Play Groups Books

I am not Chinese American, and I have never seen the play, television show, or movie, so this review is about the book only. Other works based loosely off this book could be excellent, but I can only evaluate what I know.

The book itself deals with two major characters -- The Old Master, Chi-Yang Wang, and his son Ta Wang. The title refers to an old traditional folk song sung by a servant they hire in the third portion of the book, and may be a contrast between traditional and modern in the overtheme.

I loved the irascible character of Old Master Wang, how he was stern with fulfilled ambitions, having lived a good fruitful life. How he enjoyed his cough and calligraphy, and how he expected filial discipline while loving his family drew me into the lifestyle portrayed in the novel. His son Ta struck me as a person with a good upbringing who drifted through life, not really knowing or attempting to discover his talents. Ta is only interested in getting married, and his scenes reflect this fruitless quest in a society with the pressures of six men to one woman.

In redux, Chi-Yang = awesome patriarch, Ta = wimpy prince with no horse.

Other characters were present in the novel, but by far they had less dimension than the Wangs, who the narrator followed the lives of nearly exclusively. Only about a third of the novel focuses on Chi-Yang Wang, and the rest of it isn't filled out enough for my tastes. Perhaps if Ta wasn't always in a never-ending angst over women, I might have found more inside the book.

Almost four stars, except the actual ending leaves much unresolved in the house of Wang. This made me like the novel much less. Books with as many loose ends as the Flower Drum Song, I don't even consider complete. Perhaps one of the musicals or dramas has a better ending than the book, which basically cuts off right after a life-changing climax and leaves the reader wondering what happened.

As a child, I saw the film "Flower Drum Song" and fell in love with the film. Though at the time, it was considered a no-no amongst the Chinese community. But none of those who scorn the film had even read either the book or seen the film. It was a beautiful made film that featured Asian actors who sing, dance, performed to a melodic score by one of the most creative song writing team. Therefore, I am so glad that this book is finally come to light and to be re-embraced into literary culture. Perhaps it will hopefully quail those critics who are as narrow-minded as those who thought we are just busboys and Charlie Chans. Be enlightened, and read this great piece of story-telling of a familial saga that we can all relate--regardless if we are Chinese or not. Enjoy, read and be enchanted. As well check out the film--it might change one's opinion.

Originally published in 1957, this poignant and charming novel tells of a young man's struggle to fit in. Love, family and all the ups and downs that go with them are told with bittersweet humor. Its re-release is a wonderful companion to David Henry Hwang's new theatrical book which revives the Rodgers and Hammerstein musical on Broadway this year. Hurrah!

My mother has always told me of a beautiful Rogers & Hammerstein musical called "Flower Drum Song". I bought the CD and found it simply splendid. However, my appreciation of the musical has only been enhanced by reading the novel it was based on by the author CY Lee. The story follows the intrigues of a Chinese emigrant family living in San Fransisco. It is romantic, in parts funny and a pleasure to read. I thoroughly recommend it.

I read this book many years ago and enjoyed so much that I have read everything I could find by Mr. Lee, and since then other Chinese American authors.

It is a shame that for so many years the book was rejected by young Asian Americans as being "too white face" or "Uncle Tom" as it is not so at all. C.Y. Lee was a Chinese immigrant and wrote of the society as he saw it at that time, which is not the way the younger generation, who did not live through the immigrant experience, want to see it. This is not unusual, many well schooled, well fed sucessful Americans do not want to know that their grandparents arrived in steerage with their belongings tied up in kit bag, unable to speak the language, and worked 18 hours a day in menial jobs so that their children could get ahead.

This is a poignant story of Chinese immigrant families in Southern California during the days of the Chinese Exclusion Act, and the difficulty the young American-raised men had in finding a wife. They were not allowed to bring women in from China, and they were not permitted to marry non Asians. Because of the Communist takeover, many Chinese who had dreamed of returning home to China when they retired after working all their lives were unable to do so. The situtation created an artifically stressed society. The book has tragedy and sadness, as well as hope and joy.

My only criticism of the novel, and a mild one at that, is that it frequently reads like a play script, especially in the last chapter, where there is a lot of dialogue, followed by descriptions of the action which read like stage directions. It is possible that the novel was orignally intended to be a play.

Warning, possible spoiler:

The musical version of the book which was also filmed was very loosely based on the novel, in fact one of the major characters was created for the musical. Apparently this has been done again with the new version playing on Broadway. Readers expecting to find a printed version of the musical may be disappointed.

