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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 5 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 7 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 12 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 13 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 14 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 15 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 16 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 17 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 18 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 19 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 20 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 21 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 22 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 23 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 24 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 25 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 26