STUDY GUIDE for PLAYHOUSE ON THE SQUARE’S Touring production of
February 21 - March 9, 2012 & May 1 - May 18, 2012 Study Guide by: Andrea Rouch
Playhouse on the Square 66 South Cooper St. Memphis, TN 38104
Theatre for Youth: (901) 728-5631 Business Office: (901) 725-0776 Box Office & Group Sales: (901) 726-4656 www.playhouseonthesquare.org table of contents Part One: The Play...... 1 Synopsis...... 1 Vocabulary...... 2
Part Two: Background...... 3 About the Playwright...... 3 Origins of the Play...... 3 About Brothers Grimm...... 4
Part Three: Activities and Discussion...... 5 Before Seeing the Play...... 5 After Seeing the Play...... 5 Themes...... 5 Curriculum Ties...... 6 Comic Strip Coloring Activity...... 8 How To Make Your Own Fairy Tale...... 10 Frog Word Search...... 11 Theatre Word Search and Play Review...... 12
Part Four: The Theatre...... 13 History...... 13 Theatre For Youth...... 17 Elements of Production...... 15 The Audience...... 16 Glossary of Theatrical Terms...... 18
Part Five: Bibliography...... 19 Production Sponsors 1 The Play Synopsis The story takes place “many, many years ago, and yet not too far in the future at the same time.” The play begins with the Narrator on the stage. He begins chanting a rhyme and soon the Witch, Number 1, Number 2, Princess, and Frog Prince come onstage and chant different ryhmes. Everyone constantly swats at flies throughout the play because there is an infestation of them. The Narrator begins telling the “Frog Tale” while creating a rulebook for the Frog Tale as he goes. Peter Pan comes flying into the scene with Tinker Bell, and the Narrator ushers them away, explaining that The Frog Prince is a Frog Tale and not a Fairy Tale. The Narrator explains that the Witch, although “mean and tyrannical, is in love with the handsome, young Prince Joe because he always tells the truth.” Prince Joe comes onstage and expertly swats a bunch of flies. The Witch proposes to Prince Joe, but he says no because her wart is too ugly. To teach him a lesson, the Witch turns the Prince into a Frog. The spell can only be broken if a princess lets the Frog Prince sit next to her, eat from her plate, sleep in her bed for three nights, and kisses the Frog Prince’s wart. The Frog Prince finds a nice, comfortable wishing well to live in right next to a castle that 3 princesses live in. He waits in the well for months and months but no princess comes to rescue him. Finally, a princess arrives carrying a lovely golden ball. She throws her ball up and down and accidentally drops it into the well. The princess begins to whine and cry about dropping her ball. The Frog Prince then makes a deal with the princess that he will bring her ball back if she promises to sit next to him, let him eat from her plate, let him sleep on her bed for three nights, and kiss his wart. She agrees and the Frog Prince retrieves her ball. The princess takes her ball and then darts away as fast as she can, leaving the Frog Prince behind. Much to his dismay, the Frog Prince begins hopping his way to the castle, which is a very long trip for a frog. Finally, he arrives at the castle where the French Maid is serving dinner to the Princess and her father. Prince Charming arrives at the house with a glass slipper and says that whoever fits in the shoe will be his wife. The Narrator kicks him out, though, because he is from “Cinderella” which is a fairy tale. The Kings other daughters, Princess Opie and Princess Dopie, arrive at the dinner table and bicker about silly, petty things. The Frog Prince arrives and calls for the Princess asking her to fulfill her promise. She screams and whines, but eventually lets him sit next to her, eat from her plate, and sleep on her bed for three nights. The Frog Prince asks her to fulfill the final
1 promise and kiss his wart. She refuses and leaves in a huff just as the French Maid is entering. The French Maid offers to kiss him on the wart to see if it will break the spell. She tries, but it still does not break the spell. Instead, the French Maid offers him a plan she has come up with. Suddenly, Annie arrives singing “Tomorrow, tomorrow...” and the Narrator, after having a nervous breakdown, makes her leave the stage. The Narrator then continues with the story and explains the French Maid’s plan to disguise the Frog Prince as Prince Charming and ask for a kiss. The Princess notices the disgusting smell and figures out that it is the Frog Prince in disguise. The Frog Prince tells her that if she doesn’t kiss his wart, he will never, ever, ever, ever, ever go away. But if she does kiss his wart, she will never, ever, ever, ever, have to see him again. She kisses him on the wart and he turns into a Prince in front of her very eyes. Each of the three princesses confesses her love to Prince Joe, but he has fallen in love with the French Maid who loved him unconditionally. The French Maid then reveals herself as the Witch and the Prince honestly finds her very beautiful, wart and all. The Witch and Prince Joe forbid the Narrator to make any more rules and they go live happily ever after.
