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AUDIENCE GUIDE PRODUCTION WITH THE AND THE GENEROUS DEVELOPMENTAL th SPONSOR October 27 – SUPPORT OF SUPPORT OF November 20th, 2016 TABLE OF CONTENTS

3 PRODUCTION CREDITS 4 AUDIENCE ETIQUETTE 5 DEVELOPMENT HISTORY 6 PROFILE OF THE SONGWRITING TEAM 7 PROFILE OF THE DIRECTOR 8 CHARACTER PROFILES AND PLAY SYNOPSIS 9 THE MARC HALL STORY CONTEXT & HISTORY 11 AN INTERVIEW WITH MARC HALL 12 THEMES 13 DISCUSSION QUESTIONS 14 SUGGESTED ACTIVITIES 15 RUBRICS 17 BEING AN ALLY – TIP SHEET 18 RESOURCES / FURTHER READING 19 ABOUT THE SEGAL CENTRE FOR PERFORMING ARTS

ABOUT THE STUDY GUIDE

This audience guide was written and compiled by Julia Ainsworth and created with the generous support of the Mitzi & Mel Dobrin Family Foundation. This audience guide is meant to enhance and deepen our audience’s experience and understanding.

All content is intended for educational purposes only.

To reserve tickets at a reduced rate, or for questions, comments, citations or references, please contact:

Patrick Lloyd Brennan: 514 739 2301 ext. 8360 [email protected]

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE , QUÉBEC, H3W 1M7 2 FOR PERFORMING ARTS PRODUCTION CREDITS

A SEGAL CENTRE PRODUCTION

CAST

MARC Alessandro Costantini JASON Jonathan Cullen EMILY Katee Julien AUDY Sylvain Scott CARLY Sydney Scotia BOOMER Kolton Stewart LONNIE WYNN / DALE David Silvestri TRIPLE X Zachary Counsil PRINCIPAL WARRICK / FERGUS / BRASSY Stuart Dowling MISS LAWRENCE / LUCINDA PILCHER Gabi Epstein PEGGY / ENSEMBLE Alexia Gourd TIFFANY Hailey Lewis NAPOLEON Jamie Mayers OTIS / ENSEMBLE Lucas Meeuse HANK Mike Melino MONTY / ENSEMBLE Patrick Park KRISTAL Stephanie Sy FATHER HOPKINS / PAUL VINCENT / MIKE SHIELDS Jonathan Whittaker

CREATIVE TEAM

BOOK BY Kent Staines MUSIC BY Colleen Dauncey LYRICS BY Akiva Romer-Segal DIRECTED BY Marcia Kash CHOREOGRAPHY Sean Cheesman PRODUCED BY Mary Young Leckie BASED ON THE TRUE STORY OF Marc Hall MUSIC DIRECTOR, ORCHESTRATOR, DANCE ARRANGEMENTS AND INCIDENTAL MUSIC BY Mark Camilleri SET & COSTUME DESIGNER John C. Dinning LIGHTING DESIGNER Luc Prairie HEAD OF SOUND Peter Balov ASSISTANT COSTUME DESIGNER Louise Bourret ASSISTANT CHOREOGRAPHER Tina Desroches STAGE MANAGER Luciana Burcheri ASSISTANT STAGE MANAGER Chantal Hayman APPRENTICE STAGE MANAGER Stephen Alarie APPRENTICE STAGE MANAGER Lucia Corak LIGHTING APPRENTICE Francesco Donato ARTISTIC & EXECUTIVE DIRECTOR Lisa Rubin GENERAL MANAGER Jon Rondeau

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 3 FOR PERFORMING ARTS AUDIENCE ETIQUETTE

Welcome to the Segal! We are so pleased to have you join us at our production of Prom Queen: The Musical. To make the 3. Food and beverages are not permitted in the theatre. most of your viewing experience and in consideration of actors and audience members around you, please be mindful of the 4. Please do not kick or step over the seats when entering and following: exiting.

