Educator's Guide

EDUCATOR'S GUIDE

Script by REGINALD ANDRÉ JACKSON

Adapted from the novel by March 13-29, 2020 CHRISTOPHER PAUL CURTIS

KENNEDY THEATRE Featuring at the THE TRIANGLE YOUTH JAZZ ENSEMBLE F

O Overview S

E PLOT SYNOPSIS T L B Time: 1936 A Place: Michigan (Flint & Grand Rapids) N T

10-year-old Bud is an orphan who has spent the last four years in and out of "the OVERVIEW E Plot Synopsis Home" (an orphanage in Flint, MI), as well 2 as various foster homes. Themes

Using this Guide T His mother died when he was six, leaving ABOUT THE STORY him alone in the world with only his suitcase, his memories, and his personal Key Characters 3 "rules" for getting by in life. Meet the Author N

ABOUT THE STORY Inside his suitcase Bud carries a few prized possessions, including: a stack of 4 Historical Context flyers advertising a jazz band, and a Racism during the O collection of rocks with strange letters 1930's and numbers written on them, ABOUT THE SHOW Bud has a feeling that these items are C 5 Onstage: The Actors clues that have something to do with his Onstage: The Band father - whom he's never met. He decides What Is Jazz Music? to follow his intuition and set off on a journey to find his family, his roots, and a ABOUT THE SHOW place he can truly call "home." 6 Show and Tell Technical Tools Listen Up! THEMES

PAGE TO STAGE Family Home Race/Racism Finding Inspiration Hope Perseverance Class 7 Mental health Friendship Identity PAGE TO STAGE Taking Direction 8 USING THIS GUIDE Theatre Etiquette Ask an Actor! The purpose of this guide is to enhance the educational experience of students who attend the show. DISCUSS & DO! This symbol indicates tie-ins with standards & Activities 9 objectives found in the NC Standard Course Discussion Questions & of Study for grades 3-8. Writing Prompts 2

About The Story

KEY CHARACTERS

Bud Caldwell: 10 years old, an orphan

Key Characters: ACT 1

Bugs: 10 years old, Bud's friend from "the Home" Jerry: 6 years old, Bud's friend from "the Home" Billy: a bully at "the Home" Mrs. Amos: Bud's newest foster parent Todd: Bud's new foster brother, a bully Momma: Bud's mom who died when he was 6 Deza: an 11-year-old girl living in a Hooverville Jake: a policeman who threatens the Hooverville and tries to stop people from hopping the train Lefty Lewis: a stranger who picks Bud up on the road to Grand Rapids and gives him a ride Children and adults in America during Cop: stops Lefty and Bud while they are driving the Great Depression Key Characters: ACT 2

MEET THE AUTHOR Herman Calloway: famous bass player, and the leader of a jazz band : the horn player in the band The play you are going to see is Jimmy Wesley s i

t Doug "the Thug" Tennant: the drummer a theatrical adaptation of an r u

C : the trombone Chug "Doo-Doo Bug" Cross award-winning novel by l u . a player P

Christopher Paul Curtis r

e Roy "Dirty Deed" Breed: the piano player Mr. Curtis - who, like Bud, grew h p

o : saxophone

t Harrison "Steady Eddie" Patrick

up in Flint, Michigan - wrote s i

r player in 1999. h

Bud, Not Buddy C Miss Grace Thomas: the singer in the band While Bud Caldwell is a fictional character, many elements of the story reflect real people, places, and events.

For instance, Mr. Curtis' own grandfathers served as inspiration for two key characters that appear in the book. His paternal grandfather, Herman E. Curtis, was the leader of a jazz band called “Herman E. Curtis and the Dusky Devastators of the Depression!!!!!!” And his other grandfather - Earl "Lefty" Lewis - was a redcap and a pitcher in the Negro Baseball Leagues.

In an interview, Mr. Curtis expressed that, "My biggest hope is that my younger readers will feel a sense of curiosity when they finish one 1939 jazz jam session feat. "Cozy" Cole on Drums – with J.C. of my books." We hope this play achieves Mr. Higginbotham, Clyde Newcombe, Rex Stewart, Billie Holiday, Curtis' goal and sparks your sense of curiosity! Harry Lim, Eddie Condon, Brad Gowans & "Hot Lips" Page 3 About The Story (cont'd)

RACISM DURING THE 1930's The Pullman Porters - a group of African American train workers - formed the first African American labor union in 1925, While the Great Depression affected named The Brotherhood of Sleeping Car people all across America and around Porters. the world, racism in the United States In the book, the character is made life even more difficult for African Lefty Lewis working to help organize this union. Americans during this period. The Pullman Porters Although African Americans experienced discrimination in many ways, racial prejudice was particularly evident in the HISTORICAL CONTEXT area of employment - as blacks were typically hired last, and often paid lower Bud, Not Buddy is a piece of historical fiction - wages than white workers. which means that while the people and events described in the story are the author's own invention, the context in which they appear is historically accurate.

