an interest in her for her passion for

reading. At Tzeitel’s and Motel’s wedding, Perchik breaks

another custom by encouraging unmarried guests to dance

together. However, the celebration proves short lived when

(left to right) Quinn Mattfeld* as Perchik, Kitty Balay* as Golde, Erik Stein* as Tevye, Krysta Smith as Hodel

Quinn Mattfeld* as Perchik & Krysta Smith as Hodel

Erik Stein* as Tevye & Kitty Balay* as Golde

the police show up to vandalize the Jewish wedding, as

ordered.

Act II

Before returning to Kiev to resume his duties in the Bolshevik revolution, Perchik proposes to

Hodel. The two agree that marriage should be based on affection and mutual beliefs—not on

tradition or convenience—and she accepts. Tevye objects to the marriage because of Perchik’s

leaving and becomes furious when he learns that the couple is not asking for his permission but

merely his blessing. But like with Tzeitel, he eventually accepts the marriage as important to his

daughter’s happiness, acknowledging love as a kind of “new style.”

Yente reports that, after returning to Kiev, Perchik has been arrested. Hodel goes to see him in

Siberia, where he has been sent. Yente also claims to have seen Chava and Fyedka together more

than once.

Chava and Fyedka eventually decide to wed. Despite having allowed his two older daughters to

veer from Jewish marriage traditions, Tevye refuses to allow Chava to marry outside of her faith.

He is livid she would even ask and orders her never to see Fyedka again. The next morning, he

learns that the couple has wed and run off together. He immediately dismembers Chava from the

family. To worsen matters, the constable alerts Tevye that, as ordered of the Tsar, all Jews must

vacate the region in three days’ time, before they are forced out.

Tevye and his family prepare a move to America. Tzeitel and Motel plan on moving to Warsaw

with their newborn child to save money before joining the rest of the family in America. As

members of Anatevka’s Jewish community say goodbye to each other, Chava returns with Fyedka

to say goodbye. Tevye does not acknowledge her but tells Tzeitel to tell her, “God be with you!”

As Tevye’s family leaves Anatevka, a fiddler plays and follows them off the stage.

Notes About The Play – Fiddler on the Roof

For director Roger DeLaurier, this 2013 production of Fiddler on the

Roof is an opportunity to revel in one of the beloved classics of

musical theatre. And, it is one of the great successes of PCPA’s own

production history. The “dairy cart” of Tevye the Milkman has

appeared in every production of the play since the 1970s.

DeLaurier has also been excited by the opportunity to rediscover the

works of Sholem Aleichem of the author of the source short stories

for this musical. Both Aleichem’s reputation and the experience of

his work have provided the design team and director with a joyous

and imaginative backdrop for their work. And that has led the team

to see how essential “Chagall’s inspirational title” is to the

production. This is truly a work which asks how we find the balance

between change and tradition, between our aspirations for our

children and their ambitions for themselves. It is also reminder of our

continuing struggle to find that precarious middle ground between

our cultural values and our contemporary communities in change.

As DeLaurier observes, this work is a popular work because it

appeals to our core values and our essential questions. It allows one

to be in dialogue with the Divine about those questions and about

one’s faith. And it addresses the collision of generational

expectations and exasperations. It is an apt play for us in 2013

because it is an expression of a younger generation delivering the

reality of change (be it through technology or through ideology) to

an older generation that attempts to maintain the norms and

"knowns," while allowing for some measure of adaptability.

Director, Roger DeLaurier

About the Playwright, Joseph Stein

An inductee in the Theatre Hall of Fame, Joseph Stein

was an American playwright born to two Jewish parents

in New York City. He passed away at 98 years of age. He

was educated in the field of social work and worked as a

psychiatric social worker. He wrote comedies on the side.

This writing later led to him writing for radio

personalities, and then eventually he wrote for television.

Writing Fiddler on the Roof is noted as his greatest

success, as he won three major awards for the musical. He

also has written such works as Plain and Fancy, Take Me

Along, Zorba and Rags.

About the music and lyrics of Fiddler on the Roof

Sheldon Harnick (left) and Jerry Bock

The music in Fiddler on the Roof was written by composer Jerry Bock and lyricist Sheldon

Harnick. To this day, the pair is remembered as one of the premier musical-theatre composition

duos of the 1950s and 1960s.

Bock was born in New Haven, Connecticut, in 1928, and became engaged with music at an early

age. He played piano as a child and went on to score musicals for his high school and college.

After graduating, like Joseph Stein, Bock worked for the T.V. show Your Show of Shows,

writing songs for stars Sid Caesar and Imogene Coca to perform. Following his stint in

television, he scored Broadway productions Catch a Star, The Ziegfield Follies, and Mr.