Sondheim is "the one" clasic composer in musical theater. Like a dramatist with his pal George he recreate the genre, playing with the clasical "who done it" putting the answer before the act I curtain. The second act is a complicity game with the audience or the reader, are the authors capable to mantain our atention? are still surprises?. Yes they can and yes there are many surprises. I feel that this is is a lovable work. Is well written and superbly structured. adding new touches to this genre. A must read.

i'm a huge fan of sondheim's musicals and i quite like his and furth's collaboration on -company-. w/ that said, this play was quite disappointing. the play has the same type of new york characters as in -company-, but here they're much, much more like stereotypes and caricatures. as for the plot, i was expecting it to be a mystery which is quite untrue as the murderer is revealed before the act 1 curtain. the actual subtitle is "a comedy thriller" and although there are indeed some funny moments as well as some "horror" elements, there's just not enough of either. there are some attempts at social comedy, but those don't really go anywhere either. i'd recommend it only if you're a sondheim completist like i am.

"Getting Away With Murder" is great, I enjoyed reading it very much. Not only for the mystery, but the plot, the thrill, the way it was written. I'm not big on Murder mystery's, although I do enjoy reading some. When I read the script I thought, WoW! This is really a great story. I would have loved to have watched it on Broadway. I adore it, the storyline is great from begining to end. For those who haven't read the book, read it! For those who have read it, read it again!

I picked up a copy of "Getting Away With Murder" because I enjoy theatrical works that Terrence Mann has been in,and I figured this would be yet another that I liked. I'm really glad that I decided to get it.

Besides being a theatre fan,I love a good mystery. I couldn't put it down once I picked it up. Sondheim and Furth do such a wonderful job of establishing the setting and characters that I could vividly imagine what the staging of the play may have looked like. Each character clearly has dimension,and you really feel like you understand their motives and convictions.

"GAWM" is also filled with little plot quirks and devices that enhance the story. While it has a dark mood,there are some light comedic moments and caustic remarks that loosen things up. It is also interesting to see the slight difference in the alternate ending.

All in all,I recommend it. I'm not overly familiar with Sondheim's work,but I've found that his cerebral approach is a nice escape. As a closing note,I suggest paying attention to the names of the characters - you might learn something about them!

This is a very good, well-made play. A social commentary in one sense, and Sondheim's stab at the seven deadly sins. It is very funny to read all of the bitchy quips being tossed back and forth by each of the patients. A dark atmosphere, keeping you on the edge of your seat, and you are always kept guessing. Finding out who the killer is at the end of the first act is a very daring device, and you are left to wonder what would possibly happen in the second act. It is hard for me to say anything more that the other reviewers haven't said, so I just suggest that all intellectuals out there buy this book and prepare to enjoy yourself. (You might even need a cigarette when you're done with this book, if you know what I mean . . . )

I became interested in Narrative Therapy at a conference for gifted children. I bought this book after it was recommended to me by one of the presenters who has used this therapy for several years. I have found it very clear to understand and have begun using the techniques that are described in the book. I would highly recommend this book to any therapist who is interested in exploring a different way to work with children, not only gifted but typical children as well.

This is a great book for counselors and therapists who work with children. It has both a narrative and solution focused approach to helping children overcome their problems. I like the way it helps adults relate to children on their level - the level of play. A book all school counselors should have on their shelf.

Provides original solutions to tough and common problems. I found that I was able to apply the concepts and suggestions, both personally, and in my practice, effortlessly. I bought it for every therapist I knew.

Playfull Approaches is an engaging book that makes the complex simple. A therapist parent or teacher will be spurred to creativity about even the most recalcitrant child. The authors work with children is presented in a literary form that puts the reader right inside their thinking and the world of childrens ideas. There is an excellent chapter on the use of expressive arts so its not just about talk therapy. The book shows how to put children in charge of their own healing and in touch with eachother. There are a number of extended case "stories" that are fascinating and educational.

I would be more than happy to give this book a five star review but for a few key, significant complaints about narrative therapy. The main one is that no therapeutic failures are ever presented in narrative texts (including this one). This leads me to wonder if the authors' political, or politically correct, agenda is not more important than the clinical aspect of the work.

An example is the situation here where the therapist feels she must confront a client's racist remarks. It is presented as an imperative - that the therapists' needs at that point in the session are of supreme importance, given the context of the therapists' socio-political righteousness. I agree that racism should be challenged, and I am sure I am in accord with the therpaists' views here. But this is not the point.

