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ABOUT MERMAID THEATRE OF NOVA SCOTIA’S REMARKABLE PRODUCTION Mermaid Theatre of Nova Scotia’s elegant stage adaptation of Eric Carle’s beloved work has made theatre history, both in Nova Scotia and throughout North America. With its objective of introducing very little children to their first performing arts experience, the production has served as well to encourage literacy and the love of reading, and has acquainted thousands of young people and their parents with Nova Scotia and its talented artists. THE VERY HUNGRY CATERPILLAR AND OTHER FAVOURITES includes the story of THE VERY HUNGRY CATERPILLAR’s metamorphosis into a beautiful butterfly; the fanciful account of LITTLE CLOUD’s travels through the sky; and THE MIXED-UP CHAMELEON’s discovery of his own unique nature. Directed and designed by Jim Morrow, who ranks among Canada’s most esteemed puppetry creators, the triple-bill show incorporates evocative original music by Nova Scotian composer Steven Naylor, and innovative “black light” staging techniques which highlight Morrow’s stunning puppets and props. The work follows closely the books from which they are adapted, providing a new generation with a seamless entry into the world of theatre and music. On tour continuously since 1999, Mermaid’s compilations of five Eric Carle stories have generated remarkable statistics and earned considerable praise from audiences on several continents. To date more than 1665 performances have been presented to more than 1,170,000 spectators throughout the United States, Canada, Mexico, Singapore, Japan, Holland, Vietnam, Macau, Taiwan and Hong Kong. To accommodate demand, duplicate versions of the puppets and props have been constructed in order to facilitate simultaneous engagements. The English-language version features narration by Gordon Pinsent, one of Canada’s most respected performers. Japan’s leading children’s performer, the late Kishido Kyoko, served as narrator for the Japanese-language version, while Marco Ledezma, an accomplished Mexican voice specialist, has provided the Spanish-language recorded text. A Korean-language version featuring the voice of Shin Ae-ra, who ranks among Korea’s most popular performers, was a highlight of the company’s fifty-performance engagement in Seoul during the Summer of 2008. This extraordinary activity has provided unparalleled personal and professional opportunities for the Nova Scotians involved with the creation and presentation of the production. Mermaid will continue to tour the show nationally and internationally over the next several years, and during the Spring of 2009 will participate in 40th anniversary celebrations marking the publication of THE VERY HUNGRY CATERPILLAR. Simultaneously, Mermaid will celebrate the 10th Anniversary of its collaboration with Eric Carle Studios – THE VERY HUNGRY CATERPILLAR AND THE VERY QUIET CRICKET had its debut performance at the Kids On the Waterfront Festival in Dartmouth, NS in May 1999. As many audience members may be unfamiliar with the Province of Nova Scotia or its artists, the show offers a unique touring showcase for Atlantic Region talent and continues to play an impressive ambassadorial role for Nova Scotia and for Canada. The exalted reputation of THE VERY HUNGRY CATERPILLAR AND OTHER ERIC CARLE FAVOURITES resulted in a remarkable honour for Mermaid and for Nova Scotia in February 2005, when the company became the first theatre in contemporary history to perform at Tougu

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Gosho, the palace of Crown Prince Naruhito in Tokyo. Jim Morrow and the troupe had the rare opportunity to visit with Crown Prince Naruhito, Crown Princess Masato and their 4-year-old daughter Princes Aiko. THE VERY HUNGRY CATERPILLAR AND OTHER ERIC CARLE FAVOURITES has become a signature piece of Mermaid Theatre of Nova Scotia. Now in its thirty-sixth season, Mermaid ranks among North America’s most respected creators of family entertainment. Unique adaptations of children’s literature have delighted close to four million young people on four continents. Other acclaimed presentations include, Leo Lionni’s SWIMMY, FREDERICK and INCH BY INCH, Anita Jeram and Sam McBratney’s GUESS HOW MUCH I LOVE YOU and I LOVE MY LITTLE STORYBOOK, and Berkeley Breathed’s GOODNIGHT OPUS. The company’s adaptation of Margaret Wise Brown and Clement Hurd’s GOODNIGHT MOON and THE RUNAWAY BUNNY will have its debut in December 2008. Mermaid has earned Export Excellence Awards from both Nova Scotia (2001) and the Government of Canada (2001, 2005), and has been recognized as one of Atlantic Canada’s leading cultural employers. (For additional information, please visit www.mermaidtheatre.ns.ca) Closer to home, Mermaid’s Institute of Puppetry Arts offers puppetry instruction at both community and professional levels. The Institute’s imaginative curriculum-based touring programs entertain and inform students and teachers throughout the region, as well as encourage educators to incorporate the performing arts in the teaching of science. Mermaid’s non-professional Youtheatre provides a dynamic outreach program for the region’s adolescents, and its exchange programs in Ireland, England and Scotland have broadened the horizons of participants. The Mermaid Theatre Loft programs provides unique opportunities to showcase new work and emerging artists in the fields of puppetry as well as music and theatre. Mermaid’s substantial headquarters in Windsor, Nova Scotia includes studios, a rehearsal hall, administrative and production studios, a 400-seat performance facility, and an intimate 60-seat “second stage” . The company’s creative and administrative staff plays an active role as mentors and facilitators, providing services and instruction not otherwise available in the Atlantic Region. The Creative Team: Eric Carle: Writer Jim Morrow: Director/Production Designer Steven Naylor: Composer Production Manager: Deborah MacLean Head Seamstress: Sarah Jane Hart Shop manager: Jonathan Ford Scenic Painter: Samantha Bissix About Eric Carle: Eric Carle, internationally acclaimed author and designer, has written and illustrated more than seventy books for young children. Born in New York, he spent his youth in Germany where he studied fine art in Stuttgart prior to returning to the US in 1952 to work as a graphic designer for The New York Times and later as art director of an international advertising agency. His delightful books, which combine stunning collage artwork with an imaginative approach to learning, have sold more than 25 million copies worldwide. Eric Carle maintains a studio in Northampton, Massachusetts, where Mermaid’s touring companies are regularly welcomed.

