Author: Brooke Wehrle

Posted on by Brooke Wehrle

All three of FRP PBS KIDS shows won big at the 46th Daytime Emmys, bringing home five Emmy awards, including:

  • Outstanding Children’s or Family Viewing Series - ODD SQUAD
  • Outstanding Preschool Children’s Animated Series - Daniel Tiger's Neighborhood
  • Outstanding Writing for a Children’s, Preschool Children’s, Family Viewing - ODD SQUAD
  • Outstanding Directing for a Children’s, Preschool Children’s or Family Viewing Program - ODD SQUAD: World Turned Odd
  • Outstanding Original Song in a Children’s or Animated Program “Making a World With My Friend” - Peg + Cat

We are proud to share these honors with our partners at 9 Story Media Group, Brown Bag Films, 100 Chickens Productions, Sinking Ship Entertainment, and PBS KIDS.

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Posted on by Brooke Wehrle

How did you make vocal performance your career?

I grew up in a musical family. My mom and dad actually met singing in their university choir while majoring in music education. My dad played saxophone and became a band director, and my mom sang soprano and taught choir. At home, my mom played piano, my dad guitar. Along with my younger sister, we would sing together as a family. We performed in musicals together at the community theatre. We sang in church and I sang in the school choir. Both my sister and I took up trumpet and played in the marching band. I majored in music in college, getting a bachelor’s degree in trumpet performance and music composition. I wrote for, played trumpet and sang in an eight-piece funk band, then later a nine-piece swing band, leading me to seriously study voice for my master's degree. I acted in plays and sang in musicals and operas during that time. After school, I started performing in opera and musicals professionally, which propelled me to New York where I eventually became involved with a great organization for the development of new opera called American Opera Projects. It was there, years before, that Billy Aronson wrote the libretto for a new opera, Fireworks, for which my future wife, Ann, was a principle singer (small world!). When I sang there, years later, AOP’s general director kindly recommended me to Billy to sing the part of an operatic Pig on his new PBS Kids show, Peg + Cat.

The thing is, my college mascot is a Razorback, which is a wild boar. I grew up cheering for the Arkansas Razorbacks. Like a good Razorback does anywhere among other “Hog” fans, I wore a hog hat and I’d “call the Hogs” at games, on airplanes, at restaurants, and everywhere else one might be shocked to hear an en masse “Woooo, pig soooie!” My twitter name is even @operahog. So, when presented with the opportunity to become an actual opera pig on TV, I jumped at the chance, feeling as if I’d prepared for it my entire life

What was your favorite television show when you were growing up?

As a kid, I loved Sesame Street. I loved all the characters, the music and the learning opportunities. My favorite character was Big Bird’s “imaginary friend,” Mr. Snuffleupagus. He was this giant, lovable woolly mammoth that only Big Bird and I could see. I knew he was real, but others on the show somehow thought he didn’t exist. They’d miss him when he came around, and then they’d treat Big Bird like he was a delusional psychotic when he mentioned his friend had been there for a visit. As a child, it was a frustrating thing to witness.

I remember one episode where they all went to Hawaii, and there was a Mt. Snuffleupagus that had the distinct profile of a woolly mammoth. After that episode, I saw Mt. Snuffleupagus’ everywhere in the rolling hills and mountains while on frequent family car trips through Arkansas, Oklahoma and Texas. It was my secret only Big Bird and Snuffy could understand.

What are the steps that go into doing voice work for a television show?

I always receive an email of the script with my highlighted lines, along with several MP3's that contain a demo recording of the entire show, my cues with a demo voice, and my cues played by a piano. Although Pig only communicates through grandiose, operatic singing, I don’t receive any written music.

My first step in the preparation process is to listen to the episode while following the action in the script in order to learn the story and discover my purpose within it. Then I set to work on my individual lines, speaking the lines, finding specific intentions and making acting choices that are consistent with my character. Only then am I ready to begin the fun of adding the singing.

It’s always interesting to listen to the demo voices, usually the writer or composer, who give their best renditions of the voice of Pig. It always makes me smile as they attack the singing with such gusto! If I need a little extra help finding the exact notes, I’ll turn to the piano track. Once I’ve found the right feeling for the line, I’ll let it rip into my voice recorder and play it back. I’ll do that as many times as it takes to really have something solid enough that it can then be further refined through direction in the studio. I like to be as prepared as possible before I walk into the recording booth so I’m not wasting anyone’s time.

At the studio, Billy, Jen Oxley and Steve Rebollido are there to work with me. The second I open my mouth to deliver my first line, they always look awe stricken, and those huge smiles on their faces always make me feel like a million bucks. Working with people who share such positive and encouraging energy is one of my favorite things about being Pig. In that moment, they remind me of something I often forget; that what I do is special and should never be taken for granted.

What is your favorite episode or song on Peg + Cat?

