The Highest Step in the World Educator Guide
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The Highest Step in the World Educator Guide
TABLE OF CONTENTS
THEATRE ETIQUETTE
ARRIVE EARLY
We suggest school groups arrive at least 45
minutes prior to curtain time. This gives you
enough time to visit the washroom, make
seating arrangements, and get settled before the
show.
Theatre Etiquette
2
About the Play
3
Curriculum Connections
3
Characters
4
Synopsis
5
Language of the Play
6
About The Development
Partnership
7
About the Creators
7
About the Idea and
Devised Theatre
8
BEFORE THE SHOW
No food, drinks or chewing gum is allowed in
the theatre. Please finish refreshments and eat
lunches or snacks in lobby.
About the
Collaborating Artists
9
Please turn off all electronic devices.
Further Exploration:
Pre-show and Post-show
Discussion Questions
10
DURING THE PERFORMANCE
During the performance, the use of cameras or
other recording equipment is strictly prohibited.
Bring it to the Classroom:
Pre-show and Post-show
Activities
12
Appendix
15
Sources
17
See the Show
18
IF YOU’RE RUNNING LATE
The show starts promptly at the time publicized
so if you are late, please do not enter the
theatre. See the Front of House manager, who
will seat your group during the “latecomers call”
(~10 minutes into the performance). Please note
that we can’t guarantee you will be seated
together, in the seats you booked, if you arrive
late.
If you must leave the theatre during the
performance, you may not be allowed to reenter until intermission or at an appropriate
moment in the play. For your safety in the dark
theatre, an usher will assist you back to your
seat.
Those performing on stage are affected by the
energy and attention you give them, the more
effort you invest in enjoying the show, the better
your experience will be!
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The Highest Step in the World Educator Guide
ABOUT THE PLAY
The Highest Step in the World was developed by Eric Rose and David van Belle when they were writers in
residence at Alberta Theatre Projects. Ghost River Theatre (their company) then premiered the play at
Alberta Theatre Projects’ 2010 Enbridge playRites Festival of New Plays.
CURRICULUM CONNECTIONS
The Highest Step in the World explores material which relates to the following courses:
DRAMA
The Highest Step in the World is a strong example of contemporary theatre that utilizes compelling
multimedia in its storytelling. Integrating video projection and aerial flying with directing, writing and
acting, these components tell the stories of multiple characters through a single performer. Students will
experience the mastery of conveying a character, and will take note of the components such as
mannerisms and voice that are necessary for making character distinctions by one actor.
VISUAL ARTS/MEDIA ARTS
Visual and media arts students will notice the importance of video projection in the play. These visual
elements of the show invite students to imagine how the theatre is currently incorporating visual and
media arts into live performance. Additionally, students will experience other highly technical
components such as timing the aerial rigging of the actor with the precise timing of video projections.
Prior to the last few decades, most projectionists performed their job by feeding film into a machine, and
were experts on making sure there were no jams or slips. Now projection is often digitally orchestrated.
Projecting location, costume design, and atmospheric elements, the projections in this show add context
to where the scene is situated and who is in it. It also facilitates smooth transitions and enhances special
effects in the show.
ENGLISH
Students have the opportunity to observe how a story is performed on stage and, specifically, how a
narrator moves from speaking directly to the audience in the first-person to seamlessly portraying other
characters. In addition, the students will experience how the telling of a collection of stories with threads
of common themes (in this case, risk, flight, falling) can accumulate to a richer impact than if one
individual story were told on its own.
SOCIAL STUDIES
Social Studies students may observe the political influence of the space race, as well as the historical and
cultural impact flight has on society. Students learning about space and space exploration will benefit
from learning how this frontier relates to them as a society.
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The Highest Step in the World Educator Guide
SCIENCE & TECHNOLOGY / SCIENCE / BIOLOGY
Science students can observe the biological impacts of flight, as well as how science contributes to both
mythology and history. Students will also be able to view the human limitation and how it is tested. As
well, the play involves large amounts of discussion surrounding space exploration.