Vocabulary- found in the show
A R Absurd: ridiculously unreasonable, unsound, or incongruous Retort: a sharp, angry or wittily incisive reply to a remark Retrieve: to get back again, to regain C Rugged: physically strong and able to endure harsh Condition: a state of being, how someone feels conditions; tough D S Despair: to lose all hope or confidence Specialty: an unusual, distinctive, or superior mark or quality Disguise: to change the customary dress or appearance of Dramatic: over-the-top, highly emotive T Tainting: to spoil someone’s reputation or idea about F something Faithful: steadfast in affection and allegiance, loyal Tale: a narrative or account of events Features: the structure, form, or appearance especially of a Threatening: expressing an intention to cause someone harm person or pain Tormenting: to tease persistently H Trembling: to shake continuously out of fear Hesitation: an act or instance of hesitating Tyrannical: ruling with absolute power over a population cruelly kept submissive and fearful N Noble: possessing outstanding qualities U Unconditionally: complete with no conditions or limitations O attached Offensive: causing displeasure or resentment Unfortunately: used when someone wishes something were not true P Plague: an epidemic disease causing many deaths and W sickness Wary: cautious and watchful Potential: the capacity or ability for future development or Witnesses: somebody who saw or heard something that achievement happened and can verify it
2 2 Background About the Playwright
Catherine Gray wrote her first play, Alice in Wonderland, for the Barter Theatre in 1999. Since then, she has written a play a year specifically for the Barter Players. Her other works includeThe Frog Prince, Sword in the Stone, The Pied Piper of Hamelin, and A Beatrix Potter Christmas. Catherine was also an actor in Barter’s First Light Company, during which time she toured schools all over the East Coast. Catherine, a member of Actor’s Equity, was also a part of the Resident Acting Company at Barter Theatre from 1998 to 2002 and has also appeared in numerous films while not on stage. Catherine now lives in Los Angeles, California with her husband and two daughters.
Origins of the Play The Frog Prince is a fairy tale, best known through the Brothers Grimm’s written version; traditionally it is the first story in their collection. In the tale, a spoiled princess reluctantly befriends a frog (possibly meeting him after dropping a golden ball into his pond), who magically transforms into a handsome prince. Although in modern versions the transformation is invariably triggered by the princess kissing the frog, in the original Grimm version of the story the frog’s spell was broken when the princess threw it against a wall in disgust. In other early versions it was sufficient for the frog to spend the night with the princess. An article in “National Geographic” explains,
“Looking for a sweet, soothing tale to waft you toward dreamland? Look somewhere else. The stories collected by Jacob and Wilhelm Grimm in the early 1800s serve up life as generations of central Europeans knew it—capricious and often cruel. The two brothers, patriots determined to preserve Germanic folktales, were only accidental entertainers. Once they saw how the tales bewitched young readers, the Grimms, and editors aplenty after them, started “fixing” things. Tales gradually got softer, sweeter, and primly moral. Yet all the polishing never rubbed away the solid heart of the stories, now read and loved in more than 160 languages.” An original Brothers Grimm illustration. 3 About Brothers Grimm
Jacob Ludwig Carl Grimm was born in January 4, 1785, in Hanau, Germany. Just over a year later, in February 24, 1786, his brother Wilhelm Carl Grimm was born. Their father was a lawyer, and they had six more brothers and one sister. In 1802, Jacob went to university to study law at the University of Marburg. As always, his brother followed him, and entered law school in 1803. During their university years they began to collect folk and fairy tales. Folklore is stories that have been passed down from parents to children, by word of mouth, but at that time many had not been published in books. The Grimms were especially interested in stories that included Germany and German culture. Jacob and Wilhelm published their first book of fairy tales – “Children’s and Household Tales” - in 1812. There were 86 folktales. Readers were so happy to see the stories they had been told as children all collected together that the book was a success. In the next volume of “Grimm’s Fairy Tales”, the brothers added 70 more stories. It went on growing like this for six more editions. Finally, the Wilhelm (left) and Jacob Grimm (right) from book contained over 200 stories! It is probably the an 1855 painting by Elisabeth Jerichau- best-known work of German literature. Even if you Baumann don’t know the Brothers Grimm, you definitely know a Grimm fairy tale. The Grimm Brothers were always together – even when Wilhelm married his wife Henriette, Jacob continued to live with them! The Brothers Grimm were both professors and scholars. In fact, Jacob Grimm is considered to be the father of the study of German history. They both taught as professors in Germany’s capitol, at the University of Berlin. They became known throughout Europe as experts on anything to do with folktales, language, and anything German. They were so into books that they both became librarians as well! During their lifetimes they published many more very important books, including “German Mythology,” “Old German Tales,” “The History of the German Language,” and even the German Dictionary. Grimm fairy tales include stories of kings, magic, and talking animals. Even though the stories are sometimes scary, fairy tales allow us to work through our fears. They often teach us a lesson about moral values, and right and wrong. Sculpture of the Brothers in Hanau, In the Brothers Grimm version of The Frog Prince, the story begins when a young Germany princess loses her golden ball down a well and a nearby frog offers to retrieve it for her. In return, however, he demands that she keep him near her as a close companion, and share her food, her drink, and her pillow with him. The princess is repulsed by the frog, but, reasoning that he has no way to enforce the promise, agrees. The frog returns her ball, and she runs home without him. Later that night, the frog appears at the castle, and the king insists on the princess keeping her promise to him. Come nighttime, however, the princess refuses to let the frog sleep on her pillow, and angrily throws him against the wall. To her shock, what lands is a handsome (and very forgiving) prince, and the two of them fall in love and marry. As they ride off into the sunset, they hear three loud cracks from outside the coach - it was the prince’s faithful servant, Henry, who had had his heart bound with iron straps to keep it from breaking when the prince was enchanted. The cracking sounds were the bonds breaking as the man’s heart swelled with happiness. The iconic True Love’s Kiss that replaces the act of violence in breaking the spell seems to be an artifact of translations into English, and has completely replaced the earlier versions in popular culture, even in Germany. The ending with the faithful servant is also frequently left out. The princess’ violence may be a throwback to other animal-bridegroom type stories in which violent acts (such as beheading the animal or burning its skin) were the only way to break the spell. Removed from this context, though, it gives the story a broken Aesop feel; the moral up until that point had been about keeping your promises. In abusing the frog, the princess is breaking her promise with a vengeance, leading the reader to wonder why she deserves the handsome prince. Versions in which she kisses him avert this problem, like Catherine Gray’s, The Frog Prince. 4 3 Activities & Discussion Before Seeing the Play 1. Go over the vocabulary and background information on the Brothers Grimm to associate the students with the origins of The Frog Prince story. 2. Discuss with your students the etiquette of being an audience member at a live theatrical performance. Items for discussion: don’t talk during the play, appropriate responses, no chewing gum, going to the bathroom before the performance, etc.