Wonderful and wrote music for Sarah Vaughan.

Born in Chicago, Harnick began playing violin at a young age and started writing his own music

in high school. After serving in the Army, he earned a Bachelor of Arts in music. At this point,

he shifted his focus to writing lyrics and moved to New York City in an attempt to pursue a

career on Broadway.

When Bock and Harnick met in the mid 1950s, Broadway’s next big songwriting tandem was

born. In 1958, they scored their first musical The Body Beautiful, written by Joseph Stein, with

whom they would later work on Fiddler on the Roof. The duo then wrote the music for Tony-

and Pulitzer-winning Fiorello! (1959), a musical about former New York mayor Fiorello H.

LaGuardia. After scoring Fiddler in 1959, the duo also wrote the music for Tenderloin (1960),

She Loves Me (1963), The Appletree (1966), and Rothchilds (1970).

The colossal box-office success of Fiddler on the Roof’s inaugural production speaks both to the

pair’s popularity and to their collaborative style. It shows Bock’s knack for traditional Jewish

melody and musical arrangements at work with Harnick’s witty, conversational, and often

humorous lyrics.

Characters

Tevye Narrator of the play and father to five young women, Tevye struggles to maintain his

traditional Jewish values. He is married to Golde and works as a milkman. His daughters are

Tzeitel, Hodel, Chava, Shprintze, and Bielke.

Golde Tevye’s wife, Golde, is the one who keeps the household running. She hopes her

daughters have good lives and marry well.

Yente Yente is the matchmaker of the town and often knows the news of the town.

Lazar Wolf As the wealthiest citizen in town, he would like to marry Tevye’s daughter, even

though he is the same age or older than Tevye.

Tzeitel Tzeitel is the eldest daughter of Tevye and Golde. She is the first to challenge the

traditional marriage customs and resists Lazar Wolf’s attempts to marry her. Her true love is

Motel.

Motel Motel is a poor tailor who intends to marry Tzeitel.

Hodel Hodel is the second eldest daughter of Golde and Tevye. She falls in love with Perchik, a

student who is not from Anatevka.

Perchik An outsider to the community, Perchik is a student, and brings with him radical ideas

that challenge tradition. He is in love with Hodel.

Chava The third eldest daughter of Golde and Tevye, she runs off to marry Fyedka.

Fyedka Fyedka is a Russian soldier who falls in love with Chava.

Shprintze and Bielke The two youngest daughters of Golde and Tevye.

The Constable A Russian military official stationed near Anatevka.

Rabbi A Rabbi is Anatevka’s Jewish spiritual leader.

Mendel Mendel is the Rabbi’s son.

Mordcha Mordcha is the innkeeper who runs the bar in town.

Avram Avram is the bookseller in town.

Grandma Tzeitel Grandma appears as a ghost during a dream sequence.

Fruma- Sarah Fruma‐ Sarah is Lazar’s Wolf’s departed wife. She appears as a ghost in Tevye’s

dream and is angry that Lazar Wolf wants to marry Tzeitel.

Nachum The town beggar.

Yussel The town hatter.

Shaindel The mother of Motel.

Sasha Fyedka’s Russian friend and soldier.

Priest A Christian spiritual leader.

About The Production

Time and Place Russia 1905 Fiddler on the Roof is set in 1905

in the fictional Russian village of Anatevka. As Tevye responds

to the constable when told all Jews must evacuate the village,

“This corner of the world has always been our home” (act 2,

scene 7). He is likely referring to the area that was known as

The Pale of Settlement during the late nineteenth and early

twentieth centuries. This area, comprising the then Russian

Empire’s western regions, was the only part of the country Jews

were allowed to inhabit. However, as evidenced by the play,

many had left the area by 1914 due to pogroms and a generally

anti-Semitic rule.

The most notable event occurring in Russia at this time was the

Revolution of 1905, a social uprising led largely by middle-

class industrial workers and labor unions. The revolution was

initiated by Bloody Sunday, which occurred on January 22,

1905, when approximately 100 Russian demonstrators were

shot by police in St. Petersburg. Over the course of the next

year, thousands more revolutionaries were killed. Although the

revolution was ultimately defeated and Tsar Nicholas II

retained power, the Revolution of 1905 did bring about The

October Manifesto, which guaranteed freedom of choice, the

press, religion, and association. Clearly, this context bears

pertinence to the Jewish community described in the play. Also,

Perchik, Hodel’s husband, is an academic and revolutionary.

His eventual arrest for dancing at the wedding and having

“strange ideas” (act two, scene two) speaks to the lack of social

freedoms in Russia at the time.