The story of Bud, Not Buddy takes place in 1936, during a period of American history known as the Great Depression (1929-1939).

In America, the Great Depression resulted in People in an unemployment line widespread unemployment as the stock market crashed, businesses closed, and banks failed.

At the same time, the "Dust Bowl" - caused by severe droughts - destroyed crops and livestock throughout the Southern Plains, forcing farmers and rural residents to migrate to urban areas in search for work.

People in line at a soup kitchen By 1933, over 15 million Americans were unemployed. As a result, many were evicted from In addition, living conditions for African Americans were often poor, as most were their homes, creative a massive rise in denied housing loans. As a result, many homelessness - especially in the cities. These people were forced to live in run-down people often resorted to living in makeshift, structures, where unsanitary conditions temporary structures made of cardboard and other caused illnesses, and even death. found materials.

These shantytowns became known as "Hoovervilles" - an insult to President Herbert Hoover (1929-1933), whom many blamed for the terrible economic and social conditions.

In 1932, Franklin D. Roosevelt was elected president, instituting a series of programs known as the New Deal which eventually helped spur the country's A row of dilapidated housing structures economic recovery. 4 About The Show WHAT IS JAZZ MUSIC?

The music you will hear during ONSTAGE: THE ACTORS the play is called "jazz." Jazz is an American style of While the show features many different characters, music that was developed by you will only see 11 actors onstage. This means that African American musicians in all of the actors (except the one playing "Young the early 1900's. Bud") will appear in multiple roles. It initially emerged as a blend of West African music, religious music, and To tell this story onstage, we chose to have two European musical traditions. actors share the role of Bud: one as an adult, the Many consider New Orleans to be the other as a child. Sometimes these actors even speak "birthplace" of jazz, although the music lines together. quickly spread to Chicago, New York City, The goal of this is to show how the story is a and Kansas City. reflection of both Young and Adult Bud's memories One of the key elements of jazz is and experiences -- and to ask the audience to improvisation - which occurs when a consider how their own memories and musician alters and adapts a particular perspectives shift with time. musical theme throughout the course of the piece. The 1920's-1930's are often referred to as ONSTAGE: THE BAND the "Jazz Age," due to the popularity of jazz music during this period. Music plays an important role in the story, as Bud's Some of the leading jazz musicians of search for his father leads him to Herman E. this era include Louis Armstrong, Cab - a famous bass player and leader of a Calloway, Duke Ellington, Benny Calloway Goodman, Billie Holiday, and Bessie traveling jazz band. Smith. In our play, we have an onstage jazz band made up For further exploration, click this text to visit of seven instruments: Scholastic's interactive "History of Jazz" lesson page - bass, drums, piano, alto and based on curriculum created by Jazz at Lincoln Center. tenor saxophone, clarinet, and trumpet.

Music (3-8).CR.1 - Understand global, The musicians playing these instruments are all interdisciplinary, and 21st century connections members of the Triangle Youth Jazz Ensemble. with music. Social Stud. 5.C.1.4 - Understand how cultural narratives (legends, songs, ballads, games, folk About the Triangle Youth Jazz Ensemble tales, and art forms) reflect the lifestyles, beliefs and struggles of diverse ethnic groups . The Triangle Youth Jazz Ensemble (TYJE) is an award- winning, Raleigh-based organization dedicated to training young people (grades 8-12) in the art of big band jazz. They rehearse and perform regularly under the direction of Dr. Gregg Gelb. In addition to its numerous local awards, the TYJE has been selected as a finalist in Jazz at Lincoln Center's "Essentially Ellington" competition for the past five seasons.

To learn more, visit: philharmonic-association.org/triangle-youth-jazz-ensemble/ Duke Ellington (at piano), with the Duke Ellington Orchestra 5 About The Show (cont'd)

LISTEN UP! SHOW AND TELL The play features a number of jazz pieces from the period. See if you can Both the book and the adaptation you will see on stage catch them all during the show! use a storytelling device known as narration.

