STUDY GUIDE

Prepared by Literary Associate Kat Zukaitis

The Light Princess • South Coast Repertory •1 TABLE OF CONTENTS part i: the play The Characters ...... 3 The Story ...... 3 Meet the Author: George MacDonald...... 4 Going to the Source: A Summary of George MacDonald’s The Light Princess ...... 5 An Excerpt from The Light Princess ...... 6 Meet the Playwright: Lila Rose Kaplan...... 7 Meet the Composer and Lyricist: Mike Pettry...... 7

part ii: classroom activities Before the Show Questions for Discussion ...... 8 Puns, Puns, Puns! ...... 9 After the Show Discussion About the Theatre ...... 10 Discussion About the Play ...... 10 Activities ...... 11

part iii: at the theatre Welcome to the Julianne Argyros Stage...... 12 Theatre Etiquette ...... 12 Student Tips for Theatre Trips...... 12 Programs...... 12

part iv: education station California Visual and Performing Arts Framework...... 13 Five Strands of Art Education...... 14 Basic Theatre Vocabulary...... 15

part v: resources The Light Princess by George MacDonald...... 16 More About This Adaptation of The Light Princess ...... 16

2 • South Coast Repertory • The Light Princess Part I: The Play the characters

Princess King Witch Wiseman 2 Prince Queen Wiseman 1 Gravitrons the story did not need to be saved, and demands that he put her back in the lake. He jumps in with her—the first time in her life that she has experienced falling. It’s amaz- wo Wisemen begin to tell a story set a very ing. She teaches him to play Marco Polo, and he flies long time ago—but they argue and cannot her back to her balcony for the night. He has fallen in decide how to begin their tale. The King and love. Queen in the story enter and get the Wisemen The King and the Witch are both alarmed to hear back on track. of the meeting. The King, determined to find a suit- TOur story begins once upon a time. A young able husband for the Princess, brings in a series of King and Queen are happy and in love, until they dis- suitors with alarming proposals to keep her weighted cover that they cannot have children. They seek the down. The Queen is so upset by the King’s single- help of the Queen’s sister, a Witch who also is in love minded pursuit of a son-in-law that they quarrel, and with the King. She agrees to help, for a price. The she returns the key to his heart. Meanwhile, the Witch, King and Queen rejoice over the arrival of a baby daughter, until they discover that she has no gravity, either physical or emotion- al. The Princess not only floats, she can’t feel serious emotions like fear, sadness, or love—and if she can’t find her gravity by her 16th birthday, the Witch will take over the kingdom. As the Princess grows up, what she loves more than anything is to swim in the lake, for that is the one place she has weight. But the Wisemen, her guard- ians and tutors, don’t have time to swim with her. The Princess’ 16th birthday is fast approaching, and the Wisemen are busy coming up with ideas to help her find her gravity. Alas, the Princess’ attempts to cry all end in laughter… because, as the Queen points out, love, not tears, is what allows us to feel weighty emotions. However, the Princess has never fallen in love. Over the Queen’s objections, the King and Wisemen decide to hold a Suitor Competition to find the Princess a husband. Meanwhile, a young Prince (in dis- guise as a musician) wanders through the forest, trying in vain to write a love song. He convinces the Witch to let him stay with her. While playing his guitar on the shore of the lake, he hears the Princess splashing and jumps in to save her. She, of course,

The Light Princess • South Coast Repertory •3 determined to keep the Princess from falling in love, be- above his head. The Princess saves the drowning Prince witches the Prince and sets him to work digging a hole from the lake and revives him. For the first time in her at the bottom of the Princess’ lake, causing all the water life, she cries and her tears refill the lake. The curse is to drain out. broken and the Princess falls to the ground with her The Princess is furious when she finds out who gravity restored. is causing the lake to drain away. To make amends, The Witch returns to find that her power is gone. the Prince offers to plug the hole with his own body, The King wishes to punish the Witch, but the Princess knowing that he will drown as soon as the water closes intervenes—the Witch, too, she says, just needs to be over his head. He asks the Princess to wait with him as taught how to love. In the end, the King and Queen the water rises. She does not want to speak to him, but reconcile, the Wisemen retire and the Princess, with her is eventually persuaded to give the Prince a kiss before musician Prince at her side, becomes her father’s chief he dies. He sings his first love song as the waters rise advisor. A happy ending for all!

