Download Conceived by Richard Maltby, Jr. and Murray

Conceived by Richard Maltby, Jr. and Murray Horwitz
STUDY GUIDE
MAGNUS THEATRE 2014/2015 SEASON
Prepared by Danielle Chandler, OCT
©Magnus Theatre 2014
Stage Right Theatre in Education Sponsor
AIN’T MISBEHAVIN’
The FATS WALLER Musical Show
Conceived by
RICHARD MALTBY, JR. and MURRAY
HORWITZ
Created and Originally Directed by RICHARD
MALTBY, JR.
Original Choreography and Musical Staging by
ARTHUR FARIA
Musical Adaptations, Orchestrations &
Arrangements by LUTHER HENDERSON
Vocal & Musical Concepts by
JEFFREY GUTCHEON
Musical Arrangements by
JEFFREY GUTCHEON & WILLIAMELLIOTT
Originally produced by The Manhattan Theatre Club
Originally produced on Broadway by Emanuel Azenberg, Dasha Epstein, The Shubert Organization, Jane Gaynor & Ron Dante
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
2
How To Use This Guide
3
Theatre Etiquette &
F.A.Q.’s
4
About Magnus Theatre
& Theatre in Education
5
What is Theatre in
Education?
6
Cast & Characters
7
Creative Team
7
About the Play
7
About the Creators
8
Production History
8
About Fats Waller
9
The Harlem Renaissance 10
Life in 1904
12
Life in 1943
Glossary and Historical
Notes
13
Jazz-era Slang
Ontario Curriculum
Connections
15
16
Pre-Show Activities &
Discussions
17
Post-Show Activities &
Discussions
18
Lesson Plans:
- When the Nylons
Bloom Again
- Tribute to Fats Waller
- The Harlem
Renaissance
14
21
23
24
References & Resources 25
Glossary of Theatrical
Terms
26
Magnus Theatre is committed to presenting top quality,
passionate theatre to enrich, inform, empower, and educate
people of all ages. It is our goal that the performance is not
only entertaining, but also a valuable educational experience.
This guide is intended to assist with preparing for the
performance and following-up with your students. It provides
comprehensive background information on the play, its
suggested themes, topics for discussion and curriculum-based
activities and lesson plans which will make the content and
experience of attending Magnus Theatre more relevant and
rewarding for your students.
Using this guide, teachers can encourage students to conduct
historical research, utilize critical analysis, think creatively, and
apply personal reflection in relation to the play and its
themes, which often crosses over into other subjects or areas
of the curriculum.
Please use this guide in whatever manner best suits you. All
activities and lesson plans may be modified to meet your
classroom needs in order to make it accessible and applicable
to your students.
We hope that this study guide provides stimulating and
challenging ideas that will provide your students with a
greater appreciation of the performance and live theatre.
If you would like further information about the production,
Magnus Theatre, the various programs we offer, or to share
your thoughts and suggestions, please contact:
Danielle Chandler, Theatre in Education Animateur
Magnus Theatre
10 S. Algoma Street, Thunder Bay, ON P7B 3A7
Tel: (807) 345-8033 ext. 231 Fax: (807) 345-0291
Email: [email protected]
Website: www.magnus.on.ca
By Norm Foster
Conceived by Richard Maltby, Jr. and
Murray Horwitz
School Matinees: Sept. 24 & Oct. 1
By Alfred Uhry
School Matinees: Feb. 4 & Feb. 11
School Matinees: Oct. 29 & Nov. 5
School Matinees: Dec. 3 & Dec. 10
By John Patrick Shanley
School Matinee: Mar. 11
By Dina Morrone
School Matinees: Apr. 15 & Apr. 22
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
3
PLEASE REVIEW THE FOLLOWING WITH YOUR CLASS PRIOR TO
ATTENDING THE PERFORMANCE. THANK YOU.
We want your students, and everyone who attends a Magnus Theatre performance, to thoroughly
enjoy it. In a live theatre environment, the performers and other audience members are affected by the
students’ behaviour (both positively and negatively). Our actors, technicians, and staff have worked
hard to create an enjoyable and entertaining experience for you and your students. Below are a few
items that, if followed, will greatly enhance the experience for all concerned.
WHEN SHOULD WE ARRIVE?
 We recommend that you arrive at the theatre at
least 30 minutes prior to the performance. (Doors
open approximately one hour before show time.)
 School matinees begin promptly at 12 noon – we
cannot hold the curtain for latecomers.
 Please be in your seat approximately 15 minutes
before the performance begins. Latecomers are
not guaranteed seating.
WHERE DO WE SIT?
 Magnus Theatre has assigned seating and
therefore it is important for teachers/chaperones
to pick up the tickets before arriving to the
theatre, or to arrive early to allow time for
distribution of tickets.
 Students must sit in their assigned seats. We ask
that teachers/chaperones disperse themselves
among the students to provide sufficient
supervision.
 Ushers and/or Magnus Theatre staff will be happy
to assist you, if needed.
WHAT CAN WE BRING WITH US?
 Food and drink (including gum, candy, and water)
are not permitted in the Margaret Westlake
Magnus Theatre Auditorium. We have a limited
number of concession items for sale in the lounge
before the show and during intermission. Please
note that beverages and food from outside the
theatre are not allowed.
 Please turn off - do not place on vibrate or silent all electronic devices before entering the theatre.
The lights as well as the sounds are very
distracting.
 We do not have storage space for backpacks, etc.
and ask that these items are left at school or on
the bus.
 Please refrain from applying perfume or aftershave
before coming to the theatre as a consideration for
those who may have sensitivities to scents.
WHAT DO WE DO DURING THE PERFORMANCE?
 We encourage students to let the performers
know that they appreciate their work with
applause and laughter, when it is appropriate.
 Please do not talk during the performance. It
is disruptive to the other patrons and the
actors on stage.
 Please do not text or play with your phone
during the performance.
 Please do not leave your seat during the
performance. If it is absolutely necessary to
leave your seat, you will be seated in the back
row upon your return and may return to your
original seat at intermission. Younger
students needing to leave must be
accompanied by an adult.
 We ask that students refrain from taking
notes during the performance as it can be
distracting to the actors and audience
members. If note taking is required, please do
so before or after the show or during
intermission.
 Please do not put your feet on the seats.
 Please do not go on the stage at any point.
WHAT DO WE DO AFTER THE SHOW?
 Applaud! If you particularly enjoyed the
performance, it is customary to give a
standing ovation at the end, as well.
 Please stay in your seat until the performance
ends and the auditorium lights come on.
 If your group is NOT attending the Talk-Back
session, please collect your personal
belongings and promptly exit the auditorium.
 If your group IS attending the Talk-Back
session, please remain in your seats. A
member of the Magnus Theatre staff will
invite the actors back to the stage to begin
the Talk-Back session. Students should take
advantage of this opportunity by asking
questions.
CAN WE TAKE PICTURES?
 Photography, audio or video recording are not
allowed during the performance. This is a
copyright infringement.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
4
 Magnus Theatre is a
professional theatre
company, which operates
under the terms of the
Canadian Theatre
Agreement, engaging
professional artists who are
members of the Canadian
Actor’s Equity Association.
 Magnus Theatre was
founded in 1971 by British
director Burton Lancaster in
conjunction with a citizens’
committee, and was
incorporated June 15, 1972.
 Mario Crudo, the current
Artistic Director, joined
Magnus in 1992.
 In 1998, Magnus received
the Lieutenant Governor’s
Award for the Arts from the
Ontario Arts Council
Foundation.
 Magnus in the Park! opened
in September, 2001 after a
successful $5.5 million
campaign.
 Magnus services reach over
40,000 adults, students, and
seniors in Thunder Bay and
Northern Ontario each year.
Photo © Jean Paul
 Theatre in Education is a
community outreach
program initiated at Magnus
in 1987.
 Throughout the year,
Magnus operates a
THEATRE SCHOOL with
classes for all ages in the fall,
winter and spring. Drama
camps run during March
Break and the summer.
 The THEATRE FOR YOUNG
AUDIENCES SCHOOL TOUR
brings entertaining, socially
relevant productions to
elementary and secondary
schools throughout
Northern Ontario, to
communities that may not
have the opportunity to
experience live theatre
otherwise. Booking begins
in the late Fall for
performances in the spring.
 Magnus offers WORKSHOPS
for students, teachers, and
community groups in
Thunder Bay and across the
region. Workshops can be
designed to meet specific
needs, or can be selected
from various topics including
introduction to drama,
improvisation, character
creation and more.
 SCHOOL MATINEES are held
Wednesdays at 12 noon
during show runs. Tickets
are only $12 each, and
include a study guide
created by an Ontario
certified teacher and talkback session with the actors.
 In 2008 Magnus Theatre, in
partnership with the
Lakehead Social Planning
Council, held a new play
creation project, CLOSING
THE DISTANCE. With the
guidance of professional
theatre staff at Magnus
Theatre, a group of high
school students from across
the city created a play about
racism and building social
inclusion in our community.
Students were involved in all
aspects of the creation of
the play.
 In the past, Magnus Theatre
offered the Young
Playwright’s Challenge to all
students in Northwestern
Ontario; three finalists
experienced a week of
intensive workshops on their
plays with Magnus Theatre
professionals, culminating in
a public reading. We are
hoping to reinstate this
program – please let us
know if you are interested.
Magnus Theatre can make learning dynamic,
interactive, enriching, and above all, fun!
Whether you are interested in bringing your
school to the theatre, or prefer having us
come to you, there are a variety of
educational and entertaining programs that
will benefit your students. For more
information, please contact:
Danielle Chandler, Theatre in Education
Animateur at (807) 345-8033 ext. 231 or
[email protected]
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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 Theatre in Education refers to theatre that is used as a tool for educational purposes, with the
goal of changing attitudes and/or behaviours of audience members.
 Using the art form of drama as an educational pedagogy at any grade level, drama can reinforce
the rest of the school curriculum, and has been proven to improve overall academic
performances.
 It is a multisensory mode of learning, designed to:
o Increase awareness of self (mind, body, voice) and others (collaboration, empathy)
o Improve clarity and creativity in communication of verbal and nonverbal ideas
o Deepen understanding of human behaviours, motivation, diversity, culture and history
 It incorporates elements of actor training to facilitate students’ physical, social, emotional and
cognitive development
 It also employs the elements of theatre (costumes, props, scenery, lighting, music, sound) to
enrich the learning experience, reenact stories, and mount productions.
 Theatre students are able to take responsibility for their own learning and skill development as
they explore the various aspects involved in theatre such as acting, directing, playwriting,
producing, designing, building, painting, leading, etc.
 It is a powerful tool for social change as emotional and psychological responses can be more
intense as it is a live event, giving audiences an opportunity to connect with performers.
 Theatre can provide a believable, entertaining, and interesting way to explore sensitive issues
that are not typically discussed in public, such as racism, suicide, bullying and substance abuse. It
is particularly effective with young audiences.
 By engaging audiences and capturing their attention, theatre can influence positive behaviour
and healthy lifestyles, particularly if it is delivered with a message that audiences can understand.
Hence, Theatre in Education performances are typically accompanied by study guides, activities,
support material and/or workshops. The more interactive and participatory the event, the more
successful it is.
 The arts, including drama, caters to different styles of learning and has positive effects on at-risk
youth and students with learning disabilities.
 Involvement in the arts increases students’ engagement, encourages consistent attendance, and
decreases drop-out rates in schools.
 Drama allows students to experiment with personal choices and solutions to real problems in a
safe environment where actions and consequences can be examined, discussed, and experienced
without “real world” dangers.
 Drama makes learning fun and its engaging and interactive nature makes learning more
memorable.
 Drama increase language development as students express themselves by using a range of
emotions and vocabulary they may not normally use.
 As students realize their potential, they gain confidence which extends to other areas of learning
and their lives.
DID YOU KNOW…?
Theatre in Education emerged in the U.K. at the Belgrade Theatre in 1965. A group of actors,
teachers and social workers created a project which successfully merged theatre and
education for the first time. A group of children were presented with a scene featuring two
actors, one of which was holding the other captive. The children were given information on
both characters and their situations and had the choice of whether or not to free the captive
character. From this project, Theatre in Education spread across Britain and the rest of the
world.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
6
NICHOLA LAWRENCE
as Armelia
MATTHEW NETHERSOLE
as Ken
ALANA RANDALL
as Charlaine
CHRIS SAMS
as Andre
MICHELLE E. WHITE
as Nell
JIM DIFFER
on drums
MARIO CRUDO
Director
DANNY JOHNSON
Musical Director/piano
SLG DESIGN & CREATIVE TALENT
Set Designer
KIRSTEN WATT
Lighting Designer
MERVI AGOMBAR
Costume Designer
GILLIAN JONES
Stage Manager
RICHARD MALTBY, JR & MURRAY HORWITZ
Creators
GLENN JENNINGS
on trumpet
DAN ZADKOVICH
on bass
SYNOPSIS
The inimitable Thomas “Fats” Waller rose to international fame during the golden age of the Cotton
Club and the Savoy Ballroom, when the nightclubs of New York City were filled with stride piano
players banging out that jumpin’ new beat, swing. This three-time Tony Award-winning musical
evokes the delightful humour and infectious energy of the legendary jazzman and the celebrated
songs that defined an era. Sometimes sassy, sometimes sultry, with moments of devastating beauty,
AIN’T MISBEHAVIN’ is simply unforgettable.
SONG LIST
ACT 1

