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College of DuPage Theatre Department

Presents

Created through Improvisation

by Cast and Director

Characters:

King Simon

Queen Sofia

Dragon Sholeh

Dragon Smit

Dragon Serafina

Princess Samantha

Princess Shay

Princess Sesilia

Knight Sethora

Knight Sylvia

Knight Scooter

Time Present day

Place The Kingdom of Sha-Sha and the Queendom of Roar

Director’s Note College Theatre’s touring ‘family’ show has evolved over decades; it is the long loved

and much labored product of improvisation between director, designers, and cast. It is

meant for children and adults to share in the unique experience that only live theatre can

offer, the power of the imagination. The genesis of this particular production was inspired

by the need that inclusion and friendship hold for all of us. I hope that you are inspired to

look at your friendships, no matter what your age, and how you might pay your troll.

Please don’t sit back — come and play with us! ~ AB

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Improvisational Theatre The focus of our dramatization is to give life to the story for both the youngest members

of our audience as well as the most seasoned theatregoer. Family theatre is exciting to us

as teachers and theatre artists because we seek a dynamic creative theatrical process. Our

task is to guide both the student actor and the audience through a process in which we

develop, express and communicate ideas, through the telling of the story. Our improvised

scenario has been developed in order to motivate and extend learning. We hope to expand

language, laugh at our own popular culture, communicate, encourage participation,

problem solve and create. For our audience, we aspire to foster empathy, social

awareness, and to clarify universal social values. Ultimately, we hope that this experience

will integrate the investment of imagination, energy, feeling and ability in all of us! ~AB

The Story Triplets knock heads discovering how to stand up, stay together and stick out in a crowd.

An original script for the entire family, actors encourage everyone to participate resulting

in a lively ‘no-shushing’ experience!

Background on College Theatre Improvisational Shows

Originally written by Connie Canaday Howard for Sleeping Beauty

At COD, a variety of classes in Theatre are offered. One of our most highly demanded

classes is Improvisational Acting. Each summer, for many years, we create a family

show.

Generally, we start with a scenario created by the director and with which designers and

director have been collaborating for weeks prior to auditions. Once cast, using the

scenario as a basis, the work begins. Always, the scenario changes and flexes, based on

the work in rehearsal; sometimes this change is subtle and other times it is dramatic.

At the core of the experience is practical application of improvisational skills to create

characterizations and believable action (in the context of this ‘fantastical land’). Most

often the basis of our use is children’s stories, but with new plot-lines, environments,

and/or characters. Some titles in recent years are Duck, Duck Goose, Sleeping Beauty,

Jack and the Beanstalk (including a hen and harp, and Giant on stilts), The Emperor’s

New Clothes (including Prime Minister, Emperor, and Honest Girl) Joe White and the

Seven Dwarves (including our central character of Joe, as opposed to Snow, White and

female seven dwarves), and True Confessions of the Wolf (including the Wolf, Three

Little Pigs, Boy Who Cried… and Little Red Riding Hood, all in a Courtroom presided

over by Judge Mother Goose).

Also, in some way, we always include audience interaction. Characters mingle in the

audience, ask for volunteers to help with certain segments of the show and quarry the

audience for reactions. We also use dialogue, slang, and music from traditional children’s

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stories, as well as from pop culture. For instance, a recurring line in Jack and the

Beanstalk, when the cow would not give milk was, “No milk” as opposed to the ad

campaign of “Got Milk.” When the cow finally milked, the line was “Got Go-gurt,” as

that was a new and hot snack item in pop culture.

Background on Improv.

Originally created by Connie Canaday Howard for Sleeping Beauty

Though every director and instructor teaches with their own individual style, our ultimate

goal is to teach believable action (within the realm of setting). We pull on aspects of both

technical and method acting, and also rely on a woman commonly referred to as the

mother of improvisation, Viola Spolin.

Born in 1906, in Chicago, “Viola Spolin trained initially (1924-26) to be a settlement

worker, studying at Neva Boyd's Group Work School in Chicago. Boyd's innovative

teaching in the areas of group leadership, recreation, and social group work strongly

influenced Spolin, as did the use of traditional game structures to affect social behavior in

inner-city and immigrant children.