After Ms. Freeman confronts the client about the racism the therapeutic relationship evolves to an epiphany in which all are blissfully healed - this is standard narrative mythology. In most psychodynamic literature (and real clinical practice) even skilled therapists sometimes suffer an empathic failure that leads to an adolescent leaving therapy. Young people are extremely sensitive to being judged, and it takes a very strong relationship, grounded in the clients' needs, to contain this type of intervention. Better still, the therapist should embody her/his beliefs in their being rather than by pontificating. A righteous stand like that presented here would stand at least a 50-50 chance of rupturing a therapeutic alliance. You won't find a book called "Failures in Narrative Therapy". This is not because failure is a 'construction' or some other bit of sophistry, or because therapeutic ruptures do not occur. It is because narrative therapy has yet to attain a level of maturity where it can admit that it, too, is an errant art that demands transparency and empathy, not preaching to the client out of the therapists' needs, no matter how noble.

All that said, many of the storytelling methods presented here are useful for working with children and their families. But please hold the self-congratulation, narrative enthusiasts.

I have worked with both Anne Bogart and Tina Landau and grew to appreciate their unique approach. It is good to see their way of working in print finally. The book is a great resource for all who have some appreciation for what goes into making a piece of theatre. It will especially pique the interest of those who see the physical nature of the theatre as paramount. The book outlines an way to replicate the work of these two great theatre artists in their own process. Dancers and choreographers will perhaps find a new perspective on what they do in this book.

This book is a must-own for actors looking to learn about the physical traning of Viewpoints.

It's great, and practical, and you'll find yourself learning.

A must for every actor's shelf.

I wanted a good, basic look at Viewpoints and this book has been exactly what I hoped it would be. It is to the point but still offers enough explanation to make sure the reader understands each viewpoint. If you want a good, basic background of the work this book does well.

This book was highly recommended to me by a dancer friend, and I've found it to be extremely useful for dance improvisation sessions I'm leading with a group of non-dancers. The authors offers numerous exercises that groups can build on, experiment with, and use to generate skill and teamwork. If you're looking for inspiration for your own performance project or creative ideas for group activities, you will find them here.

It took forever to finally arrive.. both in the sense that it kept getting delayed, but more importantly as a director who has trained with Viewpoints and wanted to impliment them into my work.

The book is very accessible to even those who have not taken any Viewpoints classes with a laid out ground plan for how to introduce each Viewpoint as well as how to use them in rehearsals and creating new pieces. The end of each section includes several options to eithe expand or replace, making the plan fit perfect for whatever you're doing. I read it cover to cover in a sitting and will be referencing it in the future as I direct those new to Viewpoints as well as those previously exposed.

(Hee, hee, hee.) Psss...t! (Hee, hee, hee.) Wanna hear somethin' funny? Culture Clash. The book presents their most memorable work to date, although the point can be easily argued (e.g., at the Japan America Theatre, their wickedly hilarious, cathartic "S.O.S." following the mop-up of the L.A. Riots/Rebellion/African-Korean Turf Wars). "The Mission" (1988), "A Bowl of Beings" (1991), and "Radio Mambo: Culture Clash Invades Miami" (1994) are the published plays. Japanese-American playwright Philip Kan Gotanda introduces the Chicano comedy troupe--Herbert Siguenza, Ric Salinas, Richard Montoya--in a 9-pg. transcribed interview, covering the education and work experience of each member, group evolution, collective creation, and comedy group alliances. A 4-pg. glossary of bicultural terms/refs. can be found in front. Each play is prefaced by a different member of the group. BW production photos give the reader the illusion of watching the show in between script consultations.

I haven't seen "The Mission" yet, but I've caught other shows and benefits they've done, enough so that I could hear C.C. talking in my head as I read through the script. Weird. Lalo Guerrero's song "No Chicanos on TV" pretty much summarizes what this play is about and how desperate out-of-work actors can get, in this case kidnapping Julio Iglesias for their 15 minutes of fame. There's also some irreverent stuff (I didn't say irrelevant) about Father Junipero Serra.

"A Bowl of Beings" premiered at the Los Angeles Theatre Center in July 1991; it was the first time I saw them. I watched "Bowl" on PBS the following March and saw it yet again that October at Univ. of Calif., San Diego. My favorite part of the show is "Chicano on the Storm," where Richard is stuck in a straitjacket vomiting his multicultural nightmare.

