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March 31-April 29, 2016

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INSIDE THE GUIDE SETTING THE STAGE

A Note to Teachers and Parents

preparing for the play

Synopsis . . . . . . . . . . . . . . . . . . . . 3–4 About the Playwright. . . . . . . . . . . 5–6 About the Playwright . . . . . . . . . . . . . 6 Recommended Reading. . . . . . . . . . 7 Pre-Show Questions. . . . . . . . . . . . . 6

FOR TEACHERS

Curriculum connections before or after the play FUN CLASSROOM ACTIVITY Lucinda Says. . . . . . . . . . . . . . . . . . 14

MATH Happily Ever Math-ter . . . . . . . . . . . 16

LANGUAGE ARTS

ELLA ENCHANTED Dear Educators and Parents, This delightful version of the Cinderella story follows Ella on her quest to reverse a blessing/curse and let her true self be revealed. Along her way, Ella finds friendship and understanding in Prince Charmont that spans obstacles, distance, and time. He is a true friend, for he can see her for the person she is. This dazzling story of ogres and giants, magic and spells will certainly ignite the adventure lover in all of us and bring to life the kind of friendship that knows no boundaries. Enclosed in this Enrichment Guide is a range of materials and activities intended to help you discover connections within the play through the curricula. It is our hope that you will use the experience of attending the theater and seeing ELLA ENCHANTED with your students as a teaching tool. As educators, you know best the needs and abilities of your students. Use this guide to best serve your children – pick and choose, or adapt any of these suggestions for discussions or activities. Enjoy the show!

Speaking Ogrese. . . . . . . . . . . . . 9–10 Plot Mountain: Exploring Narrative Structure. . . 11–12 Creating A Tale . . . . . . . . . . . . . . . . 13 The Friendly Letter. . . . . . . . . . . 14–15

SOCIAL/EMOTIONAL Mapping The Kingdom of Frell. . . . . . 8

Julia Magnasco Education Director (414) 267-2971 [email protected]

CURTAIN CALL Post-Show Questions . . . . . . . . . . . 17 Who Said It? . . . . . . . . . . . . . . . . . . 17 Who Said it? (ANSWERS) . . . . . . . . 18

First Stage Policies • The use of recording equipment and cameras are not permitted during the performance. • Food, drink, candy and gum are not permitted during the performance. • Electronic devices are not permitted in the theater space. • Should a student become ill, suffer an injury or have another problem, please escort him or her out of the theater space. • In the unlikely event of a general emergency, the theater lights will go on and the stage manager will come on stage to inform the audience of the problem. Remain in your seats, visually locate the nearest exit and wait for the stage manager to guide your group from the theater. Seating for people with special needs: If you have special seating needs for any student(s) and did not indicate your need when you ordered your tickets, please call our Assistant Patron Services Manager at (414) 267-2962. Our knowledge of your needs will enable us to serve you better upon your arrival to the theater.

Setting the Stage Synopsis On the way to finishing school, the sisters discover that Ella will do whatever they ask. They certainly take advantage of this, commanding her to rub their feet and give them her mother’s necklace. Once they arrive at finishing school, the girls do their best to sabotage her every move. One day, Ella receives a letter from Char. This lifts her spirits and she no longer feels alone with a friend like Char.

She cleverly escapes as the ogres begin to fight each other. Speaking in Ogrese, she persuades them to eat vegetables and eventually lulls them to sleep. As she is leaving, she runs into Char. He is impressed that she fought off the escaped ogres. As they begin to wake up, the two run off. hey both arrive at the Giant’s wedding and join in on the T dancing. Ella spots Lucinda, but quickly loses her in a sea of Giant’s legs. Lucinda disappears. Char divulges to Ella that he will be going away to Ayortha for a year. He promises to write, kisses her on the cheek and leaves. Lucinda appears looking for the bride and groom. Ella begs her to reverse the spell she put upon her. At first, Lucinda denies her request, but later revokes it saying that she herself will take on the magical gift of obedience and if she does not love every moment, she will grant Ella any wish she wants. Ella is shocked to notice that her father is at the wedding. He and Dame Olga were just married! Ella is disappointed to here that he only married her for her money and does not love her. Lucinda approaches and is ready to bestow the gift upon the new bride and groom. She casts a spell ensuring that they will love each other every moment, every day. Sir Peter declares his love her Dame Olga at the same time he reveals to her that he has no money. Dame Olga informs Sir Peter that the girls have failed finishing school and they will now be living in Ella’s room while she lives in the broom closet.