3. Discuss what it is like seeing a live play. What are the differences between seeing a play and a movie? Discuss how the elements of a live play contribute to telling the story. How do the costumes and sets enhance the audience’s understanding of the characters and plot?
4. Have students fill out the Theatre Crossword on page 11 of the study guide to better familiarize them with theatre terms. After Seeing the Play 1. For younger students, use pages 8 and 9 of the study guide entitled “Color and Fill in the Story”. Make copies for students in your class and let them color in each of the squares. Then, have the students fill in the missing blanks of the narration underneath the pictures.
2. For older students, using page 10 of the study guide, have students write their own fairy tales with the guidelines given.
3. Using the Frog Word Search activity sheet in the study guide on page 11, have students find all the words related to frogs for a fun activity.
4. What were some themes or morals of the show? Using the “Theme” section below, ask the students to share lessons they learned from the story.
5. Using the format on page 12, have students write a review of the performance.
Themes In literature, the theme of the story is one of the most important aspects of a story and requires deep interpretation. The theme of a story is the point the writer is trying to make. Some people think of it as the lesson or the moral that the writer is trying to teach. There are many themes found in The Frog Prince. Have a discussion with your students about some themes and lessons they took from the story. Listed below possible additional themes for discussion: - Getting punished for foolishness or evil --> Witch turns Prince Joe into Frog Prince for his shallow nature. - Characters are put to a test, overcome obstacles --> Frog Prince must break the spell, Princess must keep her promise. - Honesty is the best policy --> Witch loves Prince Joe for his honesty instilled by Prince’s mother. - Do not judge a book by its cover --> Witch is considered ugly, but Prince Joe sees her inner beauty in the end. - Not all rules are good rules --> Witch takes the rule book away from the Narrator and rewrites her own rules. - Characters live happily ever after --> Witch and the Prince live happily ever after.
5 Curriculum Ties
Theatre Arts
Kindergarten Standard 4 - Theatrical Presentation 4.1 Recognize other art forms used in theatre. 4.2 Utilize other art forms in dramatic activities. 4.3 Recognize the role of the audience and demonstrate appropriate audience etiquette. Levels 1, 2, and part of 3 are applicable.
Standard 5 - Scene Comprehension 5.1 Experience creative drama, formal theatre, film, and/or television. Levels 1 - 3 are applicable.
Standard 6 - Context 6.1 Explore similarities and differences between real life and theatre, television, etc. 6.2 Develop an awareness of real life experiences and fantasy through guided dramatic play. Levels 1 - 3 are applicable.
Grade 1 Standard 4 - Theatrical Presentation 4.1 Discuss other arts forms used in theatre 4.2 Utilize other art forms in dramatic activites. 4.3 Explore the role of the audience and demonstrate appropriate audience ettiquette. Levels 1, 2, and part of 3 are applicable.
Standard 5 - Scene Comprehension 5.1 Respond to creative drama, formal theatre, film, and television. Levels 1 - 3 are applicable.
Standard 6 - Context 6.1 Examine similarities and differences between real life and theatre, television, and multimedia. 6.2 Explore real life experiences and fantasty through creative drama. Levels 1 - 3 are applicable.
Grade 2 Standard 4 - Theatrical Presentation 4.1 Identify other art forms used in theatre. 4.2 Incorporate other art forms into the creation of dramatic projects. 4.3 Examine the role of the audience and demonstrate appropriate audience etiquette. Levels 1, 2, and part of 3 are applicable.
Standard 5 - Scene Comprehension 5.1 Explore and respond to creative drama, formal theatre, film, and/or television. Levels 1 - 3 are applicable.
Standard 6 - Context 6.1 Explore how various cultures are reflected through theatre, film, and television. 6.2 Explore the role of theatre, film, television, and electronic media in daily life. Levels 1 - 3 are applicable.
6 Grade 3 Standard 6 - Theatrical Presentation 6.1 Identify ways in which other art forms contrast and/or relate to theatre. 6.4 Understand the role of the audience and demonstrate proper audience etiquette. Levels 1, 2, and part of 3 are applicable.
Standard 7 - Scene Comprehension 7.1 Respond to selected theatrical experiences. 7.2 Examine creative drama and formal theatre, film, and television. Levels 1 - 3 are applicable.
Standard 8 - Context 8.1 Examine how various cultures are reflected through theatre, film, television, and electronic media. 8.2 Understand the role of theatre, film, television, and electronic media in daily life. Levels 1 - 3 are applicable.
