sign in sign up
<<
Home , Mermaid, Part of Your World, Sierra Boggess, Tituss Burgess, Under the Sea

? ©Disney

Music by Lyrics by and Glenn Slater Book by Doug Wright STUDYSTUDY GUIDEGUIDE Directed by Francesca Zambello Prepared by Disney Theatrical Productions Education Department WELCOME TO THE LITTLE ! TABLE OF CONTENTS

“UP WHERE THEY WALK UP WHERE THEY RUN “I’LL TELL YOU A TALE OF THE BOTTOMLESS BLUE…” UP WHERE THEY STAY ALL DAY IN THE SUN – The Sailors, “FATHOMS BELOW” WANDERIN’ FREE WISH I COULD BE Throughout the guide, you will see quotes from PART OF THAT WORLD” – , “” . Discuss how these quotes are connected to the exercises. HAVE YOU EVER FELT LIKE Just as humanity is made up of diverse cultures and races, the sea holds thousands of creatures A OUT OF ? In the of every shape and size. Director Francesca Broadway production of The Little Mermaid, Ariel, Zambello felt it was important that the watery the mermaid princess, wants to break out of her kingdom of The Little Mermaid be a refl ection of INFO SHEETS everyday existence and explore new worlds. For our world today. Thus Zambello assembled a cast Sharing these with your class group BEFORE seeing the show will a mermaid, she longs for the impossible: to feel 4-17 of performers, as she commented, “of all shapes enrich your experience when you visit The Little Mermaid! the sunshine on her face and dry land beneath her and sizes and cultural backgrounds.” “We’ve been feet. As with the popular Disney animated fi lm blessed,” she continued, “to fi nd a wide range of version based on the classic tale by Hans Christian incredibly talented actors and actresses to bring CLASS PROJECT: Andersen, The Little Mermaid portrays the this show to its fi rst incarnation.” powerful desire for young people to be in BRINGING THE LITTLE MERMAID TO LIFE! Use these activities to bring The Little Mermaid to life in your of their own destiny ― but still with the support “Everyone yearns at some point in their life,” and guidance from others who care. says Francesca Zambello, “to be something, to classroom! WHO? (the characters), WHAT? (the plot), WHERE? 18-36 go somewhere, to discover something that’s not (the setting), WHEN? (the story’s time period), WHY? (theme and Although The Little Mermaid takes place in a part of what they are.” Whether learning new motivation) magical undersea world, the story is grounded in things or meeting new people, students have many real-life feelings and desires. The Little Mermaid is opportunities to challenge themselves every day. a story about yearning: that feeling you get deep By watching Ariel fearlessly follow her dreams, COMMUNITY CONNECTIONS inside when you want something that’s just out young people may be inspired to pursue their own. 37 of reach. In The Little Mermaid, Ariel breaks away How does The Little Mermaid connect with your world? from her community and her family to follow her dreams. Everyone in her life – from her family to RESOURCES her friends – expects her to conform to a certain A list of texts, videos/DVDs, recordings and websites for further behavior. However, Ariel has to follow her heart. 38 Eric has a similar problem: he is expected to exploration into the world of The Little Mermaid! “settle down” and accept the responsibilities of the throne, but all he wants is a life of adventure at sea. Both Ariel and Prince Eric are outsiders, “fi sh out of water,” because their dreams go Variations against their society’s norms. Look for this shell for suggested variations on exercises and activities!

Score: a written or printed piece of music. Throughout the The Little Mermaid guide, look for (Ariel) photo by: Per Breiehagen defi nitions of words you may not know!

A NOTE ON LEARNING OBJECTIVES: • Each exercise includes a box with Learning Objectives. These objectives are adapted from National Standards 22 and the New York City Blueprints for the Arts. See the Resources section for website links. 3 INFOSHEET INFOSHEET

STORY SYNOPSIS STORY SYNOPSIS (continued)

Our story begins as Prince Eric After criticizes her for going up to the Discouraged without a voice or the ability to On the third day, Grimsby gathers princesses from surface, Ariel retreats to her grotto where she control her new legs, Ariel is quickly “reorientated” across the land to sing for Prince Eric, but none tirelessly searches the seas for stores her beloved collection of human objects by Scuttle and the rest of the seagulls possess the enchanting voice (“The Contest”). the source of an enchanting (“Part of Your World”). Ariel swims to the surface (“Positoovity”). While out for some exercise, Eric With the sun setting, Ariel desperately steps voice, despite the protests of his guardian, to see the ship and admire Prince Eric on deck. stumbles upon the helpless Ariel and carries her forward and… “dances” for Eric, who is smitten. Grimsby (“Fathoms Below”). Far beneath them, When thunder rips through the sky and lightning back to the palace. Overwhelmed by the splendor But before they can kiss, Ursula storms the palace the crab Sebastian has prepared a concert for the strikes the ship (“Storm at Sea”), Eric falls around her – and the proximity to the object of her and takes Ariel back to the depths of the sea as to mark the singing debut of Ariel, King overboard and begins to drown. Ariel saves the affection – Ariel fi nds a melody for her thoughts a mermaid. When Triton appears and demands Triton’s youngest child (“Daughters of Triton”). unconscious prince and brings him to shore (“Part (“Beyond My Wildest Dreams”). Ariel’s release, Ursula forces him to trade his power of Your World” ). for his daughter’s life (“” However, the mischievous Ariel is nowhere to Preparing a seafood spread in the kitchen, Chef Reprise). Ariel ultimately overcomes and destroys be found. Ariel has been spying on humans with Back in Triton’s court, Ariel’s sisters have noticed Louis discovers Sebastian, a crustaceous intruder Ursula. Finally witnessing Ariel’s determination and her fi sh friend Flounder (“The World Above”) and her preoccupation and grill Flounder for the scoop (“”). Ariel entertains Eric and Grimsby Eric’s good nature, Triton uses his power to make listening to her seagull friend Scuttle lecture about (“She’s in Love”). On shore, Eric scans the with her naïve antics then joins the mêlée as her permanently human to be with Prince Eric the objects she’s found (“Human Stuff”). In a deep, for his savior (“Her Voice”). Thus Grimsby suggests Louis and his coterie of chefs chase Sebastian (“If Only” Reprise). Triton unites the mer-world dark corner of the ocean, the Ursula and a contest to fi nd the owner of the mysterious around the dining room (“Les Poissons” Reprise). and the human world together for one day to her lackey eels, Flotsam and Jetsam, bemoan their voice. King Triton, furious about Ariel’s contact While walking her to her room, Eric teaches Ariel celebrate Ariel and Eric’s happy marriage. exile and plot to regain power from Triton using with a human, destroys all the precious objects in to communicate without words - through the Ariel as bait (“I Want the Good Times Back”). her grotto (“The World Above” Reprise). Feeling language of dance (“One Step Closer”). Ursula sorry for his new charge, Sebastian tries to cheer sends her eels to interfere with Ariel’s rapid up Ariel with the wonders of the ocean (“Under progress after only one day (“I Want the Good the Sea”). Times Back” Reprise).”

Unconvinced, Ariel leaves home and Late in the second day, Eric takes Ariel for a is greeted by Flotsam and Jetsam boat ride on the lagoon, where (“Sweet Child”), who escort Sebastian leads the her to the sea witch’s animals in a romantic lair. Ursula opens up serenade (“”). her octopus tentacles – Flotsam and Jetsam spoil and her dark powers the mood by sending a – granting Ariel’s jolt of electricity through wish to be human, the boat, blocking the near but at a high price: kiss (“Sweet Child” Reprise). in exchange for Later, Sebastian laments her voice, Ariel the poor girl’s situation, and has three days in Triton worries about his missing Broadway Cast human form to get daughter (“If Only” Quartet). Proximity: the region close Sierra Boggess (Ariel) Prince Eric to kiss her With their options running out, to or around a person or thing (Triton) (“Poor Unfortunate Sebastian and Flounder return to Melee: confusion, turmoil Bemoan: to express Souls”). Triton’s court and reluctantly tell theCoterie: kin an exclusive group distress or grief the king of Ariel’s circumstances. or clique 4 4 55 INFOSHEET INFOSHEET MEET SOME OF THE CHARACTERS THEMES: WHAT IS A MYTH?