The Very Hungry Caterpillar Other Eric Carle Favourites

Some sample comments. . . “. . . Dear Mermaid Friends – Your performance is stunningly beautiful! You’ve captured and enhanced what I am trying to do. I was mesmerized by the tempo, colors, voice, movements, music. . . Best wishes and thank you! - Eric Carle, author “… In-the-know parents go nuts for Mermaid Theatre productions. Even if you’re not a Caterpillar fan (but who isn’t, really?), the black-light aspect is nifty. - New York Magazine, USA “… The show presented by the Canadian troupe is so beautiful that there were occasional cries of amazement from the children; it was as if the images were really alive. The Very Hungry Caterpillar is one of those puppet shows in which it is easy to forget that someone is working behind the scenes and it is possible to make the story one’s own and, above all, to believe in the small imaginary world. “ - Ángel Sánchez Borges, Milenio, Monterrey, Mexico “. . . Just wanted to send you a quick note to say how wonderful your performance was. I took my three-year-old son to the Very Hungry Caterpillar and other Eric Carle stories today in Maple Ridge. . . It was absolutely wonderful and my son was spellbound, absolutely mesmerized.” - Mother, The ACT, Maple Ridge, BC, Canada “. . . Congratulations on staying so true to the stories. The music enhanced the show, but did not overwhelm the story. I have enjoyed shows at the Bushnell with my classes for the past five years - this show was one of the best!” - Head Teacher, Hartford, CT, USA “ . . . I attended the show with two of my daughters and three grandchildren, and I watched them as much as I watched the stage. They were mesmerized. So was I! Thank you for bringing children’s books to life as beautifully as you did.” - Mother/Grandmother, Lake Worth, FL, USA “. . . I have been teaching third grade for thirteen years. I always take my students to the Walton Arts Center four or five times each year. This was one of the very best shows I have seen. It was perfect!” - Teacher, Fayetteville, AR, USA

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Mermaid Theatre of Nova Scotia’s “The Very Hungry Caterpillar and Other Eric Carle Favourites” Technical/ Hospitality Requirements-International- 2008/2009

3 pages COMPANY • Cast of two performers and one stage manager. The Artistic Director generally

travels with the company. RUNNING TIME • One hour performance (including question and answer period). SUPPORT PERSONNEL REQUESTED • Driver is required for ground transportation to and from airport, as well as daily

transportation to and from performance facility. • English translator is required for orientation, set-up and question and answer period. • We require a minimum total of 4 persons for load in\out and set-up. Breakdown of

the 4 persons is as follows: 1 Lights, 1 Sound, and 2 others to assist with set-up of puppets and curtain units. All four people will assist with the load in, the strike and loading out of the gear. Please note: Only lighting tech and sound tech are needed for the running of the show.

ACCESS / ASSISTANCE • With the assistance of an interpreter, Mermaid’s stage manager will telephone in

advance of the engagement to confirm the company’s arrival time and answer any questions.

• Stage area, loading doors and dressing rooms need to be cleared to allow the company to set up immediately upon arrival.