Ain't Misbehavin'

Lookin' Good but Feelin' Bad

'T Ain't Nobody's Bizness

Honeysuckle Rose

Squeeze Me

Handful of Keys

I've Got a Feeling I'm Falling

How Ya Baby

Jitterbug Waltz

Ladies Who Sing with the Band

Yacht Club Swing

When the Nylons Bloom Again

Cash for Your Trash

Off-Time

The Joint is Jumpin'
ACT 2
















Spreadin' Rhythm Around
Lounging at the Waldorf
The Viper's Drag
Mean to Me
Your Feet's Too Big
That Ain't Right
Keepin' Out of Mischief Now
Find Out What They Like
Fat and Greasy
Black and Blue
I'm Gonna Sit Right Down and Write
Myself a Letter
Two Sleepy People
I've Got my Fingers Crossed
I Can't Give You Anything but Love
It's a Sin to Tell a Lie
Honeysuckle Band
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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RICHARD MALTBY, JR.
(born in Ripon WI on 6
October 1937) is a lyricist,
director, writer, producer,
and creative consultant.
In 1978, Maltby conceived,
wrote and directed AIN'T
MISBEHAVIN'. After a
smashing critical response the show won several
awards, including the Tony Awards® for Best
Musical and Best Direction.
Recent projects include directing THE STORY OF
MY LIFE at the Goodspeed Opera House (1998)
and on Broadway (2009), and THE 60S PROJECT
at the Goodspeed (2006). In 2007 he ventured
into film with a screenplay for Miss Potter,
starring Renee Zellweger and Ewan MacGregor.
He was creative consultant for BEA ARTHUR ON
BROADWAY (2002) and conceived and directed
RING OF FIRE, the Johnny Cash Musical (2006).
MURRAY HORWITZ (born
in Dayton OH on
September 28 1949) is an
actor, writer, broadcaster
and arts administrator.
Horwitz cowrote AIN’T
MISBEHAVIN’ for which he
received multiple awards,
including a Tony, Emmy, Grammy, and New York
Drama Critics' Circle award.
In 2002, Horwitz became the founding director
of the AFI Silver Theatre and Cultural Center, in
Silver Spring, Maryland. He later served in
fundraising positions at Washington National
Opera and Washington Performing Arts Society.
Source:
http://www.masterworksbroadway.com/artist/richardmaltby-jr & http://en.wikipedia.org/wiki/Murray_Horwitz
Washington Savoyards –
Washington DC
The Lyric Stage –
Boston, MA
AIN’T MISBEHAVIN’ opened in the Manhattan
Theatre Club's East 73rd Street cabaret on
February 8, 1978. It received such acclaim that it
was developed into a full-scale production.
The musical opened on Broadway at the
Longacre Theatre on May 9, 1978, and
transferred to the Plymouth Theatre and then
to the Belasco Theatre and closed on February
21, 1982 after 1604 performances and fourteen
previews.
The West End production opened on March 22,
1979 at Her Majesty's Theatre. It was revived in
London in 1995 at the Tricycle Theatre and then
the Lyric Theatre. A London revival cast
recording was released by First Night.
On June 12, 1982, NBC broadcast the revue with
the original Broadway cast.
A Broadway revival with the same director,
choreographer, and cast as the original 1978
production opened on August 15, 1988 at the
Ambassador Theatre, where it ran for 176
performances and eight previews.
In 1995, a national tour starred the Pointer
Sisters, Eugene Barry-Hill, and Michael-Leon
Wooley. Although it never reached Broadway as
originally planned, a recording of highlights
from the show was released by RCA.
Beginning in November 2008 and lasting until at
least May 2009, season two American Idol
contestants Frenchie Davis, Trenyce Cobbins
and winner Ruben Studdard starred in the 30th
anniversary national tour of the show. A new
cast recording has been made and is available
on the Rhino label.
Source:
http://en.wikipedia.org/wiki/Ain%27t_Misbehavin%27_%28mu
sical%29
Riverside Theatre - Vero
Beach, FLA
STAGES St. Louis Kirkwood, MO
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
Centre Theatre Group
– Los Angeles, CA
8
Early Years
Thomas Wright
"Fats" Waller was
born on May 21,
1904, in New York
City. He learned to
play piano at the
age of 6, and within
a few years was
also learning the
reed organ, string
bass and violin. After
Thomas Wright “Fats”
dropping out of
Waller (May 21, 1904 –
school at around age
December 15, 1943)
15, he became an
organist at the
Lincoln Theatre in Harlem.
Waller's father, Edward, a baptist minister, was
hopeful that his son would follow a religious
calling instead of a career in jazz. However, the
path to music became inevitable following the
death of Waller's mother, Adeline, in 1920.
Waller moved in with the family of pianist
Russell B.T. Brooks, who introduced the
youngster to James P. Johnson, founder of the
stride school of jazz piano.
Rise to Popularity
Waller made his recording debut in 1922 for
Okeh Records with the solo efforts "Muscle
Shoals Blues" and "Binningham Blues." Shortly
afterward, he released "Squeeze Me," an
important early work that established his bona
fides as a songwriter.
Waller continued to play organ at the Lincoln
Theatre while also taking engagements at
theaters in Philadelphia and Chicago. In addition,
he often starred at Harlem's famous "rent
parties," where he and his fellow musicians
would essentially stage concerts in friends'
homes. Larger than life with his sheer size and
magnetic personality, Waller was known to
enjoy alcohol and female attention in
abundance.
Waller became more involved with writing and
performing for revues in the late 1920s, starting
with Keep Shufflin' in 1927. He forged a strong
collaborative partnership with Andy Razaf, with
whom he wrote two of his most famous stage
songs, "Honeysuckle Rose" and "Ain't Misbehavin'."
During this time, Waller also recorded such standards
as "Handful of Keys" and "Valentine Stomp" as a
soloist, and "The Minor Drag" and "Harlem Fuss" as
leader of Fats Waller and His Buddies.
Radio and Film
Waller branched out to radio with his New Yorkbased shows "Paramount on Parade" and "Radio
Roundup" from 1930-31, and the Cincinnati-based
"Fats Waller's Rhythm Club" from 1932-34. After
returning to New York in 1934, he began a new
regular radio program, "Rhythm Club," and formed
the Fats Waller and His Rhythm sextet.
Waller appeared in two Hollywood films in 1935,
Hooray for Love! and King of Burlesque. However,
while his fame was spreading, he reportedly had
become disenchanted with the comedic, irreverent
persona that fans had come to expect from his
broadcasts, instead seeking more respect as a serious
artist. He appeared to be making strong strides in
that direction after a trip to England in 1938,
recording the ambitious composition "London Suite."
Late Career and Death
Waller returned to Hollywood early in 1943 to film
Stormy Weather with Lena Horne and Bill Robinson.
After returning to New York, he began writing songs
for another revue, Early to Bed.
Fats Waller had maintained a heavy travel schedule
into the 1940s, despite declining health, but the wear
and tear eventually caught up with him. While
returning home from another West Coast trip in late
1943, he contracted bronchial pneumonia, an illness
that silenced the beloved and influential jazz great
for good during a stop in Kansas City, Missouri, on
December 15, 1943.
Source:
Fats Waller Biography: Singer, Pianist, Songwriter (1904–1943)
http://www.biography.com/people/fats-waller-9522591#synopsis
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
9
The Harlem Renaissance was a celebration of
African-American heritage and culture between
1919 and the mid-1930s, manifested through an
outpouring of new business, art, literature,
music and dance. This boom of expression, also
called the New Negro Movement, had longlasting, positive effects on the social,
intellectual and economic standing of African
Americans. People consider the period to be a
significant foundation for the Civil Rights
Movement of the 1960s.
African Americans had an opportunity to fill a large
number of vacant positions. Harlem became a
center for African American enterprise and a symbol
of the new black middle class. For the first time, the