lla and Char continue to write back and forth to each E other. The girls decide one day to destroy their friendship by commanding Ella to tell Char she hates him. Ella realizes the impending doom and decides run away. he leaves in the middle of the night. As she moves S through the dark forest, she consults her mother’s magic book and it tells her that Lucinda will be attending the Giant’s wedding. The first trial in her quest are a trio of Ogres. They are hungry and want her for dessert.

ack at home, Ella is put to work-brushing, sweeping and B cleaning. She discovers a letter from Char in the fireplace. He reveals that he is in love with her, for she is playful, interesting, thoughtful and occasionally serious. He ends his letter with a marriage proposal. Ella becomes frightened that if she becomes Queen she will have more power to do more dangerous things, so she sets out to make Char fall out of love with her. She writes a letter to him and tells him she is married. Her last hope is that someday, Lucinda breaks the spell and she can tell him her truth. ame Olga rushes in-Prince Charmont’s Ball is set to D commence and the stepsisters must get ready to attend. Ella’s invitation was ripped up and eaten by Hattie so Ella is not prepared to go. The girls get ready in a hurry and scurry out in hopes of locking in the prince as a husband. Ella wishes she could see Char one last time. Suddenly, Lucinda appears in a flourish. She tried a dose of her own enchantment and realized the horror so she is indebted to Ella for whatever she wishes. Ella wishes for her enchantment to be lifted so she can attend the Ball. Unfortunately, Lucinda’s magic has weakened and she is unable to lift the spell. Despite this challenge, Lucinda

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Setting the Stage Synopsis pleads with Ella to go to the Ball. She gives Ella her dress, her slippers, her tiara and her sash to use as a mask. ater on, Dame Olga and her girls arrive at the Ball. Ella L enters soon after, masked and looking beautiful. Char is immediately drawn to her. She speaks to him in Ayorthian; Hattie tries to cut in. Ella saves him and they dance. Char begins to sense something familiar about her. Hattie and Olive pull off her mask and she is revealed. Char is surprised and confused. Ella apologizes and takes off running, leaving behind a slipper. ack at the house, Dame Olga scolds Ella for making a B scene. She puts her back to work immediately. The Squire enters and announces that Prince Charmont is there and seeking one of the daughter’s hands in marriage. Olive and Hattie try to convince them that they are Ella as they force their feet into the slipper. Char dismisses the slipper, he knows exactly who he’s looking for. Char spots her and asks Ella to marry him. Dame Olga and the girls try to order her about. Ella finally confesses her love and her secret. Char asks why she didn’t tell him. Ella then realizes the curse has been lifted- her mother ordered her to never tell anyone about her obedience, and she just disobeyed that order. She now has her own will back! She insists on not becoming a princess but instead the Court linguist and learn every language she can. She gets down on one knee and asks Prince Char, “Will you marry me?” They are wed with all the magical creatures of the land. Lucinda bestows a gift to the happy couple-a box to hold all of their keepsakes. And they lived happily ever after.