Grades 4 & 5 Standard 6 - Theatrical Presentation 6.1 Explore other art forms as they contrast and/or relate to theatre. 6.2 Explore dramatic media as a forum for the syntheses of all of the arts. 6.4 Understand the role of the audience and demonstrate appropriate audience etiquette. Levels 1, 2, and part of 3 are applicable.
Standard 7 - Scene Comprehension 7.1 Respond to selected theatrical experiences. 7.2 Examine creative drama and formal theatre, film, and multimedia productions. Levels 1 - 3 are applicable.
Standard 8 - Context 8.1 Explain how elements of various cultures are reflected in theatre, film, television, & electronic media. Levels 1 - 3 are applicable.
Grade 6 Standard 6 - Theatrical Presentation 6.1 Explore various art forms. 6.2 Examine dramatic productions as a synthesis of all the arts. Levels 1, 2, and part of 3 are applicable.
Standard 7 - Scene Comprehension 7.1 Respond to a variety of theatrical experiences. 7.2 Examine informal and formal theatre, film, television, and electronic media productions. Levels 1 - 3 are applicable.
Standard 8 - Context 8.1 Explain how attitudes of various cultures are reflected by theatre, film, television, and electronic media. Levels 1 - 3 are applicable.
Other Curriculum Ties Please refer to the Tennessee Department of Education Curriculum Standards manual for reference to English, History, and Social Studies Curriculum Ties for Kindergarten, Grades 1 - 3, and 4 - 6.
7 Color and Fill in the Story!
Fairy Tale Frog Tale
Frog Tale Rules
Once upon a time, in a land infested with flies, there lived a But when the Witch proposed to Prince Joe, he said he handsome young prince named ______, and could not marry her because she was ugly. To teach him a an “ugly” Witch (as told in the Frog Tale Rules.) The Witch lesson, the Witch turned Prince Joe into a ______. Only was in love with the Prince. a Princess could help him break the spell.
To break the spell, a princess had to let the Frog Prince Finally, a Princess arrived and accidentally bounced her sit next to her, eat from her plate, and sleep on her bed ball into the well. The Frog Prince offered to retrieve the for three nights. Then, the Princess had to _____ the Frog ball if she would help him. But when he gave the Princess Prince on his ugly wart! her ball back, she ______. 8 The Frog Prince called after her, but the Princess was Finally, the Frog Prince showed up at the castle and already out of sight. Determined to break the spell, the confronted the Princess. The Princess resisted, but Frog Prince began to hop to the ______. It took the her ______insisted that she keep her promise. The Frog Prince days to reach the castle because he was so Princess ran out and the French Maid set out to help much smaller in frog form. the Frog Prince.
The French Maid’s plan did not work. The Frog Prince said Now that Prince Joe was handsome, the Princess and her he would never, ever, ever go away unless he got his kiss. sisters confessed their love for him. Prince Joe, however The Princess kissed him and suddenly, the Frog Prince was in love with the French Maid, who loved him even transformed into ______right in front of her eyes! when he was an ugly frog. The French Maid revealed herself as the ______and they lived Happily Ever After! 9 How To Write Your Own Fairy Tale
1. Decide what lesson your fairy tale is going to teach before you write it. At their core, fairy tales are morality tales from the horror of stepmothers to not talking to strangers. They are generally teaching something and yours should do the same.
2. Create a good character. A fairy tale needs someone to root for. They don’t have to be perfect. Just think Jack in “Jack and the Beanstalk” or Red in “Little Red Riding Hood” but your readers should like them and want them to succeed.
3. Devise an evil character. A fairy tale must have an evil character that works as an antagonist to the good character. The evil character usually has special powers of some sort and they must use those powers in a way to cause the good character distress.
4. Design a magical character or object to write into the fairy tale. The magical character can be the evil character but many fairy tales have both good and evil magical characters that work to offset the other’s influence.
5. Identify what obstacles your good character is going to have to face. Whatever the obstacle, it should seem insurmountable and genuinely require a bit of creativity by your good character and a little magical assistance.
6. Write a happy ending. A fairy tale isn’t a fairy tale unless it has a happy ending. Your good character must succeed and your evil character must lose and lose in a big way so you can write your “happily ever after.”
10 Frog Word Search circle the words you find
11 Theatre Word Search & Play Review
Search the letter grid below and circle the ACTIVITY: theatre terms listed. Write a Play Review How many can you find? HEADING Words may be listed left-to-right, 1. Title, playwright, and type of play right-to-left, top-down, bottom-up, 2. Date, place, and name of performing group and diagonally up-or-down. 3. Include a play program with review
ESSAY OUTLINE TALFPTVVQGNM I. Theme of play (main subject or message) HOUNORPALRUS II. Atmosphere (how it was expressed in the EGPACROUEIOS scenery, lighting, and sound) SNSSJVLDNDTM III. Brief summary of story or plot PITGWGREUHWX IV. Technical evaluation IKANXOCVGCJS A. Setting/Scenic design B. Lighting ACGIBSLIXSET C. Costumes NOEWOVLLAQJR D. Sound design ALBRXTQLOGEI V. Acting evaluation A. Were actors convincing in their roles? ABPHOUSEAFKK B. Did all characters work together to JPDOWNSTAGEE create an ensemble? C. How did voice/movement impact believability? APRON GRID STRIKE D. Did actors underplay/overplay the BLOCKING HOUSE THESPIAN parts? E. Any outstanding performances? Be BORDER LOGE UPSTAGE specific. DOWNSTAGE PIT VAUDEVILLE VI. Directorial evalutaion FLAT PRODUCER WINGS A. Did the stage stay balanced? FOLLOWSPOT PROSCENIUM B. Did all the aspects communicate the same concept or were some distracting? GEL SET C. Did the production interpret the script to your satisfaction? D. Was the director true to what you think the playwright intended? E. Were any aspects of the show confusing?
