Arts Education

Guess What? We Made Our Own Custom Fabric Design for Nutcracker

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A first for The Straz, the new fabric designs represent a wild collaboration between dance costuming and graphic design.

When people think of the graphic design department in a performing arts non-profit, they may imagine program layouts, banners, signage, logos and the like. They may not consider a couture collaboration to produce custom costumes specifically for dance.

The Straz Center houses an extraordinary ballet training program headed by Philip Neal, a retired principal dancer from New York City Ballet. Our pre-professional ballet company, Next Generation Ballet, stages a knockout production of Nutcracker each season, hosting famous guest artists in the roles of Sugar Plum Fairy and her Cavalier. (This year we’ve got Maria Kowroski from NYCB—the real dancer for the Barbie ballerina movies—and Aran Bell of American Ballet Theatre, who was featured in the Youth America Grand Prix documentary First Position).

Next Generation Ballet students rehearsing for Nutcracker

If you’ve attended NGB’s production of Nutcracker, you already know it is lavish, sumptuous, magical and full of exquisite classical ballet technique. The production’s costumes star as some of the most fun eye candy in this Land of the Sweets, with their detailed faux fur trims, delicate embellishments and delightful array of bold colors. If you haven’t been to Nutcracker yet, then get your tickets for the show this weekend  because you’re in for a treat.

This past summer, NGB costumer Camille McClellan brainstormed with Philip about the possibility of producing designed fabrics that she could customize for NGB dancers. If they could find a local company to print directly to spandex blend textiles, then we could potentially have bolts of fabric for affordable, sustainable, unique-to-NGB costumes.

Costume Designer Camille reviewing plans for one of the new designs for Nutcracker

Philip and Camille decided to revamp the four leopard and 11 butterfly costumes using print-to-fabric technology, which would allow Camille to hand draw the new look Philip envisioned. What they needed to complete the project was the aid of graphic designers to trace Camille’s pattern in Photoshop, convert it to a digital print file and send it to the printer who could ink the design onto stretchable fabric. Then Camille could cut the patterns and sew the costumes together, add embellishments and have them show-ready by this weekend.

To see their idea become reality, Camille and the dance department partnered with Straz graphic designers Joseph LaCrue and Roderick Taracatac to take her designs into the digitally print-ready world.

Camille and Graphic Designers review samples of the custom printed designs.

“What was fun for me,” says Joseph, who worked with Camille for the new butterfly costumes, “was that Camille has been in the costume industry for years, so she automatically started off the project thinking about what the costume would look like under theater lights, how it would read from the back of the audience. That’s where I was really impressed. She’s thinking of not just the dancer; she’s thinking about the audience member … can they see it? Is it going to read? I thought that was really cool.”

Camille estimates she spent about 200 hours over the summer getting the design and measurements of the costumes perfect then painstakingly calculating the exact positions of where the designs needed to be on the fabric so they would line up properly when she cut out the parts and sewed the costume into one piece. She determined she would need three different-sized costumes to accommodate the diversity among the size of the dancers, which meant that she had to repeat the laborious calculations and draw the costume, in full, on graph paper with tick marks denoting where the pattern was to meet upon sewing.

Camille spends countless hours fine-tuning the details to each costume that will be seen on stage during the Nutcracker performances

Joseph then scanned the three life-sized costume drawings, reduced them to scale, hand-traced over them in Photoshop, colorized them and saved the work to a digital file to send to the printer. The anxiety-producing aspect of this project was that there was no margin for error. The calculations, drawings and tick marks had to be perfect, otherwise the pattern wouldn’t align, ruining the entire costume.

“This project was extremely technical. For me, it was two hours to draw the petite, two hours to draw the medium, two hours to draw the tall. This is about as couture as I think you can get in this day and age,” Joseph says. “We talked about why wouldn’t you do this with just dyed fabric and an applique, but the theory is that if we invested in this technology now, we’ll have these costumes for generations to come. I know this was a labor of love for Camille. I think we all learned a lot on this project. It was fun.”