I love “The Pig Problem.” Pig runs off to join the opera, and he ends up singing one of the greatest tenor arias ever written, “Di quella pira” from Il Trovatore by Giuseppe Verdi. This particular performance of the piece was quite unique, as Pig’s big scene begins with a duet between him and a brontosaurus soprano who is deathly afraid of mosquitos. After the duet, the aria commences as he whips out a calendar and explains how mosquitos appear in the warm months and hide in the cold months, ending his spiel with a rather long and showy high C. It’s hilarious! That’s not something I get to do every day.

But, as much as I loved doing that, my favorite episode is one in which I didn’t appear. I love “Peg Meets Cat” the most because my three-year-old daughter played Baby Peg, and my four-year-old son played Baby Pig. They walked into the studio and absolutely nailed their cues, which just blew me away. They were so young, they don’t even remember being there, but I’ll never forget it. I was amazed and proud of them then, as I am now and on a daily basis. I’m glad we’ll always have that episode to share together. It’s special.

What do you love most about playing Pig?

The best thing about playing Pig is that I get to be part of a show in which I really believe. The mission of education behind Peg + Cat is an important one. We do it through math and friendship and art and music and joy and compromise, understanding, compassion, humor and love. It’s about immensely talented and dedicated people from top to bottom and every way in between, putting their hearts and souls into each and every detail of every episode. I’m really lucky I’m able to show up on occasion and contribute to it. That makes me happy.

What kind of music do you love to play or song when you're not working?

Fortunately, I’m able to sing just about everything I want outside of the show, when I’m working as a freelance artist, and even when I’m not working. One minute I’m singing Beethoven’s 9th with the New York Philharmonic, and the next I’m dancing down the grand staircase of the Met Gala chanting “Like a Prayer” with Madonna. I often go from operatic repertoire to jazz to rock to Bach and Handel to all kinds of choral music, and the friends I perform with are my everyday colleagues in the churches and the synagogues, the recording studios and the concert halls all around town. Every now and then I’ll get the trumpet out and work up my chops, but it’s really hard to find the time around singing. Eventually, I’d like to do a vocal/trumpet recital, get out to a jazz club with a pianist or a band, sing more funk, and compose more music for myself and others. I’m pretty busy as it is, so those things will come.

Watch Peg + Cat weekdays on PBS KIDS (check local listings).

 

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Odd Squad Agents

Odd Squad is Back and On the Move on PBS KIDS

March 28, 2019

Third Season of Multiple Emmy-Winning Series from Fred Rogers Productions and Sinking Ship Entertainment Revs Up Science and Math Learning.

Three Series WIN Five Daytime Emmys!

May 9, 2019

All three of FRP PBS KIDS shows won big at the 46th Daytime Emmys, bringing home five Emmy awards.
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Posted on by Brooke Wehrle

Pittsburgh, PA, March 26, 2019 – A brand new season of Odd Squad, the hit multi-Emmy Award-winning live-action series from Fred Rogers Productions and Sinking Ship Entertainment, is back and will begin rolling out on PBS KIDS in winter 2020. Now in production, the series takes a turn as new agents join the squad and travel to far-flung locations around the globe to tackle oddness as a Mobile Unit.

Twenty new episodes of Odd Squad will feature a fresh creative direction and an enriched curriculum that continues to focus on math, while also incorporating science, technology, and engineering concepts. The Mobile Unit of Odd Squad agents, which includes a mix of familiar and new faces, uses deductive reasoning and logical thinking as they explore the “math in the science.” Some of their tactics include science and engineering practices, math skills, and cross-cutting concepts that span a range of science principles—from sound, patterns, and shadows to data collection and simple machines.

“We’re very excited about the upcoming third season of Odd Squad, which puts the agents on the trail to solving odd problems all around the world,” said Ellen Doherty, Executive in Charge of Production for Fred Rogers Productions. “The team will need to use core STEM (science, technology, engineering, and math) skills to get to the bottom of all the oddness they face.”

“We love hearing stories from kids who see themselves as part of Odd Squad and feel they can take on any problem that comes their way,” said Lesli Rotenberg, Chief Programming Executive and General Manager, Children’s Media and Education, PBS. “We’re excited to see another fantastic season of a series that embodies the PBS KIDS spirit of collaboration and teamwork.”

Odd Squad is a live-action series designed to help kids 5-8 build math, problem-solving, and collaboration skills. The show focuses on intrepid young agents who are part of Odd Squad, an agency whose mission is to investigate strange happenings. All three seasons of Odd Squad feature a math concept embedded in each episode that the Odd Squad uses to set things right. Odd Squad airs daily on PBS stations (check local listings), the PBS KIDS 24/7 channel, and streams on pbskids.org and the free PBS KIDS Video app. Per month, the series reaches an average of 2 million children 2-8 over linear TV, sees 17.8 million streams, and attracts more than 1 million unique visitors to the website. Odd Squad also airs on TVO Kids and SRC in Canada.

Odd Squad was created by Tim McKeon (Fosterʼs Home for Imaginary Friends, Adventure Time, The Electric Company) and Adam Peltzman (The Electric Company, The Backyardigans, Wallykazam!) and produced by Sinking Ship Entertainment and Fred Rogers Productions. For more information on Odd Squad, visit pbskids.org/oddsquad and follow Odd Squad on Facebook and Twitter.