VII. Personal opinion (Discuss any aspect of the play you wish, but give reasons to justify your beliefs.) 12 The Theatre
In 1979, Circuit Playhouse, Inc. bought and In the4 summer of 1965, Jackie Nichols was a rising senior at moved to the former Guild Movie theatre at Overton High School. He teamed up with fellow students to 1705 Poplar. It was a 10,000 square foot form a troupe of actors to perform shows in churches and civic building and included space for a larger centers. They called themselves The Circuit Players, and for costume shop, its first dedicated scene the next four years, they performed a variety of musicals and shop, rehearsal space, improved dressing straight plays wherever they could. facilities, and storage for costumes and Circuit Playhouse, Inc. was born on November 20, 1969 near props. The two theatres continued to pursue the University of Memphis when the company rented a former their own directions. The Circuit Playhouse home that had been converted to a ballet academy. In 1971, initiated the MidSouth Playwright’s Contest, the space was sold, and the company relocated to 1947 Poplar offered a Foreign Film Series, and staged across from Overton Park. When Circuit Playhouse, Inc. moved Off-Broadway and experimental works. to this larger building, it rented an adjacent building to be used Playhouse on the Square began to offer for a costume shop and a new performance space known weekday matinees for school groups in as Workshop Theatre. It was a venue for new, original, and addition to its regular season. one-act plays. Two years later, another adjacent building was In 1981, Playhouse on the Square initiated used to create Theatre II; a space for producing little known the Intern Program. The program was begun plays. This helped to spearhead a widespread revitalization to enable emerging theatre artists to explore of Midtown Memphis. For the next several years, the three every avenue of the profession and apply theatres operated on an annual budget of approximately their education in the real world. Today it $30,000 with no paid staff. includes twelve college graduates hired to Recognition of the organization’s well-established position in assist in all phases of production. the community came at this time with the first funding grant By 1985, Playhouse on the Square was from the Greater Memphis Arts Council. again feeling growing pains. The student In 1975, Circuit Playhouse, Inc. acquired a building in Overton matinee series had outgrown the theatre’s Square in Midtown Memphis. With $30,000 provided by capacity, and seating for many productions Overton Square Investors for renovation, and with increased was limited. The Memphian Movie Theatre funding from the Greater Memphis Arts Council, Playhouse just down the street (a favorite after-hours on the Square screening facility for Elvis) was available. was born. It was Circuit Playhouse, Inc. purchased the a n o f f s p r i n g building and solicited three-year pledges o f C i r c u i t from individuals and corporations and was P l a y h o u s e , able to complete a $150,000 renovation of I n c . , w h i c h the building. c o n t i n u e d t o 1986 saw the inception of the Playhouse produce the kind on the Square’s Theatre for Youth program, of adventurous which expanded into a full-scale Summer t h e a t r e i t s Youth Conservatory, TnT (Teens in Theatre), audience had a touring program, and a full season of school matinees. come to expect. In 1990, Playhouse on the Square instituted the city’s first Playhouse on the independent Theatre School with theatre classes for children, Square opened teens, and adults. From the five classes offered during the first on November season, the school has expanded to a total of twenty courses. 12, 1975 with a production of Having been concerned for some time that arts events were Godspell. It also beyond the financial means of the city’s poorest citizens, Jackie had a resident Nichols suggested to the Arts Council that they arrange some c o m p a n y o f way of making art, theatre, music, and dance available to professional actors and a paid staff. The first season was the disadvantaged. In January 1990, Arts Access came into graced with the performances of many fine actors including being making free tickets to arts events available to those on Larry Riley and Michael Jeter, who would later achieve notable food stamps. In addition, Jackie Nichols instituted the Pay careers in New York and Hollywood. What You Can program in 1991. Every show produced at both The Circuit Playhouse and Playhouse on the Square 13 has a Pay What You Can night, ensuring is reflected in the numerous Memphis Orchestra, Opera Memphis, and others, that those who cannot afford the full theatre awards presented to Circuit creating a fantastic new synergy for price of a ticket will not be denied the Playhouse, Inc. in recent years. In performing arts in the Midtown area of pleasures of an evening at the theatre. December 1990, Circuit Playhouse, Memphis. Inc. was honored by the Tennessee Arts In 1992, Playhouse on the Square As we move toward the half-century Commission with the Governor’s Award in acquired an adjoining building adding mark, our vision of “enriching lives the Arts. In October 1993, Jackie Nichols 6,000 square feet in which to build a through theatre” remains constant. As was awarded the Gordon Holl Award new scene shop, a large multi-purpose artists that make up Circuit Playhouse for Outstanding Arts Administration room with bar, a meeting room, and Inc., we will continue to bring a at the Governor’s Conference on the wheelchair-accessible restrooms. To challenging and diverse repertoire Arts, and in June 1999, Jackie Nichols finance this expansion and ensure the of theatrical work that speaks to the received the Rotary Club Community financial stability of the theatres into intelligence, soul, and imagination of Service Award. Circuit Playhouse, Inc. the 21st century, Jackie spearheaded the Memphis community. celebrated its 35th anniversary in 2004. the Silver Challenge, a $350,000 fund- raising effort. Again, the Memphis The stimulus for “Breaking New Ground,” community responded by producing the the Capital Campaign to build a new DID YOU KNOW? needed revenue in a matter of months. state-of-the-art theatre came from a strategic planning retreat attended by Playhouse on the Square is proud In 1994, construction began on Board and staff over four years ago. The TheatreWorks, a building near Playhouse to be Memphis’ Professional realization evolved that Playhouse on on the Square, which was built to house Resident Theatre Company. the Square could not move to the next a variety of small performance groups professional level without a quality space That means that the artists you unable to afford quarters of their own. in which to present its productions. The encounter in our theatre, onstage The following year saw the inception drive began for the $15 million campaign and off, are professionals. of a program that has had national and was greeted enthusiastically by impact in the theatre world—the Unified foundations, corporations, and individual Nearly all of the actors, the Professional Theatre Auditions. In supporters. With Playhouse on the designers, technicians, and February 1995, Playhouse on the Square occupying the new location at Square hosted twenty-five theatres and administrators do this as a full- 66 S. Cooper, The Circuit Playhouse two hundred actors from around the time job. People interview from moved to the old Playhouse location country. Since then, the growth has been at 51 S. Cooper. In keeping with the all over the country to be hired for phenomenal. 