stage was set for people of colour to freely express
themselves in the arts and entrepreneurial settings.
Main Concepts and Ideas
The main theme during the Harlem Renaissance was
that developing African American intellect and art
would challenge both racism and stereotypes,
bringing blacks to a new level of equality. They
routinely fell back on concepts such as marginality,
alienation and the effects of slavery in their works.
The use of folk material and difficulties associated
with writing for the elite were also common threads.
Genres Affected
The celebration of African American pride was not
limited to any particular genre within business or the
arts. The area of literature arguably saw the most
changes, however. Publishers produced African
American plays, poetry, fiction, essays, articles and
other works at a very high rate. This provided a
legitimate platform through which African
Americans quickly could spread their ideas and lobby
for increased rights.
The Ascent of Ethiopia (1932) by Lois Mailou
Jones.
Background
Music also saw enormous advancements. Jazz, blues
and gospel music became popular and refined
through artists such as Duke Ellington and Ella
Fitzgerald. Coloured musicians played to mixed or
all-Caucasian audiences. Mixed performance groups
also became accepted. Genres of music normally
reserved for Caucasians, such as classical, saw their
first African American masters.
Following the Civil War, hardships such as
prejudice and lack of money were common in
the South. Increased industrialization in the
north promised job opportunities as well as an
escape from problems in Southern life. Millions
of African Americans migrated north as a result,
converging in the Harlem, New York area along
with other foreign immigrants. Caucasians who
lived in the area moved further north, freeing
real estate for African Americans. Harlem was
considered a black city by the early 1900s.
In response to World War I, foreign immigration
drastically slowed in America. Many people left
their jobs to fight in the war, therefore
The Jazz Singers (1934) by Archibald J. Motley Jr.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
10
African American and Caucasian Patrons
Both African American and Caucasians
supported the Harlem Renaissance. Middle
class African Americans worked to provide jobs
and other opportunities for other individuals of
colour. Caucasians opened doors for
publication or the start of businesses and
artistic projects. They also patronized black
enterprises. Groups such as the Universal Negro
Improvement Association and African
Communities League and the National
Association for the Advancement of Colored
People gave African Americans a sense of
community and ways to work with Caucasians.
This period of cultural empowerment and
advancement also set the stage for the Civil Rights
Movement of the 1960s. The work done unified
African Americans, gave them hope and confirmed
their self-worth. This new determination and the
precedents set encouraged blacks to take stronger
stands for themselves individually and as a people.
The Janitor Who Paints (1939) by Palmer Hayden.
Source: http://www.wisegeek.org/what-was-the-harlemrenaissance.htm
DREAM BOOGIE – Langston Hughes
Blues (1929) by Archibald J. Motley, Jr.
The End of the Renaissance
The Great Depression had a major role in the
end of the Harlem Renaissance. As money
trouble worsened, people of all races paid more
attention to necessities. They did not invest as
much in the arts or expression, although they
still valued these elements. Many African
Americans who had established themselves in
the city left to pursue work elsewhere.
Major Social Effects
African Americans were able to assert their
humanity and demand equality during this era.
Their work changed how America and the world
saw the race. It made society more aware of
African American abilities and culture, elevating
the race to a more accepted and sophisticated
level. Prejudice and hardships still face people
of colour, but they have greater opportunities
than in the past.
Good morning, daddy!
Ain't you heard
The boogie-woogie rumble
Of a dream deferred?
Listen closely:
You'll hear their feet
Beating out and beating out a You think
It's a happy beat?
Listen to it closely:
Ain't you heard
something underneath
like a What did I say?
Sure,
I'm happy!
Take it away!
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
Hey, pop!
Re-bop!
Mop!
Y-e-a-h!
11
BIRTHS
POP CULTURE
British-born American actor Cary
Grant was born January 18.
Only 14 percent of the homes in
the U.S. had a bathtub.
American author and cartoonist
Dr. Seuss, who wrote forty-six
immortal children's books was
born on March 2.
Ice cream cones are created.
Surrealist artist Salvador Dali was
born on May 11.
The teddy bear is first produced.
It is named after US President
Theodore (Teddy) Roosevelt.
Ragtime pianist and composer
Thomas Wright “Fats” Waller,
was born on May 21.
The first airplane flight to last
more than five minutes
happens.
Renowned Chilean poet,
diplomat, and Nobel Prize winner
Pablo Neruda was born on July
12.
A telephone answering machine
is invented.
AROUND THE WORLD
WHAT THINGS COST (U.S. dollars)
In the UK, the first main line
electric train is used.
Average cost of a new house:
$355
Much of Toronto was destroyed
by the Great Fire of Toronto on
April 19.
Average cost of a new car:
$1000 (they were handmade!)
The International Federation of
Association Football, FIFA, is
established.
Average annual salary:
$200 -$400
In New York City, the first New
Year's Eve celebration is held in
Times Square.
Average cost of a new couch:
$7.75
Third modern Olympic games
opens in St Louis.
Average cost of a dozen eggs:
14 cents
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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BIRTHS
POP CULTURE
American singer Janis Joplin was
born on January 19.
Antoine de Saint-Exupéry’s The
Little Prince is first published.
American actor Christopher
Walken was born on March 31.
The 15th Academy Awards
ceremony is held in Los Angeles.
British musician, Mick Jagger of
The Rolling Stones, was born on
July 26.
Archie comic strip first broadcast
on radio.
American actor Robert De Niro
was born on August 17.
Bing Crosby’s White Christmas is
the first #1 song of the year,
holding its position at the top of
the charts for 11 weeks.
American musician Jim Morrison
was born on December 8.
Chutes and Ladders introduced
to North America by Milton
Bradley, where it becomes the
top Christmas gift of the year.
AROUND THE WORLD
WHAT THINGS COST (U.S. dollars)
Hitler declares "Total War".
Average cost of a new house:
$3600
Germany invades Italy.
Average cost of a new car:
$900
First missing persons telecast in
New York.
Average annual salary:
$2000
Sale of presliced bread is banned
to reduce bakery demand for
metal parts in the US.
Average cost of a new couch:
$42
A mob of 60 from the Los
Angeles Naval Reserve Armory
beat up everyone perceived to
be Hispanic, starting the weeklong Zoot Suit Riots.
Average cost of a dozen eggs:
45 cents
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CABARET
Cabaret is a form of entertainment featuring music, song, dance, recitation or
drama. It is mainly distinguished by the performance venue (also called a
cabaret), such as in a restaurant, pub or nightclub with a stage for
performances. The audience, often dining or drinking, does not typically dance
but usually sits at tables.
COTTON CLUB
The Cotton Club was a New York City night club located first in the Harlem
neighbourhood and then in the midtown Theater District. The club operated from 1923
to 1940, most notably during America's Prohibition Era. The club was a whites-only
establishment even though it featured many of the best black entertainers and jazz
musicians of the era including Duke Ellington, Ella Fitzgerald, Louis Armstrong, Nat King
Cole, Billie Holiday and Fats Waller.
JIM CROW LAWS