"Radio Mambo," created from videotaped interviews with Miami residents, made me fall back in love with C.C. Their tremendous talents as performers were spotlighted as they had to go beyond the parameters of their usual stock characters. I caught "Mambo" at South Coast Rep's Second Stage in July 1996. The intimate setting worked for the play. It's a show whose power is in the close up--of the performer and the performed.

This books provides a written guide to the hilarious stage antics and dead serious social commentary of this comedy trio. Richard, Rick and Herbert have that strange ability to make you laugh out loud then make look over your shoulder wondering whether you should. Those fortunate enough to have experienced Culture Clash will recognize where the improv begins and ends. This book gave me the opportunity to revist the many places these guys took me, at my own paso.

"Culture Clash: Life, Death..." is not really a novel or biography of the comedy/performance group, but a collection of their first three plays "The Mission," "Bowl of Beings" and "Radio Mambo." The book also includes a relatively short interview with the group where they discuss their origins and an introduction to the three plays each done by one of the members. That said, the actual plays are great. They are original, political, thought provoking, hilarious. "The Mission" is about a Chicano comedy groups kidnapping of the greatest Latino entertainer Julio Iglesias. "Bowl Of Beings" is a collection of sketch pieces which includes "Stand and Deliver Pizza" and "The Return of Che Guevara." "Radio Mambo," is a series of sketches done in interview form (mostly) commisioned by the City of Miami. It thoughtfully examines the social complexities of the Black, Jewish, Cuban, Haitian and White communities of Miami The best part of Culture Clash is their ability to blend the Chicano political conciousness with humor and making it accesible to all without "selling out." If you haven't seen them live, think about doing so. The three plays are great, but may not be as entertaining if you haven't seen their manic performance style.

Culture clash is a collection of 3 plays that analyzes the complexites of race relations in America. Humor is the guise which coats the deeper issues that is brought up by the trio. This book can be enjoyed in numerous levels.

"Driving Miss Daisy" is the epitome of simple-ness and shortness. While some plays thrive on their simplicity, I felt it spoiled this play. With no scenes or acts, this play relies on fade-outs and a heavy imagination. We see a 20-year span involving homes, cars, and people aging all on one stage. Because we only get a taste of the people through this 20-year span, I could not warm up to and get to know the three characters in this play. By the end, I know that Miss Daisy and Hoke are close, but I only know this because they've known each other for 20-years; I did not see the closeness emerge for myself. I had truly hoped for more concerning Miss Daisy teaching Hoke to read and write - this would have added great character interaction. The screenwriter's had to work hard to make this 39-page play into a 99-minute movie involving scenes and actual time spans. I hope the movie is better. I do not recommend.

"Driving Miss Daisy" won the Pulitzer Prize and hooks you from the first speech. Miss Daisy is such a salty old lady who says exactly what she thinks without apology. I've seen Morgan Freeman's film performance as Hoke and can only imagine how good he must have been on stage in this character. Hoke who comes to be Miss Daisy's driver when she wrecks the car by backing into the neighbor's garage -- sideways -- is so calm. He never talks back to Miss Daisy, but he speaks his mind and then accepts whatever absurd opinion she presents.

The theme seems to be most highlighted in the sequence when they are caught in a traffic jam and realize that the local synagogue which Miss Daisy attends has been bombed. We realize that both Jews and Blacks were targets of Southern hatred; and they then share a subtle but common bond which registers despite Daisy's denials. When Daisy becomes stricken with dementia as she imagines she must find graded papers for her students when she has long been retired, it results in her heading to the nursing home. As the play progresses in a series of scenes, the characters age, winding up with Daisy in a nursing home at age 97 visited by an 85 year-old Hoke who is driven to the visit by Daisy's son Boolie. The play ends with Hoke feeding Daisy a piece of pumpkin pie.

"Driving Miss Daisy" is an excellent character piece. Alfred Uhry was about to give up writing when Daisy struck gold for him. It is an entrancing evening's entertainment both on the page and on the stage. Enjoy!

Made into the 1989 Best Picture-winning "Driving Miss Daisy", one sees that, when comparing the two, they are relatively the same. So, then, it's no wonder that it won Best Adapted Screenplay for that year as well. The play is warm, humane, funny, and one of the best you'll ever come across. I believe the terminology "short and sweet" applies to this play. Read it!