Butterfly costume design for Nutcracker

“The dance department is thrilled to be using this technology, and the graphic designers have been great to work with,” says Camille, who hand-sewed the 15 new costumes, adding arm sheers to the butterflies and gem embellishments to the leopard unitards. “The butterflies were such a challenge because of the scattered design that wraps around the body and a ribbon element that had to match at the side seams in five different locations. I wanted something fantastical for the leopard print and found the inspiration from a Versace ad I saw in a fashion magazine. I gave that to Roderick and said ‘this!’”

“I have created prints and patterns for projects in the past, but never anything that was used for performing art on stage,” Roderick says. “This collaboration was a blast. Camille is a very detail-oriented artist, who had a strong vision of what she wanted the final piece to look like. That took a lot of the guesswork out of the project and really streamlined the creative process. Once the colors were finally nailed down, there was some back and forth on scale of the print, and before we knew it, we had the final product done and out to the printer. Camille named this print Confetti Leopard.”

Camille’s originally named ‘Confetti Leopard’ custom printed fabric

You can see the debut of these new costumes this weekend when NGB’s Nutcracker  dances onto Morsani Hall stage.

Girl Power

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The Straz Center arts education partnerships program with Tampa’s The Centre for Girls

In addition to our many performances, lectures, classes and workshops, the Straz Center hosts a super cool outside-of-the-spotlight arts education partnership program which brings us into fruitful, fun and inspiring relationships with many organizations around the area.

This semester, one of our musical theater teachers extraordinaire—Sarah Berland—traveled to The Centre for Girls each Thursday afternoon to give an afterschool theater workshop on the theme of “soaring to great heights.”

Sarah works with various organizations through the Straz Center partnerships

Sarah built her curriculum around the upcoming Broadway show ONCE ON THIS ISLAND, a calypso retelling of The Little Mermaid story, which features a courageous young heroine, Ti Moune, who risks her soul to save a man’s life. Interweaving Caribbean island history, drum and dance culture and fundamentals of storytelling, Sarah and a few guest artists guided the girls into a tight-knit ensemble who wrote and performed their own stories of personal courage. This Thursday, they’ll all attend ONCE ON THIS ISLAND as the culmination of their work together.

“Our partnership with The Straz has been nothing short of amazing,” says Sartura Shuman-Smith, director of The Centre for Girls. “Our girls are so fortunate to have the opportunity to work with professionals in the various areas of performing arts. Through the Straz Center’s program, the girls are not only given an “up close” view of the inner workings of performance, but they are also gaining knowledge in public speaking and confidence building.”

The Centre for Girls exists to create positive change for girls ages 5-14 through innovative programs in fine arts, STEM-based instruction, fashion and ceramics. The center offers a safe place for girls in highly formative developmental years to find empowerment and constructive outlets for self-expression.

Guest artist leading a Caribbean dance class at The Centre for Girls

“Through our arts education partnership program, the participants at The Centre for Girls get a glimpse of all three performing art mediums—music, theater and dance—as well as an unforgettable experience with a mainstage production where Caribbean culture is represented and celebrated,” says Heather Clark, our community partnership coordinator. “We are thrilled to be able to encourage these girls to find expression through the performing arts.”

Come with Me, and You’ll Be, in a World of Pure Imagination

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Patel Conservatory theater instructor Joe Herrera teaches students at Burnett Middle School that you can find yourself (and change the world) with a little imagination. Caught in the Act welcomes Straz Center media relations manager Alex Stewart as our guest blogger this week.

by Alex Stewart, guest blogger

Let’s play a theater game. I want you to imagine you have a long, skinny neck. Now, walk around the room as if you have one. Project how that would look. Would it influence the way you walk? Would your voice sound different? How would this change your overall appearance? Next, do the same as if you have a short, fat neck. Does that change your voice? Your behavior? Now, act as if you have long, green finger nails. Does that make you feel like a creepy witch? Or more like Cardi B with her signature blinged out nails?