All students, regardless of course study, will observe the following:
 The battle between limitation and the human spirit.
 The social and global impacts of space exploration.
 The intertwining of science and art.
 The necessity of risk.
 The pursuit of dreams and the unknown.
 The Greek Myth of Icarus
 The flight and “the return”
 The use of video in theatre
CHARACTERS
The Highest Step In The World tells the stories of five people, all connected by the element of risk.
David van Belle: the show’s co-creator is also the solo-performer, acting as the narrator (speaking in the
first-person from his own perspective, of his own experiences), and playing all of the other roles:
Joseph Kittinger, a real person who, in 1959, leapt from a high altitude weather balloon at the edge of
space in order to test out an innovative new parachute system.
Vesna Vulovic, a Serbian flight attendant was the sole survivor of the JAT Flight 367 bombing in 1972.
She holds the record for highest fall without a parachute, after plummeting 10,160 meters.
Daedalus & Icarus, the father and son pair known from the Greek myths. Daedalus and his son are
imprisoned by King Minos. In order to escape, Daedalus builds a pair of wings for himself and Icarus. In
all his excitement, Icarus flies too close to the sun and his wings burst into flames.
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SYNOPSIS
The Highest Step In The World starts with the description of what it is like to inhabit a space shuttle as it takes off.
The narrator, David Van Belle, wastes no time launching into the question: “What if something goes wrong?”
The notion of risk engulfs the audience as David describes the dangers of flight, using the example of the Space
shuttle “Challenger” and its failed launch into space to drive home his point. It soon becomes obvious that it is not
only David doing the narrating, but also some large-scale projections that are cast over his white suit and the white
backdrop behind him. The reality of the stage fades, and is replaced by a projection of the human heart onto
David’s left side. The limitations of humanity are important to grasp.
David’s accent and demeanor changes: first, he is
portraying Joseph Kittinger, then Vesna Vulovic, then
Daedalus and his son, Icarus.
Kittinger explains the troubles of the Russians putting
Sputnik into space before the Americans, and the
desperation the country had in making advances in space
exploration. The play follows him climbing into his balloon
and floating to the edge of space, where he makes his
jump.
Vesna Vulovic relays the events of the plane bombing, post
fall, and how that affected her future as a flight attendant
and Serbian citizen.
Daedalus and his son escape their prison through the invention of man-made wings. In his euphoria of achieving
the impossible, Icarus soars too close to the sun. His wings burn and he plummets.
Each of these characters are tied together by flight, some successful, some not. The significance of each story lies
in the idea that each of the characters experience the sensation of not returning down the way they went up –
both literally and metaphorically. Despite this risk of being emotionally and physically changed by the risks we take
and the things we do, and the fact that “leaping is a challenge”, David still wonders, “how far are we going to
go?” and, furthermore, “what compels us to take these big, risky leaps at certain points in our lives?”
Through the entrancing images on the stage and the weaving of personal and historical stories, David finally
arrives at an answer. Aside from the love, and the passion to explore, he asserts that people have “a need to step
off”.
The play closes with a description of a man, living quietly, still and calmly, which David interrupts with a
comparison of man to the universe: “we’re just pinholes in the blackness of space”. And so, what are we willing
to risk?
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The Highest Step in the World Educator Guide
LANGUAGE OF THE PLAY
The following words appear in the play that may not be familiar to students.
PRESSURIZED SUIT
Protective suit worn to protect those reaching high altitudes from the
dangerous effects of low air pressure.
CHALLENGER
The second space shuttle that NASA put into space in 1983. In 1986, the
shuttle broke apart after launch, killing all the passengers on board.
PARABOLIC
To resemble a U-shaped, symmetrical curve (like that of the mathematical
structure called a parabola).
STRATOSPHERE
The level up of the earth’s atmosphere after the Troposphere (which is
closest to the earth’s surface).