1. Cell phone use in the theatre is not permitted. Please put 5. If you are taking notes for the purposes of writing a response your cell phone on silent and refrain from taking pictures, or review, please be discreet to avoid distracting others. videos or texting during the performance. 6. Enjoy the show! 2. Please refrain from talking or opening candies during the performance.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 4 FOR PERFORMING ARTS DEVELOPMENT HISTORY

Creating a new musical takes the support of a Subsequent CAEA workshops included a first full script community. We gratefully acknowledge the following workshop courtesy of: people, organizations, and institutions that helped bring Theatre Aquarius, Hamilton, – [October 2015]; Prom Queen: The Musical to our stage: Stage Manager: Stephen Newman; Featuring: Nathan Carroll, Michael Cox, Steffi DiDomenicantonio, Jake WRITING GRANTS Epstein, Douglas E. Hughes, Robert Markus, Chelsea • Ontario Arts Council - 2008 Playwright Residency Preston, Jade Repeta, Kent Sheridan, Lee Siegel, Sarah Program (Young People’s Theatre) Strange, Astrid Van Wieren • Council for the Arts - 2008 & 2016 Individual And two further workshops supported by The Unifor Creation Grant Humanitarian Fund to finalize a production script and • Citadel Theatre's Play Development Program (which is score prior to the first rehearsal courtesy of: generously supported by BMO Financial Group) Segal Centre, Montreal, – [February, 2016]; Featuring: Nathan Carroll, Gab Desmond, Sara Farb, WORKSHOPS & SUPPORT Genevieve Leclerc, Jonathan Patterson, Michael Daniel Directed by Marcia Kash, with Musical Direction from Murphy, Brandon Schwartz Marc Camilleri, and in collaboration with Kent Staines, and Colleen Dauncey, Akiva Romer-Segal, and Mary Young Leckie, Prom Queen: The Musical was developed over Solo Productions/Segal Centre, , Ontario – a series of workshops featuring the participation of the [August, 2016]; following artists, institutions and funders: Choreography: Sean Cheesman; Featuring: Alessandro Costantini, Jonathan Cullen, Gabi Epstein, Hailey Lewis, Selections were first showcased at: David Silvestri The Canadian Music Theatre Project at Sheridan College, Special thanks to the following for their support of Oakville – [October/November, 2014]; the production in its development and pre-production stages: Gavin Bowerman, Colton Curtis, Tom Davis, Quinn Dooley, Jacquelyn French*, Shane Gramlich, Aisha Michael Rubinoff, Ron Ulrich, Mirvish Productions, Penny Jarvis, Jeff Mendonca, Nik Murillo, Lucas Popowich, Ritco, Allen MacInnis, Young People’s Theatre, Mitchell Tringa Rexhepi*, Colin Simmons, Melissa Torelli. (*CAEA Marcus, Alisa Palmer, Iris Turcott, David Abel, Danny members) Webber, Derrick Chua, Michael Levine, Emma MacKenzie Hillier, Ron Hay, Esther & Pia Bouman, Charles Roy & Adam with the support of: Brazier. • The Toronto Arts Council – 2015 Theatre Project Grant • The Ontario Arts Council – 2015 Theatre Projects Development Phase 2

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 5 FOR PERFORMING ARTS SONGWRITING TEAM

Colleen Dauncey (Music) and Akiva Romer-Segal (Lyrics) are a contemporary musical theatre songwriting team based in Toronto, Canada. Together they wrote the scores to The Subway Songs, Scenes From The Bathhouse (Talk Is Free Theatre), and Toronto Fringe hit Bremen Rock City (with librettist Sara Farb), and contributed material to Touch Me: Songs for a (dis) Connected Age (Forte Musical Theatre Guild, three Critics Awards including “Best Production of a Musical"). Colleen & Akiva are currently Writers-in-Residence at Talk Is Free Theatre where they are developing Offline, a collective creation musical which will debut in Barrie, Ontario in spring 2017.

Colleen and Akiva's songs have been performed internationally by cabaret performers, recording artists, and Broadway stars, and they also penned the lyrics to two songs included on KATYA's (i) Source: colleenandakiva.com self-titled debut album (Marquis Classics). They were selected (ii) Photo: contemporarymusicaltheatre.wordpress.com as participants in the 2011 Johnny Mercer Songwriters Project in Chicago, the Cutting-Edge Composers series in New York, the Canadian Musical Theatre Writers Collective, Acting Up Stage’s Noteworthy program for songwriters and librettists, and Theatre 20’s Composium initiative. They are two-time grant recipients from the Foundation Assisting Canadian Talent On Records (FACTOR) and several grants from the Ontario Arts Council.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 6 FOR PERFORMING ARTS PROFILE OF THE DIRECTOR