TV Source: Nielsen National Toolbox NTI Oct’17 – Sep ‘18, L+7 Avg Mo Reach, Std Mo. Unif,1+min. Digital Source: Google Analytics streams & users, Oct’17 – Sep’18

About PBS KIDS

PBS KIDS, the number one educational media brand for kids, offers children ages 2-8 the opportunity to explore new ideas and new worlds through television, digital media and community-based programs. PBS KIDS and local stations across the country support the entire ecosystem in which children learn, including their teachers, parents and community. Provided by stations, the free PBS KIDS 24/7 channel and live stream is available to more than 95% of U.S. TV households. Kidscreen- and Webby Award- winning pbskids.org provides engaging interactive content, including digital games and streaming video. PBS KIDS offers mobile apps to help support young children’s learning, including the PBS KIDS Video app, which is available on a variety of mobile devices and on platforms such as Roku, Apple TV, Amazon Fire TV, Android TV and Chromecast. PBS KIDS also offers parent and teacher resources to support children’s learning anytime and anywhere. For more information on PBS KIDS content and initiatives supporting school readiness and more, visit pbs.org/pressroom, or follow PBS KIDS on Twitter, Facebook and Instagram.

About Sinking Ship Entertainment

Sinking Ship Entertainment is an award-winning production, distribution and interactive company specializing in family and kids’ live action and CGI blended content. Since its launch in 2004, Sinking Ship has produced over 500 hours of content and sold to over 200 countries internationally. The company has rapidly earned a global reputation for high quality, groundbreaking original series and companion interactive experiences. Overall, Sinking Ship has won 13 Daytime Emmy® Awards and a variety of other international awards including Canadian Screen Awards, Youth Media Alliance Awards, Fan Chile Awards, Parents Choice Awards, the Shaw Rocket Prize, and the Prix Jeunesse International. The Toronto-based company is home to over 175 shipmates. In addition to production, Sinking Ship operates a cutting edge VFX and Interactive Studio, creating multi-platform digital experiences and interactive content for audiences around the world.

About Fred Rogers Productions

The company was founded by Fred Rogers in 1971 as the non-profit producer of Mister Rogers’ Neighborhood for PBS. In the years that followed, it not only created hundreds of episodes of this much-loved program, but also extended Fred’s values and approach to other efforts in promoting children’s social, emotional and behavioral health and supporting parents, caregivers, teachers and other professionals in their work with children. Fred Rogers Productions continues to build on Fred’s legacy in innovative ways through a wide variety of media and engage new generations of children and families with his timeless wisdom. The company’s highly-rated, award-winning children’s series include Daniel Tiger’s Neighborhood, Peg + Cat, Odd Squad, and Through the Woods. For more information, visit www.fredrogers.org or follow us on Twitter, Facebook, and Instagram.


# # #

Press contacts:

Grand Communications

Alison Grand
212-584-1133
Alison@grandcommunications.com

Laura Liebeck
845-440-7974
Laura@grandcommunications.com

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Meet Our Neighbors: Marie Thorhauge Tørslev, Designer for Through the Woods

March 27, 2019

Get to know Marie Thorhauge Tørslev, who won a Daytime Emmy award for her design work on our newest series, Through The Woods.

Meet Our Neighbors: Tommy Wazelle, “Pig” on Peg + Cat

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Posted on by Brooke Wehrle

How did you come to animation design as a career?

I guess the molding of my career as a visual development artist started around preschool. So overall it has taken a while—from drawing outside the lines in the paint-by-numbers, to discovering the world of animation as something that didn’t just live inside my TV to actually getting accepted into the character animation bachelor program at The Animation Workshop (TAW) in Denmark. Drawing has always been second nature to me. Actually it has probably always been first nature. As an introverted kid and teen, drawing was a gift. From there the passion, drive and ability just kept getting stronger.

All that to say, my career has been a chain reaction of life; and since my bachelor film at TAW a chain reaction of events.

My bachelor films led to an internship at the wonderful Cartoon Saloon (in Ireland) where I ended up spending 4 years as designer and supervisor. This experience prepared me for handling clients and productions, and it gave me the confidence to go freelance. In the “early years” my style was very Disney-esque, as the Disney features as well as the Disney shorts—especially from the 1950s—were my fountain-of-animation. Then in college I got access to Cartoon Network, and my style developed into something much more stylized, while I simultaneously learned extensively about anatomy. And finally, following the advice of my supremely talented TAW design teacher, Lawrence Marvit, I have aimed to never settle on a style as such. Every time I find the key to a look, I like to move on and test other things. I do think I have a very recognizable way of designing, but I work towards having as wide a range within this as possible. It makes it tough to maintain an Instagram profile, but it has certainly been an asset in maintaining my career—and be able to always offer and find a unique styles for each new production.

What were your favorite television shows when you were growing up?