Racial segregation laws enacted between 1876 and 1965 in the United States. They
mandated racial segregation in all public facilities, such as public schools, public places
and public transportation, and resulted in separate restrooms, restaurants and drinking
fountains for Caucasians and African-Americans.
JITTERBUG
A kind of dance popularized in the United States in the early twentieth century
that is associated with various types of swing dances. The term jitterbug comes
from early 20th-century slang for alcoholics who suffered from the "jitters". The
term became associated with swing dancers who danced without any control or
knowledge of the dance.
STRIDE
A style of jazz piano playing in which the right hand plays the melody while the
left hand plays a single bass note or octave on the strong beat and a chord on
the weak beat. It was developed in Harlem during the 1920s.
THROMBOSIS
Thrombosis is the formation of a blood clot inside a blood vessel, obstructing
the flow of blood through the circulatory system.
UNCLE SAM
Uncle Sam (initials U.S.) is a common national personification of the American
government.
V-DISC
A morale-boosting initiative which involved producing recordings during the
World War II era for the use of United States military personnel overseas.
WACS
The Women's Army Corps (WAC) was the women's branch of the United States
Army, started in 1942 at the height of World War II.
WALDORF ASTORIA
A luxury hotel in New York City.
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Phrase
Meaning
Bust your conk
To work hard.
Cat
Chanteuse
Copper
People who play jazz music.
A female singer, especially one who works
in a nightclub.
A police officer.
Daddy
Sweetheart or husband.
Dig
Understand.
Gum Beater
Braggart or gossiper.
Hep
Cool.
High-Hattin’
Juice
Pretensions; dressing or acting above one’s
station.
A form of slang associated with African
American jazz musicians.
Liquor.
Killer-diller
Very nice.
Mama
Sweetheart or wife.
Mesh
Nylons.
Peckin’
Ragging
A dance performed by bobbing one’s head forward
and back to each beat as a couple faces each other,
similar to the pecking motion that a bird makes.
To compose or perform ragtime music.
Reefer; Drag
A marijuana cigarette.
Reet
Rug-Cutter
Good or excellent, from a pronunciation of “right”
popularized in the US during the jazz- era.
A good dancer.
Tickling the ivories
Play the piano.
Tinkle
To run one's fingers lightly over a piano.
Truckin’
Turtle dovin’
A dance move, most likely invented in Harlem
during the late 1920's. It was done to a shuffle
rhythm and involved moving away from your partner
while strutting and waggling your index finger.
To snuggle or cuddle.
Viper
A drug dealer.
Jive
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The following lesson plans and activities are intended to be used as preparation for and/or follow-up of
the performance. It is our hope that the materials will provide students with a better understanding and
appreciation of the production. Teachers may use and adapt the lesson plans as required to suit their
classroom needs. Many activities and discussion questions are cross-disciplinary, so teachers are
encouraged to read through the study guide thoroughly before planning lessons.
This Study Guide fulfills the following strands of the Ontario Ministry of Education’s Curriculum
Expectations:
The Arts Curriculum:
A. Creating and Presenting or Creating and Performing or Creating, Presenting and Performing
B. Reflecting, Responding, and Analyzing
C. Foundations
The English Curriculum:
A. Oral Communication
B. Reading and literature Studies
C. Writing
D. Media Studies
The Social Sciences and Humanities Curriculum:
A. Research and Inquiry Skills
B. Social Change
C. Personal and Social Responsibilities
D. Trends, Issues and Challenges
The Canadian and World Studies Curriculum:
A. Geography
 Geographic Inquiry and Skill Development
 Methods of Geographic Inquiry and Communication
B. History
 Historical Inquiry and Skill Development
 Change and Continuity
 Citizenship and Heritage
 Social, Economic and Political Structures
 Methods of Historical Inquiry and Communication
C. Civics
 Citizenship, Democracy, and Participation
 Participation in the International Community
 Methods of Political Inquiry and Communication
 Civic Awareness
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It is important for all students (especially those in younger grades) to know what to expect when they
arrive at the theatre. Preparing students for a live performance through discussions and activities
enhances their overall experience and creates a more focused audience. Encouraging students to pay
attention to certain aspects of the production and/or posing one or two specific questions to the class
further enhances their experience as they are actively listening and watching. As well, pre-show
discussion provides teachers with an understanding of their students’ prior knowledge on the
themes/subjects, thus allowing lesson plans to be tailored accordingly.
ATTENDING THE THEATRE
1.
2.
3.
4.
5.
6.
Please review the Theatre Etiquette guidelines with your class (page 3).
How is live theatre different than a movie? How is the role of the audience different?
Why attend live theatre? What is the value of attending?
Discuss the elements that go into producing a live performance: casting, directing, rehearsals,
designing (lights, sets, props, costumes), etc. Ask students to guess how many different
administrative, managerial, technical, backstage, on-stage, and volunteer positions are
required to put on a production (keep in mind the size of the theatre and the scale of the
show). What do they think these various positions entail? In small groups, compare your
definitions and discuss how each position contributes to the success of the production. After
attending the performance, compare their guesses to what they observed while at the
theatre and/or from the information provided in the show program.
Ask students to pay attention to the following during the performance:
a. Staging/blocking: how the actors move on stage, where they move to and from, etc.
b. Costumes: colours, styles, what they say about the characters, costume changes,
how they work with the set, the props and the lighting, etc.
c. Lighting: lighting cues, colours, spotlights, special effects, etc.
d. Music/sound effects: songs, background music, sound cues, etc.
If your group is attending the Talk-Back session after the performance, brainstorm possible
topics as a class and ask each student to prepare one question to ask.
INTRODUCTION TO THE PLAY
1.
2.
Read the play summary on page 6 to the students. Based on what they already know about
the show, what do they think the play will be about? What do they expect the theme(s)
and/or message(s) to be?
Play one of Fats Waller’s biggest hits. Ask the students if they recognize the singer. Discuss
who Fats Waller was and/or ask students to go online to research his life and his career.
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While watching a live performance, audiences are engaged physically, emotionally, and intellectually.
After the performance, discussions and activities allow students to ask questions, express their
emotions and reactions, and further explore the experience. The questions and activities below are
listed by topic and can be utilized in many different courses. Please review the entire list and adapt
questions and activities to fit your classroom needs.
STUDENTS’ REACTIONS
1.
2.
3.
4.
5.
What was your overall reaction to the performance? Explain.
What did you like best about the play? What did you dislike?
Are you satisfied with the way the story was told? Explain.
What, if anything, would you have done differently if you were the director of the play? An
actor? The set designer? The costume designer? The lighting designer? The playwright?
Would you recommend this show to your friends and/or family? Why or why not?