Marcia trained as an actor at The Drama Centre in London, England, and began her career at the Royal Court Theatre before working in a number of regional theatres and at London’s Tricycle Theatre. In North America, she has appeared at The Stratford Festival; The Kennedy Center; on Broadway; the Ensemble Theatre of Cincinnati; Arena Stage, Buffalo; The Citadel Theatre, ; Theatre Plus, Toronto; ATP, Calgary; Stage West, Theatre Calgary; and Neptune Theatre, Halifax. Her first foray into playwriting was the highly successful farce Who’s Under Where? (co-written with Doug Hughes) which received more than one hundred productions in eight countries and five languages. Also in partnership with Mr. Hughes, she penned the popular whodunnit A Party to Murder and Too Many Cooks. Working solo, Marcia was commissioned to write Discovering Elvis for Lunchbox Theatre in Calgary. The play has since been produced a number of times throughout Canada and the U.S. It was translated into French (À la recherche d’Elvis) where it has enjoyed great success in various productions in Quebec and where it won a Les Masques nomination for Best New Play.

In addition to writing and acting, Marcia is also an accomplished director. Directing credits include: For the Pleasure of Seeing Her Again, Rumors, Annie, White Christmas for Neptune Theatre; Humble Boy, Syringa Tree, The Price, The Diary of Anne Frank for Royal Theatre Centre; Tuesdays With Morrie, Educating Rita, The Diary of Anne Frank, The Secret Annex for the Segal Centre; Ben Elton’s Popcorn, Zadie’s Shoes for ATP; Doubt, Forever Plaid, The Full Monty, The Sound of Music for Theatre Aquarius; Sherlock Holmes: The Final Adventure for the Grand Theatre; Who’s Under Where, Boeing Boeing, Run for Your Wife, Cash on Delivery, Too Many Cooks and See How They Run for Drayton Entertainment. She was honoured to have been chosen to lead a new creative team in the re-envisioning of the long-running (i) Source: www.marciakash.com Anne of Green Gables at the Charlottetown Festival.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 7 FOR PERFORMING ARTS CHARACTER PROFILES

MARC HALL - A teen in his graduating year of high school OTIS DAY - Devoutly catholic high school student JASON – Marc’s boyfriend, young factory worker MR. WARRICK – School principal EMILY - Marc's Acadian Mom, principled woman of faith MISS LAWRENCE - Quirky teacher with liberal religious views AUDY - Marc's strong and silent working-class Dad FATHER HOPKINS - Priest with conservative religious views CARLY - Marc's best friend LUCINDA PILCHER – Schoolboard spokesperson BOOMER - Self-proclaimed “ladies’ man” crushing on Carly LONNIE WYNN - Marc's lawyer NAPOLEON – High school student, filmmaker PAUL VINCENT - The schoolboard's lawyer TRIPLE X - Computer geek MIKE SHIELDS - Factory worker, union rep KRISTAL - Carly's friend, an ambitious budding actress DALE DAY - Middle-aged factory worker TIFFANY (TIFF) - Carly's friend HANK - Young dad and factory worker