Oh I can talk about that for hours! Doing it short, I loved everything animated with a fiery passion when I was a kid. Though I did mainly watch feature films back that early. As everyone in animation, I am sure, I loved everything Disney did. I had all their films on VHS, and I was glued to the screen when their short films were on. This mania also included Tex Avery's shorts as well as Tom and Jerry. The scores, colors and overall vibe of the 1950s productions especially are still mind-blowing and amazing to me.

I do have a few “odd ducks” though that I also loved—among my favorites were the Hanna Barbera feature of Charlotte’s Web. We had that taped on VHS, and I watched it over and over as if possessed. It could tug at the heart-strings like nothing else. I also loved the Russian feature, The Wild Swans, which is just beautiful. And then there was a German feature called Once Upon a Time. When I found it as an adult, I couldn’t believe how I had built it up in my mind, but it is still very nostalgic (and a production I’d love to do a re-vamp fan art of one day). TV shows came a little later, and with those we dive right back into the arms of Disney, with the Gummi Bears, Rescue Rangers, and Darkwing Duck.

What are the steps that go into character and concept design for a television show like Through The Woods?

For any design I do, I like to consider several points. At the base it is important to know the intended age of the viewers plus the budget plus the overall intended feel of the production.

Then for a character there are two aspects: The style and the characteristics/personality. The more you can understand a character—when in a simple front pose—the more I feel we have nailed the design. So I actually try to always design a character in a neutral pose at first, to pass the initial test. Posing a good design is the cherry on top! The steps of getting there—be it a character or environment—would be: research, research, research! Both for style and for photo reference. For characters I try to find real people who fit the bill. Basing characters on actual people always adds another level of personality. In my own opinion, great caricaturists make for some of the best character designers.

The next step would be sketching. My way of sketching is almost more “molding” as I tend to play with shapes and then add line after (if needed). I think this technique arose while or after a life drawing course I did prior to college. When working on these life-drawing long studies our fantastic teacher Artem Alexeev always pointed out the importance of keeping the drawing “open,” and working with shapes seems to achieve this for me.

Once the sketch is roughly there, I start molding it further, pushing the shapes around to maximize proportions, etc. Then I go over the anatomy again, to make sure everything hooks up correctly, and there are no broken arms or twisted limbs. From here I can start testing different ways to clean it up: with or without line, design of detail—shapes such as eyes and hands, testing and choosing colors, deciding if there should be textures, etc.—and all in all going over the seven important points of design: line, shape, form, space, color, value, and texture.

When working with a client it is always a collaboration to create that universe and that unique style. You want to find that character they imagine. Bring it to life, with everything it entails. Sometimes it happens instantly, and sometimes it takes several tries and re-workings to get it exactly right. It is really the merger of two minds, and to hit that jackpot—there is nothing like it!

What is your favorite episode of Through the Woods?

Such a tough pick! I am so close to saying the butterfly episode, because it was really an amazing and intricate set of designs to work with. But my favorite final episode is the team effort of the winter episode. I just love how the animation of the deer and squirrel turned out!

Has contributing to Through the Woods changed the way you spend time in nature?

I have always spent time in nature—and loved studying it. So I would say, that this is more likely what made me a good fit for Through the Woods, and partly why we all were so in sync.

But naturally working on Through the Woods has had an effect! All productions do. They stay with you for so long after. And via Through the Woods I have probably started looking at nature more with the curious and wondering eyes of a kid as much as the eyes of a designer.

Since March is Women’s History Month, who are the women that inspire you?

There are so many amazing women both in the world and in the field of animation. It is definitely hard to select just a few.

But as a conclusion to my answers, the woman that inspires me the most—and the woman who has always been my rock in life as well as career—would be my amazing mother. The pillar without which I could not stand.

And in regards to Through the Woods, I will absolutely have to give a shout out to both wonderful Ellen Doherty and Meeka Stuart. It has been an immense honor to work with two such talented, driven, and lovely women!

Watch Through The Woods on Curious World.

 

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Fred Rogers Productions Scores 15 Daytime Emmy Nominations

March 21, 2019

Daniel Tiger’s Neighborhood, Peg + Cat and Odd Squad from Pioneering Children’s Entertainment Company Each Earn Multiple Nominations.
Odd Squad Agents

Odd Squad is Back and On the Move on PBS KIDS

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Posted on by Brooke Wehrle

Pittsburgh, PA, March 21, 2019 – Fred Rogers Productions today received an impressive 15 Daytime Emmy Award nominations for its popular PBS KIDS children’s programming, Daniel Tiger’s Neighborhood, Peg + Cat, and Odd Squad. Among the exciting nominations for the hit shows are Outstanding Preschool Children’s Animated Series (Daniel Tiger’s Neighborhood), Outstanding Writing for a Preschool Animated Program (Peg + Cat), and Outstanding Children’s or Family Viewing Series (Odd Squad). The Odd Squad movie special, “World Turned Odd,” also received two nominations.