ACTORS & CHARACTERS
1.
2.
3.
4.
5.
Make a list of the details of the main characters in the play. How did you learn this
information – from dialogue, interaction with other characters, costumes, etc.?
Did the characters change or grow during the play? Identify specific moments of change.
How does their age, status, gender, religion, ethnicity, etc. affect each character?
How did the actors use their voices and bodies to portray the characters? Were the actors
successful or unsuccessful at doing so? Justify your answer using specific examples from the
production.
Have students create a written physical description of one of the characters from the play
including weight, height, body type, hair colour, etc. Share and compare descriptions with
those of their classmates.
DESIGN – Costumes, Lighting and Setting
1.
2.
3.
4.
Describe the use of colour, staging, lighting, costumes and/or other elements used within the
production and how it worked (or failed to work) with the play content.
Did each character’s costumes seem appropriate for his/her character (personality, social
status, age, occupation, etc.)? Why or why not?
A realistic setting tries to recreate a specific location. It generally consists of a painted
backdrop, flats and furniture or freestanding set pieces. An abstract set, on the other hand,
does not depict any specific time or place. Rather, it typically consists of platforms, steps,
drapes, panels, ramps and/or other nonspecific elements and is used in productions where
location changes frequently and/or quickly. Is this set realistic or abstract? How was the set
used during the show?
Create a sketch or a series of sketches depicting an alternate set or costumes for one (or all!)
of the actors.
DRAMATIC ARTS
1.
2.
3.
4.
Blocking is a theatre term which refers to the precise movement and positioning of actors on
a stage in order to facilitate the performance. In contemporary theatre, the director usually
determines blocking during rehearsal, telling actors where they should move for the proper
dramatic effect and to ensure sight lines for the audience. Describe the blocking used in the
production. Were there any moments when you felt that such movement was particularly
effective or ineffective? Describe them.
Who would you cast in each role if you were directing a play or film version of AIN’T
MISBEHAVIN’?
A tableau is a theatrical technique that requires participants to freeze their bodies in poses
that capture a moment in time. Divide into groups of at least four and ask each group to
create a tableau depicting the most memorable part of the play. Encourage them to explore
levels (high, low, depth, etc.)
In groups, ask students to create a series of tableaus that represent AIN’T MISBEHAVIN’. The
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5.
6.
7.
8.
number of tableaus allowed will depend on the grade and experience level of the group (i.e.
the more advanced the group, the fewer number allowed).
What was the most memorable part of the show for you? What did you connect with the
most? Why? Create a tableau in a small group depicting that moment.
In small groups create a scene from something mentioned in the play, but not shown
onstage.
Tribute productions, like AIN’T MISBEHAVIN’ are becoming more and more common in
theatres and performance venues. Which other artists have tribute shows? (Hint: Magnus
Theatre has produced several.)
Select a Fats Waller song and read the lyrics. Create a short scene based on the lyrics and/or
meaning of the song.
ENGLISH & LANGUAGE ARTS
1.
2.
3.
4.
5.
6.
7.
How would you describe the genre of AIN’T MISBEHAVIN’? Think-pair-share with a partner to
discuss.
Read through articles and reviews written about AIN’T MISBEHAVIN’ online or published
within our community. How do the reviews differ from one another? How might they
influence your decision to see the show or not? Write your own review based on these
examples.
Select one of America’s jazz greats. Write an expository essay in which you compare/contrast
the style of their music to that of Fats Waller.
Select a Fats Waller song, either as a class or in small groups. Read the lyrics. Listen to a
recording of the song. Analyze the lyrics meaning, looking up any references made.
Research the song – when was it written, who wrote it, what was the public’s reaction to it,
what historical significance does the song have (if any), etc.
Write a formal, critical essay that analyzes Fats Waller’s songs. Topics might include: emotion,
imagery, historical references, recurring themes, etc.
Using the jazz-era slang found on page 14, write a piece of your choosing (play, poem,
monologue, short story, etc.). Include as many slang terms as you can, while attempting to
keep your writing authentic.
Research poetry from the Harlem Renaissance, such as Langston Hughes’ Dream Boogie
(found on page 10 of this study guide). Choose one poem that connects to the themes in
AIN’T MISBEHAVIN’ and then present your findings in a written and/or oral report.
SOCIAL SCIENCES AND HUMANITIES
1.
2.
3.
4.
5.
Think about the relationship between men and women depicted in AIN’T MISBEHAVIN’. Is it
similar or different to the relationship that we see portrayed between the sexes in
contemporary music today?
Several of the songs in AIN’T MISBEHAVIN’ touch on social issues, like race and class. Can you
identify the songs that display a message about society? What do they tell you about the era
that the play is set in? Can you think of any modern songs that comment on issues in our
society?
Research: what was being part of a family, raising children and having a relationship like
during Fats Waller’s lifetime? How was labour divided between men and women?
Talent can be considered a resource. What evidence do we have that Fats Waller successfully
used his talent to build a career?
Using any of the characters in AIN’T MISBEHAVIN’, explain how clothing was selected in the
play to suit a character’s personality traits or to project a desired image.
CANADIAN AND WORLD STUDIES
1.
Fats Waller was born and lived his life in New York City. With a group, research one of the five
boroughs of New York (the Bronx, Queens, Manhattan, Brooklyn or Staten Island) and
prepare a 2-3 minute presentation on the location, culture and landmarks of the area.
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2.
3.
4.
[Teacher note: Divide your class into groups of five or let students choose their “home” group.
Each member of the group should then choose a borough to specialize in and research with the
members from other groups doing the same borough, forming an “expert” group for each.
After the research is done, allow students 10 – 15 minutes to get back into their home groups
and teach their group members about their borough, using the jigsaw strategy].
Research Jim Crow Laws. What were they? Why did they exist? How were they eradicated?
Why is it important for people to engage in civic action?
Analyze segregation from the perspectives of both the Caucasians and the African Americans.
Who is Rosa Parks?
MUSIC
1.
2.
3.
4.
5.
In your opinion, does the music from AIN’T MISBEHAVIN’ reflect its time? Were these songs a
response to issues in a specific era, or could they have been written today?
How does the music in this show make you feel? Why?
Learn to play a song by Fats Waller. Perform as a class or in small groups.
Brainstorm artists that have a similar sound as Fats Waller. Listen to some of their songs,
identifying what qualities they share with Fats Waller, and what qualities make them unique.
Research jazz music and its origins, from ragtime to modern day jazz.
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Subject: SOCIAL SCIENCES AND HUMANITIES,
CANADIAN AND WORLD STUDIES
Grade: GRADES 9+
Prepared by Danielle Chandler, OCT
OBJECTIVE
Students will learn about the nylon riots of World War II and analyze the cultural significance of their
findings.
MATERIALS NEEDED