PLAY SYNOPSIS

Act 1 Act 2 The play opens with Marc stargazing and watching the sun rise Marc signs on with Lonnie Wynn, a lawyer who files a case over his small town, eager for what the future holds. He bikes against the school board on Marc’s behalf. Meanwhile, Boomer to the factory where his boyfriend, Jason, and father work. struggles to win the heart of Carly and Marc suggests he try Before Jason can answer, Marc signs him up as his official being “real”. Emily prays at church in spite of Father Hopkins prom date. At school, Marc asks his favorite teacher, Miss. passing judgement on her family’s “sins”. The court case Lawrence, for a recommendation for an astronomy scholarship. gains media attention, publicly revealing the identities of Marc is confronted by Principal Warrick who bans him from Jason and Marc and attracting gay activists. At the rally bringing Jason to the prom. Meanwhile, factory workers are party, Father Hopkins threatens to thwart Marc’s astronomy being laid off in lieu of technological progress. Marc gives scholarship unless he drops the case. Overwhelmed, Jason Jason the bad news and he suggests they have their own prom. breaks up with Marc. Marc kicks out the rally party and Marc promises Jason he’ll find a way to change Warrick’s mind. considers giving up. Carly tells him it’s too late. Marc snaps At the mall with his best friend Carly, Marc stresses how angrily on Carly. Emily pleads with Audy to reach out to Marc. his parents will react if they find out he’s gay. Carly reassures Audy sits with Marc on the roof and speaks to Mathew’s him. Marc goes home and comes out to Emily and Audy. star, named after Marc’s brother who passed away, and says Though Audy is silent, Marc’s mother, Emily, supports his he loves Marc for who he is. Marc gets a phone call from decision to take his date to prom. The school is buzzing with a suicidal stranger in need of support. By talking with the prom plans and Marc’s news. Meanwhile, Boomer is rejected stranger, Marc is faced with the significance of his struggle by Carly when he asks her to the prom. Tiff and Kristal accept with the school board. He apologizes to Carly and they go to invitations from Napoleon and Triple X. Emily leaves a meeting the hearing together. Marc is surprised when Jason shows up with Mr. Warrick outraged. Marc’s girlfriends boycott the prom at the crowded court house. Boomer impresses Carly when in support of Marc. Desperate, the boys support their dates she realizes he convinced Jason to attend. Marc struggles to in solidarity and Boomer promises to help if Carly will accept “play the part” for his testimony. Lonnie confesses to Marc his prom invitation. Miss Lawrence encourages Marc to appeal that he didn’t have the courage to attend his own prom, and to the school board and Triple X focuses his camera on the encourages him to speak his truth. Miss Lawrence testifies current action. Marc meets with Jason and his co-workers but against Marc at the hearing, pressured by Principal Warrick. leaves when they make homophobic comments. Marc’s appeal Marc gives a powerful testimony and the judge rules in favor is rejected by the school board. Marc leaves discouraged, but is of him taking his date of his choice to prom. Jason asks for roused by the support of Jason and Emily who promise to fight forgiveness from Marc and they get back together. In the final with him. moment of the play, Marc and Jason dance together in the light of the disco ball. The students applaud their “prom queen”.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 8 FOR PERFORMING ARTS MARC HALL'S STORY

Prom Queen: The Musical is based on the true story of Marc Hall, who made international news headlines in 2002. At seventeen years of age, Marc Hall took the Durham Catholic District School Board to court when his school principal refused him the right to attend prom with his boyfriend at the time, Jean-Paul Dumond. Marc and his lawyers, Douglas Elliot and Victoria Paris, were successfully granted an injunction by Justice Robert McKinnon. The injunction granted Marc the right to attend prom with his date of choice and prevented the school from cancelling the prom.

Marc Hall attending prom with his boyfriend in 2002.

(i) Source: www.andrejkoymasky.com

CONTEXT & HISTORY

Prom Queen: The Musical is set in Canada in 2002, the year that Marc Hall took the Catholic School Board to court in Whitby, Ontario. Though progress had been made at this time towards LGBT equality, same sex had not yet been legalized. Legalization of same sex marriage in Canada did not take place until the neutral enactment of the , July 20th, 2005. In this gap between 2000 and 2005, advocates fought for the right for same-sex couples to be legally recognized in marriage and valued equally. Prom Queen: The Musical tells the story of one individual’s struggle with and during this time. Marc Hall attending the hearing – May 6-7 2002.

(i) Source: www.samesexmarriage.ca/advocacy/marc_hall.htm

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 9 FOR PERFORMING ARTS CONTEXT AND HISTORY (cont.)

(i) Source: www.travelgaycanada.com *The fight for equality and LGBT rights in Canada is ongoing. For a detailed timeline of LGBT rights in Canada, please refer to the link in the resources section of this guide.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 10 FOR PERFORMING ARTS INTERVIEW WITH MARC HALL

How have you been involved with the play development process? I‘ve had frequent back and forths with the production team. It’s been wonderful to give input. I have a lot of trust in the Prom Queen: The Musical team because of my long standing working relationship with Mary and Kent, who produced and wrote the 2004 TV movie.

What have been the most challenging and exciting aspects of this process? The most challenging part is that I now live in , so I’m not always around to take part in the development workshops. The most exciting aspect is watching this all come together! I can’t even believe this is happening. While watching the workshop at Sheridan College, I was amazed, shocked, humbled, and thrilled. I’m just so excited that my story gets to come to life via musical theatre.