Erik Stein* as Tevye & Krysta Smith as Hodel

Jewish Customs

Fiddler on the Roof portrays the importance of tradition in the

Jewish faith. As Tevye explains in the song “Tradition,” “Because

of our traditions, everyone knows what God expects him to do”

(Act1 scene1). These are some of the Jewish customs that appear in

the play.

Matchmaking: In Anatevka, it is customary for Yente, the

matchmaker, to pair the village’s singles for marriage. In most

orthodox Jewish communities, singles are often matched up through

family or friends in a system called shidduch. Traditionally, the

purpose of dating is only so the couple can get to know each other

before marrying. Also, as the play makes clear, the father is

supposed to play the role of final arbiter in marriage arrangements.

Tzeitel, Hodel, and Chava all veer from the custom of shidduch in

the play by finding their own husbands based on their feelings and

mutual interests.

Shabbat: Shabbat (English: the Sabbath) is the day of rest in

Judaism. A celebration of creation, it spans from Friday night to

Saturday night and includes traditional meals. Tevye’s family

adheres to many of the customs linked to the Sabbath when they

invite Perchik to spend it with them, such as how Golde lights the

candles. Dancing at Weddings: In orthodox Jewish communities,

men and women dance separately at weddings. Although this is

clearly supposed to be standard at weddings in Anatevka, Perchik

encourages everyone at Tzeitel’s and Motel’s wedding to veer from

this custom.

Clothing: In the song “Tradition,” Tevye explains how members of

the Jewish community in Anatevka “always keep [their] heads

covered and always wear a little prayer shawl. This shows [their]

constant devotion to God” (Act1 scene1). According to Jewish

tradition, keeping one’s head covered represents his being less than

the God above.

Interfaith Marriage: Chava’s decision to marry outside of the

Jewish faith is the most sensitive tradition broken in the play.

Although Tevye accepts the manners in which Tzeitel and Hodel

stray from Jewish marriage customs, he refuses to support his

Erik Stein* as Tevye & Krysta Smith as Hodel

daughter’s interfaith romance. This reflects Anatevka’s identity as a

particularly orthodox Jewish community as well as its timeframe.

Reformed Judaism supports interpretations of the Bible and Jewish

Law that allow marrying outside of the faith, though to this day, the

issue remains a point of debate within the Jewish community.

Notes about Jewish Dance: Dance has traditionally been an

important aspect to Jews. It is used as a strong form of expression

for joy and other communal emotions. Dance plays an important

role in religious ceremonies, weddings, and everyday life. At

weddings, the dancers usually perform in front of the couple that is

getting married. In Hasidic style dance, it was frowned upon for

men and women to dance in the same circles, so they were

separated into two different circles. Dancing to Klezmer music was

an integral part of weddings in the shtetl. Traditionally danced at

Jewish weddings, the Horah is a circle dance that is usually

performed to Hava Nagila. It is usually done in the second dance

set. Temani is a form of dance based on hopping in one place. It is

usually seen at public dancing at Israeli weddings. The Krenzl is a

dance performed at a wedding where the mother of the bride has

flowers placed on her head and her daughters dance around her.

This dance is usually performed when it is the mother’s last

daughter to wed.

Notes about Jewish Weddings: While Jewish weddings can

certainly vary, most have the following common attributes: a

ketubah (a marriage contract), a wedding canopy, a ring owned by

the groom that is given to the bride, and the breaking of glass. There

are two major parts of a Jewish wedding. Today they are often

performed together, but historically they could have been up to a

year apart.

According to Wikipedia, The Sheva Brachot or seven blessings are

recited by the hazzan or rabbi, or by select guests who are called up

individually. Being called upon to recite one of the seven blessings

is considered an honor. The groom is given the cup of wine to drink

from after the seven blessings. The bride also drinks the wine. In

some traditions, the cup will be held to the lips of the groom by his

new father‐in‐law and to the lips of the bride by her new mother‐in‐law. Traditions vary as to whether additional songs are sung before

the seven blessings.

Key Terms

The Sabbath refers to the Jewish day of rest on the seventh day of the

week. There are traditionally three feasts on this day. The focus is on

family and taking a day off from the everyday labors of life.

At one point in the play, the constable warns of an “unofficial

demonstration” in the coming weeks. This refers to a pogrom, which

is a violent attack against Jews. It is often condoned by the law.

The fiddler on the roof serves as a metaphor, demonstrating the

strength of tradition. Because the fiddler is often unbalanced and can

easily fall, so too can the traditional practices, culture and faith. Shtetl

is a Yiddish word meaning “small village.”

Anatevka, the small fictional village referred to in the story, is based

on an actual village in the Ukraine. Yente is cleverly the name of one

of the characters in the play. Appropriately, it means busybody.