LOW ALTITUDE EJECTION SCHUTE
System that Joseph Kittinger was developing that keeps a person from
plummeting to earth if they fall from a great height. It consists of a
parachute that automatically opens when it hits a certain altitude.
USTASE
Croatian nationalist group and terrorist organization that the Yugoslavic
government accused of bombing Vesna Vulovic’s flight.
SPUTNIK
The first earth satellite sent into space by the Soviet Union.
INTERCONTINENTAL
Relating to different continents.
COPENHAGEN
The capital of Denmark.
Sputnik Satellite
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The Highest Step in the World Educator Guide
ABOUT THE DEVELOPMENT PARTNERSHIP
Ghost River Theatre is at the forefront of innovative theatre in Canada, creating daring and inventive
productions that are full of spectacular visuals and moving storytelling. Alberta Theatre Projects, a partner
in the development of the play, is nationally-revered for its development and support of new Canadian
plays. The two companies’ partnership marks a significant leap in play development, as ATP supported
the project when it was only an idea: a concept that David and Eric then developed into a full-fledged
production.
ABOUT THE CREATORS
Based out of Calgary, David van Belle is a performer, playwright
and director, as well as the Co-Artistic Director of Ghost River
Theatre. He received his MA in Drama from the University of Guelph.
He received his MFA in Directing after arriving in Calgary in 1999.
For seven years afterwards, he toured across Canada and Europe as
a part of the ensemble of One Yellow Rabbit Performance Theatre.
In 2007, he received the Lieutenant Governor General of Alberta’s
Arts Award for his role in the ensemble. That same year marked the
start of his freelance career. Following this, he became the
Playwright in Residence at Alberta Theatre Projects. Some of Van
Belle’s notable contributions and acclaimed works include Buzz Job!,
The True Story of Cal Cavendish, The Invisible Project, Garden Cities
of Tomorrow, Twisted, Bitter Suite Society, Reverie, and The Highest
Step In The World. He is currently working on a number of new
projects.
Eric Rose is the Co-Artistic Director of Ghost River Theatre alongside
long-time friend, David van Belle. Rose is a “multi-award winning
director, a creator, dramaturg, and educator”, and has taught and
developed educational opportunities for a variety of organizations
across the country. He has followed his passion for theatre
internationally, having worked from the United States all the way to
South Korea and Ghana. Eric has created and directed shows ranging
from classical to contemporary theatre through a variety of forms and
mediums. He has been employed as the Playwright in Residence at
Alberta Theatre Projects and was the Artistic Associate at Theatre
Calgary from 2003-2007. In 2012, he was the recipient of the
Lieutenant Governor of Alberta Emerging Artist Award for his work as a
dramatic innovator. He has been involved in the recent productions of
ONE and The Highest Step In The World at Ghost River Theatre, as well
as Once Upon An Atom Bomb, Peril In Paris and The Forbidden
Sacrifice. His current projects include Everything Is Terribly Nice Here,
alongside David Van Belle as well as the Canadian Premiere of Kite Runner for Theatre Calgary.
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The Highest Step in the World Educator Guide
ABOUT DEVISED THEATRE AND THE IDEA THAT LAUNCHED
THE HIGHEST STEP IN THE WORLD
The Highest Step in the World is a product of devised theatre. Devised theatre is a form where the
creation of a show is a collaborative process, often devised by the actors exploring common themes and
ideas using improvisation as a creation tool. The final product is set and / or scripted. The intent of this
method, when originally developed, was to empower and acknowledge actors as creators, and not solely
interpreters of a script.
For David van Belle and Eric Rose, the show’s creators, their starting idea was that of people testing their
boundaries and launching into the unknown. David and Eric have always been self proclaimed “NASA
nerds”, exhibiting a passion for the nostalgia of the time where men strived towards the moon. As David
told Gateway, “It’s that notion inside of us that tests those boundaries, testing the notion of risk and
how far are we going to go as a human species”.