While serving as drama supervisor for the Chicago branch of the Works Progress

Administration's Recreational Project (1939-1941), Spolin perceived a need for an easily

grasped system of theater training that could cross the cultural and ethnic barriers within

the WPA Project. Building upon the experience of Boyd's work, she responded by

developing new games that focused upon individual creativity, adapting and focusing the

concept of play to unlock the individual's capacity for creative self-expression. These

techniques were later to be formalized under the rubric "Theater Games".

"The games emerged out of necessity," she has said. "I didn't sit at home and dream them

up. When I had a problem [directing], I made up a game. When another problem came

up, I just made up a new game". (Interview, Los Angeles Times, May 26, 1974).

In 1946 Spolin founded the Young Actors Company in Hollywood. Children six years of

age and older were trained, through the medium of the still developing Theater Games

system, to perform in productions. This company continued until 1955, when Spolin

returned to Chicago to direct for the Playwright's Theater Club and subsequently to

conduct games workshops with the Compass, the country's first professional,

improvisational acting company.

From 1960 to 1965, still in Chicago, she worked with Paul Sills (her son) as workshop

director for his Second City Company and continued to teach and develop Theater Games

theory. As an outgrowth of this work, she published Improvisation for the Theater (1963),

consisting of approximately two hundred and twenty games/exercises. It has become a

classic reference text for teachers of acting, as well as for educators in other fields.

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In 1965 she co-founded the Game Theater in Chicago, again working with Sills. Open

only one evening a week, the theater sought to have its audiences participate directly in

Theater Games, thus effectively eliminating the conventional separation between

improvisational actors and audiences who watched them. The experiment achieved

limited success, and the theater closed after only a few months.

In 1970 - 1971 Spolin served as special consultant for productions of Sills's Story Theater

in Los Angeles, New York, and on television. On the West Coast, she conducted

workshops for the companies of the Rhoda and Friends and Lovers television series and

appeared as an actress in the Paul Mazursky film Alex in Wonderland (MGM 1970).

“In November 1975 the publication of the Theater Game File made her unique

approaches to teaching and learning more readily available to classroom teachers; in 1976

she established the Spolin Theater Game Center in Hollywood, serving as its artistic

director. In 1979 she was awarded an honorary doctorate by Eastern Michigan

University, and until recently she has continued to teach at the Theater Game Center. In

1985 her new book, Theater Games for Rehearsal: A Director's Handbook, was

published.

Spolin's Theater Games are simple, operational structures that transform complicated

theater conventions and techniques into game forms. Each game is built upon a specific

focus or technical problem and is an exercise that militates against the artifice of self-

conscious acting.

The playing (acting) emerges naturally and spontaneously; age, background, and content

are irrelevant. The exercises are, as one critic has written, "structures designed to almost

fool spontaneity into being" (Review, Film Quarterly, Fall/Winter 1963).

By themselves, the games have liberating effect (accounting for their wide application in

self-actualization contexts); within the theater context, each clearly fosters a facet of

performance technique. There are games to free the actor's tension, games to "cleanse"

the actor of subjective preconceptions of the meaning of words, games of relationship and

character, games of concentration - in short, games for each of the area with which the

growing actor is concerned.

Key to the rubric of Spolin games are the terms physicalization ("showing and not

telling"), spontaneity ("a moment of explosion"), intuition ("unhampered knowledge

beyond the sensory equipment - physical and mental"), audience ("part of the game, not

the lonely looker - onners"), and transformation ("actors and audience alike receive the

appearance of a new reality").

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To achieve their purpose, Theater Games need only the rules of the game, the players

(both actors and audience are considered to be players), and a space in which to play.

Beyond the very tangible pleasures of "playing" which the games encompass, they also

heighten sensitivity, increase self-awareness, and effect group and interpersonal

communication. As a result, Spolin's games have developed currency beyond actor

training, that is, in encountering techniques, self-awareness programs, and nonverbal

communication studies.

Viola Spolin's systems are in use throughout the country not only in university,

community, and professional theater training programs, but also in countless curricula

concerned with educational interests not related specifically to theater.

The list of Spolin's guest lectures, demonstrations, and workshops is extensive. She has

introduced her work to students and professionals in theater, elementary and secondary

education, schools for gifted and talented programs, curriculum studies in English,

religion, mental health, psychology, and in centers for the rehabilitation of delinquent

children. She notes that "Theater Games are a process applicable to any field, discipline,

or subject matter which creates a place where full participation, communication,

transformation can take place" (Los Angeles Times, May 26 1974).