Do you feel weird yet? Good. Because this is a no judgment zone – and here at The Straz, that’s what we strive for. Be weird. Be yourself. And have fun with it.

This fall, students at Burnett Middle School, a Title I school in Seffner, are learning how to be their weird, true selves through theater games just like this – and discovering how to bring their unique personalities into the characters they are aiming to create.

Joe meets the class in the school auditorium theater where they warm up with theater games.

Patel Conservatory theater instructor Joe Herrera and Burnett Middle School drama/English teacher Cathy Cromar are teaching students acting and characterization techniques using Roald Dahl’s Charlie and the Chocolate Factory as inspiration, just in time for the Broadway show’s arrival to The Straz. This class is made possible by the Straz Center’s Arts Education Partnership Program, which partners with agencies, schools, community organizations and after-school programs to expose children and adults to the life changing benefits of the arts – at no cost to them, thanks to donors and grants. How sweet is that?

Look, it can be expensive to go to the theater. You need transportation, money for parking, and let’s not forget the cost of the actual ticket itself. And what if you want to treat yo’ self? That candy bar in Morsani Lobby is tempting. Simply put, not everyone can afford access to the arts. With arts classes and programs being cut out of school curriculums, some kids might get no exposure to them, which is why the Arts Education Partnership Program is so important.

Coaching individual students on finding the courage to perform.

Burnett Middle School has been a community partner for several years, but this year the program was able to provide students with free tickets to Roald Dahl’s Charlie and the Chocolate Factory and cover the costs of transportation to the theater, in addition to the eight-week class Joe is teaching.

“Many of my students have never been to a live performance or ever taken part in one,” says Cathy. “The students come away from this experience with an appreciation for this art form, knowledge of theater etiquette, which we stress in our class, and the ability to step outside your comfort box and perform, even if you’re frightened to do so.”

The class encourages students to explore and discover the crazy characters from Charlie and the Chocolate Factory, using their imagination to create their own versions of some of the iconic characters. The goal being to break these students out of their shells – to use these characters to learn about themselves and to gain confidence and focus in their everyday lives.

Joe shares his expertise from his career as a professional actor in the Anton Chekov technique to build trust and guide students’ acting choices.

“My process into theater making and acting has always been the imagination,” says Joe. “And I think when you look at the story of Charlie and the Chocolate Factory, whether it’s the musical or the film versions or even the novel, there are so many different themes,” says Joe. “But what resonates for me as a human being and as an artist, it’s the idea that nothing’s impossible. It’s tapping into that inner child. And I think that what I’m starting to see more and more these days with kids is that they’re losing their inner child, even at a young age.”

When the class first started, many of the students hadn’t seen the movie or read the book, so Joe prompted them to use their imaginations to create their chosen character based on the character names alone. The students were asked to write a diary entry from the perspective that they were a Golden Ticket winner, to help them understand and explore the emotional aspects of their character. Next, they were asked to add physicality, and imagine what that would look like. “If you were Willy Wonka, how would you walk? Is he old? Does he have a limp? Show me that,” asks Joe.

After the students see the show at The Straz on October 10, they will be asked to draw their character, free form and uncensored. And if it’s nothing like the book, movie or musical? Perfect. “There’s no right or wrong when you’re using your imagination,” says Joe. The class culminates with the students performing monologues based on their diary entries, incorporating the emotional, physical and visual techniques they’ve learned throughout the class.

“You’ll hear me say this a lot – there’s no right or wrong in theater. My goal is to create an atmosphere of fun-ness, so that they can break out of that shell of right and wrong, that they are so used to in school. And there’s room for that – but with art there isn’t. It’s a basis of you. You are the expression of that thing,” Joe says.

Participating in the “silly shapes” games that asks actors to improvise shapes in order to discover their physicality onstage.