“We’re extremely honored that these three standout series have once again been recognized by the National Academy of Television Arts & Sciences,” said Paul Siefken, President and CEO of Fred Rogers Productions. “We’re proud to be working with tremendous partners, including 9 Story Media Group, Brown Bag Films, 100 Chickens Productions, and Sinking Ship Entertainment, in developing and bringing such inspiring and inclusive programming to children and families around the world.”

The 46th Annual Daytime Emmy® Awards Nominations for Fred Rogers Productions’ series include:

Daniel Tiger’s Neighborhood (3)

  • Outstanding Preschool Children’s Animated Series
  • Outstanding Performer in a Preschool Animated Program – Devan Cohen as Daniel Tiger
  • Outstanding Writing for a Preschool Animated Program

Peg + Cat (5)

  • Outstanding Writing for a Preschool Animated Program
  • Outstanding Directing for a Preschool Animated Program
  • Outstanding Original Song In A Children’s Or Animated Program – “Making a World With My Friend,” “The Thrill of Invention,” “You’re All Number One Tonight!”

Odd Squad (5)

  • Outstanding Children’s or Family Viewing Series
  • Outstanding Writing for a Children’s, Preschool Children’s, Family Viewing
  • Outstanding Directing for a Children’s, Preschool Children’s or Family Viewing Program
  • Outstanding Art Direction/Set Decoration/Scenic Design
  • Outstanding Costume Design/Styling

Odd Squad: World Turned Odd (2)

  • Outstanding Writing for a Children’s, Preschool Children’s, Family Viewing
  • Outstanding Directing for a Children’s, Preschool Children’s or Family Viewing Program

The Daytime Creative Arts Emmy Awards will also be held at the Pasadena Civic Auditorium on Friday, May 3, 2019. The 46th Annual Daytime Emmy® Awards ceremony will be held at the Pasadena Civic Auditorium on Sunday, May 5, 2019.

About Fred Rogers Productions

The company was founded by Fred Rogers in 1971 as the non-profit producer of Mister Rogers’ Neighborhood for PBS. In the years that followed, it not only created hundreds of episodes of this much-loved program, but also extended Fred’s values and approach to other efforts in promoting children’s social, emotional and behavioral health and supporting parents, caregivers, teachers and other professionals in their work with children. Fred Rogers Productions continues to build on Fred’s legacy in innovative ways through a wide variety of media and engage new generations of children and families with his timeless wisdom. The company’s highly-rated, award-winning children’s series include Daniel Tiger’s Neighborhood, Peg + Cat, Odd Squad, and Through the Woods. For more information, visit www.fredrogers.org or follow us on Twitter, Facebook, and Instagram.

 

# # #

Press contacts:

Grand Communications

Alison Grand
212-584-1133
Alison@grandcommunications.com

Laura Liebeck
845-440-7974
Laura@grandcommunications.com

 

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Three Gold Honors from the Parents’ Choice Foundation

January 31, 2019

All three of Fred Rogers Productions's PBS KIDS series -- Odd Squad, Daniel Tiger's Neighborhood, and Peg + Cat -- have been awarded by the Parents' Choice Foundation with their prestigious Gold Award.

Meet Our Neighbors: Marie Thorhauge Tørslev, Designer for Through the Woods

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Get to know Marie Thorhauge Tørslev, who won a Daytime Emmy award for her design work on our newest series, Through The Woods.
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Posted on by Brooke Wehrle

All three of Fred Rogers Productions's PBS KIDS series -- Odd Squad, Daniel Tiger's Neighborhood, and Peg + Cat -- have been awarded by the Parents' Choice Foundation with their prestigious Gold Award.

We are thrilled to share this opportunity with our partners and collaborators at 9 Story Media, 100 Chickens Productions, Sinking Ship Entertainment, and PBS KIDS.

Designed to help parents and caregivers of all achievements and backgrounds make informed decisions about which new products are right for their children, the Parents' Choice Awards is the nation's oldest nonprofit program created to recognize quality children's media. The program honors the best material for children: books, toys, music and storytelling, magazines, software, video games, television and websites.

Parents' Choice Foundation's panels of educators, scientists, performing artists, librarians, parents, and even kids identify the very best products for children of different ages and backgrounds, and of varied skill and interest levels.

Click on the titles of each show to read the specific citations on the Parents' Choice Foundation website.

Odd Squad

Daniel Tiger's Neighborhood

Peg + Cat

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J. Walter Hawkes

Meet Our Neighbors: J. Walter Hawkes, Composer for Peg + Cat

January 29, 2019

Just in time for the national tour of Peg + Cat Live!, meet J. Walter Hawkes, the Emmy-winning composer for Peg + Cat, one of our animated series on PBS KIDS.

Fred Rogers Productions Scores 15 Daytime Emmy Nominations

March 21, 2019

Daniel Tiger’s Neighborhood, Peg + Cat and Odd Squad from Pioneering Children’s Entertainment Company Each Earn Multiple Nominations.
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Posted on by Brooke Wehrle

How did you become a composer for television shows?