Their idea for the play seems to be fueled by the story of Joseph Kittinger who, in 1959, ascended to
102,800 feet in a high-altitude air balloon and jumped back down to earth. He set four records,
including highest altitude reached in a balloon.
53 years later, in 2012, a man named Felix Baumgartner took a
balloon up to the earth’s stratosphere of 128,100 feet. Joseph
Kittinger acted as “Capcom”, Mission Control’s primary point of
radio contact to Baumgartner. Kittinger communicated with him
the whole way up, and watched the man undergo what he had
experienced many years before. Baumgartner is now the record
holder for farthest height reached, as well as the fastest speed of
freefalling (he surpassed the speed of sound).
Eric and David are inspired by the idea that, as humans, our
boundaries are always changing, and our sense of limitation can
easily be transformed. The rest of the play is shaped around this
idea of risk and exploration, recognizing that within the span of a
single century, we landed on the moon and are now striving to
explore Mars.
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The Highest Step in the World Educator Guide
ABOUT THE COLLABORATING ARTISTS
There are a number of artists behind-the-scenes who are integral to the storytelling and execution of the
production. Here’s who they are and what they did for the show.
Ben Chaisson works as the Projection Artist and Sound Designer for the show, and was nominated for
Best Sound Design at the 2010 Betty Mitchell Awards in Calgary. An award-winning professional theatre
designer based in Toronto, he has worked in theatres in New Zealand, Scotland, Italy and Germany, and
those across Canada.
Court Brinsmead is the Motion Graphics Designer for The Highest Step in the World, having created all
the multi-media art for the projections. Court is a multi-talented artist who excels in photography,
motion pictures, art, and design. He has worked as an animator and technical assistant for companies
such as Theatre Calgary, Alberta Theatre Projects, Quickdraw Animation Society and the Banff New
Media Institute.
Adrian Young won the 2010 Betty Mitchell Award for his choreographic work as the Flying Director for
Highest Step, assisted by Larissa Yanchak. His theatre experience includes fight and flight directing, stunt
coordination, load rigging, performing and teaching all across Canada. He is self-described as an “action
entertainer”.
How Adrian made David fly: A fly crew is often present in productions where something needs to be
hoisted and suspended above the stage or audience. Fly crews (individually known as “flymen”) organize
the proper gear to “fly” whatever is needed on or off the stage. Fly crews work as the technicians for
“flys”, a permanent weighted batten system (a set of pulleys) that is used to raise and lower objects. To
make it work, rigging and using appropriate weights is often necessary. Adrian used this pulley and
rigging method in The Highest Step in the World to hoist David up for flight.
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The Highest Step in the World Educator Guide
FURTHER EXPLORATION
DISCUSSION QUESTIONS
PRE-SHOW

How do you feel about trying something you have never done before?
o What encourages you to explore something that is unknown to you?
o Why do you think people go up into space or risk their lives to make a discovery?

What do you know about:
o Joseph Kittinger
o Vesna Vulovic
o The Myth of Icarus And Daedalus
o Felix Baumgartner
o Space Shuttle Challenger

When you think of risk, what comes to mind? Brainstorm every element, word, image that comes
to you. What are the repercussions of flight? What are the benefits of flight?
o For those who have been on a plane, helicopter, air balloon etc: How did you feel? What
thoughts go through your head when you get into an airplane? Are you aware of the
risks? What makes you set those risks aside?


POST-SHOW
Is it worth it to risk your life for the sake of doing something that has never been done before?
i.e. If you had the opportunity to be an astronaut, would you do it? What do you think was
Joseph Kittinger’s motivation for taking that jump?
What do you think the link was between the four stories of Vesna, Icarus, Kittinger and David van
Belle? What was the element or theme that drew all these stories together?
o If students say “flight” or “risk”, press them further. What did this show teach us by
showing these stories? What commentary does this show make about the human
condition?