Are you a fan of musical theatre? Absolutely. I just went to see Newsies this last weekend, actually! I will be seeing The Book of Mormon in September. And, I just love Chicago! Pop, six, squish! Were you surprised by the support from the extended community? Will you be attending the world premiere at the Segal? Will any I was surprised. Oshawa is better now, but at that time it was of your friends or family attend? more conservative. There were a lot of tough times during I would not miss it for the world. I already have my arrange- the prom battle. My family and I received death-threats, and ments in place for the world premiere. I have several friends at one point I had to have two bodyguards. But those were and family coming. And, let’s just say my look will resemble isolated incidents and the support in general was incredible. when I was younger…haha. There were letters and encouraging phone calls at our home. Although the school board was against me, the student body How does it feel having a film and now musical created about was supportive. I remember when I was at prom many people your story? Is it exciting? Surreal? Scary? approached me to say they were thrilled that I won. Honestly, the word I use to describe this entire thing is … surreal. During my battle against the school board, I would What message do you think young people today can take from never have imagined the amazing things that would come Prom Queen? from it. I am so thankful. I cannot wait to meet the talented The musical is fun and catchy. But, it also tells the story of cast and crew! I don’t find it scary at all. It has been such an being true to yourself. I hope the message people take is that amazing experience and I can’t wait to see it come to life!! you are never alone when you are going through things, that you should stand up for yourself and shouldn’t be tolerant of How did the court case impact you and those around you? intolerance. You are who you are, you can’t change that, and I knew that I was doing the right thing, but the court ruling you should proud of it. confirmed it. At the beginning, it was about getting myself and my then-boyfriend to prom. But it quickly developed, What encouragement can you offer today’s youth facing a and I realized it was much bigger. This was standing up for a similar situation? community. I certainly didn’t want anyone else to go through it. The biggest thing to remember is even if you don’t think so, So, for the court to rule in my favour meant a lot. Obviously I there is going to be some form of support out there for you. was able to go to prom with my boyfriend, which was amazing. You are not alone. So many people are going through similar But also, if anyone ever goes through the same thing, they can situations. If you reach out to resources like community groups, bring up my case to help them. school clubs, online groups, you will find that support system.

(i) Photo provided by Amy Kelly

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 11 FOR PERFORMING ARTS PROM QUEEN THEMES

HUMAN RIGHTS &

Under Section 15 of the Canadian Charter of Rights and , every individual in Canada is considered equal. Denial of opportunities such as Marc’s right to attend his senior prom with a date of choice, is a clear example of discrimination on the basis of and violates the Charter as well as the Ontario Education Act. In addition to the restriction of his choice of date, Marc faces further disadvantages when Father Hopkins threatens his astronomy scholarship. When Marc chooses to fight for his right to bring Jason to prom, he is fighting for a freedom and opportunity he is entitled to by , as a Canadian citizen. As the judge states in his ruling:

“Equality speaks to the conscience of all humanity - the dignity and worth that is due each being. Canadian Charter of Rights and Freedoms signed into law by The principal and the Catholic School Board have Queen Elizabeth II on April 17, 1982 a duty to give Mr. Hall the respect that he is due as he attends the prom with his date.”- Judge (Prom Queen: The Musical)

(i) Source: publications.gc.ca/site/eng/9.664647/publication.html

DISCRIMINATION IDENTITY In Prom Queen: The Musical, discrimination and fear of the “other” manifests in the homophobic attitudes and actions Through his fight to bring Jason to the prom, Marc struggles of Principal Warrick, Father Hopkins, the school board, Otis to express aspects of his identity. The need for self-expression Day and factory workers, Dale and Hank. Homophobia is is central in the play as many of the secondary characters also defined as “the irrational fear of that results in struggle to express their inner truth. When Marc summons the prejudice and discrimination towards , gay, bisexual, courage to publicly express his sexual orientation, he inspires and (LGBT) people”. others to reveal hidden aspects of themselves. Jason, Boomer and Lonnie Wynn are motivated to share secrets of themselves Ignorance and fear that the “other” will disrupt a way of life and grow as a result. A new found pride and personal strength or institution are contributing factors to homophobia. The is achieved by Marc and many supporting characters by the song “Dying Breed” performed by the factory workers express final act of the play, propelling them towards their future after feeling threatened by change and progress. They feel that graduation. their role as “real men” is no longer valued. Marc is seen as a threat because he challenges the traditional gendered role of men in society. Similarly, Marc is feared by Principal Warrick and the Catholic School Board because he threatens fundamental principles of the Catholic faith concerning gender and sexuality.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 12 FOR PERFORMING ARTS DISCUSSION QUESTIONS

1. What are violated by Marc’s principal and 6. Discuss Marc's relationship with his parents. What factors the Catholic School Board? in the play help change Marc's relationship with his father?