There was some hard work, and there was some luck. I moved to New York City to be a trombone player, and was playing with a different band every night. I also did a good bit of work writing arrangements for horn sections, small orchestras, and big bands to help make ends meet. I also had a job doing score preparation for the Carnegie Hall Jazz Band, which was an incredible experience. One of the first bands I started playing with in the city was a jump blues band that happened to have two members that were working on a new animated show for preschoolers. They brought me in to play trombone for the show. The show took off (I'd like to think because of my incredible trombone work, hahaha) and eventually they needed help in the composing department. I learned the ropes of television composition on the job, thanks to them. That show was Blue’s Clues.

What was your favorite television show growing up?

That's tough for me to say just one. I was a fan of Captain Kangaroo... the ping pong balls got me every time. I also loved Sesame Street, The Electric Company (Spider Man!), and of course Mister Rogers' Neighborhood. It was specifically Mister Rogers that influenced my approach to composing music for preschoolers. I remember hearing Johnny Costa's extremely advanced piano improvisations when the credits would roll. Costa took it to Mars and back! I remember thinking, “some of those notes sound ‘strange,’ but they're so right!” That thought never left me. I could tell he was playing advanced music, and it didn't scare me at all. I believe it helped me grow. It made me think there must be so much more out there that I don't know. (I had not heard a lot of jazz at that point.) It also lead me to believe later in life that any kind of music—be it consonant or dissonant, simple or complex, happy or sad, exciting or soothing—can be wonderful for children.

What are the steps that go into composing a song for a show?

It depends on the production. When I was at Blue's Clues, the lyrics for the songs, as well as the music, were written by the composers. At Peg + Cat, the show's writers (and especially [co-creator] Billy Aronson) are gifted lyricists themselves. The lyrics drive the song. From the lyrics, decisions on feel, style, tempo, and melody can be made. I record myself singing the song with an accompaniment of instruments I play and virtual ones from the computer. After the producers (Jennifer [Oxley] and Billy) hear the song and tell me they love it (!), we bring in the voice talent to replace my voice and musicians to replace the temporary computer sounds.

What's your favorite episode (or song) of Peg + Cat?

We've done so many songs! There are two to four (sometimes more) songs per episode! I've always had a crush on “One Hundred is One Zero Zero,” and I think it's partially because it was from one of the very first episodes (the second one, if you want to get technical), and those were such fun times. The song itself has a rhythmic feel, kind of like Weather Report's “Birdland,” which isn't something you hear a lot. I played my specially modified vintage Wurlitzer electric piano on it. I even played the solo! I also got some inspiration from the amazing singer/songwriter Richard Julian (whose music I love), and the whole thing, to me, comes across like an old Schoolhouse Rock song. Mission accomplished!

How is writing music for a live production (like Peg + Cat Live!) different than writing for a television show?

Usually, one would have to modify the music and do a lot of score preparation so that it could be played by a specific live band. With Peg + Cat Live!, there is no live band. The music was pulled directly from the episodes, so there wasn't much for me to do.

What kinds of music do you like to play when you’re not working?

Work is play when I'm on the bandstand. I play mostly jazz or jazz-inspired music on the trombone, as well as in theater productions, rock bands, salsa bands, klezmer bands, ambient bands, etc. etc. I also play a lot of ukulele. My grandfather played the ukulele, so it's a link to my family. I enjoy playing it and singing along; it's a really fun instrument. I played all the ukulele on Peg + Cat. While I do play ukulele professionally, I often say, “people pay me to play the trombone, and pay me to stop playing the ukulele.”

 

Learn how to play the Peg + Cat theme song from J. Walter himself at the video below:

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odd squad

Three Gold Honors from the Parents’ Choice Foundation

January 31, 2019

All three of Fred Rogers Productions's PBS KIDS series -- Odd Squad, Daniel Tiger's Neighborhood, and Peg + Cat -- have been awarded by the Parents' Choice Foundation with their prestigious Gold Award.
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Posted on by Brooke Wehrle

How did you become an animator and director?

Visual arts runs in my family from my Dad being a goldsmith to my grandparents being architects and illustrators so a big part of me thinks that it was written in the cards. My parents say that I would come home from school and before I could have a snack, or tell them how my day went, I had to go up to my room and draw a picture of something that was stuck in my brain that needed to come out. I had always said “I am going to be an artist” growing up. I remember seeing the movie Beauty and the Beast, and that is the moment that I really felt like animation was where I wanted to go in my career. I would spend hours trying to recreate the Candlestick!!!

I earned my BFA Honours before heading to Vancouver to get my Animation degree. From there I worked my way up in all areas of animation, including storyboarding, design, rigging, animation, and animation directing before becoming director, which I love more than anything-mostly because you get to touch all stages of the creative process.

What was your favorite TV show when you were growing up?

I only had one channel growing up so that really dictated what I was watching! When I was very little I was one of (what I think) the lucky kids and had kindergarten in the afternoon, which meant I could watch Sesame Street and Mr. Dressup (Canada’s version of Mister Rogers) before school. When I got a little older, my go-to shows were The Smurfs, He-Man, Degrassi, The Raccoons, and sometimes I could get a very fuzzy version of Wonder Woman if the weather was good!