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About the Playwright: Gail Carson Levine I grew up in upper Manhattan, Washington Heights to be exact, a hilly, pretty neighborhood. My family lived across the street from P.S. 173, my elementary school, and from a park where I used to climb what my friends and I called the "danger" rocks, which were part of the palisades that overlook the Hudson River. Going up, clinging to cracks with my fingertips, terrified, I'd think, If I live, I will never do this again. When I reached the top I'd work my way down and start over just as frightened as before. In high school, George Washington High, also in Washington Heights, I was cast as the female lead in George Bernard Shaw's ANDROCLES AND THE LION. The male lead was six-feet tall, and I was (and still am) not quite four-foot-eleven. The stage manager had to construct a system of platforms for me so the hero and I didn't look ridiculous standing side by side. From third grade through high school I wrote stories and poems, and a few of my poems were published in an anthology of student writing, but I never thought of becoming a writer. The authors of most of my favorite childhood books were dead (Mark Twain, L.M. Montgomery, Louisa May Alcott, Anna Sewell). I knew a few artists because my dad owned a commercial art studio, and I saw actors in the movies and on stage, but I didn't think of writing as work that any modern person did. In college—first Antioch College in Yellow Springs, Ohio, then City College of New York (Phi Beta Kappa, not that I'm bragging)—I majored in Philosophy, a useless major for a future writer. Philosophers use winding, twisty, endless sentences and words like posit, predicate, epistemology, ontology. Don't get me wrong. Writers need to have enormous vocabularies, and I never met a word I didn't love, but we use our arsenal judiciously. We don't go all sesquipedalian at the drop of a hat. In college I met and married my husband David, who is a very witty man. He's been giving me humor lessons ever since! He's also a fine jazz pianist, a gifted photographer, and a general high-tech whiz. He created this website and the photographs you see on it. You can see him, comfortable behind a camera, below, and you can see more of his photographs at www.dmlevine.com. After college, I worked for New York State government, mostly in jobs that had to do with welfare. My favorite time was the first part of my career when I helped people find work. How satisfying that was! Meanwhile, I did my first bit of writing for children. In the 1970s I wrote the script for a musical called Spacenapped. David wrote the music and lyrics, and it was performed by The Heights Players, a community theater in Brooklyn. But I still didn't think of myself as a writer. I read novels constantly, as I always had, and one day while I was meditating I asked myself why, since I adored stories, I never made up any. That was the beginning of The King's Cure, an art appreciation book for kids. I wrote it and drew pencil illustrations of birds and used reproductions of famous art for the illustrations—and no one would publish it—but I became hooked on writing. I took writing classes and joined critique groups and The Society of Children's Book Writers and Illustrators (find it online at www.scbwi.org, a great organization). And I collected rejection letters for nine years until an editor wanted the manuscript for ELLA ENCHANTED. You know the rest.

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About the Playwright: Gail Carson Levine What inspires or motivates you as a writer? My biggest inspiration is my reading experience as a child. Reading was my greatest delight, my escape, my refuge. I read walking down the street, climbing stairs, in the bathroom. If I didn't have a book, I was lost. When I wasn't actually reading, part of me was still living my current book. I imagined myself as the characters and sometimes wrote stories that imitated the books I loved. Today, I write to the reader I used to be, who still lives inside me. I remember what she liked, which was almost everything, and that's lucky because she isn't overly critical. Her enthusiasm and interest give me freedom to go anywhere. How do you get ideas for your books? Many of my stories come from other stories: fairy tales, myths, fables, even the Bible. Some ideas are triggered by asking myself, What if? What if an unpopular girl suddenly became popular? What if she learned that her popularity would end soon? These questions helped me work out the plot of The Wish. Dave at Night was inspired by my father's life. For The Two Princesses of Bamarre I considered fear and courage. Naturally, the big idea that gets a book going isn't the only idea I need to take me from beginning to end. I have to come up with a thousand more ideas, big and small. So I write lots of notes and ask myself more what-if questions. What if this character did that? How would the other characters react? What chain of events would I set in motion? Sometimes I interview my characters and ask them what they would do or say in a particular situation. Sometimes I fill out a character questionnaire about a character, and what I learn may lead me to new ideas. I talk about finding ideas and developing characters in my book about writing called Writing Magic: Creating Stories that Fly. I got the idea for that book by teaching creative writing to kids in my hometown. Some books—but not mine—are character driven. The author develops a character who desires something. The story develops from the way the character goes about getting (or failing to get) what he or she wants. My books, on the other hand, are plot and idea driven. I think up characters that fit my plot and my idea. So ideas are crucial. What is your favorite part of writing? Revising after I've finished the first draft. I revise as I go, which I enjoy too, but it's best when I've gotten the whole story down. What's lovely about revising is that all I have to do is make things better. The hard parts of figuring out the plot and getting to know the characters are over. It's like when you do a very complicated jigsaw puzzle. Near the end, the pieces fall into place, and that's a reward for sticking with the puzzle.