• Stage should be swept. • Audience members should not bring food or beverages into the theatre. • Set-up: 3 hours . • Strike: up to 1.5 hours. HOSPITALITY • Plenty of bottled water should be made available. • The presenter is to supply a light lunch on performance days. • House counts and any relevant publicity materials must be made available to the

Stage Manager before the Company’s departure. PHYSICAL REQUIREMENTS • Minimum dimensions of stage – 12 metres wide X 10 metres deep X 4 metres

high. These dimensions refer to an unimpeded space, free of hanging lights or heating ducts.

• A darkened auditorium is necessary and a black stage floor preferred. • 2 dressing rooms for 3 people. The rooms should have mirrors, chairs, tables and

lights. They should be clean, lockable and ready for the company upon arrival for each performance and up to 90 minutes afterwards.

• Toilets and sinks, with paper towels and soap, must be in close proximity. • 2 standard stage weights or sand bags. • Set: Mermaid travels with a self-supporting, freestanding set consisting of 3 small

curtain units.

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• House masking to be provided by venue: Black legs/tormentors and borders on stage right and stage left, ballet hung. No more than a 9.2 metre opening (please have hung prior to the company’s arrival).

• Availability of a small table (1 metre by 1.5 metres) to be set in the stage right wing. • Adequate climate control systems (air conditioning) must be utilized on stage and in

dressing rooms. ELECTRICAL / LIGHTING • The company requires 5 (15 amp 120 volt for 60 Hz cycles) c ircuits for its

own equipment. This will be used to power the black light fixtures, running lights and sound equipment.

• THE PRESENTER WILL PROVIDE THE STEP DOWN TRANSFORMERS AND POWER CONVERTERS IF REQUIRED-PLEASE CONFIRM AVAILIBILITY WITH MERMAID’S STAGE MANAGER OR TECHNICAL DIRECTOR PRIOR TO THE COMPANY’S DEPARTURE FROM CANADA.

• The Company travel with two single fluorescent units, four double fluorescent fixtures and two Altman 705s. All lights will be cabled to stage right and are controlled by the stage manager from the stage right wing area. The lights do not use the house dimmers.

• The Altmans will need to be hung. Appropriate location to be determined by the Stage Manager on the day of set-up

• The company requests the venue have a general lighting wash available for the curtain call and question and answer session.

• The company requires the service of one professional lighting technician to operate the venue’s lighting.

• Mermaid will provide running lights stage right, left and upstage. SOUND • The company will use the house sound system and requires the service of one

professional sound technician to operate the venue’s sound. • We will provide a minidisk player with stereo XLR outputs, which will be operated by

the Stage Manager from the stage right wing. CD is used for back up. • The venue will provide XLR cables to connect Company’s mini disk backstage to

house sound system. • We require a microphone (wireless preferred) off stage right for the Stage Manager’s

presentation at the beginning of the performance and for the post show (interpreter assisted) question and answer period.

• Speakers: The playback will be run through the front of the house speakers. Two monitors should be placed in either corner of the stage front.

• It is important that all sound be set up and operational before the company arrives.

MEDIA RELATIONS / MEET AND GREET • With prior notice, the company will be pleased to accept requests to “meet and greet”

special guests. Should this activity be scheduled following a final performance, it is essential to have extra crew on hand to facilitate a prompt load out following the event.

• With prior notice, the company would welcome interviews with media representatives. Professional video taping for Current Affairs television programs must be arranged in advance, with the understanding that two minutes of edited tape can be aired.

• Mermaid Theatre reserves the right to acknowledge its corporate and government sponsors in house programs and lobby sign when appropriate.

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FREIGHT • Freight consists of 20 large boxes and bags. The freight weighs 750 kilos. • A truck and driver is required for the freight. SIGNING FOR HEARING IMPAIRED AUDIENCE MEMBERS • The Company should be notified in advance if sign language interpreters are to

participate. The signer should be located off stage right or off stage left and dimly lit with an isolated “special” blue gel.

IMPORTANT • In the interest of safety we would appreciate having the audience away from the

performance and working area as our equipment and set pieces are fragile. However supervised visitors are most welcome at the close of the show. Cameras and video cameras are prohibited during the performance but pictures may be taken during the question and answer period following the performance.