Exemplary of the broad recognition her work has received are a 1966 New England

Theater Conference Award citing "contributions to theater, education, mental health,

speech therapy, and religion," and the 1976 award by the Secondary School Theater

Association of its highest honor, the Founders Award.

In her devotion to the development and application of Theater Games, Spolin has made a

unique contribution to American theater. (Written by D.E. Moffit,

www.improvcomedy.org/hall/spolin1.html)

The following articles are meant to spur thought for adults on the

concepts of the production.

The Number Three

The Following information is taken in its entirety from Sur La Lune

Fairy Tales

Three: The number and/or pattern of three often appears in fairy tales to provide rhythm

and suspense. The pattern adds drama and suspense while making the story easy to

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remember and follow. The third event often signals a change and/or ending for the

listener/reader.

The reasons and theories behind three's popularity are numerous and diverse. The number

has been considered powerful across history in different cultures and religions, but not all

of them. Christians have the Trinity, the Chinese have the Great Triad (man, heaven,

earth), and the Buddhists have the Triple Jewel (Buddha, Dharma, Sanga). The Greeks

had the Three Fates. Pythagoras considered three to be the perfect number because it

represented everything: the beginning, middle, and end. Some cultures have different

powerful numbers, often favoring seven, four and twelve.

The Following information is taken in its entirety from Creative Keys

Storytelling With the Magic of Threes

by Chris King

If we start to remember the familiar stories of our

childhood, or look back on the fairytales collected by the

brothers Grimm, or even recall or discover plots and

characters in folktales from all over the world, we will

notice a universal element — the use of threes. Remember

“Goldilocks and the Three Bears” and the “Three Little

Pigs.” Usually, if someone is given wishes, they are given

three wishes. Many tales include three brothers. In this

article, I am going to suggest why I think the use of threes

in storytelling is so prevalent. But I would also love to

hear ideas from you about the whys and hows of using

three.

Where do we find the use of “threes?” The number three appears so often, it is almost

eerie. Of course, we remember the three Kings of the Orient at the birth of Christ. There

are trilogies, triptychs, tripods, triangles, and triathlons. But I am straying from the threes

that are related to stories and storytelling. We find threes used as the number of main

characters in a story. There are often three special objects. And there are many story plots

with three challenges, three turns of events, three hurdles to cross, three choices, three

wishes, and on and on. Many of the European folktales revolve around threes, but I have

also found many stories from a variety of cultures that use the magic of threes.

How do three characters, three objects, and three actions make a story work? When

I started to realize the abundance of threes in stories, I also realized that many of the

stories that I enjoy telling, listening to, and reading are loaded with threes. One of my

favorites, The Magic Pomegranate, a Jewish tale, tells of three brothers who travel far

and wide to find three special gifts. When they meet on the appointed day, the oldest

brother has a magic glass, the middle brother a magic carpet, and the youngest brother a

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magic pomegranate (what’s that?). Using the magic glass, they spy a princess who is sick

and dying and whose father, the King, has promised that whoever can cure her will have

her hand in marriage and the kingdom. Using the magic carpet, they fly to her side where

the youngest brother brings her back to health by sharing the magic pomegranate. The

question is who will get her hand in marriage (she can't marry all three)?

Looking for threes, I found so many Grimm’s fairytales that used threes in different

ways, I can’t begin to list them all, but a few of my favorites are The Devil With the

Three Golden Hairs, The Three Spinners, and The Magic Table, the Gold Donkey, and

the Club in the Sack. And a good number of stories begin in a similar fashion to The

Three Sons of Fortune: A father once called his three sons to him and gave the first a

rooster, the second a scythe, and the third a cat. “I’m already quite old,” he said, “and my

death is near. So I want to provide for you before my end. I have no money, and what I‘m

giving you now does not seem to be worth much. But everything depends on whether you

use these gifts intelligently. Just search for a country where such things are still unknown,

and your fortune will be made.” Ready to hear more? You bet.