When the Nylons Bloom Again lyrics (http://www.metrolyrics.com/when-the-nylons-bloom-againlyrics-aint-misbehavin.html)
Student notebooks
Computers
INTRODUCTION
Play “When the Nylons Bloom Again” and have students read the lyrics.
PROCEDURE
LESSON ONE
1.
Use a K-W-L chart to get students to activate their prior knowledge about what they heard in the
“K” category. (To use the K-W-L strategy, construct a 3-column chart on paper. The columns
should be labeled "K" What I Already Know; "W" What I Want to Know; and "L" What I Learned,
as demonstrated below). Students should list as many things that they ‘know’ about the song as
possible.
K
W
L
The WACS come back to
join their men.
2.
3.
Have students form groups of four to share the K section of their K-W-L charts, before discussing
as a class. What is this song about? Add additional ideas to K column.
Prompt students to think about AIN’T MISBEHAVIN’. Did they learn anything about the role of
women in WWII? What? List any questions they have in the ‘W’ column, referring again to the
lyrics of the song.
K
The WACS come back to
join their men.
W
L
What is a WAC?
LESSON TWO
1.
2.
Choose a student to summarize the previous lesson.
Students conduct research using a variety of sources, drawing from their ‘W’ column and
answering the questions they’ve set out.
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The teacher may choose to use the following questions as prompts:




3.
What was the WAC?
Why is the presence of “nylons” significant to the women of this time period?
What was the Du Pont Company making instead of women’s nylons?
Who is Mr. Wallace?
Students add to their L column.
K
The WACS come back to
join their men.
W
What is a WAC?
L
The Women's Army
Corps (WAC) was the
women's branch of the
United States Army.
LESSON THREE
1.
2.
Have students collate their information, using the method of their choice. Possible options
include creating a poster, booklet or leaflet; making a timeline; generating a PowerPoint or
Prezi; writing a song, short story, monologue or script; plotting it on a map; drawing a
storyboard, etc.
Ask students to reflect on what they’ve learned and include their reflection in the final
product. How do the nylon riots relate to AIN’T MISBEHAVIN’? Why do you think it was such
a culturally significant event that Fats Waller wrote a song about it?
ASSESSMENT AND EVALUATION


KWL chart completion
Final product
EXTENSION
Ask for volunteers to share their work with the class.
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Subject: SOCIAL SCIENCES AND HUMANITIES, ENGLISH, MEDIA STUDIES, MUSIC
Grade: GRADES 5+
Adapted from the CBC Digital Archives: www.cbc.ca/archives/teachers/lesson-plan/a-tribute-to-leonard-cohen.html
OBJECTIVE
Students will analyze and assess media for use in a tribute.
MATERIALS NEEDED




Internet connection
Computers
Relevant books (optional)
Microphones or computers with audio capacity
INTRODUCTION
Ask students what music awards shows they are familiar with and what the format and audience
of each show is. Ask students what they think the audience would be looking for in a special
tribute to a musician at one of these awards shows.
PROCEDURE
1.
2.
3.
4.
5.
Introduce students to the task by explaining that they are going to organize a tribute to
Fats Waller for a music awards show. With a partner, they are going to select 5-10
minutes of material found online and in books. They must decide which excerpts of the
clips and photos they would like to show in order to best represent Fats Waller in the
allotted time.
Instruct students to write voice-over information about important details of his life, to go
in between the clips.
Students list which clips they will use, the order they will show them, where they will add
voice-overs, and what information the voice-overs will include.
Students write three paragraphs at the end of their tribute to explain their choices to the
director of the award program.
Have students share their work with the class and justify their choices.
ASSESSMENT AND EVALUATION


Observation of in-class work and attitude
Class presentation
EXTENSION
Have students create audio for the tributes they have outlined, including the voice-overs they
wish to add.
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Subject: ENGLISH, SOCIAL STUDIES AND
HUMANITIES
Grade: GRADES 9+
Adapted from: http://www.pbs.org/newshour/extra/lessons_plans/the-harlem-renissance/
OBJECTIVE
Students will learn about the social, cultural and political circumstances which gave rise to the
Harlem Renaissance, as well as the influences that inspired the work of the Harlem Renaissance’s
artists and musicians.
MATERIALS NEEDED