meet the author: george macdonald Adapted from George MacDonald: Life, Works, Legacy by Matthew Bracey

he stage play The Light Princess is adapted from a fairy tale that Scottish author, George MacDonald, originally published in 1864. George MacDonald was born in 1824 in Aberdeen- shire, Scotland. As a boy, he loved boxing and reading. THe eventually learned to read in Dutch, English, French, Ger- man, Greek, Italian, Latin and Spanish. After graduating from university, MacDonald moved to London, where he studied theology. When his career as a preacher proved unsuccess- ful, he tried his hand at writing. His extensive knowledge of language and culture played an important role in his ability to paint vivid, memorable pictures in his books. Some years later, poet W.H. Auden wrote: “In his power to project his inner life into images, beings, landscapes which are valid for all, he is one of the most remarkable writers of the nineteenth century.” MacDonald published more than 50 books over the course of four decades. While he wrote fiction, non- fiction, and poetry, he is best remembered for his fan- tasy and fairy tales. “I write, not for children,” he wrote, “but for the child-like, whether they be of five, or fifty, or seventy-five.” The story “The Light Princess” was origi- nally published as part of a longer novel, Adela Cathcart, in 1864. Some of his other best known works include Phantases (1858), At the Back of the North Wind (1871), The Princess and the Goblin (1872) and The Princess and Curdie (1883). MacDonald served as a mentor to Lewis Carroll, and en- couraged him to publish Alice in Wonderland. His writings also had a substantial influence on several major 20th century fantasy authors, including C.S. Lewis (The Chronicles of Narnia), J.R.R. Tolk- ien (The Hobbit and The Lord of the Rings), and Madeleine L’Engle (A Wrinkle in Time). MacDonald spend the last two decades of his life living in Italy with his wife. He died in 1905, at the age of 80. Portrait of George MacDonald in 1863

4 • South Coast Repertory • The Light Princess going to the source: a summary of george macdonald’s the light princess Adapted from Rag & Bone Puppet Theatre Teacher’s Guide

nce upon a time, so long ago that I have forgotten the date, there lived a king and queen who had no children. The King was “ always grumbling about it. It was more than he deserved,O therefore, when, at last, the king and queen had a daughter—as lovely a little princess as ever cried.” The King wrote all the invitations to the christening and, of course, he forgot someone. Unfortunately, the person he forgot was his own sister, the Princess Makemnoit. And she was a wicked witch. Makemnoit arrived at the christening with an evil spell for the baby:

Light of spirit, by my charms, Never weary human arms. Light of body, every part; Only crush thy parents’ heart.

Suddenly, the Princess was lighter than air; she’d lost her gravity. One day she slipped out of her nurse’s arms and floated to the ceiling. The King had to get a ladder to pull her down. Another day, they put the baby down to sleep on the Queen’s bed and a gust of wind carried her off. They found her under a rose bush, and they watched her much more carefully after that. Everyone loved the baby, because she was always laughing. The servants loved to play ball with her, with the laughing baby as the ball. By the time the Princess The cover of the 1920 edition of The Princess and the Goblin, was 17, she had learned never to go anywhere without a by George MacDonald. heavy stone to hold her down, but she was still laughing. She laughed at everything—even sad things. Her parents When Princess Makemnoit learnt that her spell was were very worried. Two wise philosophers (at least they broken in water, she caused all the water in the kingdom say they are wise) from the College of Metaphysicians had to dry up. The Princess’s beloved lake began to sink. The many suggestions. “Give her tests and tests and tests and Princess was devastated. People said she would not live an tests and tests!” cried one. “But with all these tests, she’ll hour after the lake was gone. A group of children found have no time to learn,” objected the other. “True, but at a golden plate bearing a message: “Find the hole through least we’ll know it,” replied the first. But their majesties which the water ran. The body of a living man alone shall loved their daughter too much to try any of their solutions. staunch the flow. The man must offer himself of his own One summer evening, the whole court was out on the free will and the lake must take his life as it fills.” lake in a fleet of sail boats. The Princess accidentally fell The Prince offered to save the lake and the Princess, overboard—and came up again, laughing and swimming on one condition. The Princess must stay with him and like a swan. In the water she had gravity. It was wonderful. keep him company as the lake filled around him. The She stayed in the lake all day, every day, all summer long. Princess agreed. All she cared about was her lake—until Even her personality seemed to have more gravity in the she saw the Prince nearly drown. She dove into the water, water. She still laughed, though, and her laugh was so odd pulled him out of the hole and dragged him to shore. For that one day a handsome Prince mistook her laughing for a while it looked hopeless. But just as the sun rose, he screaming. He jumped in to rescue her, but she ordered opened his eyes. The Princess burst into tears and fell on him to put her back “up, in the water.” Confused, he the floor. She had found her gravity. Outside, torrents of carried her to a cliff and jumped in with her. Falling in rain filled the lake, flooding the witch’s house and burying was the most delightful fun she’d ever had; he offered to her in the ruins. The Princess had to learn to walk, but fall in with her any time and, before long, he fell in love the Prince helped. They got married. And none of their with her. children ever lost a single atom of gravity.