Why do I think so many stories and storytellers make use of threes? First, I feel that

having three characters provides a nice balance, but also enough variety for diversity of

types. Big, medium, and small in size. Oldest, middle, and youngest in age. Smart,

average, and stupid in intelligence. Lazy, medium worker, and overachiever in

industriousness. Already, with these three contrasts in the characters, we can begin to

imagine a story. Having three different objects adds interest to the direction of the story,

and three different hurdles or events are just enough to build suspense and round out the

action. If there are too many characters, objects, or events, we start to lose the train of

theme of the story. I have noticed that when a teller tries to add too many extras to a

perfectly fine story, the audience gets restless and we all feel like calling out, “Get on

with it, already!” Threes seem to create the perfect balance and just the right amount of

everything to make a story captivating and memorable. ( note: I know that when I prepare

a speech that choosing a theme with exactly three major points is one of the ways to

guarantee a successful presentation that is remembered afterward by audience members.

When you work on a story, use the power of threes. Once we have read many, many

stories and have experienced the different ways to use the magic of threes, it is time to

have some fun and create a story using this magic. Start with the simple formula of three

characters (friends, brothers, sisters, animals, insects, flowers, trees), three objects (a ring,

a comb, and a mirror; a flute, a rope, and a cane; a blouse, a belt, and a shoe) and three

hurdles (a river, a forest, and a mountain; ice, sand, and the ocean; youth, middle age, and

old age). Play around with different combinations, and before long you will have an

enchanting tale of your own to tell.

Use your imagination, creativity, and joy combined with the power of threes and

you will be guaranteed a special and captivating story to tell to every threesome you

know.

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Think Before You Act

Excerpted from welcomingschools.org/pages/think-before-you-act-

handout

When you feel tempted to bully or find yourself in a situation where peers are

encouraging you to be mean to others, you have a choice.

What are your beliefs about the way others should be treated? What are your

values?

• Everyone should be treated with dignity and respect.

• Judge people by what’s inside them, not by how they look.

• Consider how others would feel before teasing or joking and accept it when

someone says “No” or “Stop.”

• Respect the value of all people and do not ridicule others.

Think how your actions might affect others. The STOP, THINK and ACT strategy

can help.

• STOP means that when you feel like bullying others, you wait until you have

thought about how they might feel.

• THINK means that you spend a minute or so imagining how the other person

will feel.

• ACT means that you will decide to stop bullying based on how you imagine the

other person might feel.

The Following information is taken in its entirety from Live Science

Are Dragons Real? Facts About Dragons

by Benjamin Radford, Live Science Contributor | December 10, 2014 09:49pm ET

Dragons are among the most popular and enduring of the world's mythological creatures.

Dragon tales are known in many cultures, from the Americas to Europe to India to China.

Though they populate our books, films, and television shows, they have a long and rich

history in many forms.

It's not clear when or where stories of dragons first emerged, but the huge, flying serpents

were described by the ancient Greeks and Sumerians. For much of history dragons were

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thought of as being like any other exotic animal: sometimes useful and protective, other

times harmful and dangerous. That changed when Christianity spread across the world;

dragons took on a decidedly sinister interpretation and came to represent Satan. In

medieval times, most people who heard anything about dragons knew them from the

Bible, and it's likely that most Christians at the time believed in the literal existence of

dragons. After all, Leviathan — the massive monster described in detail in the Book of

Job, chapter 41 — seems to describe a dragon in detail:

"I will not fail to speak of Leviathan's limbs, its strength and its graceful form. Who can

strip off its outer coat? Who can penetrate its double coat of armor? Who dares open the

doors of its mouth, ringed about with fearsome teeth? Its back has rows of shields tightly

sealed together; each is so close to the next that no air can pass between. They are joined

fast to one another; they cling together and cannot be parted. Its snorting throws out

flashes of light; its eyes are like the rays of dawn. Flames stream from its mouth; sparks

of fire shoot out. Smoke pours from its nostrils as from a boiling pot over burning reeds.

Its breath sets coals ablaze, and flames dart from its mouth" (NIV).

The belief in dragons was based not just in legend but also in hard evidence — or so it

seemed. For millennia no one knew what to make of the giant bones that were

occasionally unearthed around the globe, and dragons seemed a logical choice for people

who had no knowledge of dinosaurs.

St. George and the Dragon, by Paolo Uccello, 1470.

View full size image

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Many dragons

Though most people can easily picture a dragon, people's ideas and descriptions of

dragons vary dramatically. Some dragons have wings; others don't. Some dragons can

speak or breathe fire; others can't. Some are only a few feet long; others span miles.