“I’M TELLING YA, LAD, WHEN KING TRITON IS MAD HOW THE WAVES’LL BUCK, ROCK TO AND FRO” – Pilot, “FATHOMS BELOW”

Ariel: A mermaid on the verge of maturity: innocent, headstrong, spirited and overfl owing with feelings Myths are stories used to explain life’s mysteries. Before the coming of that are fathoms deep. She dares to dream about being in a different world, the world on land above science, civilizations interpreted the world around them through myths. Each culture has had its own the sea. myths to explain natural phenomena, provide inspiration, and teach lessons about ourselves and the world around us. King Triton: The son of Poseidon, King of the Undersea World, and father to Ariel and her sisters. Triton has a profound belief that the Human World is dangerous and should be shunned. Human beings are always curious; we want to have the answers, even to impossible questions. Prince Eric: Beneath his easy charm, handsome face and instinctive courage, Prince Eric is a reluctant ruler Why does the sun come up every morning? How who’d happily trade his for a life of adventure on the sea. were stars created? What lies beneath the waves? Myths can be used to answer timeless questions Grimsby: Prince Eric’s somewhat stuffy guardian. Without Grimsby’s advice, Eric would be lost. and provide explanations for what is.

Sebastian: The court to King Triton, this crab becomes Ariel’s unwilling protector. We are surrounded by mythological references from many cultures. Imagine waking up on a Flounder: This fi sh is a faithful friend to Ariel. What Flounder lacks in courage, he makes up for in Thursday, ordering a book on Amazon.com about enthusiasm. the planets Mars and Mercury, and later catching a show at the Apollo Theater in New York. All of the Scuttle: A seagull who fancies himself the ocean’s greatest living expert on humans and their “stuff.” names of these places and things, even the day of Scuttle provides Ariel the latest information on the fascinating land-dwellers. the week, came from myths. Myths still hold great power for us because, like children’s stories or Flotsam and Jetsam: Ursula’s lackeys, these two electric eels are slippery and cruel. folktales, they are simple but compelling narratives that can offer and meaning to our otherwise Ursula: Sorceress of the Sea, Ursula is Triton’s sister. Banished forever for dabbling confusing world. with “black magic,” she plots to claim the throne of the Undersea World for herself.

Aquata, Andrina, Arista, Atina, Adella, Allana: Ariel’s older sisters who sing at the celebrations their father King Triton throws for the undersea kingdom.

Chef Louis: The Royal Chef, whose specialty, and great love, is seafood.

Carlotta: Headmistress of the palace.

Norm Lewis (Triton)

Phenomena: something that is Headstrong: determined impressive or extraordinary to have one’s own way John Treacy Egan (Chef Louis) Compelling: having a powerful and irresistible effect 6 77 INFOSHEET INFOSHEET THEMES: THE MAGIC AND MYSTERY THEMES: THE MAGIC AND MYSTERY OF THE SEA OF THE SEA (continued)

Humans have always been in awe of the sea. We have always needed the Today many believe that what sailors saw SEA sea – for navigation, trade and food – but we have always feared it. Traveling on the ocean is quite were not but , huge marine In The Little Mermaid, Ursula is a octopus safe today, but in ancient times, a sudden storm or lack of wind could mean a death sentence. Because also known as sea cows. While it may and threatens Prince Eric’s ship. For ancient sailors, the sea was so vast yet so necessary, many myths and legends sprung up around its watery mysteries. seem strange to imagine these creatures mistaken the sea could be a deadly place. Myths of horrifi c From the ancient Biblical story of Jonah and the whale to the legends of the Bermuda Triangle, from for beautiful women sea monsters were formed to explain ship wrecks stories such as 20,000 Leagues to movies such as “Jaws,” the sea continues to fl ood our with the tails of and disappearances. imaginations with hope and fear. fi sh, put yourself

Manatee NOAA's Estuarine Research Reserve Collection Location: Jobos Bay, Puerto Rico in a sailor’s shoes. Scylla and Charybdis – As described in ’s epic Below fi nd information about the different myths of the sea you’ll encounter in the The Little Mermaid: At sea for months, poem, The , these two monsters would or years, sailors haunt the Strait of Messina leading into Sicily, who were hungry, Italy. Scylla was a six-headed man-eating monster. Hudson wrote about encounters with mermaids in TRITON thirsty, and certainly Charybdis was a huge whirlpool that could swallow their logs. Hudson wrote, “One of our company, Triton was a Greek god of the sea. The son of lonely were ripe for fantastic a ship whole. Sailors had a hard time navigating looking overboard, saw a mermaid…her body as Poseidon and Amphitrite, god and stories of ladies of the ocean and water between these two sea monsters. big as one of us; her skin very white and black hair goddess of the ocean, Triton was usually spirits. Suddenly looking out at the ocean, shown with a powerful upper body of a hanging down behind…they saw her tail, like the they may see a head peak out of the water with The Kraken – the horrible squid-like creature that human and the tail of a fi sh. Triton’s tail of a porpoise…” (from , soulful eyes and a body with a huge tail. Perhaps hunted Captain Jack Sparrow in the Pirates of weapon of choice was his trident, November 4, 1888). the creature’s head is covered with seaweed, the movies originated from an old sea a three-pronged spear. The resembling long hair. Under these circumstances, legend of a huge tentacled monster that would sound of his twisted Mermaids were known for their great beauty conch shell it’s understandable that the myth of the mermaid rise out of the sea to bring ships down to the deep. and their love of . Sailors told of mermaids could calm the waves or raise was born. sunning themselves on rocks, while ships passing mighty storms. The Sirens – In The Little Mermaid, Prince Eric is by would hear their sweet-sounding melodies. enchanted by Ariel’s beautiful singing voice, but Their could make men fall in love, or drive MERMAIDS in , the Sirens – half-birds, half- them mad. Over the centuries, many countries and Throughout history, sailors women – would use their seductive songs cultures have created their own mermaid myths: have spoken of mysterious to distract sailors, causing them to run creatures – with the head their ships against jagged rocks. and torso of a human • , an African often and the tail of a fi sh – shown as a mermaid, can bring good luck, or if who live in beautiful crossed, may cause fatal drowning! cities beneath the • The Aboriginal people of Australia told waves. Famous tales of the Yawkyawks, mermaids who would explorers like grow legs and walk among humans at night. Christopher • The Native American Shawneo people believed Columbus that a half-man, half-fi sh with two tails had led and Henry their ancestors across the water from Asia to North America. Conch: these spiral shells • Irish mermaids, called , were able to are often used as horns live underwater by wearing magical caps. Tyler Maynard (Flotsam), Torso: the human body Sherie Rene Scott (Ursula), Derrick Baskin (Jetsam) excluding the head and limbs Sierra Boggess (Ariel) Log: a ship captain’s written record of a journey 88 99 INFOSHEET INFOSHEET REAL CREATURES OF THE DEEP! GLOSSARY “JUST LOOK AT THE WORLD AROUND YOU RIGHT HERE ON THE OCEAN FLOOR “Whoa! Mermaid off the port bow!” – Scuttle SUCH WONDERFUL THINGS SURROUND YOU WHAT MORE IS YOU LOOKIN' FOR?” – Sebastian, “UNDER THE SEA”

