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GOODSPEED MUSICALS TEACHER’S INSTRUCTIONAL GUIDE The Max Showalter Centerfor Education inMusical Theatre GOOD NEWS!

Goodspeed Opera House April 12 - June 22, 2013 ______

MUSIC AND LYRICS BY B.G. DeSYLVA, LEW BROWN & RAY HENDERSON

BOOK BY LAWRENCE SCHWAB, B.G. DESYLVA & FRANK MANDEL Teacher’s Instructional Guide

ADAPTED BY TABLE OF CONTENTS JEREMY DESMON How to Use the Guides...... 3 LIGHTING DESIGN BY CHARLIE MORRISON ABOUT THE SHOW:

Show Synopsis...... 4 COSTUME DESIGN BY TRACY CHRISTENSEN Character Summary...... ……….…………………………...6

Meet the Writers...... …...………………………..…..7 SCENIC DESIGN BY COURT WATSON Behind the Scenes: Set Design...... 9

Behind the Scenes: Costume Design...... 10 DIRECTED AND CHOREOGRAPHED BY BACKGROUND AND THEMATIC MATERIAL: VINCE PESCE Football in the 1920s...... 11

PRODUCED FOR GOODSPEED Sororities and Fraternities in the 1920s...... 13 MUSICALS BY MICHAEL P. PRICE The Roaring ‘20s: Youth in Society...... 14

Presenting a Timeless Trope...... 15

LESSONS:

Middle School Language Arts...... 16

Middle School History...... 19

High School English...... 21

High School History...... 24

Handout...... 26

Good News! Lyrics...... 32

Resources...... ………...…………....……………..…39

Theatre Etiquette...... 40

TIG updated 04.15.13 HOW TO USE THE GUIDES

THE TEACHER’S INSTRUCTIONAL GUIDE (TIG) is intended for use by teachers who will bring their school groups to attend performances at Goodspeed Musicals. The TIG provides background information, teaching ideas, and prompts to facilitate students’ knowledge and appreciation of the show’s themes and characters. The TIG activities are influenced by state and national standards associated with the arts, language arts, social studies, and science.

THE STUDENT GUIDE TO THE THEATRE serves as a companion to the Teacher’s Instructional Guide (TIG). It includes a plot and character summary, accessible historical and thematic background information to support the lessons in the TIG, and a behind-the-scenes look at the production. It also includes fun facts, theatre terms, and activities.

Each lesson in the TIG corresponds to a specific section in the Student Guide. Reading the Student Guide before attending a Goodspeed production will increase the likelihood that students will take active, critical roles as audience members, which will then lead to valuable classroom discussions.

The chart below maps the connection between the TIG’s lessons and supporting material with the corresponding pages in the Student Guide. (Click page numbers to jump to section.)

LEVEL/SUBJECT LEARNING PHASE LESSON TOPIC TIG STUDENT GUIDE

Middle School Before the Show Character Study Lesson: p. 16 Student Material: p. 3-5 Language Arts Support Material: p. 4-6, 26-31 Middle School Understanding A Popular Boy Meets a Lesson: p. 16 Student Material: p. 14 Language Arts Nerdy Girl Support Material: p. 15

Middle School After the Show Bullying Prevention Lesson: p. 17 Student Material: p. 12-13 Language Arts and Awareness Support Material: p. 13

Middle School Before the Show Paul Robeson and Lesson: p. 19 Student Material: p. 10-11 History 1920s Football Support Material: p. 11-12

Middle School Understanding Youth in the ‘20s Lesson: p. 19 Student Material: p.3-5, 15 History Support Material: p. 4-6, 14

Middle School After the Show DeSylva, Brown & Lesson: p. 20 Student Material: p. 15 History Henderson Support Material: p. 32-38

High School Before the Show Character Study Lesson: p. 21 Student Material: p. 3-5 English Support Material: p. 4-6, 26-31 High School Understanding A Popular Boy Meets a Lesson: p. 21 Student Material: p. 14 English Nerdy Girl Support Material: p. 15