Some dragons live in palaces under the ocean, while others can only be found in caves

and inside mountains.

As folklorist Carol Rose discusses in her book "Giants, Monsters, & Dragons: An

Encyclopedia of Folklore, Legend, and Myth" (Norton, 2001), dragons "have composite

features from many other beasts, such as the head of an elephant in India, that of a lion or

bird of prey in the Middle East, or numerous heads of reptiles such as serpents. Their

body color may range from green, red, and black to unusually yellow, blue or white

dragons."

Zoologist Karl Shuker describes a wide variety of dragons in his book "Dragons: A

Natural History" (Simon & Schuster, 1995), including giant snakes, hydras, gargoyles

and dragon-gods, as well as more obscure variants such as basilisks, wyverns and

cockatrices. The dragon, whatever else it might be, is clearly a chameleon, its features

adapting to the cultural and literary expectations of the era.

Dragons continue to capture the public's imagination in fantasy books and films,

appearing in everything from the kid-friendly 2010 film "How to Train Your Dragon" to

the more adult-oriented "Game of Thrones" books and to "The Hobbit" book and movies.

The popular role-playing game Advanced Dungeons and Dragons describes more than a

dozen varieties of dragons, each with unique personalities, powers, and other

characteristics (Black dragons, for example, are fond of eels — who knew?).

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Komodo dragons have long, forked tongues that they use to help smell and taste.

Credit: Sergey Uryadnikov / Shutterstock

A history of dragons

The word "dragon" comes from the ancient Greek word "draconta," meaning "to watch,"

suggesting that the beast guards valuables. Dragons typically guard treasure such as

mountains of gold coins or gems, though this makes little logical sense: a creature as

powerful as a dragon surely doesn't need to pay for anything. It is instead a symbolic

treasure, not for the hoarding dragon but instead booty for the brave knights who would

vanquish it.

Dragons are one of the few monsters cast in mythology primarily as a powerful and

fearsome opponent to be slain. They don't simply exist for their own sake; they exist

largely as a foil for bold adventurers. Other mythical beasts such as trolls, elves and

fairies interact with people (sometimes mischievously, sometimes helpfully) but their

main role is not as combatant.

The Christian church created legends of righteous and godly saints battling and

vanquishing Satan in the form of dragons. The most celebrated of these was St. George

the Dragon Slayer, who in legend comes upon a town threatened by a terrible dragon. He

rescues a fair maiden, protects himself with the sign of the cross, and slays the beast. The

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town's citizens, impressed by St. George's feat of faith and bravery, immediately convert

to Christianity.

Vanquishing a dragon was not only an important career opportunity for any ambitious

saint, knight or hobbit, but according to legend it was also a way to raise armies. As

Michael Page and Robert Ingpen note in their "Encyclopedia of Things That Never

Were" (Viking Penguin, 1987), "The use of dragon's teeth provides a simple method of

expanding the armed forces of any country. It was first practiced by Cadmus, King of

Thebes. First, prepare a piece of ground as though for sowing grain. Next, catch and kill

any convenient dragon and draw all its teeth. Sow these in the furrows you have

prepared, cover lightly, and stand well away."

Soon veteran warriors "clad in bronze armor and armed with swords and shields ...

emerge rapidly from the earth and stand in ranks according to the way in which the

dragons teeth were sown." Apparently these draconis dentata soldiers are a quarrelsome

lot and will turn on each other lacking a ready enemy, so if you plan to do this, be sure

your adversaries are nearby.

Scholars believe that the fire-breathing element of dragons came from medieval

depictions of the mouth of hell; for example, art by Hieronymus Bosch and others. The

entrance to hell was often depicted as a monster's literal mouth, with the flames and

smoke characteristic of Hades belching out. If one believes not only in the literal

existence of hell, but also the literal existence of dragons as Satanic, the association is

quite logical.

Medieval theology aside, few people today believe in the literal existence of dragons in

the way they may believe in the existence of Bigfoot or the Loch Ness monster, for

example. The dragon (or at least the dragon version most familiar to Westerners) is

simply too big and too fantastic to take seriously or literally. In the modern age of

satellite imagery and smart phone photos and videos, it's simply implausible that any

giant, unknown winged fire-breathers inhabit Earth's skies unseen.