The Little Mermaid not only features mythical and fantastical beings like mermaids, dancing How is a ship like a theatre? Below fi nd the defi nitions of sailing terms you’ll hear at seagulls and singing crabs, but real creatures of the sea as well! The following are mentioned in the song The Little Mermaid, along with a glossary of theatre defi nitions: “Under the Sea.” SAILING TERMINOLOGY THEATRE TERMINOLOGY Newt: these brightly colored salamanders are Trout: the name attributed to close to Anchor: a heavy object, usually a shaped iron Backstage: any part of the stage not in the acting amphibians, which means they can live both in seventy species of freshwater fi sh, including the weight lowered by cable or chain to the bottom of area during a performance. water and on land. colorful Rainbow trout and Arizona’s state fi sh, the a body of water to keep a boat from drifting. Book/Libretto: “text” of a musical. Carp: this fi sh originated in Asia, but is now the Apache trout. Bow: the front of the ship. Cast: the group of actors and performers working most widely distributed freshwater fi sh in the Blackfi sh: this ocean-dwelling fi sh, found from the Deck: a platform extending horizontally from one on a show. world…to eat! Nova Scotia to South Carolina coasts, can grow up side of a ship to the other. Deck: another term for the stage area. Plaice: the common name for three species of red to 25 pounds! Fathom: the unit of length used to measure the Designers: (scenic, lighting, sound, costume, and spotted fl atfi sh that live in Alaska, Smelt: this family of small fi sh is common in the depth of water, equal to 6 feet or 1.8288 meters. makeup) artists who create the physical America and . North American Great Lakes. Smelt eggs or “roe” Flotsam: the fl oating wreckage of a ship. environment for a play or musical. Bass: a name shared by many species of large game are often used to decorate sushi. Jetsam: cargo thrown overboard to lighten a ship Director: works with collaborators to interpret and fi sh, including Australian bass, Chilean sea bass, Sprat: this small freshwater European fi sh of the in danger. oversee a theatrical production. The director is and Largemouth herring family is known for its short and rounded Leeward: the direction away from the wind. “captain of the ship” in terms of a show’s artistic Port: the left-hand side of a ship. vision. bass. THINK ABOUT IT head. Rigging: the arrangement of masts, spars, and sails Intermission: the interval between acts that allows Chub: a small With your class or group, Blowfi sh: also called the pufferfi sh, balloonfi sh on a sailing vessel. audience members to stretch their legs. grey & brown identify the names of or bubblefi sh, this poisonous sea creature scares Sail: a large piece of fabric designed to be hoisted Producer: the driving force behind the show, fi sh, found in different bodies of water potential predators by fi lling its stomach with on a sail boat to catch the wind and propel the assembles the artistic team, oversees all aspects freshwater as well from all over the world. water and growing in size. boat. beyond the stage. as the ocean. Which of the fi sh above Electric eel: this elongated fi sh with a fl attened Sea Shanty: as The Little Mermaid begins, we hear Rehearsal: a time for the performers to learn their Fluke: another would call an ocean their head can generate strong electric shocks of up to the sailors sing a sea shanty. Sailors created these parts and their blocking. term for a home? A lake? A river? 600 volts for both hunting and defense. fl ounder, this Hermit Crabs: these crustaceans search the ocean rhythmic songs to lighten their often tedious work. Rigging: fi xing lighting, sound and scenic devices coastal-dwelling fl oor for empty seashells to call home; they often Starboard: the right-hand side of a ship. to the theatre structure. fl atfi sh is known compete with other hermit crabs for the best Stern: the rear end of a ship, opposite to the stem, Wings: offstage areas right and left of the stage. for its fi ghting abilities and its fl avor…yum! shell! or prow. This area is not seen by audience members in most Ray: the common name for a class of fl at-bodied Windward: the direction toward theatres and is shielded by fabric or panels. ocean fi sh. the wind. Ling: this large member of the Cod family is green and brown in color and feeds on all kinds of fi sh as well as sea stars and octopus.

Crustaceans: Live mostly in water and have a hard shell, a segmented body, and jointed appendages. Crus- taceans include crabs, lobsters, shrimp, barnacles, and copepods. Broadway Cast 10 11 INFOSHEET INFOSHEET BEHIND THE SCENES: CREATING NEW WORLDS BEHIND THE SCENES: CREATING NEW WORLDS “MY HEART’S AN OPEN BOOK (continued) YOU’D SEE IT ALL AT ONCE IF ONLY YOU WOULD LOOK” – Ariel, “IF ONLY (Quartet)”

INSPIRATION! PHYSICAL POETRY HOW DO YOU MAKE A MERMAID? (1805-1875): This Danish writer “It was a piece that had always spoken to me,” When starting to imagine the visual world of The According to Francesca Zambello, you make a became known as the father said Zambello. “I love all the Hans Christian Little Mermaid, Thomas Schumacher, president mermaid by thinking like one: “The essence of Andersen stories. They’re all incredibly beautiful of Disney Theatrical Productions, and Zambello Ariel is that she doesn’t want to BE a mermaid! of the modern tale for and poetic and they have such strong visual sides turned to set designer George Tsypin. One of She wants to be something else. So understanding the stories he wrote between to them. And of course I knew the Disney animated the trademarks in Tsypin’s sets is the use of glass her hopefully meant we would fi nd a way in to 1835 and 1872. Along with “The Little feature,” she added. Zambello understood that the and fi berglass: a perfect way to call to mind the creating her costume.” Just as George Tsypin’s set Mermaid” (written in 1836), Andersen wrote such onstage version of the story had to have its own qualities of an undersea world. As Zambello suggests water without using actual water, the classic tales as “The Emperor’s New Clothes,” “The visual style and a life of its own. relates, “The set feels like water without being mermaid costumes, designed by Tatiana Noginova, Ugly Duckling” and “The Princess and the Pea.” water. It is shiny, it is translucent, it is transparent. are made of beautiful moving fabric that helps to Many of Andersen’s stories explored the feeling It captures light and transmutes it and turns it into create the illusion of moving through the ocean. of being different and the yearning for happiness. something else….” “The Little Mermaid” was fi rst translated into English by H. P. Paull in 1872.

Translucent: Permitting Sierra Boggess (Ariel) light to pass through Broadway Cast Transmutes: To change from one nature to another

1212 13 INFOSHEET INFOSHEET CREATING A THEATRICAL UNIVERSE DISNEY AND “I think ‘Mermaid’ boasts one of the most tuneful, exuberant Broadway scores in recent memory. It only just happens that the score was written for an animated fi lm.” - Doug Wright ( Post, July 22, 2007) How is The Little Mermaid stage musical different from the In his book Hollywood “It was Disney’s objective that the songs would either offer exposition [or] develop characters animated fi lm? Francesca Zambello refl ects, “That’s the challenge when you (adapt) an Rhapsody, Gary Marmostein and situations, rather than be musical interludes animated feature. You want to think, ‘how can I make it, not better, but make its theatrical life unique?’ writes that Disney’s success randomly injected into the fi lm,” writes Tietyen. Which is why you bring on board all your collaborators, your designers, choreographer, musicians, all was “founded on music almost This approach, of course, became the standard working to answer this question: ‘how will we make it unique for the stage?’” Or as she told Applause in musical theatre, refl ected in Rodgers and Walt magazine (July-Sept. 2007), “The fi lm is inspiration, but for a theatre piece you have to create something as much as .” Hammerstein’s now classics such as Oklahoma! and Disney understood the importance of music to that is completely its own world. This is about a girl who wants to be something she’s not. It’s a universal Carousel. But Disney fi lms had already set a high storytelling. He wanted songs for his fi lms that ‘I want.’ That’s the energy. We were . Utilizing luminary musical theatre songwriters were not only memorable, but also helped to given a great short story, and such as the Sherman Brothers, , Stephen give his characters personality and move the story we have to create our own Schwartz as well as Alan Menken and Howard forward. When he created Snow White, Disney universe.” Ashman, Disney animated features develop around was determined that songs had to serve another a central tenet: the songs must help tell the story. purpose, to tell us something new about the character. “Really we should set a new pattern – a new way to use music – weave it into the story so somebody doesn’t just burst into song,” commented Disney (as quoted in The Musical World of Walt Disney by David Tietyen). THE LITTLE MERMAID CREATIVE TEAM:

• Director – Francesca Zambello

• Choreography – Stephen Mear

• Scenic Design – George Tsypin

• Costume Design – Tatiana Noginova

• Lighting Design – Natasha Katz

Sierra Boggess (Ariel) Exposition: explanation or narration in a story Broadway Cast 14 15 14 INFOSHEET INFOSHEET THE MUSIC: PUTTING SONGS THE MUSIC: NEW SONGS FOR A NEW VOICE IN THE MERMAID’S MOUTH “WHAT WOULD I GIVE IF I COULD LIVE OUTTA THESE WATERS? Menken matched the music of The Little Mermaid “People probably don’t realize that the fi lm is only Writing for the movie or the stage version, WHAT WOULD I PAY with the magical aspects of the story: “The 82 minutes long,” points out Francesca Zambello. Menken answers the same challenge: “I want TO SPEND A DAY elements of classic inform every aspect When bringing The Little Mermaid to the stage, to capture the heart of an innocent girl who’s WARM ON THE SAND?” of The Little Mermaid stage adaptation, from composer Alan Menken joined forces with lyricist dreaming these big dreams that get her into - Ariel , “PART OF YOUR WORLD” the mer-world to the human world. It’s a world Glenn Slater to add new songs to fi ll out the story. trouble, but the goal is about – no pun intended The animated feature of built from and dreams, only using “Alan and Glenn have capitalized on what the – her fi nding her own legs, and her own voice” The Little Mermaid is often specifi c, real-world musical styles to illuminate the fi lm had before…but we wanted to tell more of (from Applause magazine, Sept. 2007). characters and emotions. For ‘Part of Your World’ the back stories,” Zambello points out. “Where recognized as the fi lm that I used the repeated four note ascending fi gure did Ursula come from? Why is Ursula like this? brought Broadway into as a water motif; constantly fl owing and opening What drives her? So Alan and Glenn have written modern animation. Composer Alan up into a broader emotional palette as the song a number of new songs to join with the incredibly Menken and his late writing partner Howard develops” (from a 2007 interview). This approach memorable songs that Alan created with Howard Ashman introduced clever lyrics, colorful music and provides an openness in the music – evoking the Ashman.” dynamic storytelling to an animated underwater fl ow of water. world. In addition to the fi lm’s popular songs, Menken and lyricist Glenn Slater crafted new musical numbers specifi cally for the Broadway production.

Motif: a recurring subject, theme, Broadway Cast or idea in an artistic work

1616 17 CLASSPROJECT WHO?WHAT?WHERE?WHEN?WHY? BRING THE LITTLE MERMAID TO LIFE! A FRACTION OF A FISH!

“WE WHAT THE LAND FOLKS LOVE TO COOK UNDER THE SEA WE OFF THE HOOK.” - Sebastian, “UNDER THE SEA”

Use these activities before and after you’ve seen The Little The Mer-people who live in the Underwater Kingdom of The Mermaid to bring the show to life in your classroom! Little Mermaid have features of both humans and fi sh. Mythology is full of creatures that are part human, part animal: the Minotaur had a human body and a bull’s head; the Centaurs were half human, half horse; the Sphinx was part human, part . In theatre, actors often use A good way to assess any story is with the 5 W’s: the characteristics of animals to help deepen their performances; in a way, they become an animal – and combine it with their own humanity.

WHO (character) STEP ONE: Select an animal. You can choose STEP FOUR: Discuss how to portray a Who are the different characters? one of the sea creatures on page 10 or look at the creature caught between two worlds. How do you resources page (page 38) for websites of other portray a 50/50 split? How would you portray 99% forms of marine life. human/1% animal? Which part of you is the 1%?

WHAT (plot) STEP TWO: Students fi nd a place around STEP FIVE: How do you portray a person the classroom or on stage. On a vocal cue from who retains certain characteristics of animals? What do the characters do during the story? the teacher, students transform themselves from Have you ever noticed that some animals seem to humans to their animals. Simultaneously, the behave like humans, and vice versa? For example, actors can explore the animal physically and vocally have you ever called someone hungry as a ? WHERE (setting) (through noises). Slow as a sloth? Slippery as an eel? How would you portray these characteristics on stage? Where does the story take place? STEP THREE: After one transformation, begin again. This time, as he or she move around the acting space, the teacher can WHEN (time) prompt the actors with a series of cues based on percentages of the human/animal When in history does the story take place? When equation. For example, the educator can during the day or the year? sidecoach them with cues such as: “Now you’re 30% human, 70% creature” WHY (theme, motivation) Sherie Rene Scott (Ursula) Why do the characters act as they do? “You’re 50% human, 50% creature” “How would you portray 90% human NOTE TO TEACHERS: In the following pages, you’ll fi nd interactive activities and only 10% creature?” designed to help your students think about The Little Mermaid using Theatre,

Language Arts, Visual Arts, and Music skills. Cody Hanford (Flounder)

LEARNING OBJECTIVES: • THEATRE-ACTING: Students will recognize and create a variety of vivid characters in improvisation, scenework and plays • THEATRE-ACTING: Students will be able to use physical transformation to create a visible characterization 1818 • MATHEMATICS: Students will be able to demonstrate the concept of percent through problems related to 19 actual situations WHO?

Sierra Boggess (Ariel) 20 - Ariel,“PARTOFYOURWORLD” Part ofthatworld SOLILOQUY DISCOVERING CHARACTERSTHROUGH life abovethesea. thoughts. Hersongispowerful,asaudiencesrelatetoheryouthfulcuriosityanddesireexperience In thesong“PartofYourWorld,”Arielprovidesaudience(orreader)withaccesstoherinner alone, conveyswhatheorshe“wants”totheaudience. in Shakespeare’s manipulate othercharactersinthescene true feelings–sometimestheyareusedtopersuade,or Monologues andsolosdonotnecessarilyrevealacharacter’s Wish Icouldbe Out ofthesea Wouldn't Ilove,lovetoexplorethatshoreupabove? When's itmyturn? Bet theydon’treprimandtheirdaughters Burn word? innerthoughtsataparticularmoment • THEATRE-PLAYWRITING/PLAYMAKING: Students willbeable tocreateamonologue to re quality&intention • THEATRE-ACTING: Studentswillbeable tousetheirvoiceexpress choicesofcharactervoice, emotional • THEATRE-ACTING: Studentswillbeable toreceive,respondand incorporatedirections • ENGLISH/LANGUAGEARTS: Studentswillmakeoralpresentationstotheclass LEARNING OBJECTIVES: Bright youngwomensickofswimmin' What's a Ready tostand Ask 'emmyquestionsandgetsomeanswers I'm readytoknowwhatthepeople Betcha onlandtheyunderstand Up wheretheywalk,uprun on thesand? What wouldIpaytospendadaywarm these waters? Up wheretheystayalldayinthesun WHAT?WHERE?WHEN?WHY? What wouldIgiveifcouldliveoutof Wanderin' free-wishIcouldbe Part ofthatworld Julius Caesar fi re andwhydoesit–what'sthe ). However,soliloquiesarespeci evokes. Whatdoesshewant? scene. Brainstormalistofquestionsthatthissong World” outloud.DiscusshowArielisfeelinginthis STEP FOUR: STEP THREE: STEP TWO: STEP ONE: performing frommemory. perform itinfrontoftheclass,eitherreading itor Why? obstacles inyourway?Whatfeelingsareevoked? thought youcouldneverhave.Whatare/werethe exploring somethingimportantthatyouwantor waters, herlimitations.Writeabriefmonologue interesting. make hisorhermonologueclearerandmore reading aloudyourmonologues.Helppartner fi c monologuesorsoloswhereacharacter, (performed) byoneperson. Monologue: byoneperson. Solo:

(e.g., MarcAntony’seulogyofCaesar Readthelyricsto“PartofYour Arielwishestoliveoutofher Afterrevisingyourmonologue, Find apartner,andtaketurns asongperformed dramatictextspoken fl ect a character’s WHO? Sierra Boggess(Ariel) ofastory • ENGLISH/LANGUAGE ARTS:Studentswill writecompositionsthataddress problems/solutions • ENGLISH/LANGUAGE ARTS:Studentswill createanorganizationalstructure thatbalancesthe narrative aspects LEARNING OBJECTIVES: desires. ful how she objectives and write aonesentencedescriptionofAriel’s those dif journey? Whattacticsdoessheusetoovercome What aretheobstaclesthatArielfacesonher tactics willIusetoachievethisobjective?” “what doesmycharacterwantinthisscene?What preparing arole.Theactorisalwaysthinking: These arealsothestepsanactorwilltakewhen obstacles intheway? TACTIC: preventing himorherfromachievinghisgoal? OBSTACLE: OBJECTIVE: that standintheirwayofhappinessorful achieve theirgoalsagainstobstacles–challengesintheformofpeople,eventsorevenpersonalissues monologues. desires areoftenrevealedtotheaudiencethroughsolosand On page20,youjustexploredhowacharacter’ssecret OBSTACLE COURSE following terms: This processcanbebrokendownintothe fi lls her What doesthecharacterdotoovercome AND GETTHEGOODTIMESBACK!” “I’LL SPRINGTHETRAP! fi culties? Ontheobstaclecoursebelow, What’sinthecharacter’sway?Whatis Whatdoesacharacterwantordesire? WHAT? Goodstorytellingoftenengagestheaudienceastheywatchcharactersstruggleto start TACTIC? Obstacle #1: Objective #1: WHERE?WHEN?WHY? fi llment. – Ursula, “IWANTTHEGOODTIMESBACK” TACTIC? Obstacle #2: Objective #2: TACTIC? Obstacle #3: Objective #3: 21 21 WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY? IMPROVISATION: OVERCOMING OBSTACLES DECISIVE MONOLOGUES