What is your favorite episode of Through The Woods?

How am I supposed to pick??? I love so much about Through the Woods -- if you hit pause at any given moment in any episode I will love it. It looks like a storybook come to life! Marie [Thorhauge] did such an excellent job coming up with the look of the show. I will forever be “Team Wolfie.” I think my favorite episode is “A Snowy Morning,” followed closely by “Fairies & Fireflies.” In “Snowy Morning,” I can just feel the cold. I love the absolute silence of winter when the world is covered in snow, only being interrupted by the crunching snow under your feet or the sound of a bird in the distance, and I thought Rider running through the woods captured that perfectly. I see deer often on my drive into the studio and am reminded every time about this episode. The colors in “Fairies & Fireflies” are brilliant. I love being outside when the sun is setting and have seen many fireflies with their “lights coming out of their bottom.” (giggle)

How has making the show changed the way you engage with nature and the outdoors?

I was lucky enough to have been raised in a small village surrounded by the woods. Most of my childhood was spent on what was called “The Nature Trail,” which was trails through the woods surrounded by a large creek. I definitely drew on this particular area of Midhurst for reference during this season. Rider and I would have for sure explored this area together.

I spent a lot of time camping and exploring the outdoors growing up and worked in a Provincial park in high school and university, which continued to hone my love of nature. I still think of Algonquin Park as a second home and to this day spend several weekends every summer canoeing though the lakes.

Since “Through the Woods,” I do find myself examining more nature, and when I see an animal outside, I wonder how Rider and Wolfie would engage with them. I am confident that that Wolfie would manage to avoid a skunk, but would still think it was pretty cool. I don’t think that Ellen (Doherty, the creator and executive producer) gets bored of me texting her lines from the show when I see any animal that Rider has visited in the show!

 

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New Stage Show Brings Musical, Math-Fueled Interactive Fun to Preschoolers Across the U.S.!

New York, NY, September 5, 2018 – Families nationwide will be totally freaking out when

Peg + Cat heads to the stage for the FIRST TIME EVER! “Peg + Cat LIVE!: The Big Dog Problem,” an exciting new musical production from Fred Rogers Productions, the Brad Simon Organization, and Bay Area Children’s Theatre, will bring all the toe-tapping musical, math-themed fun from the multiple Emmy-winning PBS KIDS series to fans throughout the U.S. beginning February 2019. With an original story written by series co-creators Jennifer Oxley (Little Bill, The Wonder Pets!) and Billy Aronson (Rent, Postcards from Buster), the stage show promises a totally awesome time for young “problem solvers” as they embark on an interactive adventure with their favorite characters from the series, including Peg, Cat, Ramone, Big Dog, Pig, Mermaid, and more, to solve a REALLY BIG problem. Tickets are now available for pre-order. For additional information and a complete list of tour dates and ticket links, visit https://pegpluscatlive.com.

“We’re delighted to work with the Brad Simon Organization and Bay Area Children’s Theatre to bring Peg + Cat to life on stage for the very first time,” said Paul Siefken, President and CEO, Fred Rogers Productions. “With this new live production, preschoolers and their families will get to engage with their favorite characters and stories from the popular series in a whole new way, while honing their early math skills all along the way.”

“We are thrilled to offer this entertaining and educational production from the Bay Area Children’s Theatre and Fred Rogers Productions to performing arts centers and their audiences,” said Brad Simon, President of the Brad Simon Organization. “The creative team has developed a theatrical experience that is sure to engage thousands of Peg + Cat fans.”

In Peg + Cat LIVE!: The Big Dog Problem, based on the popular episode, Peg’s mom asks Peg and Cat to mail some really important letters. But on their way, they come face-to-face with a REALLY BIG PROBLEM – a really big dog! They’ll need math – bar graphs, size comparison, position words, fair sharing, and a whole lot of counting, plus some help from one another and the audience to solve it! The vibrant full-scale production features larger-than-life puppets, light-up math facts that pop up all over the stage, and fan-favorite songs from the series, enhanced for the live stage experience!

Following select performances of Peg + Cat LIVE!: The Big Dog Problem, Purdue University will be conducting a first-of-its-kind nationwide study that will test the basic math skills pre-reading children learn after attending the live show. To help make the study possible, Dr. Amanda Mayes, Manager of Education in Purdue Convocations, will be collaborating with Dr. Laura Bofferding and Dr. Signe Kastberg in the math education department at Purdue University as well as the Brad Simon Organization, Bay Area Children’s Theatre, and Fred Rogers Productions.

Peg + Cat, now in its fifth year on PBS KIDS, has earned six Daytime Emmy® Awards, including for “Outstanding Preschool Children’s Animated Program,” “Outstanding Writing in a Preschool Animated Program,” and “Outstanding Music Direction and Composition.”