The Light Princess • South Coast Repertory •5 an excerpt from the light princess This excerpt comes after the king and queen have discovered that their daughter is cursed with lightness—a lack of gravity both physical and emotional. At first, they try to ignore their daughter’s strange condition, but it soon becomes too much for them to bear.

ne day after breakfast, the king went into his counting-house, and counted out his money. The operation gave him no pleasure. “To think,” said he to himself, “that every one of these gold sovereigns weighs a quarter of an Oounce, and my real, live, flesh-and-blood princess weighs nothing at all!” And he hated his gold sovereigns, as they lay with a broad smile of self-satisfaction all over their yellow faces. The queen was in the parlour, eating bread and honey. But at the second mouthful she burst out crying, and could not swallow it. The king heard her sobbing. Glad of anybody, but especially of his queen, to quarrel with, he clashed his gold sovereigns into his money-box, clapped his crown on his head, and rushed into the parlour. “What is all this about?” exclaimed he. “What are you crying for, queen?” “I can’t eat it,” said the queen, looking ruefully at the honey-pot. “No wonder!” retorted the king. “You’ve just eaten your breakfast--two turkey eggs, and three anchovies.” “Oh, that’s not it!” sobbed her Majesty. “It’s my child, my child!” “Well, what’s the matter with your child? She’s neither up the chimney nor down the draw-well. Just hear her laughing.” Yet the king could not help a sigh, which he tried to turn into a cough, saying-- “It is a good thing to be light-hearted, I am sure.” Cover of 1962 edition. “It is a bad thing to be light-headed,” answered the queen, looking with prophetic soul far into the future. “’Tis a good thing to be light-handed,” said the king. The queen’s hair was black as night; and the king’s “’Tis a bad thing to be light-fingered,” answered the had been, and his daughter’s was, golden as morning. But queen. it was not this reflection on his hair that arrested him; it “’Tis a good thing to be light-footed,” said the king. was the double use of the word light. For the king hated “’Tis a bad thing--” began the queen; but the king all witticisms, and punning especially. interrupted her. He turned upon his other heel, and rejoined her. She “In fact,” said he, with the tone of one who concludes looked angry still, because she knew that she was guilty, an argument in which he has had only imaginary or, what was much the same, knew that HE thought so. opponents, and in which, therefore, he has come off “My dear queen,” said he, “duplicity of any sort is triumphant--”in fact, it is a good thing altogether to be exceedingly objectionable between married people of light-bodied.” any rank, not to say kings and queens; and the most “But it is a bad thing altogether to be light- minded,” objectionable form duplicity can assume is that of retorted the queen, who was beginning to lose her temper. punning.” This last answer quite discomfited his Majesty, who “There!” said the queen, “I never made a jest, but I turned on his heel, and betook himself to his counting- broke it in the making. I am the most unfortunate woman house again. But he was not half-way towards it, when the in the world!” voice of his queen overtook him. She looked so rueful, that the king took her in his “And it’s a bad thing to be light-haired,” screamed arms; and they sat down to consult. she, determined to have more last words, now that her “Can you bear this?” said the king. spirit was roused. “No, I can’t,” said the queen.