SECURITY • The Engager will ensure that all property of Mermaid Theatre of Nova Scotia and

Company members is secured at all times. FOR MORE INFORMATION • We can be reached by fax 902.798.3311, by telephone 902.798.5841 or by email

puppets@mermaidtheatre.ns.ca • Please send your theatre’s technical specif ications to:

puppets@mermaidtheatre.ns.ca

MILENIO, Monterrey, Mexico Monday, November 12, 2007 Cultural Expressions The Puppets Came to Life A Caterpillar Captured Attention Phosphorescent light unfolds colours against a black background, creating a marvellous display of shapes and effects and giving a unique dimension to the puppets of Mermaid Theatre. This was neither a movie nor a digital animation, however, but a puppet show that captivated children in attendance at the Puppet Tent of the Forum of Cultures. The story of a caterpillar transformed into a butterfly left children open-mouthed as they managed to persuade members of the Canadian troupe to explain how the show works, finally revealing the secret of The Very Hungry Caterpillar and Other Favourites of Eric Carle, the title of the show. The story relates the history of a tiny caterpillar who eats and eats in order to keep on growing and ends by changing into a beautiful butterfly. A whole world emerges from the black light: animals, clouds, a plane, which all come into view and develop the story as it is narrated in Spanish. This generation of children is clearly very familiar with animation, whether it be digital or on the screen; the story of the caterpillar, the chameleon and the little cloud which was presented this weekend in the Forum aroused much curiosity, especially during two scenes: the rain and the moment at which the chameleon eats a fly. The show presented by the Canadian troupe is so beautiful that there were occasional cries of amazement from the children; it was as if the images were really alive. The Very Hungry Caterpillar is one of those puppet shows in which it is easy to forget that someone is working behind the scenes and it is possible to make the story one’s own and, above all, to believe in the small imaginary world. The bad news is that this incredible show was presented last weekend only; however, it is certainly one of the most impressive that has been presented on stage at the Forum. Ángel Sánchez Borges

EL NORTE, Monterrey, Mexico Sunday, November 11, 2007 VIDA! MONTERREY FORUM 2007 (photo caption) Children who attended the show given by Mermaid Theatre of Nova Scotia, Canada, met a number of different animals, like a caterpillar, a chameleon, and an elephant. Secrets of a Magic Caterpillar Revealed Canadian company presents a colourful puppet show which amazes children; it returns to the stage today (photo caption) Company members explained some of the secrets of their art. “Oooooooh!” Although the show itself had finished, the children’s amazement continued. This was because the Canadian troupe, which uses fluorescent puppets to bring the show “The Very Hungry Caterpillar and Other Favourites of Eric Carle” to life, agreed yesterday to interact with the public, astonishing mothers, fathers and children with an explanation of their special effects. The play presented by the Canadian company Mermaid Theatre of Nova Scotia was staged yesterday in the Theatre Tent of the Fundidora Park, at the 2007 Universal Forum of Cultures in Monterrey. “How do you make the rain?”, “How does the chameleon put its tongue out?”, “How does the caterpillar eat the fruit?” Questions were posed by the audience after the presentation of three stories in which the protagonists were a small travelling cloud, a likeable chameleon, and a very greedy caterpillar. The children also enjoyed a whole luminous parade of zoo animals including an elephant, a giraffe, a fox, a deer, a bear, a tortoise, a flamingo, a fish and a seal. “For the effect of the rain in the story about the cloud, the drops are painted with fluorescent paint on a black cloth, which is rolled and hooked up; when it rains in the story the cloth is slowly lowered and unrolled,” said one of the artists of the company. The demonstration included an explanation of the changing colours of the chameleon, who tries to look like each one of the zoo animals in the story. The artists, directed by Jim Morrow, explained the mechanical operation of the animal, who captivated the audience with its soft eyes, as well as demonstrating the figures and colours which bring the little animal to life. “There are seven in total,” commented one of the artists. The secret of how the chameleon puts its tongue out to eat a fly was also revealed to the young spectators. Another effect, the way in which the greedy caterpillar ate each

strawberry and orange that it found in its path as it moved along before finally being transformed into a colourful butterfly, was demonstrated. It was explained that each fruit has a pair of “doors” on its sides that open as the little animal goes by. The fluorescent colours of the figures stand out thanks to the techniques used to make the stage dark. The stories of the company have been translated into 35 languages. With the help of the Mexican theatre actor Marco Ledezma, a resident of Québec, the stories had previously been narrated and recorded in Spanish in order to offer a very high quality production. The show was enjoyed especially by preschoolers and children in the lower elementary grades. Tickets for the play, which is presented today at noon, cost 30 pesos and are available from Superboletos at 8220-4100 or from the box offices in the Park. The Theatre Tent is behind the entrance to the Cineteca building.

seem to know the way a child's imagination will work, how a child can sit there in the dark and fully expect to see magic on the stage.

"And they're not all hung up about every show must be a title that everybody's going to recognize," Brown says. "I'm finding that Canadian theatre can be a lot more creative than American theatre because we're just thinking inside this really narrow box down here — commercial, recycled fairy tales."

Brown is also impressed with Mermaid's ability to appeal to young and old alike. "We're also caught in this idea that puppets are only for little kids, but Mermaid does

things with puppets that I think are just as entertaining for adults." John Patches, head of the center for the arts at the University of Maine at Orono, says

that unlike some children's theatre companies Mermaid doesn't "dumb down" its productions.