Pre-Show questions 1. In the story, Ella has two step sisters and a stepmother that tell her to do things she doesn’t want to. What experience do you have being told to do things you didn’t want to? How does that feel? 2. ELLA ENCHANTED is an adaptation of CINDERELLA. What events do you remember from Cinderella? See if anything you remember shows up in ELLA ENCHANTED. 3. Ella is a linguist, meaning she is an expert at language and speaks many of them when talking to the animals. Which languages do you know? Are there any languages you would like to learn?

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Recommended Reading Taken directly from http://www.goodreads.com/list/show/43.Best_Young_Adult_Books#24337

Angkat, Jewell Reinhart Coburn Yeh-Shen, Ai-Ling Louie The Egyptian Cinderella, Shirley Climo Cinderella, Susan Jeffers Raisel’s Riddle, Erica Siverman The Rough-Face Girl, Rafe Martin The Turkey Girl, Penny Pollock Cendrillon, Robert D. San Souci The Persian Cinderella, Shirley Climo The Talking Eggs, Robert D. San Souci Domitila, Jewell Reinhart Coburn Tattercoats, Bernadette Watts English Mufaro’s Beautiful Daughters, John Steptoe The Irish Cinderlad, Shirley Climo Vasilisa the Brave, Marianna Mayer The Golden Sandal, Rebecca Hickox Princess Furball, Charlotte Huck Bubba the Cowboy Prince, Helen Ketteman The Little Glass Slipper, Charles Perrault Aschenputtel, Grimm G

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Mapping The Kingdom of Frell Social Studies Classroom Activity

Adapted from: http://k6educators.about.com/cs/lessonplanskin/a/lpssk3b.htm, http://hea-www.harvard.edu/ECT/the_book/Chap4/Chapter4.html

ACTIVITY 1. Begin this lesson by asking students to point to the objects in the room that you name. For example: Where is the blackboard? Where is the teacher’s desk? Where are the windows? Why do we need to know where things are located in the classroom? What if we close our eyes, do we still know where the windows are? Point to them. 2. Have a discussion with students about maps. Whether to get across town or across the world, maps are crucial for navigation. They can help us discover the distances between objects and their relative orientation to one another. a. Discuss with students why people use maps, the different sorts of things a map can represent, and what information a map generally has on it. 3. Show students some examples of maps or have them look online or in books. a. See how many landmarks the students can find, as well as other features, such as the Compass Rose, mountains, caves, or other alcoves distinguished on the map. b. Continue by discussing the following with students: What makes a good map? What should a map convey? Are all maps meant for the same purpose? How might the Frell map been different if it were used for people driving cars or flying planes? 4. Place students into small groups of three or four. However, this lesson can also be done individually. 5. Explain that they will be constructing their own map—one of Frell and the other of the classroom. a. Discuss the concept of “a symbol” and a “map key”. Show them where the map key would be located on a map. b. Students should first construct their map of the classroom, complete with coloring their objects and labeling the objects they have drawn. These objects could include the blackboard, the door, the bookshelves, student desks, etc. c. The map of Frell should be constructed after seeing the production of ELLA ENCHANTED, or reading the story. Students must recall the different regions of Frell, as well as the topographical layout of the island, and include these in their map along with other features of Frell they feel are important representations of the island. 6. Afterwards, discuss the differences between constructing the map of the classroom and the map of Frell. Place all the classroom maps together, so students can compare and contrast their map designs, and then allow students to compare and contrast their Frell maps. a. While comparing and contrasting their maps, ask students the following questions: What was similar about most maps? What differences were there between the maps? What landmarks did most maps represent? Which maps are the easiest to comprehend and follow, and why?