The hit series follows the adorable, spirited Peg and her loyal sidekick Cat, as they embark on a host of hilarious, musical adventures, learning foundational math concepts along the way. Each episode features engaging stories in which Peg and Cat encounter a problem that requires them to use math and problem-solving skills to move the story forward. The series provides young viewers with new ways to experience math and highlights its importance in a variety of everyday situations.

Peg + Cat is co-created and executive produced by Jennifer Oxley and Billy Aronson of 100 Chickens Productions and produced by Fred Rogers Productions for PBS KIDS. Kevin Morrison of Fred Rogers Productions and Vince Commisso of production partner 9 Story Media Group also serve as executive producers.

Peg + Cat LIVE! – Tour Dates (Additional dates to be announced soon.):

About PBS KIDS

PBS KIDS, the number one educational media brand for kids, offers children ages 2-8 the opportunity to explore new ideas and new worlds through television, digital media and community-based programs. PBS KIDS and local stations across the country support the entire ecosystem in which children learn, including their teachers, parents and community. Provided by stations, the free PBS KIDS 24/7 channel and live stream is available to more than 95% of U.S. TV households. Kidscreen- and Webby Award-winning pbskids.org provides engaging interactive content, including digital games and streaming video. PBS KIDS offers mobile apps to help support young children’s learning, including the PBS KIDS Video app, which is available on a variety of mobile devices and on platforms such as Roku, Apple TV, Amazon Fire TV, Android TV and Chromecast. PBS KIDS also offers parent and teacher resources to support children’s learning anytime and anywhere. For more information on PBS KIDS content and initiatives supporting school readiness and more, visit pbs.org/pressroom, or follow PBS KIDS on Twitter, Facebook and Instagram.

About Fred Rogers Productions

The company was founded by Fred Rogers in 1971 as the non-profit producer of Mister Rogers’ Neighborhood for PBS. In the years that followed, it not only created hundreds of episodes of this much-loved program, but also extended Fred’s values and approach to other efforts in promoting children’s social, emotional, and behavioral health and supporting parents, caregivers, teachers, and other professionals in their work with children. Fred Rogers Productions continues to build on Fred’s legacy in innovative ways through a wide variety of media and engages new generations of children and families with his timeless wisdom. The company’s highly-rated, award-winning children’s series include Daniel Tiger’s Neighborhood, Peg + Cat, Odd Squad, and Through the Woods. For more information, visit www.fredrogers.org or follow us on Facebook and Twitter.

About the Brad Simon Organization

The Brad Simon Organization is the leading North American booking agency specializing in live branded entertainment for family audiences. Current and past tour highlights include: Peg + Cat Live!, Daniel Tiger’s Neighborhood Live!, Wild Kratts Live!, The Very Hungry Caterpillar Show, Odd Squad Live!, Dinosaur Train Live!, Sid The Science Kid Live!, Erth’s Dinosaur Zoo Live!, Erth’s Prehistoric Aquarium Adventure, Clifford The Big Red Dog Live!, Scholastic’s The Magic School Bus Live!, John Tartaglia’s “ImaginOcean”, Berenstain Bears Live, The Magic Tree House: The Musical, and Mad Science Presents: “CSI LIVE!” and “Star Trek Live!”. www.bsoinc.com

About Bay Area Children’s Theatre

Established in 2004, Bay Area Children’s Theatre (BACT) is the largest company devoted to Theatre for Young Audiences (TYA) in California and one of the three leading TYA companies on the West Coast. BACT serves more than 115,000 children and adults in the San Francisco Bay Area each year with productions that are inspired by children’s literature and specially designed to engage young audiences; a theatre education program in 15 communities; and an outreach program for schools that coordinates artist residencies with student matinees of BACT’s main stage shows. BACT commissions and develops new work to expand the TYA canon—28 new plays to date—and it sends a show on tour each year to reach young audiences throughout the nation—most recently, its award-winning original production of Goodnight, Goodnight, Construction Site the Musical. A 501(c)(3) non-profit, BACT aims to inspire young audiences with imaginative productions, introduce children of all backgrounds to the excitement of live theatre, and create an engaging, entertaining, and educational environment in which children and their families can explore and enjoy the arts.

# # #

Press contact:
Alison Grand, Grand Communications (for Fred Rogers Productions, Peg + Cat)
212.584.1133, alison@grandcommunications.com

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There is no more genuine source of dreams and shared possibilities in our community than our children. With their unique and imaginative perspective on the world, they can encourage us all to do better.

With support from The Heinz Endowments, we gathered a group of real kids from a wide range of Pittsburgh neighborhoods last year to talk about kindness and respect and heroes, and to tell us – in their own words – what it means to call our city their home. (Pittsburghers will recognize the whimsical Randyland as one of the locations in the videos.)

In light of the recent acts of violence in Squirrel Hill, we’re inspired to share these videos. Here, the kids discuss their heroes. We hope these videos spark conversations and actions that will ultimately shape the Pittsburgh of the future.

 

https://player.vimeo.com/video/299502446

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