"Its more intelligent, just a higher level," says Patches. "They don't play down to the younger person. They work on a higher plane.

"Their product is of the highest quality. We want them back this year again. We'd probably have them back every year."

Morrow says one of the keys to Mermaid's success is its decision not to try to compete with the fast-paced world of technology.

"What's truly wonderful is that we know that children are involved in some fairly sophisticated things, with Nintendos and computers," he says. "But we have no difficulty bringing children to the theatre. And they come in droves, so there must still be something magical about that — the connection to the live performance.

"We create a gentle environment for things to live in, and I think kids appreciate that."

Los Angeles Times Friday, March 16, 2001

‘Caterpillar’ and ‘Cricket’ Come to Life

By Lynn Heffley

Eric Carle's "The Very Hungry Caterpillar," a picture book beloved by preschoolers

since its first publication in 1969, is brought to memorable life as a glow-in-the-dark puppet production by the Mermaid Theatre of Nova Scotia.

Making a rare Southland tour, the company is presenting a double bill it includes another Carle favorite, "The Very Quiet Cricket" and both short plays, which opened at Pepperdine College's Smothers Theatre last Saturday, are filled with all manner of whimsical insects, trees, and a smiling sun and moon.

A prerecorded narrator (Costas Halavrezos) reads the books with a storyteller's rhythm, and each is a quiet delight, true to Carle's vivid paper-collage art and his gentle-spirited nature tales.

They are also impressive pieces of black-light puppetry, with only two puppeteers -Tanis Delaney and Liette Legere - manipulating the many insect puppets, as well as the parade of fruit, trees, flowers and foliage. Masked, wearing head-to-toe black and performing in front of a fall of black drapes, the puppeteers are rendered almost entirely invisible. With their unobtrusive artistry, the rod puppets and set pieces seem to leap and float and fly in jewel-toned, fluorescent luminousness against the inky black.

The caterpillar, who starts as a blue egg on a green leaf, is an immediate hit. When he "hatches" from his egg, his round, red face and pliable, multi-legged body earn coos of delight from adults as well as kids in the audience. As the caterpillar munches his way through an apple, two pears, three plums, four strawberries, etc., the audience, so familiar with the story that it doesn't need prompting, fills in the refrain that comes after each meal: "But he was still hungry".

The caterpillar's transformation into a "great big fat caterpillar," a cocoon and then a gorgeous butterfly is a treat too.

"The Very Quiet Cricket," about a little cricket who fails to make a sound when he rubs his wings together, until he meets a special lady cricket, is an opportunity for all manner of wonderful insect puppets to appear on the scene: A cloud of lavender-winged mosquitoes, a huge praying mantis, an enormous luna moth, a twitchy-legged little spittle bug and more.

Jim Morrow, who created the puppets and directs, gives both pieces the lovely hushed charm of much-requested bedtime stories, complemented by composer Steven Naylor’s playful and tender score.

Did you know... • Mermaid Theatre of Nova Scotia’s unique adaptations of children’s literature have delighted more than three million young people on four continents. • Mermaid Theatre of Nova Scotia ranks among North America’s most respected theatres for the young, and plays an important ambassadorial role for Nova Scotia and for Canada. The company launched its thirty-fifth season in the Spring of 2007. • Mermaid Theatre has represented Canada in the United States, Japan, Mexico, Australia, England, Northern Ireland, Holland, Scotland, Wales, Hong Kong Macau, Vietnam, Taiwan and Singapore. The company has earned Export Excellence Awards from both Nova Scotia (2001) and the Government of Canada (2001. 2005) in recognition for contributions to the Province’s culture and economy and an award for Best Performing Group from the Canadian Arts Presenting Association. • Mermaid Theatre’s Institute of Puppetry Arts offers mask and puppetry instruction at both community and professional levels. In addition to in-house sessions at its Windsor base, Institute staff provide outreach courses, which are tailored to the specific needs of educators, art galleries, recreation leaders, theatre schools and industry. Mermaid’s Youtheatre provides a dynamic outreach program for the region’s adolescents, and its exchange programs have broadened the horizons of participants at home and abroad. • Mermaid Theatre of Nova Scotia’s 2006/2007 season featured extensive touring, with the company “on the road” for more than fifty-two weeks. The company visited twenty-six states and four provinces, as well as undertook its eighth tour of Japan and second to Singapore. Close to 198,000 spectators applauded the company's innovative work, and learned about Nova Scotia for the first time. Mermaid Theatre continues to make theatre history, both in Nova Scotia and in Canada.