6 • South Coast Repertory • The Light Princess meet the playwright: lila rose kaplan

ila Rose Kaplan writes heartfelt comedies, bitter- going to the city sweet dramas and musicals for young people. She and seeing a world earned her MFA in playwriting at the University burst to life on- of California, San Diego, but she credits former stage full of Brown professor Paula Vogel with believing in her song, dance Lvoice and giving her the courage to pursue her passion. and story.” She wrote her first play at the end of high school. The sum- mer after the 2009 off-Broadway debut of her play Wildflower, Kaplan had an epiphany: “How I missed musicals! It was time to write one.” Kaplan approached composer Mike Pettry, the husband of her friend, with her idea for a musical The Light Princess. Kaplan felt that Pettry’s music—a mix of honesty and silliness, capturing both the fantastical and the everyday aspects of life—would complement her own bittersweet voice exploring the mysteries of human relationships. “Mike and I used MacDonald’s vision as an inspiration for our musical adaptation,” she says. “We like to say that our show is for young people and for people who remember being The Light Princess is based on playwright Lila young.” Rose Kaplan’s favorite childhood fairy tale. “How Her other works include The Magician’s Daugh- marvelous—a funny, romantic, and moving fairy tale ter, 1 2 3, a play about abandonment and ballroom about a young woman who learns to connect to the dancing, Home of the Brave, The Light Princess, We All ground and be strong and passionate! What more can Fall Down, 100 Planes, Bureau of Missing Persons and you ask?” Kaplan says. Tink. Her plays have been produced by Second Stage Uptown, A.R.T., The New Victory Theatre, The Old Vic, Perishable Theatre, Know Theatre, Chalk Repertory Kaplan says she was introduced to the theatre Theatre, Fresh Ink, Launch Pad, Neighborhood Produc- through Broadway musicals—A Chorus Line, City of tions and La Jolla Playhouse/Moving Arts. Kaplan lives in Angels and Guys and Dolls. “I grew up in the suburbs,” Cambridge, Mass., with her marine biologist husband, she says, “and there was nothing I loved more than- her opinionated cats and her daughter.

meet the composer and lyricist: mike pettry ike Pettry is an award-winning composer Theater. Awards for musical theatre writing in the and music producer for theatre, video ASCAP Foundation Harold Adamson Lyric Award games, film and TV. He works in a variety and the Jonathan Larson Award. of styles, including pop, rock, indie, elec- As a performer, Pettry has played in theaters and Mtronic, orchestral and many more. clubs all over the country, including the Broadway Pettry wrote music and lyrics for the critically productions of Finding Neverland and Godspell, acclaimed musical The Light Princess at American several off-Broadway shows and national tours. He Repertory Theater and The New Victory Theatre, as has played piano and guitar for several musical cast well as The Pirate Princess at American Repertory albums and pop albums.

The Light Princess • South Coast Repertory •7 Part II: Classroom Activities 4. The Light Princess is a musical. Ask the students if before the show they’ve ever seen a musical. Talk about what music might add to this story. Questions for Discussion a. Identify a point in the story that would make a good song. Who would sing it? What 1. Talk about fairy tales: what are they and why do we would it sound like? tell them? b. What style of music would go well with this a. What are some common elements of fairy story? Pop? Rap? Lyrical? Percussive? tales? Ask the students to make a list. b. Ask the students if they have a favorite fairy 5. Explore what it means to adapt literature from tale. What makes it their favorite? one form to another, specifically from fairy tale to musical theatre. For The Light Princess, what are 2. Read a summary or excerpts of The Light Princess the various ways in which the content of the fairy out loud to the class. (You can find the full text tale might have to change in order to be suitable online using the link on the resources page of this for staging? study guide.) a. What elements in this story do they 6. Discuss all the different jobs involved to bring a recognize from other fairy tales? production like The Light Princess to life. Have b. What is different or unusual about this students research the occupations on this list and story? share what they find with the class. c. Ask the students to identify the story’s a. Actor themes and underlying messages. b. Director d. Ask the students to identify humor in the c. Playwright story. What did they think was funny? d. Choreographer e. Ask the students who is most upset by the e. Designer Princess’ curse: the king, the queen, the f. Stage manager prince or the princess herself? Who is least g. Stage crew upset? 7. The Light Princess has no gravity—so you could say 3. The title character in The Light Princess has no that weightlessness is her “superpower.” She loves gravity. How do you think that SCR (and other drifting through the air, but eventually discovers theatres) can portray the Princess’ weightlessness the disadvantages of not being able to stay on the onstage? Talk about different ways to make a ground. character “fly” in a play. Be creative—think about all a. If you could choose one superpower, what kinds of solutions! would it be and why? a. Ask the students if they’ve ever seen an b. What would be some of the disadvantages example of theatre “magic.” of that power? b. Ask the students to think of something else that is technically difficult to portray on stage. How could you solve that problem?