L’chaim is Hebrew for “to life.”

Mazel Tov means congratulations or good luck.

Tsar The head of power in Russia. Tsarism was considered autocratic

(when one person has all of a state’s power)

Erik Stein* as Tevye & Kitty Balay* as Golde

*Member, Actors' Equity Association

Learning outcomes

As one of the most popular Broadway musicals of all time, Fiddler on the Roof carries

educational value for theatre, drama, and music classes. It demonstrates performance art in a

manner from which actors, singers, and writers can draw insight. Seeing Fiddler’s performance

is also essential in familiarizing students with its musical-theatre and pop-culture contexts. Many

of its musical numbers, such as “If I Were a Rich Man” and “Tradition,” are must-knows for

aspiring Broadway performers.

Fiddler is also rich in educational value for social studies, history, and religious studies classes.

The social, political, and religious unrest of early twentieth-century Russia is well accounted for.

Set in 1905 in Tsarist Russia, Fiddler depicts the struggle of Jewish communities facing Russia’s

ongoing pogroms and its mainstream anti-Semitism in general. Perchik, one of the central

characters, is an activist for what became known as the Revolution of 1905. The causes of this

liberal-led revolution demonstrated in the play include poor labor conditions (as seen through

Tevye’s long days, hard work, and lack of economic reward) and the Russian Empire’s lack of

religious freedom.

Finally, the play asks many moral questions that challenge students’ critical thinking skills.

How important are traditions in our society?

Do traditions exist today to the same extent they do in the play?

How important are faith and allegiance to social identity?

Should bringing pride to your family take priority over pursuing your own happiness?

An English student’s ability to answer these questions and to defend their convictions—both

orally and in writing—is essential to their mental development.

Activities

Before the Show

Most students can enjoy Fiddler on the Roof without any preparation. However, discussing

certain topics can offer them a deeper understanding of its plot and content. It is beneficial to

social studies and history classes to review the historical and political context of early twentieth-

century Russia. Understanding the period’s history of social uprisings and political unrest, as

well as the corruption and harsh socioeconomic conditions underlying them, offers students a

more thorough grasp on the play’s setting, plot, and characterization. Understanding the role of a

Tsar and Russian Tsarism in general is also relevant knowledge.

Religious study classes will want to explore the question of anti-Semitism in the play. How do

the pogroms of early twentieth-century Russia resemble or differ from other anti-Semitic

historical events?

They may also want to explore the idea behind Tevye’s disowning his daughter Chava for

marrying outside of the Jewish faith.

While this play does not contain any graphics scenes, we stress that anti-Semitism is part of its

plot.

What do you already know?

As musical theatre, Fiddler on the Roof offers a fun way of learning about Jewish culture and

early nineteenth century European history. However, it can be helpful to go over what you

already know about a topic before you begin learning about it.

Using the words below as guides, write down what you know about the Fiddler-related subjects

below. It can be something you know about them, words you associate with them, or what the

subject means to you. You can also find words or thoughts that connect two or more of the

words.

For this exercise, you may end up repeating some of what you wrote in the Before and After

activity on page

Judaism

European History

Tradition

Russia

Family

Your Traditions

Tevye’s family and community are very concerned with tradition. Listen to the song “Tradition”

with your class and have the students write their own lyrics or paragraph about traditions that

matter in their family, community, or school.

Activity Character Sketch

Write a full character sketch for any of the characters in the play. What kind of character is

he/she (static, round, etc.)?

What traits do they carry? What actions define them?

This exercise should be done on separate paper.

My favorite scene

Pick out your favorite scene from Fiddler on the Roof and draw it on a separate paper.

Underneath, write a sentence describing what is happening and why this is your favorite scene.

Was this Study Guide Helpful?

It is useful for us to know what was helpful to you as you read and/or used this guide.

Please fill out and mail or e-mail this quick response sheet to us. We appreciate your ideas.

1. Was it easy for you to find and download the Guide?

2. Did you spend more time working with the material BEFORE or AFTER the play?

Before After Equally Before and After

3. Did using this Study Guide add to your theater experience?

Yes Some No

4. What did you use from the Guide?

5. How did the experience of preparing for and then seeing the play impact your students?

6. Is there something you would like to see included in the Guide that wasn’t here?

7. How much of the Guide did you read?

Didn’t have time Some All

8. Which of the following best describes you?

I teach: middle school high school elementary school home school

other _ _

Comments: _

Mail to:

PCPA Theaterfest / Outreach and Education

800 S. College Dr.

Santa Maria CA 93454

Attention: Director, Education and Outreach.

OR email: pcpaoutreach@pcpa.org