“JUST LOOK AT ME “As long as you live under my reef, you’ll obey my rules!” – Triton AND YOU WILL SEE SOMEONE BEYOND HER WILDEST DREAMS.” – Ariel, “BEYOND MY WILDEST DREAMS” Overcoming obstacles can be diffi cult, but this struggle is Like songs, monologues can reveal turning points in the story the essence of all storytelling and even of life itself. We love to see when decisions are made that that will affect the future. Improvise characters struggle against problems ― not knowing whether they will succeed or not. By watching or write a brief monologue for one of the following story moments. Be sure to address the following: individuals battle against powerful obstacles and then overcome them, we gain courage to strive against the diffi culties in our own lives. • What is your character’s objective at this point in the story? • What obstacles are in your character’s way? Use improvisation to help the characters you portray from The Little Mermaid overcome the obstacles in • What tactics will your character use to overcome his or her problems in this scene? each scene:

CHARACTERS STEP ONE: Split up into smaller groups. For Ariel, Triton CHARACTER: SEBASTIAN CHARACTER: PRINCE ERIC How does Sebastian feel when Ariel doesn’t show How does Prince Eric feel when he realizes Ariel each scene listed below, choose who will play each Triton: Ariel! I have to know! Did OPENING up for the concert? cannot speak? character. you save a human from drowning? Triton wants Ariel to realize that In each scene below, start OBJECTIVE CHARACTER: ARIEL CHARACTER: URSULA STEP TWO: humans are dangerous with a line of dialogue, then continue the scene, How does Ariel feel when Triton destroys her How does Ursula feel when Triton hands over his collection of “human stuff?” powers to her? improvising in the voice and manner of the OBSTACLE Ariel won’t listen characters. Continue the scene until the obstacle is overcome. CHARACTER: TRITON How does Triton feel when Ariel leaves? CHARACTERS The Pilot, Grimsby, Prince Eric STEP THREE: Discuss your improvisations CHARACTER: SEBASTIAN Sean Palmer (Prince Eric) and offer advice to the actors. Questions to Pilot: We ought to head back to shore, How does Sebastian feel when he must lie to the OPENING LINE consider: Your Majesty. sea king to help Ariel? Prince Eric wants to fi nd the origin of • Did the actors stay in character? OBJECTIVE the mysterious voice CHARACTER: ARIEL • Did they hold their concentration, or were How does Ariel feel when she signs her voice away The Pilot and Grimsby want to return to they distracted? Did the actors listen to each OBSTACLE to Ursula for a pair of legs? land other? • Could you always hear what the actors were CHARACTERS Ursula, Flotsam, Jetsam saying? Variations Create a dance or movement piece Ursula: King Triton’s the only thing that • Did the dialogue help to tell the story? OPENING LINE based on one of your monologues. stands in my way. • Did the actors seem to understand the character’s obstacle? Did they portray them as Are there feelings you can Ursula wants to take over the Undersea OBJECTIVE overcoming it? get across to an audience Kingdom through dance that you can’t with a monologue OBSTACLE Her brother, King Triton, is in the way or a solo song?

LEARNING OBJECTIVES: LEARNING OBJECTIVES: • THEATRE: Students will recognize and create a variety of vivid characters in improvisation, scenework and • ENGLISH/LANGUAGE ARTS: Students will create an organizational structure that balances the narrative aspects of a story plays • THEATRE-PLAYWRITING/PLAYMAKING: Students will be able to create a monologue to refl ect a character’s inner thoughts 22 • THEATRE: Students will create appropriate physical gestures and facial expressions that serve a character at a particular moment 23 22 • THEATRE-ACTING: Students will be able to demonstrate the ability to commit to truthful acting and responding • THEATRE/ACTING: Students will be able to apply an understanding of specifi c character needs, obstacles, actions and 23 “in the moment” within imaginary circumstances relationships in activities, sharings and performances WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY? THE MAGIC OF THINGS CREATING WATER IN YOUR CLASSROOM! “WONDERFUL STUFF “What we want to present is much more of a suggestive and imagistic and allegorical THAT HUMAN STUFF world. So everything is made out of glass and fi berglass and sculpture.” NONE OF IT FLUFF – Francesca Zambello (Denver Post, July 21, 2007) NOT HUMAN STUFF!” – Scuttle and the Gulls, “HUMAN STUFF”

“Have you ever seen anything so wonderful in your entire life,” Theatre artists are problem STEP TWO! Consider the characteristics of Ariel cries out while holding up a fork. Although a fork may be an item to us, for Ariel, it is a solvers. When confronted with the challenge water. How might you create the illusion of water beautiful work of art because it was created by humans. Like Ariel, we endow, or give emotional weight of creating an underwater kingdom on stage, in your classroom or other space? What are some to certain objects based on their value to us. A ratty old doll might be trash to one person but a lifelong Francesca Zambello and the creators of The Little of the characteristics of water? What might it look companion to another. Because of her fascination with humans and her desire to explore their world, Mermaid were determined to develop new ways like? Sound like? How does ocean water behave Ariel endows human made objects with meaning that Triton and Sebastian cannot appreciate. to suggest water without actually having water on differently from water in a standing pool? stage. Stage Prop (or property): An object used on stage that could be handheld, furniture or other items STEP THREE! Now physically create a conveying character and/or story (e.g., Grimsby’s cane or walking stick provides a clue as to his age as Now it’s your turn! If you knew you couldn’t use unique artistic interpretation of water! Use your well as a time when people used canes more frequently). real water, how would you show or suggest water imaginations and any materials at hand (see below in your classroom? list for suggestions). Each group presents to the Here are two activities designed to explore the importance of props and how we endow them with other groups – see if they are able to guess your emotional weight: STEP ONE! Form smaller groups. Each group body of water and scene. should choose a moment from The Little Mermaid involving water and discuss why water is signifi cant Suggested materials: to telling the story in that scene. List fi ve reasons 2. TIME CAPSULE: Paint Fish netting 1. STAGE PROP why or how water communicates the setting or Cotton Styrofoam TRANSFORMATION: Ariel says, “I just don’t see how a world theme. that makes such wonderful things…could be Plastic wrap Glitter When Scuttle the Seagull refers to a so bad.” Create a list of objects from today’s Construction Paper Fabrics pipe as a “snarfblatt,” he incorrectly world you might place in a time capsule to show informs Ariel that is used to make people from the future of our era’s positive music. Standing in a circle, pass qualities. around everyday objects and provide new names and functions for the items (i.e. a stapler might be called a “cruncher” used for cracking nuts). Anything goes, but students cannot repeat names or functions already described. Variations Bring an object in to class that has great meaning to you, but might not mean as much to others. Explain why you have endowed Sierra Boggess (Ariel) the object with such importance. Sean Palmer (Prince Eric)

LEARNING OBJECTIVES: LEARNING OBJECTIVES: • ENGLISH/LANGUAGE ARTS: Identifi es and researches cultural, historical, and symbolic clues in dramatic texts • ENGLISH/LANGUAGE ARTS: Students will write in response to literature • THEATRE-PLAYMAKING: Demonstrate an understanding of the skills required to be a prop master • THEATRE: Students will investigate and analyze theatre design components 24 • THEATRE-ACTING: Students will be able to make expressive use of costumes and props in activities, sharings • THEATRE: Students will understand the function of scenery in creating an environment appropriate for the drama 24 and performances 25 WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY? KEEPING THE OCEAN CLEAN DON’T TRASH WHERE YOU SPLASH!