"Driving Miss Daisy" is a play that shows how somebody can overcome their initial reactions towards a situation and how that situation changed their life forever. Thus is the story of Daisy,a Jewish woman living in Atlanta. Her son, Boolie, hires a chauffer to drive her around the city. Hoke, an african american man that Daisy wants to have no relation with, gets the job.

Opening up in the 1950's and running all the way to 1975, this story tells of the growing friendship between Daisy and Hoke. For the first few years Daisy is embarassed to being driven around by a black man but they soon develop a lasting friendship that will last forever.

"Driving Miss Daisy" tells one thing. It tells about changes in people. Daisy was a Jewish women who wanted absolutely no part with Hoke. Throughout the play Alfred Uhry is able to develop on each character from Daisy and Hoke, to the maid Idella, to Daisy's son Boolie, to Boolie's wife, and everybody else that appears. This is a very short play and Alfred Uhry had to have some skill to pull off the awesome character development in this.

"Driving Miss Daisy" is a story of change in people and of true friendship. This play went on Broadway and became a movie. This play won the Pulitzer Prize in Drama and four Academy Awards for the movie. I recommend this play to anybody that would enjoy a touching story of two people that were everything but friends at first who became best friends for life. Pick this play up and you will appreciate this story and the friendship that is depicted in it.

Happy Reading!

The opening poetic elegy to the trauma and the triumphs of bondage and freedom that were the seeds of August Wilson's epic 20th Century play cycle are to be found with profound beauty in Gem of the Ocean.
In 1904, in the same Pittsburgh district that is home to all the works, the mighty, wise and supernatural Aunt Ester lives at 1839 Wylie (and address that matters in several other plays, as does Aunt Ester) with the help of Black Mary and Eli. She is a force of nature, a maternal figure who serves as the community arbitor and soother, protector and advocate. She is quite beyond reproach (despite what happens to her late in the play) and it is in her drawing/living room of 1839 Wylie that Gem of the Ocean takes place, and where she takes in Citizen Barlow, a newly arrived Southerner, and where she deals with Solly Two Kings, a local renaissance and sales man.
The struggle of a people symbolically freed but culturally separate are at the core of the play, and while some characters are grounded enough to acknowledge and try to move on from the past, some are tied tightly to it, while others are willing to step on it towards another means.
Gem of the Ocean was the second to last play written in the cycle and serves as the illuminating tale of the strong spiritual core all of his plays and many of his characters possess. Markedly it is one incredibly stirring and beautiful scene, in which Aunt Ester guides Citizen Barlow to The City of Bones on the ship Gem of the Ocean that both magnifies the unspeakable in Wilson's oeuvre and the magical in it's theatricality.
There are few more significant American theatre series than Wilson's cycle, and if possible, now that it is complete, I would strongly recommend reading them in order. They are beautiful and interesting visions of the Black American experience, and feature much wondrous theatrical magic.
Specifically the recent editions open with introductions that are equally appreciative and revealing from actors, writers, directors or critics who worked with and knew August Wilson.

I remember thinking that I was inspired and wanted to write a blues song listening to the characters speak so colorfully in August Wilson's play, Gem of the Ocean. Phylicia Rashad and the entire cast were mesmerizing in the Broadway version I was lucky enough to see. I believe GotO is even more cinematic than The Piano Lesson, a Wilson play made into a movie that worked well on the screen, in my opinion. The story line of GotO spans a few days and engages and explores a spectrum of social and moral issues, without answering them and leaving the audience to ponder those gray areas. Highly recommended.

Broadway theater playwright August Wilson presents Gem of the Ocean, the first play in a ten-play cycle about the African-American experience during the modern twentieth century. Set in 1904 Pittsburgh, Gem of the Ocean follows a long-lived, fierce-willed matriarch and the two men she welcomed into her Hill District home: Solly Two Kings, who was born into slavery and served the Union Army in the Civil War, and Citizen Barlow, a man from Alabama seeking a better life. A richly textured exploration of the challenges faced in adapting to a new environment, no matter how many hardships one faced in the past, Gem of the Ocean is highly recommended.

GoO is August Wilson's first play in his ten-play epic cycle of African-American history. It is not so much literal history as metaphoric: the essential qualities of strength, endurance, and community are what hold the characters together. For someone not familiar with Wilson's work, the play may be curious, but for anyone knowledge about Joe Turner's Come and Gone, Two Trains Running, or King Hedley II, Gem of the Ocean is an important work.

Interesting book for teachers to use to promote norms against violence and bully behaviors. Fun and interactive.