8 • South Coast Repertory • The Light Princess puns, puns, puns!

he title of The Light Princess contains a pun, a humorous play on words in which a single word has multiple meanings at once. In this example, “light” refers to both a lack of gravity (physical) and a lack of seriousness (emotional). Here are a few other examples of puns. In each example, circle the word that is the pun. (In the first Tquestion, this word has been bolded for you.) This word has two meanings, one in each column of answers. In the blanks next to the questions, write the letters that correspond with both definitions of the circled word.

1. What did the road say to the bridge? You make me cross. f , 2. Pencils could be made with erasers at both ends, but what would be the point? , 3. The tale of the haunted refrigerator was chilling. , 4. A giraffe is the highest form of animal life. , 5. A man rushed into the doctor’s office and shouted, “Doctor! Doctor! I think I’m shrinking!” The doctor calmly responded, “Now, settle down. You’ll just have to be a little patient.” , (Note: there are actually two words in this sentence that are puns—“little” can mean both small and a bit. Look for the meanings of the other pun in the sentence.) 6. I was struggling to figure out how lightning works then it struck me. , 7. A three-legged dog walks into a saloon in the Old West and announces: “I’m looking for the man who shot my paw. “ , 8. I saw a sign that said falling rocks, so I tried and it doesn’t. , 9. Q: What travels faster, hot or cold? A: Hot, because you can always catch cold. ,

Answers: Column 1 Answers: Column 2 a. frightening, scary j. father b. to hit, to collide k. to occur to someone, to spring to mind c. willing to wait l. the tip or sharp end of something d. a mild illness characterized by a runny nose and sore throat m. cold, freezing e. tallest n. a lack of heat f. to pass from one side of something to the other o. most developed or complex g. to be exciting or awesome p. stones h. the purpose or reason for something q. a person receiving medical treatment

i. an animal’s foot r. angry or irritated Answers: 1. Cross (f, r); 2. Point (h, l); 3. Chilling (a, m); 4. Highest (e, o); 5. Patient (c, q); 6. Struck (b, k); 7. Paw (i, j); 8. Rocks (g, p); 9. Cold (d, n) (d, Cold 9. p); (g, Rocks 8. j); (i, Paw 7. k); (b, Struck 6. q); (c, Patient 5. o); (e, Highest 4. m); (a, Chilling 3. l); (h, Point 2. r); (f, Cross 1. Answers:

create your own fairy tale Choose six of the fairy tale elements listed below. Write a short fairy tale with a beginning, a middle and an end that uses all six of the elements you selected. Try to make it different from fairy tales you’ve heard before! Curse Magic spell A tree that isn’t a tree Death Disguise Prophecy Necklace Book Fairy Peasant Poisoned drink Hidden child Prince Queen Toad Fire-breathing dragon Mysterious footprints Wicked step-mother Sword Bow and arrows Dark forest Twin brothers Unhappy ending King A clever lie A kind father A throne with no ruler Younger sister Witch Princess Old woman with a secret Happily ever after Tower Wizard A bargain A terrible choice Magical hat Cursed kingdom A broken promise Talking horse Masked ball Fearsome beast A foolish wiseman YOUR WORD HERE An impossible task A transformation Danger YOUR WORD HERE

The Light Princess • South Coast Repertory •9 after the show Discussion About the Theatre

Hold a class discussion when you return from the per- formance and ask the students about their experience attending live theatre.

1. What was the first thing you noticed about the the- atre? What did the stage look like?

2. Discuss the technical elements of the production— the set, the costumes, the lighting and the sound. Ask the students what they liked best and why. How did these elements help to tell the story of the Light Princess and her journey?

3. Discuss the ways in which the play was surprising. Was the story told in the same way that you imag- ined it would be?

4. What did the songs in the play add to the storytell- ing?

5. This production used “gravitrons,” played by the ac- tors, to make the Princess fly. Were you convinced? Fan Art: The Light Princess - Pull of Worlds How did the gravitrons add to the production?