And fun-ness, Joe delivers. Students participate in a range of activities and theater games during the class, from creating twisty shapes with their bodies to working together to build a “sound machine” of different noises. The students are active most of the class, learning to make friends with each other and the space.

While theater games and drama class can be fun, kids learn skills from the arts that can help them in everyday life. “I want them to see that this is not just a class ‘to have fun’ … we’re actually learning skills that can benefit us elsewhere, like doing a presentation in class,” says Cathy. “Joe is such a positive, animated actor; this rubs off on the kids. I can see that they trust him and will try anything he asks them to do.”

Each class ends with a round table evaluation of what students learned and what they can take from the class into their everyday lives.

The arts not only boost students’ academic achievements, but they help them figure out who they are. The arts allow them to be creative, collaborate and problem solve, among many other benefits, which sets them up for success in future careers.

“What can theater do? What can the arts do? It can bring out that self-expression,” says Joe. “I explained to the students that there are many different individuals that I’ve come across. They start out in a theater class or an acting class, and yet, they’re not actors. They’re working in other areas. They’re businessmen or businesswomen, they’re public speakers or they’re lawyers. And what it does, is it helps you to identify who you are, number one. And number two, it helps you to communicate so that you can achieve the things that you want.”

Ultimately, Joe wants his students to be able to find their true, authentic selves, and for them to know that nothing is impossible, just like Charlie and the Chocolate Factory.

“The golden ticket for you may not be theater. It may not be art, it may not be acting. But what I’m trying to introduce to them is to tap into the inner you. The you that is so pure, the you that is so true, the you that is so authentic. The you that the world needs because that’s why you are here.”

Get your tickets for Roald Dahl’s Charlie and the Chocolate Factory today before the Wonka factory rolls out of Tampa.

Let’s ROCK

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Meet classically-trained Philly pop punk rocker Kevin Sitaras, director of the Patel Conservatory’s super popular Rock School.

Rock School at the Patel Conservatory puts together people who want to be in a rock band. The drummer may be a 65-year-old retiree, the guitarist a seventh-grader, the lead singer a recent transplant working her first professional job at a bank in downtown Tampa. The point is, Rock School is for anyone and everyone who wants to rock.

Caught in the Act is thrilled to introduce you to the director, Kevin Sitaras. You can come see Kevin and his Rock School crew shred at the End-of-Summer Music Blowout this Wed., Aug. 7.

Raised by his classically-trained opera singer mother and classic rock drummer dad, Kevin absorbed the best of both worlds, learning Strauss and Slayer, Giacomo Puccini and Getty Lee. He took to music like a duck to water, playing in metal and rock bands, then having dreams fall through like they do on the artist’s road. He walked away from music, but the move didn’t suit him well. Under the strong encouragement of his girlfriend who was tired of living with a musician not playing music, he looked for another band, hitting up the Philadelphia Craigslist until he found a pop-punk band who needed a drummer. Kevin traded a few emails with one of the members, then heard nothing for a year.

“So, a year later, I got another email from him out of nowhere,” Kevin says. “Their drummer wasn’t going to do a tour they were about to go on, so he asked if I’d tour with them. I said, ‘yeah, absolutely.’ I walk into the audition just as their drummer’s walking out. So, it went from ‘you’re going to be the touring drummer to well, it looks like you’re it.’”

Kevin playing guitar with his students during a Rock School Blowout performance at Skipper’s Smokehouse. (Photo: Soho Images)

The band, Rivers Monroe, had picked up some notice on the Philly circuit, landing a manager of some prominence – in the country music scene (he helped break Taylor Swift). Thus, the hard-drumming, happy anarchists found themselves sponsored by NASCAR, gigging at NASCAR tracks throughout the country. “It was so cool to do because I got to meet race car drivers and be on the track while the race was going on, but that’s a lot of fans to play to who don’t like your kind of music,” Kevin laughs. “In a weird way, we fell in love with it, and we did end up getting some fans from the NASCAR tour and our music on a NASCAR video game.”