2. Though the subject of the play centers around one 7. Discuss the relationship between identity and belonging individual fighting for his equality as a gay man, how may in the play. How does Marc’s struggle to express his identity this story speak to other marginalized groups in contemporary contrast with his need for acceptance by his community? culture? 8. Why does Jason break up with Marc when they are so 3. Why does Miss Lawrence refer to Marc as “our very own close to achieving their goal? Galileo Galilee”? What comparisons can be drawn between Marc and Galileo? 9. What factors contribute to the homophobic attitudes of the factory workers? 4. How does Mr. Warrick and the school board justify preventing Marc from bringing his date to prom? 10. How do the supporting characters struggle with their own personal truths and identity in the play? 5. Which characters are allies to Marc in his struggle? What motivates their support for Marc?

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 13 FOR PERFORMING ARTS SUGGESTED EDUCATIONAL ACTIVITIES

1. ACTIVITY: CHARTING TRAJECTORIES -Discuss the potential for conflict between “religious freedom” (Curriculum Connections: English Language Arts, Performing Arts) and an individual’s right to equality under Canada’s Charter of Rights and Freedoms. What recent examples can you find in In groups of 2-3, students will chart the individual trajectories current news? of the major characters in the play. 3. TABLEAU Create a visual diagram (using poster board or power point) (Curriculum Connections: English Language Arts, Performing Arts) that charts the individual journeys of Marc, Jason, Emily and Boomer. In small groups, assign students one of the following themes: -Identity & self-expression Each trajectory must include: -Love A) Starting point (objectives/goals) -Friends & allies b) Obstacles/challenges -Discrimination C) Discoveries -Acceptance C) Finishing point (What have they gained/ lost/learned? How have they transformed through the play’s action?) Have students work together in groups to recreate a series (1-3) of tableaus (frozen images) from the action of the play related Questions for reflection and discussion: to their given theme. Students must hold each image for a total -How does Marc’s journey of self- expression influence the of 1 minute. Ask the class to identify what scene or moment is paths of the characters who surround him? being recreated.

-Which character has the greatest transformation in the play? Questions for Reflection: -Discuss the symbolic use of astronomy images in the play. From inside the frozen scene, ask students to speak briefly as -What metaphoric comparison can be drawn between the action the character they are embodying. Students will answer the of the play and Marc’s repeated explanation of “Precession: the questions: What do you want most in this moment? What is change in the orientation of the axis of a rotating body”? standing in your way? What are you thinking/feeling?

2. COURT DEFENSE – CHARTER OF RIGHTS 4. PLAY REVIEW (Curriculum Connections: Ethics and Religious Cultures, English (Curriculum Connections: English Language Arts, Performing Arts) Language Arts) Write a play review of the Segal’s production of Prom Queen: The Musical (1-2 pages). Include the following information in *Refer to the Canadian Charter of Rights link in the resources your review: section of this guide. -Production information (play title, theatre company, date, Individually, students will write a one page opening speech as production credits) Marc’s lawyer, fighting against the school board for Marc’s right -A plot synopsis (a brief description of what happens in the play) to attend his senior prom with a date of his choice. Students -Staging/design (how was the stage used? Describe the design must state central arguments, with supporting citations from and staging elements: set, props, costume, lighting, sound, the Canadian Charter of Rights and Freedoms (section 15). music, choreography) Explain clearly how the school board violated the charter of -Actors performances (What character choices did the actors rights and discriminated against Marc with examples from the assume: vocally, physically? Were they believable?) play. Speeches may be read out loud and discussed in class. - What moods, feelings and emotions did you experience while watching the play? -What questions did you have while watching the play? Questions for Reflection: -What do you think the central message or “premise” of the In the court case, Marc’s lawyer was faced with the challenge play was? of proving that -How did the musical format support the central action and 1) Marc’s rights were violated themes of the play? 2) Marc would suffer personal damages without an injunction. -In conclusion, what elements were most effective and - What “personal damages” might Marc’s lawyer have men- enjoyable about this production? What elements needed tioned in his argument? How could an unsuccessful outcome in improvement? court have negatively impacted Marc? -Overall, would you recommend this play?