Discussion About the Play 5. Falling is very important in this play. When was the moment the Prince fell in love with the Princess? 1. The Light Princess has two primary narrators—the When did the Princess fall in love with the Prince? two Wisemen (who are perhaps not so wise). What Who fell first? did that add to the storytelling? Ask the students to identify other examples of stories, plays or movies 6. Which characters helped the Princess during the that feature characters who narrate the action. course of the play? Which characters caused her harm? Did any characters do both? 2. What was the funniest moment in the play? What was the scariest? What was the most surprising? 7. The King and Queen rule the kingdom, with help from their advisors. Do you think they are good 3. At the beginning of the play, is the Princess upset by rulers? Why? her own lack of gravity? What does she learn over a. How will the kingdom’s leadership be the course of the play? How do you think she feels different when the Princess takes over? when she loses the ability to fly at the end of the b. Do you think the Princess (aided by the play? Prince) will be a good ruler? a. What words would you use to describe the Princess’ personality at the beginning of the 8. At the end of the play, the Princess declares that, play? instead of punishing the Witch, she will teach her b. What words would you use to describe her how to love. personality at the end of the play? a. How will the Princess teach that lesson to the Witch? 4. The Prince would rather be a musician than a b. Do you think the Witch will succeed in prince. Why do you think that is? Does he ever learning to love? Why or why not? change his mind? 9. What advice would you give the Witch at the end of the play?

10 • South Coast Repertory • The Light Princess activities

1. Have the students write a new scene for the Princess.

Imagine a time in the Princess’ childhood when her lack of gravity got her in trouble, or caused problems in the castle. What happened? How was it resolved?

Have the students share their additional scene from the play with the class.

2. SCR’s production used dancers to make the Princess appear weightless—but she really would be weightless in outer space. Have the students research how astronauts react to zero gravity. How do they eat? Sleep? Stay in shape? What are some of the opportunities and challenges that weightlessness presents?

3. The Light Princess is set in an imaginary kingdom whose name we do not know. Have the students imagine what this kingdom is like.

a. What is the kingdom called? b. Besides the King, the Queen and the Wisemen, who helps govern the kingdom? What are their responsibilities? c. What are the kingdom’s greatest strengths? Weaknesses? d. Other than the lake and the castle, what places could you find in the kingdom? Describe what they look like. e. The Prince comes from a neighboring kingdom. What is his homeland like, and how does it differ from the Princess’ kingdom?

4. Have the students read a different story written by George MacDonald. Have the students tell the class about these stories. Do they share any themes or elements with The Light Princess?

letters of thanks

ive the students the opportunity to write letters of thanks to SCR describing the most memorable aspects Gof attending a performance of The Light Princess, and what they enjoyed most about their visit to SCR. South Coast Repertory Attn: TYA PO Box 2197 Katie Thamer Treherne’s Illustrations for the Costa Mesa, CA 92628-2197 1988 version of The Light Princess.

The Light Princess • South Coast Repertory •11 Part III: At The Theatre welcome to the argyros Julianne Argyros Stage he 336-seat Julianne Argyros Stage opened in 2002 with a huge celebration and we are delighted that thousands of Orange County school children fill this Tstate-of-the-art facility each season to enjoy our Theatre for Young Audiences productions. The Argyros is a proscenium theatre designed to provide audiences a feeling of intimacy, with no seat more than 39 feet from the stage.

theatre etiquette

heatre is an art form that depends on both the artists and the audience. A performance is influenced by an audience, just as an audience is Tinfluenced by a performance. The artists and staff of South Coast Repertory are creating a special new world for you to visit. When you walk into the theatre, you will have a Julianne Argyros Stage. sense that behind the curtain lies the secret of that new world which is about to come to life before your eyes. Sometimes it’s so exciting that • Absolutely no chewing gum, eating or drinking you can barely hold still. But remember that once the in the building. play begins, you have a very important job to do. • No backpacks, cameras or electronic devices are Everybody in the theatre is a part of the play. You are permitted in the theatre. connected to all the other people in the audience, as • Feel free to talk quietly in your seats before the well as to the actors on the stage. Remember, you’re show. all in the same room. The actors can SEE you, HEAR • Show your appreciation by clapping for the you and FEEL you, just as you can SEE, HEAR and actors at the end of the play. FEEL them. Your attention, involvement, responses • After the lights come back up, wait for the and imagination are a real part of each and every ushers to escort your group out of the theatre. performance. The play can actually be made better because of you! programs student tips for theatre trips veryone who attends a Theatre for Young Audiences performance at SCR receives a program, • Stay with your group at all times and pay also called a playbill. Patrons at weekend public attention to your teachers and chaperones. performances receive their programs from the • Listen carefully to the SCR staff member who will Eushers upon entering the theatre. At the conclusion of board your bus with last-minute tips. each weekday matinee, teachers will be given programs • Take your seat in the theatre before going to the for their students which can be distributed back in the bathroom or getting a drink of water. classroom. In addition to the customary information • Make yourself comfortable while keeping about the play and the players, the program contains movement to a minimum. features and activities that students will have fun • Do not stand up, walk around or put your feet working on after the show, either in class or at home on the seat in front of you. on their own.