Inquiries are invited

Mermaid Theatre of Nova Scotia P.O. Box 2697, Windsor, Nova Scotia BON 2TO

tel: (902) 798 5841 fax: (902) 798 3311 e-mail: puppets@mermaidtheatre.ns.ca http://www.mermaidtheatre.ns.ca

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Mermaid Theatre of Nova Scotia: A Brief History of the Last Twenty Years

2007-2008 “Swimmy Frederick and Inch by Inch” Oct 2006-May 2007, Canada and United States; Sept-Dec 2007, Canada and United States “The Very Hungry Caterpillar and Other Eric Carle Favourites” Nov 2007, Mexico; Jan-Jun 2008, United States and Canada; Mar 2008, Japan “Guess How Much I Love You and I Love My Little Storybook” Apr-May 2007, Newfoundland; Feb-Mar 2008, Singapore

2006-2007 “The Very Hungry Caterpillar and Other Eric Carle Favourites” – Aug 2006, Singapore; Sep-Dec 2006 United States and Canada; Apr-May 2007 “Guess How Much I Love You & I Love My Little Storybook” Newfoundland; Oct 2006- Jun 2007 “Swimmy, Frederick and Inch by Inch” United States & Canada.

2005-2006 “Very Hungry Caterpillar and Other Eric Carle Favourites” – nine month tour of the United States and Canada. “Guess How Much I Love You & I Love My Little Storybook” – four month tour of Canada and US “Swimmy, Frederick and Inch by Inch” children’s festivals in St. Paul. MI and Winnipeg, MB. “Very Hungry Caterpillar and Other Eric Carle Favourites” – two month tour of Japan .

2004-2005 “Guess How Much I Love You & I Love My Little Storybook” - nine month tour of the United States and Canada. Very Eric Carle”- four month tour of Canada and the United States.

2003-2004 “When Dinosaurs Dine by Moonlight” - Newfoundland, Nova Scotia and Ottawa. “Very Eric Carle” - tour of the United States and Canada. “The Very Hungry Caterpillar and Other Favorites “ -Japan. “The Very Hungry Caterpillar and Other Favorite Stories” -Japan and Singapore.. “Very Eric Carle” - four month tour of the United States and Canada.

2002-2003 "The Very Hungry Caterpillar"/"The Very Quiet Cricket" -nine-month tour of the United States, Canada, Japan, Vietnam, Taiwan and Mexico. "Goodnight Opus" - seven-month tour of the United States and Canada. “Noah and the Woolly Mammoth” three week tour of Northern Quebec.

2001 "The Very Hungry Caterpillar"/"The Very Quiet Cricket" -seven-month tour of the United States, Canada, Japan, Hong Kong and Macau. "Goodnight Opus" - four-month tour of the United States and Canada.

1999-2000 "The Very Hungry Caterpillar"/"The Very Quiet Cricket" -seven-month tour of the United States (twenty states, Washington, D.C.), two-week engagement in Holland (Festival sponsored by Kunst en Cultur Noord-Holland).

1999 "Borrowed Black, a Labrador Fantasy" -ten week tour of Canada, including performances in British Columbia, Banff Centre for the Arts, Northern Arts and Culture Centre, Yellowknife; Yukon Arts Centre, Whitehorse; Gas Station Theatre

1998 "Borrowed Black, a Labrador Fantasy" - nine week tour of Canada and the United States, including performances at Maine Center for the Arts, ME; Centerpointe Theatre, ON; Suffolk BOCES Arts and Humanities Services, LI; The John F. Kennedy Center, Washington, DC; Opera House, Lancaster NY; Clements Performing Arts Center, Elmira, NY; Waterville Opera House, Waterville ME; Capital Theatre, Moncton, NB; Northern International Childrens’ Festival, Arden Theatre, St. Albert, AB; and Regina International Childrens’, Festival, Darke Hall, Regina, SK.

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1997 "Borrowed Black, a Labrador Fantasy" - twelve week tour of Canada and the United States, including performances in Newfoundland; Labrador; Markham Theatre, Markham, ON; Michael J. Fox Theatre, Burnaby, BC; Centennial Theatre, North Vancouver, BC; and Victoria Theatre, Dayton, OH.

1997 "Just So Stories" - eleven week tour of the United States, including performances at the University of Indiana; the University of New Mexico; The John F. Kennedy Center in Washington, DC; the Broadway Center,Tacoma WA.; the Bomhard Theater, Louisville, KY; Victoria Theatre, Dayton, OH; and Flynn Theater,Burlington, VT.

1996 "Stuart Little" - ten week tour of the United States, including performances at at Florrisant Civic Center, MO; San Pedro Playhouse, TX; Brooklyn Academy of Music; Tribeca Performing Arts Center; Tampa Bay Performing Arts Center, FL; Flagler Auditorium, FL; and The John F. Kennedy Center, Washington, DC.