Rivers Monroe graduated from NASCAR to what Kevin hails as the best diet in the world – the Warped Tour. In 2015, Rivers Monroe joined the two-week hell-on-earth that is dragging your hundreds of pounds of equipment across miles of parking lots to set up during the summer heat, sit out in the summer heat, then play in the summer heat, then break down your equipment and lug it back to the bus for the next town – in the summer heat.

Photo: Soho Images

“It’s physically demanding,” Kevin says about working the Warped Tour. “You’re outside for 16 hours a day in 100-degree heat. You do that for 10 days straight. You have gear, a merch table. You’re pulling your stuff up and down hills. I lost 15 pounds in two and a half weeks. It makes me think back to when I was a kid and would see guys on the Warped Tour. I’d stick around to talk to them and some of them weren’t that nice, but I get it. I’m not saying that’s okay because when fans came up to me I was always like ‘Thanks so much: I slept three hours last night, have a horrible sunburn, I’ve changed my clothes three times and it’s only four o’clock but thank you so much for coming!’ I’m just saying I got why Warped Tour musicians just wanted to get on the air-conditioned bus after their show.”

After a successful run on the Warped Tour with Rivers Monroe, Kevin returned to his passion for songwriting, going solo and meeting some friends along the way. A good pal moved to St. Petersburg, and Kevin, like any sane person, hates winter. The lure of a singer-songwriter life in the land of sunshine led him to this neck of the woods, and a rather unlikely perfect circumstance brought him to the Patel Conservatory at the Straz Center.

Kevin with Rock School students during a performance in the Jaeb Courtyard earlier this year. (Photo: Soho Images)

Kevin, who also drives for Uber, picked up a ride one day in 2018 – a certain outgoing raven-haired theater teacher – shortly after he moved to the Tampa Bay area. They struck up a conversation. She mentioned she taught theater for a performing arts school in Tampa; he mentioned he was a musician and had taught at a rock school in Philadelphia. The woman turned out to be the Patel Conservatory’s Sarah Berland. “I told Sarah about working at the rock school in Philly and she was like, ‘oh, yeah, I think we’re looking for a Rock School instructor at The Straz.’ I gave her my email address and said ‘shoot me an email and we’ll talk.’ We went back and forth, she put me in touch with Dr. [Lauren] Murray [head of the music department], and I was hired. I was so happy. The Rock School program here is incredible, so this is a dream opportunity for me.”

Dr. Murray, who gave Kevin full license to shape the program from his scope and expertise, is more than happy to welcome her newest staff member aboard. “Kevin is pleasure to work with and has made a huge impact on our program,” she says. “He’s a terrific teacher, he genuinely cares about making a difference and his rock school students made amazing progress in such a short time. I can’t wait to see what the next year brings.”

To study with Kevin Sitaras and experience the face-melting joy of living to rock, go to patelconservatory.org and search under music classes.

Together, Wherever We Go

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The Straz Arts Education’s Broadway Buddies program unites kids from different learning backgrounds.

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A little bit exchange program, a little bit Big Brother/Big Sister, a little bit theater boot camp and a lot of laughs – that describes the remarkable new program launched by Acting Director of Community Engagement and Education Programs Alice Santana and Lead Theater Teacher Matt Belopavlovich.

Inspired by Hillsborough County Schools’ PEERS program, which pairs a typical student with an IEP [Individualized Education Program] student to form friendships and social skills, Alice and Matt realized our Patel homeschool students wouldn’t be able to participate – and neither would one of our beloved partners, Pepin Academies, because they serve only IEP students.

So, the two made a logical leap – why not start a Straz peer program matching up our Patel Conservatory homeschool students with Pepin Academies students? They coined the program “Broadway Buddies” since the kids would be participating in a graduated curriculum based on theater appreciation. First, simple introductions; then, theater games and pre-and post-activities; the Pepin kids attended a Patel Conservatory kids’ production; the homeschool kids attended a Pepin production; then, they all went to see Anastasia together earlier this month with their new-found appreciation of musical theater and of each other. They even had a Broadway Buddies Barbecue planned prior to the matinee.