12 • South Coast Repertory • The Light Princess Part IV: Education Station Here are some of the California state standards that apply to attending this performance of The Light Princess and doing the activities in this study guide. from visual and performing arts: Theatre Content Standards for Grade Four For other grades, see http://www.cde.ca.gov/be/st/ss/.asp

1.0 ARTISTIC PERCEPTION

Processing, Analyzing and Responding to Sensory Information Through the Language and Skills Unique to Theatre

Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video and electronic media and respond, using the vocabulary of theatre.

Development of the Vocabulary of Theatre

1.1 Use the vocabulary of theatre, such as plot, conflict, climax, resolution, tone, objectives, motivation and stock characters, to describe theatrical experiences. Louis Pardo and Alex Miller in the 2015 ​Theatre for Young Au- Comprehension and Analysis of the Elements of diences production of A Year with Frog and Toad Theatre

1.2 Identify a character’s objectives and motivations Creation/Invention in Theatre to explain that character’s behavior. 2.2 Retell or improvise stories from classroom 1.3 Demonstrate how voice (diction, pace and literature in a variety of tones (gossipy, volume) may be used to explore multiple sorrowful, comic, frightened, joyful, sarcastic). possibilities for a live reading. Examples: I want you to go. I want you to go. I want you to go. 2.3 Design or create costumes, props, makeup or masks to communicate a character in formal or 2.0 CREATIVE EXPRESSION informal performances.

Creating, Performing and Participating in Theatre 3.0 HISTORICAL AND CULTURAL CONTEXT Students apply processes and skills in acting, directing, designing and script writing to create formal Understanding the Historical Contributions and and informal theatre, film/videos and electronic media Cultural Dimensions of Theatre productions and to perform in them. Development of Theatrical Skills Students analyze the role and development of theatre, film/video and electronic media in past and present 2.1 Demonstrate the emotional traits of a character cultures throughout the world, noting diversity as it through gesture and action. relates to theatre.

The Light Princess • South Coast Repertory •13 The cast of SCR’s 2016 Theatre for Young Audiences production of Pinocchio by Greg Banks.

Role and Cultural Significance of Theatre Derivation of Meaning from Works of Theatre 3.1 Identify theatrical or storytelling traditions in the cultures of ethnic groups throughout the history 4.3 Describe students responses to a work of theatre of California. and explain what the scriptwriter did to elicit those responses. History of Theatre 5.0 CONNECTIONS, RELATIONSHIPS, 3.2 Recognize key developments in the APPLICATIONS entertainment industry in California, such as the introduction of silent movies, animation, Connecting and Applying What Is Learned in Theatre, radio and television broadcasting and interactive Film/Video and Electronic Media to Other Art Forms video. and Subject Areas and to Careers

4.0 AESTHETIC VALUING Students apply what they learn in theatre, film/video and electronic media across subject areas. They Responding to, Analyzing and Critiquing Theatrical develop competencies and creative skills in problem Experiences solving, communication and time management that contribute to lifelong learning and career skills. They Students critique and derive meaning from works of also learn about careers in and related to theatre. theatre, film/video, electronic media and theatrical artists on the basis of aesthetic qualities. Connections and Applications

Critical Assessment of Theatre 5.1 Dramatize events in California history.

4.1 Develop and apply appropriate criteria or 5.2 Use improvisation and dramatization to explore rubrics for critiquing performances as to concepts in other content areas. characterization, diction, pacing, gesture and movement. Careers and Career-Related Skills

4.2 Compare and contrast the impact on the 5.3 Exhibit team identity and commitment to audience of theatre, film, television, radio and purpose when participating in theatrical other media. experiences.