I have used this book in group therapy and the kids love to role play with it. Also, in individual therapy the child usually wants to do more than one chapter (so, I must admit sometimes I cheat and do two!) I hope more of these workbooks are to come!

This book was too much of a workbook. Not what I had expected. May help some but too rigid for my kids.

I found this book very helpful and fun. The instructions suggested to do just one chapter at a time and the kids wanted to do more than that!

As an MA candidate for a degree in English, I was assigned a thesis. I had a creative option but none of the genres were "speaking" to me until I picked this text up. Incredible plays. The playwrights speak to the audience and treat you like a friend they are sharing secrets with! Hughes's "Getting Over Tom" is wonderful. It is a woman's must have book. It also helped me write my own performance play for my MA thesis.

I loved this book. The pieces in this book are very powerful, moving and funny. Even though it's always rewarding to see performance pieces live, these translate well into text. My favorites are by Lenora Champagne and Holly Hughes. You must read this if you're interested in theater or performance art.

I first encountered "Out From Under" in a feminist theatre theory class. Since then I have read these performance texts at least a dozen times and love them more with every reading. Lenora Champagne has compiled an exceptional collection of performance texts by women from many different origins and political agendas. She includes in this compilation Karen Finley's "The Constant State of Desire," Holly Hughes' "World without End," Lenny Sack's "The Survivor and the Translator," and Beatrice Roth's "The Father." Every piece works together to illustrate the work from a highly marginalized group that must be brought to the surface for the political theatre to continue. Moreover, many of the women in this book have other books of essays, stories, and poems. After reading Karen Finley's "The Constant State of Desire," I have become obsessed with her work and respect her for her incredible achievements to the theatre and feminist world. While I read this book in a special topics class, it should be an imperative part of any introductory theatre class and a must-read for all theatre practitioners.

I enjoyed reading the selection that Champagne has assembled, if only for the nostalgic look back at the eighties and its plethora of strong women performance artists. Having seen several of the women anthologized here perform live, it was a treat to read *some* of the pieces again.

I say some of the pieces because not all of them have aged well, and not all of them were very strong to begin with. Karen Finley is always a pleasure to read, as is Laurie Anderson, but the Anderson piece was far too short. I also found the Hughes piece strong, and I also enjoyed the Leeny Sack-- but in the rest of the book I found the selections either not the quality I know that artist(s) can produce, or seemed to be people whose work was not to my taste from the beginning.

I suspect that much of what's contained here isn't anthologized anywhere else, so if your interest lies in this direction, it's still a good book to buy. My rating reflects the unevenness of the selections rather than the value of the book itself.

My son is only 2 years old and he enjoys this book tremendously. The illustrations and words in this book captivates his attention. I do not really care for the recording tape which comes with the book, but the book itself is great. I usually do the rap and sing the words of the book myself without the tape. My son gets a kick out of that. He already knows the words of the book and likes to sing it.

This book is a great learning tool to teach children about diversity and multiculturalism.

My daughter is 5 years old. She's no stranger to learning about differences between people's appearances, but this book was different in a positive, important way. Half-way through our first reading, she said for the first time ever "hey mama it just doens't matter what who [anyone] looks like!" She also picked up the repetitive, sing-songy-ness of this book after only a couple pages, retelling me the story as we went. She has requested for me to read this book more than any other & she continues telling it happily to herself while she plays. I believe this is an excellent addition to any home or early childhood education library, but especially for the musically inclined kids.

What a wonderful, versatile book. I teach a 4-year old Pre-K class and I originally chose this book because it focuses on the fact that while people may all be different from each other physically, we can all enjoy each other's company. I have a very mixed class racially, and it is always a priority of mine to have available literature who's illustrations portray a range of races, especially books that do not specifically deal with a race's holiday or special event. I want to draw attention to the fact that we do not only see non-white, non-"typical" children only at certain times of the year. When I got the book out from the library and began reading it, I discovered that it was also enjoyable to read and listen to. It's writing has a very rhythmic, sing-song quality that appeals to my students. The art work is a mix of watercolor and colored pencil, and depicts people of all races and ages playing together at a park. My children regularly pick this book out of the book area and ask that I read it to them, and as they hear it more and more they begin to speak parts along with me. What a joy it is to have a book that really reaches out to my children that strongly. I have just added the book to my wish list so that I can have a copy for myself, and hope that my own children enjoy it as much as I do so I continue to have a reason to read it at home as well as at school.