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 14 FOR PERFORMING ARTS SAMPLE RUBRICS FOR ASSESSMENT

(Designed for grades 9,10,11/ QEP Curriculum)

PERFORMING ARTS RUBRIC - ACTIVITY 1, 3 & 4 Project: Prom Queen RESPONSE (Tableau), Charting Trajectories (Character analysis) & Play Review (analysis)

COMPETENCY (32) (41) (50) (56) (66) (73) (80) (87) (94) (100)

Group is lacking in Group makes Group contributes Group makes many Group actively contribution of ideas. some creative creatively / creative contributions contributes creatively contributions. incorporates many /incorporates and incorporates Creation lacks incorporation of Incorporates some non-verbal /physical non-verbal/physical non-verbal/physical theatre elements with theatre elements with theatre elements non-verbal/physical basic non-verbal/ CREATES theatre elements. physical theatre clear organization of effective organization effectively and elements. ideas. of ideas. creatively. Heavily reliant on Mostly self-sufficient Self-sufficient and Demonstrates teacher to focus on Needs support to creative task. focus on creative and focused on task. focused on creative excellent use of task. task. rehearsal time and is self-sufficient. Demonstrates a lack Demonstrates Demonstrates Demonstrates Demonstrates of commitment in some commitment acceptable thorough commitment exceptional performance and and focus. Needs commitment and /focus in presentation. commitment and PERFORMS inability to focus. support. focus in presentation. Executes non-verbal/ focus in presentation. Requires constant Struggles to execute Executes theatrical physical theatre Executes non-verbal/ support. theatrical elements. elements adequately. elements effectively. physical theatre Lacking in execution elements with skill of theatrical elements. and creativity. Unable to provide Gives minimal Formulates clear Articulates specific Provides exceptional feedback and feedback and ideas and expresses concepts about insight into non- reflection on creative reflection on creative ideas about creative creative process/group verbal/physical APPRECIATES process and the work process and group process/group presentations. theatre presentations of other groups. presentations. presentations. Provides concrete examples and prompts group discussions.

ETHICS & RELIGIOUS CULTURES RUBRIC = ACTIVITY 2 Project: Court Defense Speech Writing (Unit subject: Equality/Discrimination)

COMPETENCY (32) (41) (50) (56) (66) (73) (80) (87) (94) (100)

Struggles to engage Engages in limited Engages in dialogue Actively engages Actively engages in dialogue on the dialogue on the on the subject of in dialogue on the in dialogue on the subject of values and subject of values and values and social subject of values and subject of values social norms. social norms. norms. social norms. and social norms ENGAGES IN Struggles to identify Identifies basic social Identifies some social Effectively identifies and prompts group DIALOGUE/ social norms and norms and values in norms and values in social norms and discussion. UNDERSTANDS values in his/her his/her community his/her community. values in his/her Effectively identifies ETHICAL community. Demonstrates some Demonstrates a solid community. social norms and ISSUES Struggles to understanding of understanding of Demonstrates a strong values in his/her demonstrate an ethical issues. ethical issues. understanding of community. understanding of ethical issues. Demonstrates a ethical issues. thorough understand- ing of ethical issues.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 15 FOR PERFORMING ARTS SAMPLE RUBRICS FOR ASSESSMENT (cont.)