“The Broadway Buddies program supports the next generation of passionate arts practitioners and patrons by passing on theater etiquette skills and developing a love of the art form,” says co-creator Matt. “At the same time, it teaches them how to develop and thrive in a more equitable society.”

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All the buddies must agree to a leadership code before they can participate. Each student is expected to learn, practice and demonstrate leadership skills based on mutual respect, hard work, positive attitudes and responsive listening. “Part of an equitable society is making paths to leadership open to everyone,” says Matt. “There’s no better place to give and take direction or explore perspective and problem solve than in creating a work of theater. It’s wonderful to see the kids shine.”

This season’s Broadway Buddies also acted as a pilot group to see if the curriculum would work. Due to the success of the partnership, Alice and Matt hope to broaden the scope of Broadway Buddies next year to include more students and more community partner schools. Each Patel Conservatory student will need to apply for the program since it is designed for the success of young people who want hands-on experience with leadership skills and reaching out to others.

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“It’s the sweetest exchange,” Alice says. “Because going to a different school and being with people you’re not used to being with is hard – at any age. But humans have an inborn desire to find common ground, to laugh and play together, and teach and learn from each other. In this program, we’re guiding kids from different learning backgrounds to peer-support each other through one of the most fun mediums we have – musical theater.”

For more information on the Straz Center Arts Education and Community Partner programs, visit strazcenter.org.

For more information on the camps, classes and workshops in the Patel Conservatory, visit patelconservatory.org.

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The Seuss Is Loose

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Approaching 30 years since his death, Dr. Seuss sits poised to publish a new book from his perennial throne on the bestseller lists (WHAT.). Meanwhile, the Straz Center’s Patel Conservatory musical theater department rehearses Seussical, Jr. down stairs from the blog office for its run in the TECO theater April 25-28. Why do we love this whimsical rhyme-every-time mastermind?

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Theodor Seuss Geisel, “Dr. Seuss,” working on a drawing for How The Grinch Stole Christmas, 1957.

Okay, so first we’re going to call out a line from Dr. Seuss and then you say what book it’s from (answers at the bottom, no cheating!)

“Don’t give up! I believe in you all. A person’s a person no matter how small.”

“I will not eat them in a house. I will not eat them with a mouse.”

“From there to here, from here to there, funny things are everywhere.”

“And then something went BUMP! How that bump made us jump!”

How’d you do? We’re willing to bet you know you got at least three of them right without even having to check.

green eggs and ham

If you were ever a toddler in America, some grown up introduced you to the world of Theodor Seuss Geisel, “Dr. Seuss,” partially to build your reading comprehension skills and keep you entertained but, also, that adult wanted a socially acceptable reason to be reading The Cat in the Hat. We spend a lot of time in the world of Dr. Seuss, as children, students, teachers, parents … chances are—if you’re a parent of small children reading this blog at home—you can look up and see Geisel’s early childhood canon littered along the floor.

Seuss gave us the Lorax, Things 1 and 2, Mulberry Street, Horton, Daisy-Head Mayzie, Yertle, a fox in socks and a wocket in a pocket. He helped us discover the joys of feet, sleeping, learning our ABCs and the myriad ways to hop on Pop. Seuss extolled the places we would go and taught us the very valuable adage regarding those who mind don’t matter and those who matter don’t mind.

Seuss’s first success, like many creative folks of his era, was in advertising. He won a big contract for Flit, an insecticide. His tag line, “Quick, Henry, get the Flit!” went viral, becoming a popular phrase at the time. He entered the waters of children’s lit with And To Think That I Saw It On Mulberry Street, a story he invented on a cruise ship as he started writing in his head to the sound of the engine.