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Speaking Ogrese

Language Arts Classroom Activity

Ella is trying to teach the ogres English so they can better communicate. Create your own flashcards and then practice acting out the words. Share the following words and definitions: 1. Peculiar: Strange, odd, or unusual 2. Menagerie: a collection of wild animals kept in captivity for others to look at. 3. Aloof: not friendly, cool and distant. 4. Oafish: stupid, uncultured, or clumsy. 5. Defiant: a daring or bold resistance to authority or an opposing force. 6. Noble: belonging to a hereditary class with high social or political status. 7. Glum: looking or feeling dejected. 8. Feisty: lively, determined, or courageous. 9. Loathe: feeling intense dislike or disgust.

1. Give students a copy of vocabulary cards. 2. Have students create a picture (draw or cut out pictures from magazines) on the back of the card. 3. In pairs, have students practice acting out the words and their meaning. 4. After students are familiar with the words, play a game of Charades with the class using their new vocabulary.

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Speaking Ogrese

Language Arts Classroom Activity (cont.)

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Plot Mountain: Exploring Narrative Structure English Language Arts Classroom Activity

There are five summaries below in no particular order. First, arrange them in the correct order, then label them with Exposition, Rising Action, Climax, Falling Action and Resolution. After completing, draw a picture that best represents and turn the story into a comic strip! NARRATIVE STRUCTURE

Climax: In the middle of the story, the problem is at is worst. This is the most emotionally charged part and we are unsure if our main characters and/or protagonist will be successful. Rising Action: The protagonist is faced with an obstacle and we get an idea of the ultimate problem.

Falling Action: In the falling action, the protagonist actively tries to solve the problem.

Exposition: In the beginning we get to know about the setting, the characters and their relationships to each other.

Resolution: The protagonist finds some sort of resolution to the immediate problem.

1._________________With her freedom, she denies every request spouted by Dame Olga, Hattie and Olive, leaving them defeated and embarrassed. 2._________________After being unmasked at Prince Char’s wife finding ball, Char searches for his new wife with the slipper left behind. After numerous attempts, the slipper only fits Ella who still denies Char’s request in marriage. Realizing she denied someone for the first time, the spell is broken. 3._________________When Ella was born, she was a “cranky” baby who cried for days. She was assigned a fairy godmother, Lucinda, who aimed to aid Ella’s mother. Lucinda blessed Ella with the gift of obedience stating that “Each command that you are given you’ll obey.” 4._________________Ella proposes to Char, with the control to make her own decisions. They live happily ever after 5._________________Ella’s mother passes away, eventually leaving her into the demanding hands of Sir Peter, Dame Olga and her two daughters. All the while falling in love with Prince Char, Ella’s curse and her new stepsisters prevent her from pursuing this love.

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Plot Mountain: Comic Strip

English Language Arts Classroom Activity

TITLE

EXPOSITION

RISING ACTION

CLIMAX

FALLING ACTION

RESOLUTION

Creating A Tale

English Language Arts Classroom Activity Taken directly from: http://simplymulticultural.com/2011/11/the-importance-of-folktales-from-around-the-world/