“Isn’t this perfection, Grimsby? Out on the open sea, surrounded by nothing but water…” – Prince Eric Specifi c Action Steps* - Here’s how to help:

In The Little Mermaid, water is a means of trade, transportation, Encourage students to adopt Clearly mark school and adventure and, especially for the mermaids, survival. ecologically sustainable practices local storm water drains at home, school, in the general with suitable signs, such as The ocean contains rich and vital ecosystems. Entire communities literally live off the bounty of the sea, community, and along the coast and in “This drain leads to the ocean.” and close to one billion people around the world depend on the ocean for nutrition (according to Ocean the ocean. Blue, a nonprofi t environmental group). Work with your local Yet the ocean is not an inexhaustible resource, and despite their importance to us, marine resources are community to promote the being abused. Overfi shing and pollution are in danger of destroying the precious balance of the world’s Partner with other schools in your use of reuseable bags in place ocean. The ocean is an important part of the “,” as they say in . Pollutants that watershed to develop collaborative of plastic bags that have the are put down the drain, into the earth or let loose in the air eventually reach the open sea and can cause conservation projects and potential to become marine debris and damage to marine life, sea birds and human beings. Wherever you live, even in a land-locked area, you information exchanges. injure marine and other wildlife. depend on the sea. We are the stewards of our natural resources; it’s up to us to protect the ocean and the creatures in it – after all, we are a part of their world. Protect your ocean friends by putting Ocean terminology: • Conserve: to prevent waste or Impact a “Part of Your World:” trash in its place…not in the ocean. loss of; to use or manage (natural Help out in a beach clean-up…and resources) wisely; preserve; save. • Make a Difference: volunteer your time or donate to an organization that works to always leave the environment • Ecosystem: an ecological protect ocean and coastal habitats. in better condition than community together with its • Appreciate Your Ocean and Coasts: enjoy the ocean, waterways and you found it. environment, functioning as a unit shorelines. But remember that these recreation areas are a fragile (e.g. coral reef ecosystems). home to many plants and animals. • Habitat: the natural environment • Respect Your Ocean and Coasts: recycle, reduce and reuse. Keep of an organism; place that is trash and plastics off waterfronts and in trash cans. natural for the life and growth of • Educate Yourself: investigate how the ocean impacts your an organism. school or community from drainage issues and recycling to • Marine Sanctuary: a place that cafeteria fi sh sticks! Read about special ocean areas like provides protection to part or all national marine sanctuaries and share what you know. of the plants, creatures or cultural resources. • Ocean: the vast body of salt water that covers almost three fourths of Inexhaustible: Broadway Cast the Earth’s surface. that cannot be entirely • Watershed: the region draining consumed or used up into a river, river system, or other Steward: a guardian or protector body of water.

LEARNING OBJECTIVES: • CIVICS: Understands how participation in civic and political life can help citizens attain individual and public goals * Action steps courtesy of National Oceanic and Atmospheric Administration (NOAA). See Resources on page 38 for 2626 • CIVICS: Understands contemporary issues that involve civic responsibilities additional environmental websites. 27 WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY?

DESIGNING TWO WORLDS DESIGNING TWO WORLDS (continued)

IMAGINE THAT…YOU’RE A SET DESIGNER! It’s your job to 2. RESEARCH: NOW, GET TO WORK! Find a create the physical world of the play or musical – to show the cardboard box or shoebox to house your team’s LIBRARY AND INTERNET: Research diorama/model. Other materials can include: audience WHERE the story takes place. images from real life and mythology that might ASSIGNMENT: CREATE UNDERWATER & SURFACE only natural the sea creatures have their own parallel these worlds. Gather at least fi ve photos or versions of the sun, their own buildings, and their depictions to help your work. ENVIRONMENTS FOR THE LITTLE MERMAID: Crayons, markers, and Glue or tape own architecture. Their way of dressing had to colored pencils • Triton’s Palace inform and incorporate a style of movement while For more information visit these websites: Scissors Scrap pieces of fabric • Ursula’s Lair never obscuring the human aspects of the actor. • Prince Eric’s Dining Hall We never wanted it to become highly technical, www.cousteau.org/en/ The website for the but rather to keep a jewel-box-like quality to all Cousteau Society contains photos and fi lms of both Modeling clay Real plants Divide the class into smaller groups, each designing visuals.” the surface and underwater worlds. one of the above worlds through use of color, Sea Coral Sea Shells www.fl ickr.com/groups/scubaphotos/ This hub scale, patterns, motif, shapes, etc. Explore which THE DISNEY FILM: Watch the 1989 of the photo pool site Flickr offers thousands of elements may be repeated in both the underwater Disney fi lm, The Little Mermaid. Take notes as you Sand Color photos of underwater images from around the world. and surface designs. For example, both worlds watch. underwater scenes have sun images – one a fi ery yellow while the • How do the animators portray the underwater Popsicle sticks Fabrics www.sanctuaries.noaa.gov/pgallery/ This site other is a cool blue. world? The surface world? shows the incredible diversity of life and habitats • What distinguished the two worlds? How are in the National Marine Sanctuaries. Where to begin? they the same? Each group should present its model to the class • Describe how the animators use color and or group. Constructive criticism can be given: how 1. ORIGINAL SOURCES: texture to create these two worlds on fi lm. might the team change its set design to better tell the story of The Little Mermaid? THE BROADWAY SHOW: Consider 3. CONNECTIONS: the following description by Francesca Zambello, THE ORIGINAL STORY: Read “The VARIATIONS director of the Broadway production of The Little Mermaid” by Hans Christian Andersen. SURFACE AND UNDERWATER: • Act out a scene that might take place Little Mermaid, about the design concepts of the Use passages such as the following to see how What are the connections between the surface in your diorama. production: Andersen described the underwater world: world and the underwater kingdom? What are the • Create a soundscape for your connections between Triton’s home and Ursula’s environment. What songs or “With my set and costume collaborators, George “In the deepest spot of all, stands the castle of the lair? How can you use color, patterns, layout and instrumental music Tsypin and Tatiana Noginova, we found a world Sea King. Its walls are built of coral, and the long, sizing to create visual connections between the Diorama: convey the mood of using light, glass and fi berglass, one full of gothic windows are of the clearest amber. The two set designs? a scene, often in your set? Play the refl ections and sculptures that has all the elements roof is formed of shells that open and close as the miniature, reproduced in music you choose of the earth yet is fi ltered through the point of water fl ows over them. Their appearance is very three dimensions by placing when showing view of the sea creatures. For example, it seemed beautiful, for in each lies a glittering pearl…” objects and fi gures in front of a your diorama. painted background.

LEARNING OBJECTIVES: LEARNING OBJECTIVES: • ENGLISH/LANGUAGE ARTS: Students will understand a variety of messages conveyed by visual media • ENGLISH/LANGUAGE ARTS: Students will understand how different media are structured to present a particular • THEATRE: Students will understand the function of scenery in creating an environment appropriate for the drama subject or point of view 2828 • VISUAL ARTS: Students will create a series of drawings that demonstrate volume, proportion and control of materials • THEATRE: Students will demonstrate an understanding of the skills required to work as a set designer 29 WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY?