In the book, Bud narrates the story by describing events "It Don't Mean a Thing (If It Ain't as they occur, often sharing his own thoughts and Got That Swing)" - Duke Ellington, feelings with the reader at the same time. lyrics by Irving Mills (1931) In theatre, we can go a step further. Because the audience is able to see the story unfolding in front of Listen for this at the very them, we can share information through beginning of the show! actions (showing) as well as through words (telling).

"In a Sentimental Mood" - by Duke Show Pro Tip! Ellington (1935), composed at a During the show, watch and listen for moments when party in Durham, NC characters switch between narration (giving information to the audience) and dialogue (speaking Listen for this whenever directly to another character). Momma appears. ELA-L.(3-8).3 - Use knowledge of language and its conventions when writing, speaking, reading, or listening.

"Caravan" - by Juan Tizol and Duke Ellington (1936) TECHNICAL TOOLS

Listen for this when Bud is In theatre, we use various technical elements to create the at the Amos' house. world of the play and bring the story to life. The people who design these elements are part of the show's creative team.

The set or scenic design grounds the action in a "Sing, Sing, Sing" - by Louis Prima specific sense of place and time. Our set contains (1936), also recorded by Benny elements that hint at a train, a house, a bandstand, a road, telephone polls, and various rooms. Goodman in 1937

The stage lights or lighting design help create certain Listen for this when Bud is atmospheres and moods. They also highlight specific running for the train. areas of the stage in order to draw attention to the action happening there.

The sound design refers to sound cues that play "All of Me" - by Gerald Marks and during the show (e.g. a dog barking or a siren blaring). Seymour Simons (1931); famously In addition, the sound designer must adjust the recorded by Billie Holiday in 1941 volume of the band and the actors' voices to make sure that the dialogue can be heard at all times.

Listen for this when Mrs. The costumes (anything the actors wear) and props Thomas sings in the band. (anything the actors hold or use) are important too. Many times a single costume piece - like a hat - will be used to create a whole new character onstage. 6 Costume Design Page to Stage Inspiration

FINDING INSPIRATION

The members of the creative team started working on their designs long before rehearsals with the actors began.

They spent time researching the time period in which Bud lived, and deciding how to represent the different elements of Bud's world onstage.

Many of the team members searched for images that they used as inspiration when creating their own designs. The Ground Plan: a bird's eye view of the ScenSicc eInnsipc iDraetsioignn theatre and set & DeIsnigsnpiration

Testing paint colors/techniques for the "dirt" floor and the wood platforms

Lanterns from the Wilmington Railroad Museum

Theatre Arts (3-8).AE.1 - Understand how to design technical theatre components, such as costumes, sets, props, lighting, and sound. 7 Page to Stage (cont'd) ASK AN ACTOR! TAKING DIRECTION

We asked , u

Jefferson Gichuru r u the actor who plays "Young h In theatre, the has many responsibilities! Here c director i G Bud," five questions about are a few examples of all the things she must do: n o s

himself and what it's like to r

e (This is called f Choose the actors to play each role. f

take on this role: e

J "casting.")

1) How long have you been acting? Talk with other members of the creative team and I have been interested in acting my whole work together to make design decisions. (What will life and have been in several plays. I only the stage look like? What kinds of props will we need? started professional auditions about a year What will everyone wear?) ago and this is my first professional role. Stage the show in rehearsals with the actors. ("Staging" refers to choices about how the actors enter 2) Had you read Bud, Not Buddy before and exit, where they stand on stage, and when/where/ you auditioned for the show? how they move in the space.) I read a little bit before the audition to have an idea of what it was about, and continued Work with the actors on character development, it afterwards because it was such an intentions, and choices. (It is the director's job to interesting story. make sure the cast understands each character they are playing, and knows why these people do and say 3) So far, what has been the most the things they do in the show.) challenging part of this process? To me, the most challenging part has been understanding Bud. Since he has been THEATRE ETIQUETTE through so much, it can be hard to imagine exactly what it would be like to be him. Going to see a play at the theatre is an exciting experience - 4) What have you enjoyed most about but it's different than going to see a movie or a concert! working on this show? The thing I have enjoyed most is working with the very talented actors, actresses and all the other talented people involved in Rules & Things... the show. Being around them has made (...for being a good audience me learn so much more about acting that I member and having a better time!) had not known before. 1) Show respect to the performers by giving them 5) What advice would you give other your full attention – if you’re talking to your kids who want to act or get involved neighbor, then you’re missing the show! in theatre? My advice would be to take acting classes, 2) Stay seated during the performance – be audition for as many parts as you can, and respectful to your fellow audience members who also be patient - because even if you don’t are also trying to see! get the role, you’ll still get practice. 3) Please keep all food and drink outside the theatre.