DEFINITION: A folktale is a story that springs from the shared history of a particular community. This history is then passed down through storytelling – earlier oral, now including print. Many times, traditional folktales don’t have an individual author; instead it is owned by the community. A folktale contains the entire culture of the community, which also differentiates it from other groups. An important piece of folktales had to do with carrying on the ideas, truths, knowledge and beliefs of cultures and community. In the following activity, students will create a folktale based on the prompt that will highlight the origin of an imagined group of people, what they believe and how they have come to believe that. 1. As a class, ask students to think about something your school community believes in? Possibly the school mission, or the rules to practice Respectful, Responsible and Safe actions. Next, ask students to identify how people practice that belief. In what ways does that belief work as a positive for the school community? 2. Next, look at the setting and characters. Even though the story may explore beliefs in the school community, the class may choose to make the characters animals, or the story to take place in another location or time period. Brainstorm with students: Who are the characters in this story? Where do they live? How do they function as a society? (What jobs or responsibilities do they have?) What year does this folktale take place? 3. Finally, brainstorm with students: How did the characters come to appreciate this lesson? How did they act before understanding the lesson, and what obstacles stood in their way? What steps did it take for the characters to figure out the lesson? 4. Once the folktale outline has been created, with a clear Beginning, Middle and End, have the class begin writing the story. Students can write their interpretation of the collective folktale individually, or in small groups as a Write Around. a. Write Around: Place Students into small groups of 4-5. Make sure group members arrange their desks or seating so that they are in a circular formation. b. Each student should begin with a blank piece of paper. Instruct all students to begin writing the beginning of the folktale – and let them know they will have two minutes to begin their story. c. At the end of two minutes, have all the students finish their sentence and then pass their paper to their left. The new writer will take two minutes to read the story so far, and then take another two minutes to continue writing the story – starting wherever the story has left off. d. Continue this cycle once or twice around the circle, helping guide students along the way to transition from the Beginning to the Middle to the End. The story should end with its original author. Allow the original author to read their story and then add any final notes or finishing touches. e. These stories can be read out loud to explore the multiple interpretations of the one folk tale and continue the tradition of storytelling these passed stories.

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Lucinda Says

An Indoor Recess / Fun Classroom Activity

Lucinda grants Ella the curse of obedience. In the following game, see how closely you can follow along to Lucinda's commands. This game is similar to Simon Says. One student is appointed to be the leader, Lucinda. The leader says, "Lucinda Says __________________ (an activity) _______________ ." The followers are only to follow along to the commands where the leader prefaces the action with "Lucinda Says". If they do the action without being told, they must sit down. The last one standing can be the next leader. To stay with the theme of fairytales, you can use commands such as: Wave your magic wand. Stir your potion. Stomp like a Giant. Growl like an ogre. Polish your crown. Brainstorm more commands with your class!

The Friendly Letter

A Language Arts Classroom Activity

Even though they were far apart, Ella and Char’s friendship continued to get stronger through their letter writing. Oftentimes when writing letters, we can be more open with our feelings and say things that are challenging to say out loud. Have students write a friendly letter to a friend or family that lives far away. Use the friendly letter format- Date, Greeting, Body, Closing and Name. Friendly Letter closings include: Your Friend, Warmly, With Love, Love, In Kindness,

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The Friendly Letter

A Language Arts Classroom Activity (cont.)

Date: ______________

Dear ____________________ ,

_________________________________________________________________________________

_________________________________________________________________________________

_________________________________________________________________________________

_________________________________________________________________________________

_________________________________________________________________________________

_________________________________________________________________________________

_________________________________________________________________________________

_______________________ ,

________________________

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Happily Ever Math-ter Math Classroom Activity

Adapted from: http://www.softschools.com/quizzes/math/4th_grade_word_problems/quiz682.html

1. The maximum capacity of the castle in Frell is 3,500. There are 2,674 people in the castle now for the Princess Festival. How many more people are able to attend the Princess Festival before it reaches capacity? m A: 926 m B: 826 m C: 726 m D: 626 2. Ella is having a pizza party for her close animal friends. She ordered 4 cheese pizzas, 4 veggie pizzas, and 4 bug pizzas. If each pizza is divided into 6 pieces and each friend gets 3 pieces, how many friends did she invite to her party? m A: 20 m B: 24 m C: 18 m D: 60 3. All of the knights in the kingdom of Frell are going to training camp off castle grounds. There are 3 carriages for the trip. Each carriage has the same amount of knights. If there are 90 knights, how many are on each carriage? 4. There are 160 creatures going to the Giant's wedding. Half of the creatures get 2 pieces of cake. The other half is given one slice. How many slices of cake are given out?

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WHO SAID IT?