14 • South Coast Repertory • The Light Princess basic theatre vocabulary Mezzanine Lower level Acting The process by which an individual interprets seating area and performs the role of an imagined character. beneath the Action The core of a theatre piece; the sense of forward balcony movement created by the sequence of events and overhang. the physical and psychological motivations of Monologue A characters. solo speech Ad-Lib To improvise stage business or dialogue; to make during which it up as you go along. the character Apron The area of the stage that extends toward the reveals personal audience, in front of the main curtain. thoughts. Backstage The space behind the acting area, unseen by Narrator A character who the audience. tells the story of the play Balcony An upper floor of seats projecting out over the directly to the audience. main seating area of a theatre. Orchestra Lower-level seating area Blocking The movement and stage business, designed immediately in front of the stage. by the director and performed by the actors. “Places” Direction given by the Stage Manager for Boxes Seats separated from the main seating area actors to be in position before each act begins located on the upper level near the stage. Plot The “what happens” in a story: beginning (the Box OfficeA windowed space at the front of the theatre setting, characters, and problem); middle (how the building where tickets are sold. characters work to solve the problem); and the Business Any action performed on stage. ending (resolution of the problem). Character The role played by an actor as she or he Project To speak loudly so the entire audience can hear assumes another’s identity. you. Choreography The art of creating and arranging dances Props All the stage furnishings, including furniture, that onstage. are physically used by the actors. Conflict The problem or incident that creates the action Proscenium Stage A traditional theatre with the and is resolved by the end of the play. audience seated in front of a proscenium arch Costume The carefully selected or specially designed framing the stage. SCR’s Argyros Stage is a clothing worn by the actors. proscenium stage. Cross The actor’s movement from one stage location to Run Length of time the play will be presented (i.e two another. weeks, two months, two years). Cue The last words or action of an actor immediately Script The text of the play, including dialogue and stage preceding the lines or business of another actor. directions, all written by the playwright. Dialogue The stage conversation between characters. Set All of the scenery that makes up the physical Diction The clarity with which words are pronounced. environment of the world of the play. Director The person who oversees the entire process of Stagecraft The knowledge and skills required to create staging a theatrical production. the physical aspects of a production; i.e. scenery, Downstage The part of the stage closest to the audience. lighting, costumes, props and recorded sound and At one time stages were raked, or sloped, with the music. lower (“down”) part closest to the audience, and the Stage Left That part of the stage to the actor’s left when higher (“up”) part further away. the actor faces the audience. Ensemble A cast of actors working together effectively to Stage Manager The person who supervises the physical present a theatrical performance. production of a play and who is in charge of the Flats Canvas or wood-covered frames that are used for stage during the performance. the walls of a stage setting. Stage Right That part of the stage to the actor’s right Green Room A room near the stage where actors await when the actor faces the audience. entrance cues and receive guests. The room’s name Strike Dismantling the set, costumes and props at the comes from Elizabethan times, when actors waited end of the run of a show. on a real “green” (or patch of grass). Theme The central thought, idea or significance of the Improvisation The spontaneous use of movement and action of a play. speech, made up by an actor to create a character. Upstage The area of the stage farthest way from the Lobby The public waiting area outside the theatre space. audience and nearest to the back wall.

The Light Princess • South Coast Repertory •15 Part V: Resources

• The Light Princess by George MacDonald Full text online: http://www.gutenberg.org/ files/697/697-h/697-h.htm

• The Golden Key, a website dedicated to the appre- ciation of George MacDonald: http://www.george-macdonald.com/index.html

• Article on the origins and publication of The Light Princess: http://www.tor.com/2011/04/07/slipping-a-fairy-tale- into-the-mundane-the-light-princess/

more about this adaptation of the light princess:

• Official website of Lila Rose Kaplan: http://www.lilarose.org/

• “Falling Into Love”: Brown University Alumni Magazine article on Lila Rose Kaplan and The Light Princess: http://www.brownalumnimagazine.com/content/ view/3540/28/

• Rag & Bone Puppet Theatre study guide for their production: https://www.ragandbone.ca/PDFs/light_princess_ guide.pdf Frontispiece of The Princess and Curdie by George MacDonald, published 1883 • American Repertory Theater program from their 2014 production, including activities: https://issuu.com/americanrep/docs/lightprincess_fi- nal

16 • South Coast Repertory • The Light Princess