1995 "Fish Whiskers" - co-production with Iguanodon Theatre Company of Edmonton. Two month tour of the United States including engagements at the Flynn Theater, Burlington, VT; the Zeiterion Theatre, New Bedford, MA; Suffolk BOCES Arts and Humanities Services, LI; Ruth Eckerd Hall, Clearwater, FL; Annenburg Center, Philadelphia, PA; Clemens Center, Elmira, NY; Olney Arts Center; and Silver Springs, MD.

1995 "Stuart Little" - ten week tour of Canada and the United States including engagements at the Gas Station Theatre, Winnipeg, MB; Roxy Playhouse, Owen Sound, ON; Markham Performing Arts Centre, Markham,ON; Humanities Theatre, University of Waterloo, ON; Oakville Arts Centre, Oakville, ON; Sullivan Theatre, Brock University, St. Catharines, ON; Centennial Theatre, North Vancouver, BC; Gateway Theatre, Richmond, BC; Charles Baily Theatre, Trail, BC; Lobero Theater, Santa Barbara, CA; and California Center for the Arts, Escondido CA.

1995 "Gulliver’s Travels" - four month tour of the United States and Canada including engagements at the Flynn Theatrer, Burlington, VT; Zeiterion Theater, New Bedford, MA; Laguardia College, LI; Brooklyn Academy of Music; Arts Council Theater, Winston-Salem; Ruth Eckerd Hall, Clearwater, FL; Van Wezel Auditorium, Sarasota,FL; Annenburg Center, Philadelphia, PA; The John F. Kennedy Center, Washington, DC; Art and Culture Centres in St. John's, Corner Brook, Gander, Grand Falls, Stephenville and St. Anthony.

1994 "Puss in Boots" - ten week tour of the United States and Canada including engagements at The John F. Kennedy Center in Washington, DC; Brooklyn Academy of Music; Ruth Eckerd Hall, Clearwater, FL; Nazareth College, Rochester, NY; and the National Arts Centre, Ottawa, ON.

1993 "Gulliver’s Travels" - three month tour of Canada and the United States including engagements in Ontario (the Orillia Opera House, the Gryphon Theatre, Barrie, and Brock, York and Waterloo Universities); in Quebec (Bishop's University); in New Brunswick (Capitol Theatre, Moncton) and the Playhouse, Cleveland, OH; and Florrisant Civic Center, MO.

1992 "Just So Stories" - two month tour of England, Scotland, Wales and Northern Ireland including engagements at Theatre Royale, Bury St. Edmunds; the Scottish, Welsh and Irish International Children's Festivals in Edinburgh,Cardiff and Londonderry.

1992 "Peter and the Wolf" - four month tour of the United States including engagements at the Paramount Theater, Denver; Playhouse Square, Cleveland; Franciscan Life Center, Sylvania, OH; Town Hall, NYC;and Listner Auditorium, Georgetown University, Washington, D.C.

1990 "Peter and the Wolf" - three month tour of the United States, including month-long residency at the Honolulu Theater for Youth.

1989 "Just So Stories" - two month tour of the United States including five weeks in New York City under the auspices of the Lincoln Center for the Performing Arts. Awarded the Citation of Excellence for Puppetry by UNIMA-USA (Union Internationale de al Marionnette) for "Peter and the Wolf". "The Red Ball" - four month tour of the United States and Canada, including Festivals.

1988 "Just So Stories" and "Anna’s Pet" - represented Canada at the 1988 World Puppetry Festival (Festival Mondial de la Marionnettte) held in Japan in the cities of Iida, Nagoya, Tokyo and Sapporo. Two month tour of Australia and Hawaii.

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Mermaid Theatre of Nova Scotia’s Institute of Puppetry Arts Apr-May 2007 “CODE GREEN enhancing awareness of species at risk” New Brunswick and Nova Scotia schools May 2006 – “CODE GREEN enhancing awareness of species at risk”, Nova Scotia schools May 2005 – “Sunken Treasures”, Nova Scotia schools May 2004 - “Sunken Treasures”, Nova Scotia schools