ENGLISH LANGUAGE ARTS RUBRIC - ACTIVITIES 1 & 4

Project: Prom Queen Response: Charting Trajectories & Play Review

COMPETENCY (32) (41) (50) (56) (66) (73) (80) (87) (94) (100)

Demonstrates a lack Demonstrates some Demonstrates a solid Demonstrates strong Demonstrates of comprehension of comprehension of comprehension of comprehension of thorough comprehen- the literary elements literary elements the literary elements the literary elements sion of the literary (character, plot, (character, plot, (character, plot, (character, plot, elements (character, PRODUCTION themes, etc.) of the themes, etc.) of the themes, etc.) of the themes, etc.) of the plot, themes, etc.) of text. text. text. text. the text. Written response Written response is Written response Written response Written response is incomplete and somewhat complete is complete and is detailed and is thorough and demonstrates a lack and demonstrates demonstrates demonstrates strong demonstrates of organization of some organization of organization of ideas. organization of ideas. excellent organization ideas. ideas. of ideas.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 16 FOR PERFORMING ARTS BEING AN ALLY

You might have heard the term “ally” related to LGBT issues. want to make the situation worse. But, words can hurt. Did you know that anyone can be an ally, regardless of When you speak up, it educates others, lets them know their sexual orientation? Allies are important and welcome their words are not acceptable, and may give others the supporters of the LGBT community. They can be effective courage to speak up as well. and powerful voices for LGBT equality, and can not only help LGBT people feel comfortable , but also help • Be Honest: Speak openly about family members, others understand the importance of equality and fairness for friends, and colleagues who are LGBT, if they are out all people. and are comfortable with you discussing it with others. People often assume they will offend others or make Who is an ally? them uncomfortable if they mention LGBT topics. ȌȌ An individual with a sincere concern for the well-being of LGBT people • Support Equality: Support policies at school, work, ȌȌ An individual who accepts, supports and advocates for or other places that help protect LGBT people from equal rights discrimination. Even if the issues seem small, they can ȌȌ An individual who speaks out against discrimination and have a big impact on people’s lives. If you see or hear unfair treatment of LGBT people of an unfair rule or policy, talk to a peer or trusted adult about your concerns and what you can do to make a Ways to be an ally: change. • Stay Informed: If you don’t know the difference between sex and gender or current LGBT-related news and issues, • Come Out as an Ally: Anyone can be an ally, regardless educate yourself. Ask questions, do research, and be of their sexual orientation and/or . Be honest about what you don’t know. proud to support the LGBT community. Remember, being an ally can be joining an LGBT group — for • Speak Up: There are many reasons why people don’t example, Gay Straight Alliance (GSA), a student-run speak up when they hear something offensive. It can group — or as simple as showing your support online. be awkward, people don’t know what to say, or don’t

(i) Source: Tip sheet engage.youth.gov

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 17 FOR PERFORMING ARTS RESOURCES & MATERIALS

To further explore Prom Queen: The Musical’s themes, subject Global News – 10 Years Later Marc Hall is much more than the matter and LGBT resources for students, please refer to the “prom guy” resources listed below: http://globalnews.ca/news/290335/10-years-later-marc-hall-is- much-more-than-the-prom-guy/ The Canadian Charter of Rights and Freedoms (Canadian Heritage Website) Kids Help Phone –Free, anonymous support for youth 24/7 – http://www.pch.gc.ca/eng/1355260548180/1355260638531 Phone & Live Chat https://www.kidshelpphone.ca Equal Marriage – Marc Hall 2002 Prom Case 1-800-668-6868 http://www.equalmarriage.ca/advocacy/marc_hall.htm GRIS Montreal – Advancing human rights for LGBT through http://www.gris.ca research, education and community engagement. https://egale.ca/ Prom Fight: The Marc Hall Story Documentary by Giant Productions & Peloso, Larry Timeline of LGBT History in Canada http://www.youtube.com/watch?v=gEmY-NYC-iA https://en.wikipedia.org/wiki/ Timeline_of_LGBT_history_in_Canada

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 18 FOR PERFORMING ARTS ABOUT THE SEGAL CENTRE FOR PERFORMING ARTS

The Segal Centre for Performing Arts is a not-for-profit theatre company dedicated to nurturing, producing and presenting world-class English-language theatre, and to showcasing the best professional artists from Montreal and beyond.

Founded in 1967, the Segal Centre has expanded to become a nationally recognized venue for the performing arts, a training ground for emerging artists and a one-of-a-kind destination for the best of jazz concerts and Jewish arts and culture.

The Segal Centre is committed to strengthening our commu- nities and developing the artists and audiences of tomorrow through the transformative power of the performing arts.

THE SEGAL CENTRE 5170 CÔTE-STE-CATHERINE MONTREAL, QUÉBEC, H3W 1M7 19 FOR PERFORMING ARTS