High School After the Show Bullying Prevention Lesson: p. 22 Student Material: p. 12-13 English and Awareness Support Material: p. 13

High School Before the Show Paul Robeson and Lesson: p. 24 Student Material: p. 10-11 History 1920s Football Support Material: p. 11-12

High School Understanding Youth in the ‘20s Lesson: p. 24 Student Material: p.3-5, 15 History Support Material: p. 4-6, 14

High School After the Show DeSylva, Brown & Lesson: p. 25 Student Material: p. 15 History Henderson Support Material: p. 32-38

3 SHOW SYNOPSIS

ACT ONE

It’s 1927, Tait College’s students are gathered on their declines but once she hears that she will be tutoring New England campus to cheer on the football squad Tom Marlowe she agrees. as they practice for an upcoming game. The school newspaper, the Tait Gazette, claims that Tait can’t During their first session, Tom disappoints Connie when lose due to the skills of star football team member he suggests that she should just slip him the answers Tom Marlowe. to the test the next day. After Connie threatens to leave, Tom apologizes and agrees to learn whatever With the blow of a whistle, Coach ends practice and she can teach him. explains to the team that they need to play better in order to win. Coach reminds the Tait players about Meanwhile, to ensure that Tom passes, Coach and what their priorities should be: 1) football, 2) girls, and Pooch devise a plan to steal the astronomy test from 3) studying. The team is released but Coach asks Professor Kenyon. Later that day, Coach successfully Marlowe to hang back at which time he explains to distracts the Professor with a poem in which he Marlowe, once again, that he is essential to winning confesses he still loves her. Meanwhile, Pooch sneaks the game. Marlowe happily accepts the responsibility behind her desk and steals the test. As Pooch exists and welcomes the pressure. with the test Coach and Kenyon lock eyes on each other. Meanwhile, Connie, a studious and dedicated student with no interest in football, is in the observatory with The next day, the team and Pat wish Tom the best her eye glued to a telescope. Connie is approached of luck on his test. His teammates offer him assorted by Professor Kenyon who commends Connie for her good luck charms and Pat gives him a small ring box dedication to her studies. Professor Kenyon also notes but instructs him not to open it until after the test. Tom that Connie seems to be looking the wrong way with is clearly taken aback by Pat’s gift but puts it in his the telescope—she is peering down at the campus pocket. rather than up at the sky. Connie confesses that although she doesn’t care about the dance and the Pat announces that Tom has passed the test and then football game, she does care for Tom Marlowe. But exclaims to the team and their her affections can only be from afar as Marlowe is friends that after Tom leads dating her cousin, Pat Bingham. the Tait Vikings to victory, he is going to propose to her. Tom Back on the field, Pooch, the wisecracking trainer for is perplexed and searches for the Tait College football team, frantically shows up Connie in the chaos but at practice. He explains to Coach that Marlowe is cannot find her. The failing astronomy. As per the Dean’s new policy “any crowd lifts Tom and student with a failing grade in one or more classes exits joyfully. may not partake in athletics, no exceptions.” Coach and Pooch go to the observatory to speak with Professor Kenyon. Seeing them coming, the Professor instantly becomes a nervous wreck and goes off to check her appearance.