95 theatres and nearly organization’s attitude of support for all these coveted career opportunities. one thousand actors and production of the arts in our community, the new personnel attended in 2011. Nearly all of the artists have been Playhouse on the Square and The Circuit to college, trained, and earned With a view to ensuring a new generation Playhouse have performance time set of theatre patrons, Jackie Nichols aside for other groups such as Ballet degrees specializing in their field. launched the After School Acting Memphis, The Memphis Symphony Together, we work very hard to Program (ASAP) in 1997. Several months were spent developing this OUR MISSION produce season after season program for 7-12 year-olds. Churches, of quality work; serving our schools, and community centers all To produce a challenging community with art, as well as over the metropolitan area host sites for and diverse repertoåire of education and outreach programs. troupes of children for the twice-weekly theatrical work that speaks activity, which, under the guidance of a to the intelligence, the soul, Most importantly, this is our home. director, creates an original theatrical We are honored to open our doors piece to be performed at a festival at the and the imagination of the end of each semester. Memphis community; to you and share the excitement of the performing arts. To show In December 1997, long-time supporters To provide a nurturing artistic of the theatre donated to Circuit respect for our home, we ask that Playhouse, Inc. a building adjacent to home for actors, directors, teachers prepare students for their The Circuit Playhouse. This building, designers, and staff in which theatrical experience, aided by the now known as the Jeanne and Henry they can practice their craft use of our free study guides. Varnell Theatre Arts Education Building, and share their talent; and was refurbished to house all of our The skills and guidelines herein Theatre For Youth programs. In order to To make all of our productions enhance students’ cultural refurbish the building, Circuit Playhouse, available through access, literacy. We encourage educators Inc. created the 21st Century Challenge: outreach, and educational ac- Building for Generations, a capital funds to integrate these principles drive that raised $600,000. tivities to everyone in the com- into further study throughtout munity regardless of financial The growth in artistic capability and their curriculum. Thank you for maturity of the theatres has resulted in an circumstances. supporting the arts! expanded awareness and appreciation in the local community and beyond. This 14 Elements of Production The Rehearsal The cast will do an initial Creative Team The Cast readthrough of the script. Often, the director will meet with actors The director works to cast No production would be possible and do table work where the actor without the imagination and both the principal performers and characters can talk through inspiration of its playwrights. Many and the ensemble or chorus who they think their character is, times, the idea for a show grows from members. Each performer must what they want, and how badly an existing book, article, or movie. have appropriate acting skills to they want it. Table work can help Other times, playwrights write plays support the character and also establish the foundation upon from an original idea or concept. The the right look or “type” for the which the actors begin their playwright must first create a world. character. These elements are all character analysis. Then, actors and The world may be true to real life evaluated during the audition directors meet for rehearsals in or fantastical, that mixes mundane process. Actors are asked to rehearsal spaces where the director with magical. Either way, there is bring a headshot and either coaches the actors’ reading of the a specfic set of rules established perform a monologue, prepare a lines and emotions and also gives in the world that everyone must scene, or do a cold read. (A cold them their blocking, line by line, follow. Then, the playwright creates read is when the actor is asked scene by scene. Throughout the characters that all have specific to perform the scene without rehearsal process, actors are given goals and obstacles to acheiving props to work with and eventually those goals. The playwright prior rehearsal or memorization of the piece.) Once the actors take the stage. Once on the stage, writes dialogue to illuminate the the actors have a spacing rehearsal characters and advance the plot at are chosen for the principal roles and for the ensemble, they where they review their blocking the same time. The director has the in the new space. Next, the lighting become the cast, and begin job of interpreting the story and crew adjusts their lights to where working with the director during establishing the overall artistic vision the actors will be standing, which of the show. the rehearsal process. starts the technical rehearsal process. The technical rehearsal C r e w : The set designer creates the locale and period in which the play occurs. is when the full cast and crew While some sets are very simple and focus the audience’s attention on the show itself, walk through the entire show, some are lavish and extravagant providing visual appeal. The master carpenter ensuring every light cue, sound is responsible for building the actual set. The lighting designer decides where effect, microphone, etc. works as the lighting instruments should go, how they should be colored, and which ones planned. This rehearsal is mainly should be on at any particular time. The master electrician implements the lighting for the tech staff. The cast and crew will also go through a dress designer’s work and makes sure the lights are set properly and safely. The property rehearsal incorporating all the (props) master is in charge of obtaining or making and maintaining all props used different elements: costumes, in the show. He or she also sets the props in their proper places before the show lights, and sound together. Once begins. The stage manager is responsible for the overall integrity of a production. all the elements are working He or she assists the director, and “calls the show,” making sure each performance harmoniously together, the show is runs as smoothly as possible. ready to open! Sound: The sound designer plans the layout of all sound playback, effects, and equipment for the show. Often, there is pre-show music, intermission music, and post-show music to help establish the feel of the play or help inform the audience of the world of the play. The sound effects are created by the sound designer and manned by the sound operator. Adjustments in volume and intensity are made using the soundboard.