Mermaid Theatre of Nova Scotia – Mission & Organizational Profile Mermaid Theatre of Nova Scotia was founded in Wolfville, NS in 1972. Mermaid was registered under the Societies Act of Nova Scotia on September 1, 1972 (# 129425), and received charitable status with Revenue Canada in March 23, 1973 (# 119038768 RR 0001). The Theatre is currently engaged in its thirty-sixth continuous season. Mermaid Theatre moved to Windsor, NS in 1987, a small town of 3600 residents at the gateway to Nova Scotia’s rural Annapolis Valley. The Theatre’s focus is twofold. On the one hand Mermaid’s energetic professional touring theatre for family audiences has won international claim for original productions with a strong emphasis on puppetry. At the other end of the spectrum, Mermaid’s activist and outspoken Youtheatre program is intensely local, as are the Institute of Puppetry Arts and Mermaid Theatre Loft Programs. Mermaid Theatre is committed to the expansion of its local and regional audiences as well as to maintaining its network of national and international presenters. Mermaid’s choice of material is based on the belief that young people can benefit substantially, both in their emotional and aesthetic development, from early exposure to literature, the arts, and the power of imagination. The Theatre draws its scripts from the rich motherlode of children’s literature with universal appeal. These sources are eight contemporary (Sam McBratney, Berkeley Breathed, Howard Norman, Eric Carle, Sheree Fitch, Margaret Atwood, for example), classics from an earlier generation (such as Leo Lionni, Margaret Wise Brown, Munro Leaf and E.B. White), or traditional tales. Mermaid is best known for its unusual mix of striking visual images, evocative original music, scripts whose language is moderately demanding, and puppets and staging which draw young spectators into a world of fantasy and wonder. The company’s creative ambition is to produce work which is good theatre - entertaining, informative and stimulating to all the senses. As important is the goal of encouraging literacy and generating enthusiasm for the art of reading. Summary of Mandate: • To introduce family audiences at home and abroad to the excitement of innovative theatre and the performing arts; • To serve as cultural ambassadors for Nova Scotia and for Canada; • To provide a touring showcase of Atlantic Canada’s artists; • To encourage literacy and the love of reading; • To promote the art of puppetry through live performances as well as by means of instruction at all levels; • To encourage creative self-expression among adolescents through the non professional

Youtheatre.

Ongoing Activities and Impact: Puppetry continues to be central to Mermaid’s philosophy of theatre. the company’s charter incorporates a commitment to the enhancement of puppetry arts in Canada, and frequently conducts workshops abroad. Through its Institute of Puppetry Arts, Mermaid periodically offers puppet theatre residences and internships, as well as apprenticeship training in both puppetry production and performance that is not otherwise available in Anglophone Canada. Mermaid Theatre plays a major role in Nova Scotia’s cultural life. The Theatre is consulted regularly about touring issues (particularly at the international level), about the design and construction of specialized masks puppets and props, and about the availability of unusual theatre items. The promotion of indigenous talent is of prime importance to the company. Mermaid Theatre’s touring productions at home and abroad serve as a continuous showcase for the Atlantic Region’s performing artists, writers, directors, designers and technicians. The company ranks among Atlantic Canada’s foremost cultural employers, and is the area’s major exporter of theatre. The company has a policy of providing ongoing royalties to the creators of its remounted productions, so that Mermaid’s support of its artists is among the most generous in the Atlantic Region. A brief history and recent accomplishments: • Mermaid Theatre of Nova Scotia has performed for close to four million young people on four continents. Many of these spectators experienced their initial theatre performance, and heard about Nova Scotia for the first time, by attending a Mermaid show. The company’s current budget exceed one million dollars and the organization is deficit-free. Mermaid’s substantial headquarters includes a rehearsal hall, administrative and production studios, a 400-seat performance facility and a 60-seat “second stage” which are made available to community and touring artists, and three commercial tenants. • Mermaid Theatre ranks among North America’s most respected theatres for the young, and plays an important ambassadorial role for Nova Scotia and for Canada. The company regularly crosses Canada and the United States and has represented Canada in Japan, Mexico, Australia, England, Northern Ireland, Scotland and Wales, Holland, Hong Kong, Macao, Singapore, Vietnam, South Korea and Taiwan. In recognition of its accomplishments, Mermaid has been awarded export Excellence Awards by both Nova Scotia (2001) and the Government of Canada (2001, 2005) and was the recipient of the Canadian Association of Presenter’s first annual award for Best Performing Artists. • Mermaid Theatre’s Institute of Puppetry Arts regularly visits Maritime schools and museums with innovative productions designed to enhance school curriculum through the incorporation of the performing arts. In this way, Mermaid provides young theatre professionals with their first touring experiences, while at the same time enabling children in rural areas to enjoy a comparable aesthetic experience to their urban counterparts. Now in its seventeen season, the Mermaid Youtheatre encourages creative self-expression among adolescents in Nova Scotia and beyond. • Plans for the 2008/2009 season include a fourth-time visit to Singapore and a first-time engagement in South Korea. Coast to coast touring throughout North America is also anticipated. www.mermaidtheatre.ns.ca