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The Highest Step in the World Educator Guide
FURTHER QUESTIONS
Can be answered individually or as a class.

REACTIONS TO THE SHOW
What differentiated this piece of theatre from a traditional theatre show? What elements made
this show memorable and different?

How did the projections contribute to the understanding of this production?

Could this production have told the story as effectively with solely the craft of acting?

ACTING IN THE SHOW
How did you feel watching David perform as Kittinger when he was taking off in the balloon?
Were you nervous? Did it seem real to you? What about that scene made you believe it was real?

What was your reaction to seeing a one-man show? Were all the characters believable?

RISKTAKERS
Who are the Joseph Kittinger’s of the world today? Does anyone have a fearless, boundary-testing
story that you think is similar to his?
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The Highest Step in the World Educator Guide
BRING IT TO THE CLASSROOM
Activities to connect students to the world of the play.
IN-CLASS ACTIVITIES
PRE-SHOW
ADAPTATION AND INTERPRETATION
How can a story change based on how it is shown or told?
Goal: Have students understand how adaptation or interpretation of a work can alter how the story or
message is perceived.
Materials: Ovid’s story of Icarus and Daedalus [Found in Appendix: Material 1.1], paper, pencils/pens,
encourage students to bring in their own materials from home based on their ideas.
In The Highest Step In The World, Icarus and Daedalus are portrayed in a modern fashion. Van Belle
endows Icarus with mannerisms that are familiar to those living in our day and age (as opposed to the
ancient Greek times).
Instructions: Have students read and be familiar with what is happening in the original story [Appendix:
1.1]. In groups, have students design their own interpretation/adaptation of the story and then present it
to the class. This can be done in the following ways:
1. Students can “pitch” their idea (as if they were a director pitching a movie idea to a production
studio). Students must outline what type of set they would need, what the time period be, any
script re-writes, what the overall style would look like, costumes, special effects, a “story board”
etc.
2. Students can, in some way, perform or present their interpretation or adaptation through
whatever form they choose: a film project, a theatre scene, a comic book, a short story, a series of
paintings, a song or any other agreed upon project.
Discussion:



How does the story change as each group retells it?
Do different forms of art communicate different things?
Which story is more engaging, a more contemporary retelling, or the original script?
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POST-SHOW
HUMAN RISK AND FORETHOUGHT
How far have we thought this through?
Goal: Evaluate what precautions we use when testing the limitations of mankind.
Materials: Board (whiteboard/chalkboard/large piece of paper), writing utensil
At the beginning of the play, Van Belle recounts the story of the space shuttle Challenger and how it
broke up into pieces. The astronauts died on impact, something that could have been prevented had
they been using the parachute system that Kittinger had tested out decades before.
Instructions:
Have students compile a list of high risk activities that people have undergone to push the limits of what
is humanly possible. (ex. Space shuttle Challenger, the tightrope walk across Niagara Falls, flying a plane).
Once the list is compiled, discuss the following:






What security precautions were in place to maintain the safety of these individuals?
What were the risks of this activity?
What do you think motivated that person to undergo that risk?
If that was done over, would there be any new safety precautions?
Do you believe that this risk was worth it?
What did society take away from this action happening? What did we as humans learn?
Alternatively:
Print out pictures or “flashcards” of events such as: the first moonwalk, the first airplane flight, 9/11, etc.
(Guideline: Find iconic pictures of boundary-breaking events.) Ask students to answer, as a class
discussion, the world’s reaction to this event. Feel free to use the questions above to guide the
conversation.
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The Highest Step in the World Educator Guide
THE FLIGHT AND THE LANDING
What was your highest step?
Objective: David Van Belle reveals a personal moment in the play. To him, it was a moment that
happened in his personal life that made him ask: “What do you do when you can’t go back down the
same way you came up?”