Costumes and Make-up: The costume designer first researches the setting of the play. Costumes must be appropriate for the time period and culture of the show, beautiful and elaborately designed, while also practical enough for movement and possible dancing. He or she then decides which styles and fabrics to use, and draws the costumes in renderings. Through costume fittings, the costumes are adjusted to fit each individual performer. During dress rehearsals and performances, actors have dressers to help put on and/or change their costumes. The make-up artist is responsible for applying cosmetics to each performer’s face and body to increase visibility, enhance certain features, and modify the actor’s look to resemble his or her character. In addition to make-up, certain roles call for a specific hairstyle. The wig master/mistress obtains the wigs, styles and shapes them, and helps the actors put them on.
15 Q: What Makes Theatre Magical? •Theatre is entertaining, as much as it is A: The Audience! educational, mirroring Going to see a production at the theatre They certainly don’t want a passive society in all its is an exciting experience! You will be audience; they thrive on the audience’s complexity artistically watching live actors perform onstage. response - the laughter and the applause. through conflict and This makes each performance very When appropriate, such reactions “fuel resolution. special. No two shows are alike, due to the fire” - but that response must be in the spontaneity of live performance. co-operation with the action onstage, •Audiences are able to or it is off-putting and distracting for the Each time you come to the theatre, it is observe and celebrate performers and other audience members. like making a promise to come inside the society’s heroes who world of the play we have made for you. Students accustomed to watching overcome life’s obstacles We agree to create a theatrical world for television in their homes or attending to a prosperous or you to visit, and you agree to step inside it movies are used to eating snacks, moving detrimental end. for awhile. That agreement is the last step around, getting in and out of their seats, or in the process of making a play happen! sharing comments aloud during a show. •Audiences enjoy live Movies and TV shows are not affected by So, when you walk into a theatre, you theatre because it the audience, but theatre performances can feel a sense of impending discovery. provides an escape are! Students may not be aware of how Something important is about to happen. disturbing such behaviors can be in live from the outside world. It’s exciting to be in the room. That theatre. As a courtesy, prepare students Within the walls of the stage holds the secret of what is about for their theatre experience. Discuss theatre, moral dilemmas to come to life as you find the seats behaviors that are problematic and why reserved for you. Sometimes, it is so are more easily grasped, they are a problem. thrilling you want to get wiggly, laugh, and its characters can be and shout. But remember that once the You are connected with the other people scrutinized according to play begins, everbody in the theatre has in the audience as well as the ones society’s mores. a responsibility. Everbody is part of the onstage. They can see you, hear you, and play - including you. feel you; just as you see, hear, and feel •Delving into moral them. Your laughter, your responses, your Theatre is an art form that depends on dilemmas elicits an attention, your imagination, and most both the artists and the audience. As emotional response especially your energy are important. members of the audience, you play from the audience They are a real part of the performance, an important part in the success of for any one of the and the wonderful truth is that the play a theatrical performance. Audience can be better because of YOU! particular charaters, reaction strongly affects the actors. thus encouraging the audience to critically become aware of their own prejudices and suppositions of human behavior.