What happened next in Who-ville was nothing less than a carefully calibrated literary coup de grace overthrowing insipid Dick-and-Jane primers for more imaginative, more important teaching texts. In 1955, the book Why Johnny Can’t Read debuted, exposing the scandalous data that European children outpaced and outperformed their American cohort at alarming rates. In the United States, schools used Dick and Jane readers that were, as noted in Why Johnny Can’t Read, “horrible, stupid, emasculated, pointless, [and] tasteless” pictograms of unnaturally clean white children experiencing “dozens and dozens of totally unexciting middle-class, middle-income, middle-IQ activities.”

dick and jane

Why Johnny Can’t Read explained the fundamental problem: America believed children learned language through memorization only. Incorrect. Children needed phonics—the ability to group and comprehend words built on common sounds. That way, when a new reader encountered an unfamiliar word, she could draw on contextual knowledge of like-sounding words to memorize meaning faster than memorizing in a vacuum.

After all, this was Cold War 1955, and there was no way in hell American children were going to be dumber than the Russians, especially with the launch of Sputnik on the horizon and threats to democracy everywhere. Not gonna happen. American kids needed to get smarter, like, now.

Houghton Mifflin publisher William Spalding directed their education division when Why Johnny Can’t Read made headlines. Spalding invited Geisel to dinner, gave him several of the first-grader word lists printed in the back of Why Johnny Can’t Read and begged Geisel to give him a page-turner for a seven-year-old. Keep in mind that Dr. Seuss already had the two Horton books and a few notable others under his belt by this working dinner with Spalding. However, he’d never been issued such a challenge before: Spalding wanted him to write a whole kid’s book only using limited words from the lists. Spalding planned to sell the book to school systems as a reading textbook—a reader that would enthrall first graders and rocket boost their intellect.

Geisel chose 199 words, realized he couldn’t get an entire story out of the ones he chose, so he added twenty-one others of his own. The tasked proved almost too much for the great Dr. Seuss. Flummoxed, frustrated and on the verge of quitting, Geisel decided he’d make the title out of the first two words he saw that rhymed.

“Cat” was first. Then, “hat.”

As New Yorker writer Louis Menand noted in his excellent 2002 article on this subject, “The Cat in the Hat is 1,702 words long, but it uses only 220 different words. … Geisel put the whole thing into rhymed anapestic dimeter. It was a tour de force.” Most notable, Menand concludes, “it killed Dick and Jane.”

The takeaway here, people, is that Dr. Seuss not only wove us into his psychedelic world of trippy trees and loveably drawn cat-people with socially conscious messaging, but he obliterated a reading method that did not work. He tried, using all the gifts he possessed and then some, to give us the opportunity to make ourselves better by being smarter, more caring of ourselves and our environment (social and natural) and rhyming like our lives depended on it.

Audrey Siegler, the theater managing director working on the Patel Conservatory’s production of Seussical, Jr. says, “Dr. Seuss’s works speak to a vast audience ranging over all ages and backgrounds. His stories promote social and educational skills while challenging readers to expand their imaginations and explore a world of new possibilities. Some sad, some nonsensical, some inspirational; Seuss integrates emotion with language through unique characters and invites readers to learn through play. Producing Seussical, Jr. is a complete joy.”

The other egg about to hatch (Horton reference) in Seuss-land is Dr. Seuss’s Horse Museum, the next in a series of seven Dr. Seuss books published posthumously. The original but incomplete manuscript was found in Geisel’s La Jolla home in 2011 and features the illustrations of Andrew Joyner, who used Geisel’s sketches to bring the book to life. Random House plans to release Dr. Seuss’s Horse Museum on Sept. 3, 2019.

Let’s hope the rhymes center around “horse” and not “museum,” yes?

Answers:
1) Horton Hears a Who; 2) Green Eggs and Ham; 3) One Fish Two Fish Red Fish Blue Fish; 4) The Cat in the Hat

From Suzuki to Itzhak

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Ten-year-old music student Mateo Valdes’ violin journey at the Patel Conservatory.