Materials: Pen, paper
Students will ask themselves this question in respect to an event that happened in their own life. The
goal of the exercise is to explore how the human spirit can be captured through art. Additionally, the
exercise will allow students to better understand the content of the play.
Note: This activity will challenge the level of trust amongst the students. Encourage classroom respect for
those presenting and those listening.
Instructions: Have students compose a monologue or write of an event in their life that made them
realize they would not see the world the same as they did before, or where their perspective or
limitations changed after experiencing this event. Students should ask themselves how they were before,
as well as after the event, and what they were thinking as the event was happening. Has this event
helped to shape who they are now?
Additional Ideas: Have students perform a version of their monologue, or present their writing, to the
class. (Art students may illustrate it, media arts students could work with a filmed version.)
Discussion:
 How did expressing this moment in your life through an art form help you communicate what you
were feeling at the time?
 Do you find some art forms to be better at telling stories than others?
 How did you feel about placing yourself in the vulnerable position to tell the story?
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APPENDIX
1.1
Ovid’s Metamorphoses, Book VIII: Daedalus and Icarus
But Daedalus abhorred the Isle of Crete-290 and his long exile on that sea-girt shore,
increased the love of his own native place.
"Though Minos blocks escape by sea and land."
He said, "The unconfined skies remain
though Minos may be lord of all the world
295 his sceptre is not regnant of the air,
and by that untried way is our escape."
This said, he turned his mind to arts unknown
and nature unrevealed. He fashioned quills
and feathers in due order -- deftly formed
300 from small to large, as any rustic pipe
prom straws unequal slants. He bound with thread
the middle feathers, and the lower fixed
with pliant wax; till so, in gentle curves
arranged, he bent them to the shape of birds.
305 While he was working, his son Icarus,
with smiling countenance and unaware
of danger to himself, perchance would chase
the feathers, ruffled by the shifting breeze,
or soften with his thumb the yellow wax,
310 and by his playfulness retard the work
his anxious father planned.
But when at last
the father finished it, he poised himself,
and lightly floating in the winnowed air
315 waved his great feathered wings with bird-like ease.
And, likewise he had fashioned for his son
such wings; before they ventured in the air
he said, "My son, I caution you to keep
the middle way, for if your pinions dip
320 too low the waters may impede your flight;
and if they soar too high the sun may scorch them.
Fly midway. Gaze not at the boundless sky,
far Ursa Major and Bootes next.
Nor on Orion with his flashing brand,
325 but follow my safe guidance."
As he spoke
he fitted on his son the plumed wings
with trembling hands, while down his withered cheeks
the tears were falling. Then he gave his son
330 a last kiss, and upon his gliding wings
assumed a careful lead solicitous.
As when the bird leads forth her tender young,
from high-swung nest to try the yielding air;
so he prevailed on willing Icarus;
335 encouraged and instructed him in a]l
the fatal art; and as he waved his wings
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The Highest Step in the World Educator Guide
looked backward on his son.
Beneath their flight,
the fisherman while casting his long rod,
340 or the tired shepherd leaning on his crook,
or the rough plowman as he raised his eyes,
astonished might observe them on the wing,
and worship them as Gods.
Upon the left
345 they passed by Samos, Juno's sacred isle;
Delos and Paros too, were left behind;
and on the right Lebinthus and Calymne,
fruitful in honey. Proud of his success,
the foolish Icarus forsook his guide,
350 and, bold in vanity, began to soar,
rising upon his wings to touch the skies;
but as he neared the scorching sun, its heat
softened the fragrant wax that held his plumes;
and heat increasing melted the soft wax-355 he waved his naked arms instead of wings,
with no more feathers to sustain his flight.
And as he called upon his father's name
his voice was smothered in the dark blue sea,
now called Icarian from the dead boy's name.
360 The unlucky father, not a father, called,
"Where are you, Icarus?" and "Where are you?
In what place shall I seek you, Icarus?"