Peter Pan 2010 Playhouse on the Square
16 Theatre for Youth Born in 1985, Playhouse on the Square’s Theatre for Youth Program now serves close to 30,000 young people every year in Memphis, Shelby County and beyond. From preschoolers to young adults, they all are engaged and enlightened, either as audience members or as active participants. ASAP Summer Youth Theatre After School Acting Program (ASAP) Conservatory sites are meeting at various locations Playhouse on the Square’s Summer Youth throughout the Mid-South for children Theatre Conservatory is open to any student ages 7-12. Classes meet twice a week for interested in theatre regardless of experience. twelve weeks. Instruction in the elements Self-esteem is of primary importance to our of Acting, Improvisation, Movement, Music, program. Theatre is the perfect environment and Design are taught through a Style of for a child to find their voice. Sessions are Theatre. Students also receive a ticket to a taught by professional artists and split by Playhouse production to enrich their aesthetic age group. Enrollment is limited to allow awareness. These skills are then utilized in the for maximum individual attention and Troupe’s creation of a short production that is development. Offering: performed at Playhouse on the Square on the - One-week sessions for ages 5-6 final day. More information about Fall A.S.A.P. - Two-week sessions for ages 7-11 will be announced at a later date. - Three-week sessions for ages 12-17 Please call for specific dates. Teens iN Theatre (TNT) Teens In Theatre provides a performance Theatre School Classes and learning venue for 12-17 year olds from Celebrating over 20 years, the Theatre School around the Mid South. Teens may audition to offers classes for both Youth and Adults. be involved in the Fall and Spring productions Classes, taught by professional artists, meet which perform at Evergreen Theatre, 1705 for 9 weeks in both Fall and Spring and end Poplar Avenue. with a final showcase on one of our stages. Children ages 7-17 can take classes in Acting, School Matinees and Touring Singing, or Dance. An opportunity for students, K-12, to attend live performances, either at Playhouse, Circuit, or brought to their school. We offered Student Matinees of Every Good Boy..., Gem of the Ocean, Annie. Still to come is the production ...Patsy Cline. We toured Aesop’s Fable-ous Christmas Tree in the Fall and will tour The Frog Prince in the Winter and Spring. For more information about any of our Theatre for Youth programs listed above, please call (901) 728-5631, or email [email protected]. You can also visit our website at www.playhouseonthesquare.org/education. 17 A Glossary of Theatrical Terms A theatrical production which the audience views the action as if Act (v) to perform or play a role; (n) a Exposition the beginning of a plot that through a picture frame division of a drama provides important background information Protagonist the main character of a play; Action the core of a theatrical piece; the F the charater with which the audience iden- sense of forward movement created by Falling action the series of events follo- tifies most strongly a sense of time and/or the physical and wing the climax of a plot R psychological motivations of charaters Fight director a movement and combat Rising action the middle part of a plot, Articulation clear pronunciation of words specialist who choreographs both armed consisting of complications and discove- B and unarmed fight scenes and stunts ries that create conflict Blocking the pattern actors follow in onstage Role a part in a play that is written by the moving onstage, usually determined by Fourth wall an imaginary wall between playwright; the basis of an actor’s charac- the director. the audience and actors in a representa- terization Box Office where ticket sales are hand- tional play S led, usually located in the theatre’s lobby G Scene the basic structural element of a C Gesture an expressive movement of the play; each scene deals with a significant Cast (v) to choose the actors to play spe- body or limbs crisis or confrontation cific roles in a play; (n) the group of actors H Scenery onstage decoration to help esta- who take the roles in a play House the auditorium or seating of a blish the time and place of a play Catharsis an emotional purification or theatre Script the text of a play relief (Greek) I Set the onstage physical space and its Character one of the people who figures Improvise to speak or to act without a structures in which the actors perform in a play; a part played by an actor script Set Designer the person who develops Choreographer an artist who designs Inciting incident the event that sets in the design and concept of the set (choreographs) dances for the stage motion the action of the plot Sound Designer the person who deter- Climax the turning point in a plot when L mines the kinds of sound needed for a conflict comes to an emotional crest Lighting Designer the person who deve- production, recorded or live Conflict struggle between opposing ideas, lops a lighting concept and design for a Stage Manager director’s technical liaison interests, or forces in a play. The existence production, he/she oversees installation backstage during rehearsals and perfor- of conflict, either external (between two or and operation of lighting for the production mances more characters) or internal (within one M Stage Picture the succession of tableaux character), is central to drama. Monologue a story, speech, or scene created by a director through blocking Costume any clothing an actor wears ons- performed by one actor alone Strike 1) to remove something from the tage for a performance Motivation a character’s reason for doing stage; 2) to take down the set Costume Designer the person who or saying things Symbol a concrete image used to repre- decides what the actors will wear, he/she O sent a concept or idea designs costumes to build or chooses Objective a character’s goal or intention T costumes to rent, borrow, or buy for a Obstacle something that stands between Tableau a silent and motionless depiction production a character and his/her ability to meet an of a scene, often from a picture Cue a final line or action that signals an objective or achieve a goal Theatre 1) the imitation/representation actor to begin the next speech Open to keep the face and front of the of life, performed for other people; 2) Curtain call the return of the cast to the body visible to the audience as much as the place that is the setting for dramatic stage after the end of the perofrmance, possible performances when the actors acknowledge applause P Theme underlying meaning of a literary D Pantomime to act without words through work Denouement the final resolution of the facial expression and gesture Thespian an actor (named after the first conflict in a plot Performance a representation before an actor, “Thespis”) Dialect language features specific to the audience; entertainment Tragedy a play that ends in defeat or speech of a particular region Playwright a person who writes plays death of the main character Dialogue the lines of the play spoken by Plot the sequence of events; the structure U the actors in character of a play Understudy an actor who learns the part Director the person who oversees the Producer the person or company who of another actor playing a major role, able entire production oversees the business details of a theatri- to replace the original actor in case of Downstage the part of the stage closest cal production emergency to the audience Project 1) to make your voice fill the Upstage 1) (n) the stage area away from Dramatic conflict the conflict in which the performing space; 2) to cast an image the audience; 2) (v) to stand upstage of main character in a play engages. There or patterned light onto a screen or other another actor on a proscenium stage, are four types of dramatic conflict: 1) per- surface forcing the downstage actor to turn away son vs. person; 2) person vs. society; 3) Property or Prop anything that an actor from the audience; 3) (v) to steal the focus person vs. self; 4) person vs. nature/fate handles onstage as well as furniture and of the scene E other items used to enhance the set W Ensemble the interaction and blending of Proscenium stage performance space in Wings the sides of a stage just outside the the efforts of the many artists involved in a scenery, unseen by the audience 18 5 Bibliography “BBC - CBeebies - The Frog Prince.” BBC - Homepage. Web. 23 Dec. 2011.
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