DID YOU KNOW? 4) Turn off cell phones during the show. 5) Feel free to laugh, cry, and applaud when it’s A photo of each actor is printed in the appropriate. playbill, along with a short bio. The 6) ENJOY THE SHOW! show's creative team is listed there too.

Click here to view an electronic copy of Theatre Arts (3-8).CU.2 - Understand the traditions, roles, this show's playbill. and conventions of theatre as an art form. 8 Discuss & Do! DISCUSSION QUESTIONS & WRITING PROMPTS ACTIVITIES Use these conversation starters after you've seen the show!

1) Bud creates a number of "rules" for You're In the Band! having a "funner" life. Name at least one In the show, one of Bud's prized possessions is a flyer of them. Do you think following that rule advertising a jazz band named "Herman E. Calloway and helped Bud? Why or why not? the Dusky Devastators of the Depression!!!!!!" Write down three "rules" of your own that you tend to follow. They should reveal Imagine you are a member of a 1930's jazz band. What something about your perspective on life. instrument would you play? Choose a creative name for your band and design a 2) It is important to Bud that people call flyer or poster advertising your next performance! him by his real name (Bud), instead of using the nickname "Buddy." Why is this Visual Arts (3-8).V.3 - Create art using a variety of tools, media, so important to him? On the other hand, and processes, safely and appropriately. what is Bud's attitude toward the nickname the band gives him? (Do you remember what it was? Hint: ) Need some inspiration? With an adult's permission, search Do you have a nickname? How did you get online for examples of artwork from the it, and how do you feel when people use it? 1930's advertising jazz performances -- Is there another nickname you'd choose? like this poster from 1931.

3) Why do you think we had two actors Social Stud. 6.C.1.1 - Analyze how cultural play the role of Bud (as "Young Bud" and expressions reflected the values of "Adult Bud")? How did this affect your civilizations, societies and regions (e.g. understanding of the story? oral traditions, art, dance, music, literature, and architecture). 4) Describe five things you observed Digital Learning (3-8). 3 - Students critically curate a variety of about the set, lights, costumes, props, or resources using digital tools to construct knowledge, produce music during the play. How did these creative artifacts and make meaningful learning experiences for themselves and others. creative elements help tell the story?

Theatre Arts (3-8).A.1 - Analyze literary texts and performances. Past & Future Letters ELA-SL.(3-8).1 - Engage effectively in a range of collaborative discussions (one-on- In the show, "Adult Bud" often observes and comments one, in groups, and teacher-led) with on the action that "Young Bud" performs. diverse partners on grade (3-8) topics and Think about a time when you were younger. Write a texts, building on others’ ideas and expressing their own clearly. short paragraKpnho owf a Bdveifcoe rteo yYoouur "Gyou! nger self." What do you wish you had known? Now think about yourself five years from now. Write a paragraph to your "older self" describing an experience you want to remember. LOOKING FOR MORE? Why is this memory important to you?

Check out these additional ELA-W.(3-8).3 - Write narratives to develop real or imagined resources available online: experiences or events using effective technique, relevant Bud, Not Buddy Educator Guide descriptive details, and well-structured event sequences . Bud, Not Buddy Reader's Guide Bud, Not Buddy Discussion Guide 9 ABOUT THEATRE RALEIGH

Theatre Raleigh offers year-round educational programming for both children and adults.

We created the Family Series as a way to offer engaging professional theatre experiences for young people in our community.

By producing shows that that spark curiosity and creativity, we hope to inspire the next generation of theatre artists, theatre lovers, and arts supporters,

Our classes and camps allow students of all ages and experience levels the opportunity to participate in theatre and its many unique disciplines - including singing, dancing, acting, playwriting, and more.

Through these programs, students practice creative expression in a supportive environment -- gaining practical life-skills, a heightened sense of self- confidence, and the satisfaction of working with others to achieve a common goal.

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Theatre Raleigh also produces a critically-acclaimed Summer Series that brings Broadway-level talent to the Raleigh stage. Each season features a unique selection of pieces ranging from contemporary plays, to hit musicals, to challenging new works.

MISSION Theatre Raleigh is a homegrown theatre company producing intimate theatre experiences in the heart of downtown Raleigh that engage our community, foster regional artists, and 2019/2020 elevate professional theatre in our city. FAMILY SERIES TheatreRaleigh.com MORE INFO CONTACT: Morgan Parpan, Theatre Raleigh Education Director, at [email protected] or (919) 832-9997