He called again; and then he saw the wings
of his dear Icarus, floating on the waves;
365 and he began to rail and curse his art.
He found the body on an island shore,
now called Icaria, and at once prepared
to bury the unfortunate remains;
but while he labored a pert partridge near,
370 observed him from the covert of an oak,
and whistled his unnatural delight.
Know you the cause? 'Twas then a single bird,
the first one of its kind. 'Twas never seen
before the sister of Daedalus had brought
375 him Perdix, her dear son, to be his pupil.
And as the years went by the gifted youth
began to rival his instructor's art.
He took the jagged backbone of a fish,
and with it as a model made a saw,
380 with sharp teeth fashioned from a strip of iron.
And he was first to make two arms of iron,
smooth hinged upon the center, so that one
would make a pivot while the other, turned,
described a circle. Wherefore Daedalus
385 enraged and envious, sought to slay the youth
and cast him headlong from Minerva's fane,-then spread the rumor of an accident.
But Pallas, goddess of ingenious men,
saving the pupil changed him to a bird,
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The Highest Step in the World Educator Guide
390 and in the middle of the air he flew
on feathered wings; and so his active mind-and vigor of his genius were absorbed
into his wings and feet; although the name
of Perdix was retained.
395 The Partridge hides
in shaded places by the leafy trees
its nested eggs among the bush's twigs;
nor does it seek to rise in lofty flight,
for it is mindful of its former fall.
SOURCES:
http://www.ghostrivertheatre.com/index.php?option=com_content&view=article&id=104:articlesdavidvanbelle&catid=35:category-crew&Itemid=28
http://www.ffwdweekly.com/calgary-blogs/culture/2011/10/25/the-highest-step-in-the-world-just-a-stepshort-913/
http://www.avenuecalgary.com/blogs/review-the-highest-step-in-the-world
http://www.ghostrivertheatre.com/index.php?option=com_content&view=article&id=122:the-higheststep-in-the-world&catid=50:pastprod-2009-2010
http://www.stalbertgazette.com/article/20120201/SAG0302/302019984
http://simonekeiran.wordpress.com/2011/10/24/free-falling/
http://www.theglobeandmail.com/arts/playrites-festival-show-flies-high-and-makes-dramaticleaps/article4307605/
http://stratocat.com.ar/artics/excelsior-e.htm
http://www.redbull.com/cs/Satellite/en_US/Article/Red-Bulletin-Magazine-Features-Felix-Baumgartnerand-Red-Bull-Stratos-021243153563028
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SEE THE SHOW
We look forward to seeing you and your students in the lobby. Here’s a few ways students can join us.
School Group Ticket Information
School Group rate: $18 per student
One complimentary teacher ticket per 8 students
Gateway Theatre Box Office: 604.270.1812
www.gatewaytheatre.com
Box Office Hours:
Mon-Fri 12-6pm / Sat 2-6pm (reduced hours July through Labour Day)
Gateway Theatre Outreach Program
We invite your students to spend a day at Gateway Theatre learning about the fascinating world of
theatre and exploring careers in the performing arts. Join us on the day of our technical rehearsal, an
intense period of activity just before Opening Night.
Outreach activities take place from 10am – 2pm for groups of up to 30 students.
This outreach program has been generously sponsored by the RBC Foundation since 2008, enabling
over 500 students to spend a day learning with us.
Inquiries:
Gateway Theatre Education Manager 604.247.4975
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The Highest Step in the World Educator Guide
eyeGO Program
The eyeGO is an access program for high school students to educate students about the process of
being a patron of the arts. eyeGO is a National program with strict rules to ensure the students get the
experience expected by the National office.
http://www.eyego.org/
The process:
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Any student attending high school can access a sponsor (Gateway Theatre) performance for $5
Each ticket must be purchased by a high school student (there are no group purchases)
Tickets are to be picked up at the box office with ID
Student ID must be shown in order to receive the preferential price
If tickets are ordered over the phone, the regular service charges will apply.
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