A MERMAID EXPEDITION CONFRONTING PREJUDICE

“THERE’S MERMAIDS OUT THERE “It's…about two worlds that don't like each other but come to embrace each other." IN THE BOTTOMLESS BLUE” – The Sailors, “FATHOMS BELOW” – Francesca Zambello (Vanity Fair, November 2007)

Mermaids are part of our shared history. Archeologists have found ancient WHY DO WE FEAR OTHERS WE DON’T KNOW? HOW CAN WE statues of mermaids dating back thousands of years. According to legend, as early as 5,000 B.C., the GET ALONG BETTER? We see examples of prejudice and stereotyping in the opening scene Babylonian god Oannes, described as half man, half fi sh, gave wisdom to mankind. Many cultures have of The Little Mermaid as Prince Eric and the sailors sing of King Triton and his mer-people without ever stories and tales about mermaids or other underwater creatures. Throughout time, artists have used the having met them. mermaid as a symbol of beauty, freedom and mankind’s interactions and connections with nature. Just a few scenes later, Triton rebukes his Explore the concepts of prejudice and tolerance: Sailors would search the seas for just a glimpse of STEP ONE: Break your class or group into daughter about the sailors, “You could’ve been a mermaid. Now it’s your turn: instead of a ship, three smaller groups. Each group will investigate a seen by one of those barbarians! One of those • Split your class or group into pairs. Each pair use the library or Internet resources to gather fascinating period of time for sea travel: humans!” has three minutes to fi nd out as much as they information and images about mermaids through can about each other. Afterwards students the ages. GROUP 1: ANCIENT GREECE In The Little Mermaid, the mer-folk and the introduce their partners to the rest of the humans feel prejudice towards each other. If you group. GROUP 2: 16TH CENTURY AFRICA break the word “prejudice” down to its parts, you • get “pre-judging” or judging before you have all o What do you have in common? What are GROUP 3: 17TH – 20TH CENTURY EUROPE AND the facts. Prejudice creates stereotypes, which are your differences? AMERICA simplifi ed and distorted views of a group. The only • way to fi ght prejudice and stereotypes is through o How can empathy with another’s view greater empathy, or identifying with the feelings point help to bridge the gap between STEP TWO: Using the library, Internet, or and situation of another person. At the end of The people? How can ignoring another’s museum resources, gather information, images, Little Mermaid, the humans and mer-folk come viewpoint lead to create prejudice? legends and lore about mermaids throughout together for a common goal: celebrating the bond the ages. Sources can include log entries, maps, created by Ariel and Prince Eric. • Look at newspaper or Internet articles about legends and myths, photos, drawings, video or how cultural misunderstandings can create digital recordings. prejudice. • Discuss a time when you or a member of your family has ever been the victim of prejudice.

STEP THREE: Using a bulletin board or Eddie Korbich (Scuttle) Have you ever felt prejudice towards someone a wall in your classroom, create a MERMAID else? TIMELINE, placing the data you have gathered in • Create a tableau based on these concepts: chronological order. Use your fi ndings to discuss PREJUDICE, HATRED, EMPATHY, & RESPECT. the myths of mermaids from cultures around the world. Find similarities and differences among the myths; is there a common thread that runs through Tableau: a theatrical Jonathan Freeman (Grimsby) all of the myths? How do the heroes, villains and “frozen picture” in which themes of each myth refl ect the culture that told it actors are positioned to and the time period in which it was told? show a moment in time.

LEARNING OBJECTIVES: LEARNING OBJECTIVES: • THEATRE: Students will apply learning from other arts and disciplines to extend their understanding of • LANGUAGE ARTS: Students will use strategies to enhance listening comprehension (e.g., takes notes; theatre organizes, summarizes, and paraphrases spoken ideas and details) 30 • HISTORY: Students will understands the concept of arranging historical events into distinct periods • ENGLISH/LANGUAGE ARTS: Students will make oral presentations to the class 31 30 • HISTORY: Students will know how to diagram the temporal structure of events in literary narratives • ENGLISH/LANGUAGE ARTS: Students will play a variety of roles in group discussions (e.g., active listener, 31 discussion leader, facilitator) WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY?

IT TAKES TWO TO TANGO IT TAKES TWO TO TANGO (continued) “DANCING IS A LANGUAGE THAT IS FELT INSTEAD OF HEARD YOU CAN WHISPER, SING OR SHOUT WITHOUT SO MUCH AS A WORD” – Prince Eric, “ONE STEP CLOSER” Language is seen as both a barrier and a bridge in The Little STEP ONE: Split the class or group into pairs STEP TWO: Fill in stage directions for the Mermaid. Once Ariel loses her voice to Ursula, the evil Sea Witch, she must communicate and read one of the following passages below: lines provided. Remember, these suggestions with Prince Eric using only facial expressions and body movements. Later, Ariel’s aquatic friends are should let the actor playing Ariel know how to “speechless” when trying to send a crucial message to Eric. The power of nonverbal communication PASSAGE 1 react to Prince Eric or Sebastian. transcends The Little Mermaid, into our everyday lives. PRINCE ERIC: You should see the princesses that Grimsby drags to dinner. So prim, so boring. But Have you ever been so happy that you just Here’s a scene from The Little Mermaid. Note the STEP THREE: Using your stage directions, you…why, you were practically swinging from the wanted to hug someone? Or so mad that you italicized stage directions: stage and rehearse the scene. chandeliers! just wanted to turn your back to the world and ARIEL: slouch? These are all examples of nonverbal STEP FOUR: Once comfortable with the communication, or ways of sending and receiving scene, try either character without speaking. PRINCE ERIC: So ― if you don’t mind my asking ― messages by means other than words. what was it? An accident, when you were small? Or maybe stole your voice away in the STEP FIVE: Present both pieces to the rest of Pick one of the following excerpts from The Little middle of the night? the class. Encourage the class to compare the two Mermaid and try to convey the dialogue using ARIEL: pieces and provide the actors with feedback about gestures and body language. Also, fi ll in the their work. stage directions – or the guidelines the playwright PRINCE ERIC: I’m sorry, I didn’t mean…. Who provides in order for actors to become the needs words anyway? A says just as much characters they’re portraying – and have fun! sometimes. ARIEL:

PASSAGE 2 SEBASTIAN: Out of the frying pan, into the fi re! The things I do for you, young lady! I know what I should do! I should march you right back home to your father. ARIEL:

SEBASTIAN: …So you can be miserable the rest of your life. ARIEL:

Sierra Boggess (Ariel) Sean Palmer (Eric) Jonathan Freeman (Grimsby) Sierra Boggess (Ariel)

LEARNING OBJECTIVES: • THEATRE: Students will create appropriate physical gestures and facial expressions that serve a character 32 33 WHO?WHAT?WHERE?WHEN?WHY?WHO?WHAT?WHERE?WHEN?WHY? THE ART OF PERSUASION PUTTING IT ALL TOGETHER: “DOWN HERE ALL THE FISH IS HAPPY WHO, WHAT, WHEN, WHERE, WHY? AS OFF THROUGH THE WAVES THEY ROLL THE FISH ON THE LAND AIN'T HAPPY THEY SAD 'CAUSE THEY IN THE BOWL” – Sebastian, “UNDER THE SEA” In “Under the Sea,” Sebastian tries to convince Ariel that her At its core, a story is a character, in a setting and time period, home under the sea is better than the world she dreams of on trying to overcome obstacles to reach a goal. In other words, when the 5 land. To do this, he weaves what is known as a “list song.” Sebastian sings a list of the beauties and Ws are put together, a story emerges. On page 36, fi nd shells with CHARACTERS (WHO?), EVENTS (WHAT interesting characters of the undersea world. Examples of list songs are “My Favorite Things” by Rodgers HAPPENS?), PLACES (WHERE?) and TIMES (WHEN?) from The Little Mermaid. It’s up to you to discover & Hammerstein, and “It’s the End of the World As We Know It” by R.E.M. By creating a long and detailed the HOW and the WHY: how the characters overcome their obstacles and why they act as they do! list within a song, the songwriter “makes a case” for his or her point of view in a fun and engaging way. STEP ONE: Cut out each of the shells on the next page (page 36) or rewrite them on paper and Imagine that a friend wants to leave your home place them in four bags labeled WHO? WHAT? town or city. It’s your job to create your own list WHERE? and WHEN? song and persuade him or her to stay! STEP TWO: Split your class or group STEP ONE: Imagine the positive! Create a into smaller groups of fi ve. Each group will list of the positive aspects of your hometown or choose fi ve shells from the WHO bag and neighborhood. Who are the fascinating people? one shell from each of the other bags. What are some of the beautiful places of interest? What are the joyful events that occur there? STEP THREE: Take 10 minutes to create a scene using those characters, events, places STEP TWO: Brainstorm the negative! Create and times. a list of the negative aspects of the “outside world” – the places your friend wants to go. STEP FOUR: Perform your scene for your What are the dangers? What are the ugly sights? peers. Meet after the performance for “notes” Remember, you’re trying to persuade, so don’t be from your teacher or other students. How can your afraid to exaggerate, and, like Sebastian in “Under performance be made more interesting? the Sea,” you can do so in a funny way!