“Harlem” by Walter Dean Myers (http://faculty.lagcc.cuny.edu/eiannotti/harlem/harlem.htm)
Selections from additional Harlem Renaissance authors, possibly including Alain Locke’s
“The New Negro”, poems by Langston Hughes (“Cultural Exchange”, “Democracy”,
“Freedom’s Plow”), James Weldon Johnson (“Lift Every Voice and Sing”) and Countee
Cullen (“Yet Do I Marvel” and “Heritage”) or excerpts by Zora Neale Hurston.
INTRODUCTION
Discuss the social, political and economic climate of America in the 1920s and 1930s.
 Ask students to compare and contrast the circumstances of African-Americans and
Caucasians at this time. Focus on what accounted for the differences in people’s
experiences based on their race.
 Ask students why they think the arts are an effective means through which individuals
and groups can express their history, frustrations and hopes for the future. Ask them to
give contemporary examples.
PROCEDURE
1.
2.
3.
4.
5.
6.
7.
Read “Harlem” by Walter Dean Myers to students and ask them to visualize as you are reading.
Give students a copy of the poem and ask them to underline all of the locations mentioned in it.
Have students read the poem a third time and highlight or circle all of the people mentioned.
Ask students why they think Harlem became a social and cultural center for African-Americans in
the 1920s and 1930s.
Conduct a primary document analysis which will allow students to get a sense of the Harlem
Renaissance. Choose selections from Alain Locke’s “The New Negro”, poems by Langston
Hughes, James Weldon Johnson and Countee Cullen or excerpts from the writings of Zora Neale
Hurston. Have student work either individually or in small groups to answer the following
questions about the documents: Who is the intended audience? What is the subject matter? How
does this reflect the themes of the Harlem Renaissance?
Once the analysis is complete, have students return to a large group and share their findings.
Focus on the common themes throughout the different documents.
Have students write a found poem in which they alternate phrases or lines from Harlem
Renaissance poems with original lines of their own.
ASSESSMENT AND EVALUATION


Observation
Found poem
EXTENSION
Host a poetry slam during which students will read their found poems aloud.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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ABOUT FATS WALLER
Drop Me Off in Harlem
http://artsedge.kennedy-center.org/interactives/harlem/faces/fats_waller.html
Fats Waller Forever
http://newarkwww.rutgers.edu/ijs/fw/fatsmain.htm
Fats Waller Jam & Jive
http://www.fatswaller.org/
Waller, Fats (Thomas Wright)
http://www.jazz.com/encyclopedia/waller-fats-thomas-wright
Wikipedia: Fats Waller
http://en.wikipedia.org/wiki/Fats_Waller
ABOUT THE TIME PERIOD
Historical Events for Year 1904
http://www.historyorb.com/events/date/1904
Historical Events for Year 1943
http://www.historyorb.com/events/date/1943
Morris Count NJ Historic Price Survey
http://www.gti.net/mocolib1/prices/1904.html
Stocking Series, Part 1: Wartime Rationing and Nylon Riots
http://www.smithsonianmag.com/arts-culture/stocking-series-part-1-wartime-rationingand-nylon-riots-25391066/?no-ist
ABOUT THEATRE IN EDUCATION
‘Actup!’ Theatre as Education and its impact on Young People’s Learning by Nalita James, Centre for
Labour Market Studies, University of Leicester, 2005.
www.clms.le.ac.uk/publications/workingpapers/working_paper46.pdf
Arts Edge
http://artsedge.kennedy-center.org
Performing together: The Arts and Education, jointly published by The American Association of School
Administrators, The Alliance for Education and The John F. Kennedy Center for the
Performing Arts in 1985.
The Effects of Theatre Education by the American Alliance for Theatre and Education
www.aate.com/content.asp?admin=Y&contentid=69
Theatre-Based Techniques for Youth Peer Education: A Training Manual by United Nations Population
Fund, 2005
www.fhi.org/NR/rdonlyres/ephz233yvpsqhohjn67zfovu5wzgk65q3ozwwgq3vkuvcqmkntap
gzwy64jahjkorb2vpgwh4rhlaa/theatrefull1enyt.pdf
What Drama Education Can Teach Your Child by Kimberly Haynes
www.education.com/magazine/article/What_Drama_Education_Can_Teach
What is Theatre in Education by Act On Info, Theatre in Education Company
http://theatre-education.co.uk
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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Act - to perform or play a role; or a section of a
play that is often subdivided into scenes
Actor/Actress – a person who performs a role in a
play
Backstage - the areas that surround the stage
that the audience cannot see
Blackout - a lighting term in which the stage is in
complete darkness
Blocking - the pattern actors follow in moving on
stage, usually determined by the director
Box Office - where ticket sales are handled
Cast - to choose the actors for roles in a play; or
the group of actors who perform the roles in a
play
Character - a role played by an actor
Choreographer - an artist who designs dances for
the stage
Climax - the turning point or decisive moment in a
plot
Conflict - struggle between opposing ideas,
interests or forces; can be internal (within one
character) or external (between two or more
characters)
Costume - any clothing an actor wears on stage
Costume Designer - in accordance to the vision of
the director, he/she designs costumes to build,
rent, borrow, or buy for a production
Crew - the backstage team responsible for the
technical aspects, such as lighting, sound and
set/prop movement
Cue - a signal for an actor to begin their next
line/speech
Curtain call - when the actors acknowledge
applause and bow at the end of the performance
Dialogue - the lines of the play spoken by the
actors while in character
Director - the person who oversees the entire
production; she/he chooses the play, runs
rehearsals and develops the artistic vision for the
play
Dramatic conflict - the conflict in which the main
character in a play engages; can be person vs.
person, person vs. society, person vs. self, or
person vs. nature/fate
Exposition - the beginning of the plot that
provides important background information
Fourth wall - an imaginary wall between the
audience and actors in a play
Green Room – lounge area for actors when they
are not needed onstage
House - the auditorium or seating of a theatre
Improvise - to speak or to act without a script
Lighting Designer - the person who develops and
plots a lighting concept and design for a
production
Monologue - a story, speech, or scene performed
by one actor alone
Motivation - a character’s reason for doing/saying
things
Musical Theatre - theatre that combines music,
songs, spoken dialogue and dance
Objective - a character’s goal or intention
Obstacle - something that stands between a
character and his/her ability to meet an objective
Pantomime - to act without words through facial
expression and gesture
Playwright - a person who writes plays
Plot - the sequence of events; the structure of a
play
Producer - the person or company who oversees
the business details of a theatrical production
Property/Prop - anything that an actor handles on
stage; furniture and other items used to enhance
the set
Protagonist - the main character of the play, who
the audience identifies with the most
Rehearsal - the time during which performers
develop their characters and learn lines and
blocking
Role - a character in a play that is written by the
playwright
Scene - the basic structural element of a play;
each scene deals with a significant crisis or
confrontation
Scenery - onstage decoration to help establish
the time and place of a play
Script - the text of a play
Set - the on stage physical space and its
structures in which the actors perform
Set Designer - the person who develops the
design and concept of the set
Stage Manager - the director’s technical liaison
backstage during rehearsals and performances,
responsible for the smooth running of a
performance
Strike - to remove something from the stage; or
to take down the set
Tableau - a silent and motionless depiction of a
scene; a frozen picture
Theatre - the imitation/representation of life,
performed for other people; or the place that is
the setting for dramatic performances
Theme - underlying meaning of a literary work
Tragedy - a play that ends in defeat or death of
the main character
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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