However, only a few centuries ago rumors of dragons seemed to have been confirmed by

eyewitness accounts from sailors returning from Indonesia who reported encountering

dragons — Komodo dragons, a type of monitor lizard — which can be aggressive,

deadly, and reach 10 feet in length. (In a possible parallel to dragons, it was previously

believed that the bite of a Komodo dragon was especially deadly because of toxic

bacteria in its mouth, though that myth was debunked in 2013 by a team of researchers

from the University of Queensland who discovered that the Komodo dragon's mouths are

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no dirtier than those of other carnivores.)Western scientists only verified the existence of

the Komodo dragon around 1910, but rumors and stories of these fearsome beasts

circulated long before that.

Dragons, in one form or another, have been around for millennia. Through epic fantasy

fiction by J.R.R. Tolkien and others, dragons have continued to spark our collective

imagination and — unlike the dinosaurs that helped inspire stories about them — show

no sign of dying out.

Things to think about prior to performance: • What, if any, is the importance of family entertainment? • How do you expect a play that is created through improvisation to differ from one

that is scripted from the beginning? • If an actor asks you a question, and your interaction fuels the performance, how will

that make you feel? • What makes a live performance different than watching TV or a film?

Things to watch for in performance: • Why, and how, is the audience directly involved in the production?

• What are the “universal themes” that are reinforced?

• Was the production accessible for young as well as old?

• How did the repeated elements contribute to your understanding and your

experience?

• Watch for what creates the bond between each group.

• Watch for the similarities and the differences between each group.

• What does each group learn about themselves?

• What does each group learn about others?

• Watch for how the games teach lessons.

Things to think about after the performance: • What were the themes of this production?

• Was this production accessible to the entire family? If so, how?

• What did you take away from the production experience?

• What were your favorite elements in the production and why?

Other Analysis “Tools”: • What happens in the very last moments of the play? Certainly, the last few minutes,

but, more importantly, the last thirty seconds? In that time, what happens or is said,

and what does that say about what the play is ‘about?’ • And what is the significance of the title? Why did we decide that this was the most

appropriate title for this piece?

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Resources Canaday Howard, Connie. “Background on College Theatre Improvisational Shows,”

Sleeping Beauty Study Guide, 2004.

Canaday Howard, Connie. “Background on Improv,” Sleeping Beauty Study Guide,

2004.

Human Rights Campaign Foundation. “Welcoming Schools.” Web. 20, June, 2014.

King, Chris. “Storytelling with the magic of threes.” Creative Keys.net. Web. July 1,

2015.

Radford, Benjamin. “Are Dragons Real?” Live Science.com. Web. July 1, 2015.

Surlalune Fairy Tales. “Billy Goats.” Web. 1, June 2014.

The running time for our production is one hour. There is no intermission.

Me, Us and Them! is appropriate for all ages. Audience participation is appreciated and

children are welcome to sit on the floor in front of the action.

Monday, July 6 10:00 AM Bloomingdale Park District Old Town Park, 111 3rd St,

Bloomingdale

Wednesday, July 8 3:00 PM Winfield Public Library 0S291 Winfield Rd, Winfield

Friday, July 10 7:00 PM La Grange Library 10 West Cossitt, La Grange

Saturday, July 11 2:00 PM Villa Park Library - annex 305 South Ardmore Ave, Villa Park

Sunday, July 12 2:00 PM Glen Ellyn Library 400 Duane St, Glen Ellyn

Wednesday, July 15 2:00 PM Lisle Library 777 Front St, Lisle

Wednesday, July 15 6:30 PM Wheaton Library 225 N Cross St, Wheaton

Friday, July 17 7:00 PM Helen M Plum Memorial Library 110 West Maple, Lombard

Saturday, July 18 5:00 PM Lakeside Pavilion - MAC

Sunday, July 19 5:00 PM Lakeside Pavilion - MAC

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We encourage you to view Pride and Prejudice in order to take advantage of our

repertory experience (July 9-July 19)! Playhouse Theatre

College Theater’s Box Office 630/942-4000

Thursday, July 9, 7 p.m.

Friday, July 10, 7 p.m.

Saturday, July 11, 7 p.m.

Sunday, July 12, 7 p.m.

Thursday, July 16, 7 p.m.

Friday, July 17, 7 p.m.

Saturday, July 18, 7 p.m.

Sunday, July 19, 7 p.m.