1. I’ve made you the most fortunate mother in the world. My magic resolved the problem forever. 2. When Ella herself decides to marry, she needs to be free to be who she is. 3. Ella, never tell anyone about your curse of obedience. 4. Oh Mother. I’ve never felt so alone in my life. 5. I love languages! I’m just not very good at them. 6. The Ogre’s smooth liquid voices make them irresistibly persuasive. The can convince anyone to become their dinner. 7. Only dumb people want smarts. And I’m not dumb. 8. If I had your freedom…I wouldn’t take it for granted the way you do. 9. We are here to make you ladies. To make you refined. To turn your oafish manners into delicate gestures worthy of a princess. 10. Why do you need to be finished when there is nothing wrong with you in the first place? 11. Tomorrow, when you see Char in the Foyer with Miss Manners, I order you to say “I hate you. Go away” to him. 12. Ha…who’s giving orders now! 13. May I join you? I will keep you safe. And you will keep me safer. 14. Everyone is so ungrateful. I just had a set of parents beg me to turn their daughter back from being a squirrel.A 15. Oh. I really hate that you have no money…but I can’t help but love you anyway. 16. Marrying me is dangerous for Char. For everyone. I must make Char not love me. 17. I will! I will liberate you, right --- Now. 18. That’s it. Char will have to marry someone else. I will always be this way. 19. Enough with the slipper! Why would anyone marry someone because of a shoe? I’m looking for Ella. 20. The truth. I never stopped. I love you now. 21. Prince Charmont – I refuse to become a princess. I want to become the Court linguist and learn every language I can. I want to speak my mind in thirty three tongues. And oh - Will you marry me?

POST-SHOW QUESTIONS 1. Lucinda does intend goodwill when she places the curse on Ella in hopes that she will be the best daughter and student ever. Although it may have achieved that to some extent, it became a curse. What is the importance of self-control and respectable decision-making? 2. In this story, Hattie, Olive and Ella’s curse all prevent her from her goal of marrying Char. What goals do you have? And what are some of the obstacles that stand in the way of those? How could you overcome that conflict? 3. Ella’s mother acknowledged immediately that obedience is a curse, but still tried to help Ella cope with her bad situation. Is there a time where you learned the best way to deal with a bad situation?

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WHO SAID IT? (ANSWERS)

1. I’ve made you the most fortunate mother in the world. My magic resolved the problem forever. . . . . . . . . . . . LUCINDA 2. When Ella herself decides to marry, she needs to be free to be who she is.. . . . . . . . . . . . . . . . . . . . . . . . . . . MOTHER 3. Ella, never tell anyone about your curse of obedience.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOTHER 4. Oh Mother. I’ve never felt so alone in my life.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ELLA

5. I love languages! I’m just not very good at them. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHAR 6. The Ogre’s smooth liquid voices make them irresistibly persuasive. The can convince anyone to become their dinner.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ELLA

7. Only dumb people want smarts. And I’m not dumb.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . OLIVE 8. If I had your freedom…I wouldn’t take it for granted the way you do.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9. We are here to make you ladies. To make you refined. To turn your oafish manners into delicate gestures worthy of a princess.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ELLA

MISTRESS

10. Why do you need to be finished when there is nothing wrong with you in the first place?. . . . . . . . . . . . . . . . . . . . CHAR 11. Tomorrow, when you see Char in the Foyer with Miss Manners, I order you to say “I hate you. Go away” to him.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HATTIE 12. Ha…who’s giving orders now!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ELLA

13. May I join you? I will keep you safe. And you will keep me safer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHAR 14. Everyone is so ungrateful. I just had a set of parents beg me to turn their daughter back from being a squirrel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUCINDA 15. Oh. I really hate that you have no money…but I can’t help but love you anyway. . . . . . . . . . . . . . . . . . . . .

DAME OLGA

16. Marrying me is dangerous for Char. For everyone. I must make Char not love me.. . . . . . . . . . . . . . . . . . . . . . . .

ELLA

17. I will! I will liberate you, right --- Now. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LUCINDA 18. That’s it. Char will have to marry someone else. I will always be this way.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ELLA

19. Enough with the slipper! Why would anyone marry someone because of a shoe? I’m looking for Ella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHAR 20. The truth. I never stopped. I love you now.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ELLA

21. Prince Charmont – I refuse to become a princess. I want to become the Court linguist and learn every language I can. I want to speak my mind in thirty three tongues. And oh - Will you marry me?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELLA

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