STEP THREE: Create original lyrics for a song based on your lists. Don’t forget, you are trying to persuade your friend that your hometown or city is the best possible place to be. Turn the page... This song can be to the tune of “Under the Sea” or you can create your own melody.

Cicily Daniels, Tituss Burgess, Cathryn Basile photo by: T. Thayer

LEARNING OBJECTIVES: • ENGLISH/LANGUAGE ARTS: Students will write persuasive compositions that address causes and effects • MUSIC: Students will use the elements of music for expressive effect 34 • MUSIC: Students will arrange simple pieces for voice or instruments 3535 WHO?WHAT?WHERE?WHEN?WHY? COMMUNITYCONNECTIONS PUTTING IT ALL TOGETHER: BEYOND THE STAGE WHO, WHAT, WHEN, WHERE, WHY?

ARIEL ERIC WHO WHO WHAT WHAT • Create a Class Journal: Throughout this study • Explore Nonverbal Communication: Discuss the guide, you’ve explored what happens to the different ways people communicate without A SHIP WRECK A WEDDING the characters during the story of The Little using their voices. Even though gestures may be Mermaid. But what happened to you when a key option, what other tactics are available you went to see the show? How were you in order for people to correspond with others? SEBASTIAN TRITON changed? Create a class journal with snippets of Over one day, make a list of each example you WHAT WHAT conversation, opinions, photos, drawings about notice of people “speaking without words.” WHO WHO A SEA JOURNEY A SINGING CONTEST your trip to the show. • Consider “Other” Oceans: For centuries, artists • Write a Review: After seeing The Little have been fascinated by the sea. Using the Mermaid, generate a review of the show. These library and the Internet, or by visiting a local can be in written form to be put in a journal, museum or art gallery, fi nd images of artistic URSULA FLOTSAM SCUTTLE WHAT they can be in talk show form, or they can be renderings of the ocean throughout the ages. WHO WHO WHO used as the basis for a roundtable discussion. Discuss how, and why, artists’ interpretations of A CONCERT If you were going to tell a friend about the the ocean have changed over the years. performance, explore the main story using these suggested points: WHEN RE GRIMSBY E JETSAM H 1. Describe one of the actor’s performances ERIC’S WHO WHO W and discuss how that performance added to AFTERNOON CASTLE your enjoyment of the show. 2. Describe one of the costumes. How did it help to tell the story? What did the costume tell the audience about the character?

E WHEN WHEN E 3. Describe one of the sets. How did it create ER ER H H the world of the story? W TRITON’S W ABOARD 4. What point did the director or playwright PALACE MORNING MIDNIGHT A SHIP try to make? What main idea were they trying to convey to the audience? Were they successful? Why or why not? 5. Describe the music. Was it memorable? E WHEN WHEN E What did the music show us about the ER ER H H characters? How did the music add to the W URSULA’S W ON THE mood? What did the songs add to the LAIR THE 1800S TODAY WAVES characters that the words could not?

Broadway Cast

36 37 RESOURCES CREDITS TEXTS ABOUT DISNEY THEATRICAL PRODUCTIONS: DISNEY THEATRICAL PRODUCTIONS (DTP), a division of Disney Theatrical Group, operates under Hans Christian Andersen: A Biography by R. Nisbit Bain (University Press of the Pacifi c, 2002) the direction of Thomas Schumacher and is among the world’s most successful commercial theatre Mermaids Most Amazing by Narelle Oliver (G.P. Putnam’s Sons, 2001) enterprises. Reaching a global annual audience of more than 20 million people in over 40 countries, OCEAN: The World’s Last Wilderness Revealed by Robert Dinwiddie (DK Adult, 2006) DTP produces and licenses Broadway musicals around the world including Beauty and the Beast, Song of the Sea: Myths, Tales and by Ann Spencer (Tundra Books, 2001) The Lion King, Elton John and ’s Aida, ® and Mary Poppins, a co-production by The Annotated Hans Christian Andersen by Hans Christian Andersen, edited by Maria Tatar (WW Norton, 2007) Disney and Cameron Mackintosh. The Little Mermaid, debuted on Broadway in 2007. DTP also has The Book of Mermaids by Patricia Saxton (Shenanigan Books, 2005) a professional stage version of Disney’s High School Musical that has toured across the country and The Musical World of Walt Disney by David Tietyen (Hal Leonard Corporation, 1990) around the world. Music Theatre International is set to begin licensing the stage adaptation of VIDEO/DVD Disney’s High School Musical 2 in Fall 2008. In addition, DTP licenses musical titles for local schools and The Little Mermaid (2 Disc Platinum Edition) (Walt Disney Home Entertainment, 2006) community productions through Musical Theatre International. Disney Theatrical Group also delivers live The Little Mermaid II: Return to the Sea (Walt Disney Video, 2000) entertainment around the world through its partnership with Feld Entertainment, producer of Disney on The Little Mermaid: Ariel’s Beginning (Walt Disney Home Entertainment, August, 2008) Ice and Disney Live!, including High School Musical: The Ice Tour and Playhouse Disney Live! RECORDINGS STUDY GUIDE CREATED BY: Disney’s The Little Mermaid: Original Broadway (©2008 ) Peter Royston (Writer) PRODUCTION RELATED WEBSITES Tim Thayer (Designer) www.disney.go.com/theatre/thelittlemermaid/index.html - The offi cial web site for the Peter Avery (Education and Outreach Director) Broadway production of The Little Mermaid. www.HowDoesTheShowGoOn.com - Offi cial website for Thomas Schumacher’s book, providing an interactive guide to the inner workings of theater and what goes on behind the curtain. www.surlalunefairytales.com/littlemermaid/index.html - An annotated version of Hans Christian Andersen’s fairy tale. www.strangescience.net/stsea2.htm - An extraordinarily detailed page, with information and images of sea monsters through the ages. ADDITIONAL ENVIRONMENTAL WEBSITES www.cleanoceanaction.org – An advocacy group dedicated to the preservation of the New York/ New Jersey coastline and ocean. www.keepoceansclean.org – A kid-friendly site of the Oceans Awareness campaign which uses Ariel as a mascot! www.malibufoundation.org – The Malibu Foundation for Environmental Education is a non- profi t group “dedicated to a sustainable and healthy planet for all life by educating and motivating people into action.” www.nature.org – A world-wide conservation organization “working around the world to protect ecologically important lands and waters for nature and people.” www.noaa.gov – Offi cial site of the National Oceanic and Atmospheric Administration.

For more information on the Learning Objectives used throughout this guide: National Standards www.mcrel.org/compendium/browse.asp The New York City Department of Education’s Blueprint for Teaching and Learning in the Arts Broadway Cast schools.nyc.gov/offi ces/teachlearn/arts/oaspimages/theaterbpfull.pdf

Additional information about Disney Theatrical Productions can To contact the Education Department: Disney Theatrical Productions: 3838 be found at: www.disneyonbroadway.com ATTN: Education, 1450 Broadway, Suite 300, NY, NY 10018 39 Phone: 212-827-5400 Email: [email protected] Music credits: p.2, p. 16, p. 20 “Part of Your World”; p.10, p.19, p. 36 “Under the Sea” Music by Alan Menken. Lyrics by Howard Ashman ©1988 Wonderland Music Company (BMI)/Walt Disney Music Company (ASCAP). p.3, p.7, p. 9, p. 30, p. 31 “Fathoms Below” Music by Alan Menken. Lyrics by Howard Ashman and Glenn Slater ©2007 Wonderland Music Company (BMI)/Walt Disney Music Company (ASCAP)/Punchbuggy Music (ASCAP). p. 12 “If Only (Quartet)” ;p. 21 “I Want the Good Times Back”; p. 23 “Beyond My Wildest Dreams” p. 24 “Human Stuff”; p. 32 “One Step Closer” Music by Alan Menken. Lyrics by Glenn Slater ©2007 Wonderland Music Company (BMI)/Walt Disney Music Company (ASCAP)/Punchbuggy Music (ASCAP)/Menken Music (BMI). All rights reserved. Lyrics reprinted by permission.

Broadway Cast

Photo credits: All photos by Joan Marcus, unless otherwise noted. Study Guide © 2008 Disney. All Rights Reserved.