Mateo Violinist by Rob-Harris-1973

Photo: Rob/Harris Productions, Inc.

Patel Conservatory violin student Mateo Valdes has a very deep and wise gaze under a flop of shaggy, dark bangs. He doesn’t make eye contact much, but when he does, he seems to possess a kind of old-soul way of knowing that belies his slight 10 years of age.

His mother, Natacha, trained in the Suzuki method as a child and continues to practice and play violin today. When her son was old enough to sit for an orchestra performance, she took Mateo to an afternoon concert. Like many people, initial exposure to the arts as a small child awakened his talent.

“I saw the violin,” he says simply. “And I knew right away I wanted to learn to play.” Natacha looked for schools with Suzuki classes, found the Patel Conservatory and enrolled her son in 2013, when he was five years old. The Suzuki method involves a triangle of teaching and learning among the teacher, student and a parent or guardian. So, Natacha and Mateo began this violin journey with Dr. Catherine Michelsen, the string specialist at the Patel Conservatory.

“It was different from what I expected,” Mateo says of his first lessons five years ago. “I had to practice putting my feet in the proper position when I was little and just starting. Catherine had a cardboard thing I had to put my feet on, and we would practice my posture. Then I got into playing. Book 5 is where I am now.”

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Suzuki Violin Camp at the Patel Conservatory, 2017.

But Mateo’s “where I am now” extends beyond the next book in a serial technique. Though he continues to train and learn from his enormous support system at the Patel Conservatory and at home, Mateo’s relationship to music and to his instrument denote a young artist in the dawning of his craft. “He’s been a true joy to teach,” says Dr. Michelsen. “His innate musicality was apparent early on, both in his playing and in his interest in other aspects of music such as improvisation. His sense of dynamics and phrasing is very impressive.”

Mateo’s versatility was impressive enough to land him a spot as one of the youngest violinists in the Suncoast Super Strings, an arm of the Itzhak Perlman Music Program in Sarasota. After rehearsing with an orchestra comprised of students from around Florida, the Suncoast Super Strings performed with Itzhak Perlman himself conducting in December 2017.

“I was very excited,” says Mateo. “I liked performing with so many people. Now that I played in that orchestra, I sort of have an image in my head of where I want to go, where I see myself with the violin. I see myself playing in a big concert and making recordings. And a lot of improv stuff.”

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Mateo gets a shirt autographed by Itzhak Perlman.

Mateo, who studies and practices rigorously, spends much of his free time with the violin recording himself on his computer in improvisations of what he’s learned. “I love improvising,” he says. “I work on my pieces to get better, but I do want to record and do something with that later.”

“I play with Mateo, too,” says Natacha. “I’ve seen a huge development in his technique because of Catherine’s style of teaching but also because he gets boosts with the Patel Conservatory camps. He’s more comfortable, happier with his own playing. I am most pleased about his desire to improvise, though. That’s not me or anybody else. That’s just him.”

Here’s a clip of Mateo improvising:

 

“Playing violin is very fun once you get it,” Mateo says. “After the first six months, I really started to enjoy it. It’s been great for me.”

If you want to get involved with Patel Conservatory summer camps and classes, see what’s available and register now at patelconservatory.org.

 

Mateo’s Teacher Offers Pro Tips for Starting a Child’s Violin Lessons at the Patel Conservatory

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Dr. Catherine Michelsen

We always welcome parents and children to observe the Suzuki violin group classes and lessons! Parents can get a “pass to class” in admissions to observe our Monday afternoon group classes and private lessons throughout the week. Because the Suzuki program has a higher level of parent involvement, we want to make sure that parents and students have a thorough idea of what the program entails. There is no need for parents to have musical experience themselves. However, the triangle of student, parent and teacher is part of what makes it such a rewarding experience. We can also provide help in renting or purchasing an instrument.