When Professor Kenyon returns, she and Coach speak reluctantly at first about Marlowe’s situation. We then learn that they have a lot in common – both are alumni of the school, they graduated the same year, and were in a relationship while students at Tait – and after some discussion, they agree that Tom Marlowe can play in the upcoming football game if he passes an astronomy retest. Jessi Trauth and Andrew Roubal in Goodspeed’s Everyone is overjoyed until they realize that Tom is Good News!. Photo by going to need a great deal of assistance to pass the Diane Sobolewski. retest. Pat comes to the conclusion that they need to get Tom a brainy, whiz-kid tutor and realizes that her cousin, Connie, is the perfect person! At first, Connie

4 SHOW SYNOPSIS

ACT TWO Coach for encouraging Tom to cheat. Connie leaves as well, disappointed with Tom. It’s the day of the big game! The Tait Vikings are preparing and the campus has joined together on At the game it’s halftime and the Tait Vikings are losing. the quad for an energetic pep rally. Coach tries to revive his team but is too distracted by what happened with Professor Kenyon. After his Later, the girls gather at the Pi Beta Phi sorority house underwhelming pep talk, Connie shows up, feeling to prepare for the evening’s events. Tom shows like Tom’s poor playing is her fault. She apologizes up at the house looking for Pat and immediately to him but he explains that it’s not her fault—he is following him, Connie arrives to get ready with Flo purposely throwing the game for her because if he and Millie. Connie goes with the girls while Pat and loses he won’t have to marry Pat. Connie explains Tom walk away to speak privately. Tom expresses his to Tom that he needs to fight for things that are reservations about getting married and Pat convinces important to him and that he can’t take the easy him that it is what he always wanted. Then, Professor way out. Subsequently, Tom gets his head back in the Kenyon unexpectedly arrives at the house looking game and Tait wins! for Pat to ask her for advice about a man! Following Kenyon’s arrival, Coach shows up at the Pi Beta At the All-American Ball, Tom gets up in front of the Phi house looking for his missing football players. As crowd, gives Pat’s grandmother’s ring back to her, and people continue to join the festivities at the Pi Beta Phi expresses his true feelings for Connie. Pat surprisingly house, Tom reveals his cheat sheet from Pooch and understands and gives the ring back to Tom. She confesses to everyone that he can’t play because he states “You know Tom…it is her grandmother’s ring, cheated on the exam. Kenyon explains that all the too. Go get her.” Tom and Connie happily embrace answers on his cheat sheet were wrong and that he, as Coach professes his love for Professor Kenyon and in fact, knew all of the correct answers. Kenyon allows presents her with the game ball. Tom to play in the game but leaves disappointed with

The cast of Goodspeed’s Good News!. Photo by Diane Sobolewski. 5 CHARACTER SUMMARY

TOM MARLOWE: The star of the BOBBY RANDALL: The scrawny second- Tait College football team. Tom is string “benchwarmer” on the football handsome, likeable, and the big man team. Although Babe tries to make her on campus. The fate of the team falls way into Bobby’s heart, he doesn’t fall to Tom, who is the primary reason they for her tricks and pushes her away since ever win. Tom is not as dedicated to his friend, Beef, has feelings for her. his studies as he is to football and he struggles to maintain good grades. POOCH KEARNEY: The wisecracking trainer for the Tait College football CONNIE LANE: An extremely studious team. He is constantly at Coach’s side and mature student at Tait College. trying to do what is best for the team. Connie excels at astronomy and is Professor Kenyon’s best student. BEEF SAUNDERS: A brutish, brawny and Although she does not have any masculine member of the football interest in football, she does have team. He is comical and quirky, but a secret interest in Tom Marlowe, not very bright. Beef has feelings her cousin’s boyfriend. for Babe O’Day and treats her like a perfect lady. However, he finds that COACH BILL JOHNSON: The his chivalry towards women often goes coach of Tait’s football team. He is unappreciated. popular with the students, especially the football team. Coach is a graduate PATRICIA “PAT” BINGHAM: The girlfriend of Tait College and used to play on of Tom Marlowe and cousin of Connie the team. While a student at Tait, he Lane. Pat’s assertiveness about what had a blooming relationship with a she thinks and wants often pays off for girl named Charlie (Charlotte Kenyon) her. She has a habit of making decisions but it went sour. Although he denies it, for Tom without consulting him first. Coach still has feelings for his former flame. MILLIE AND FLO: Two of Pat’s friends and sisters in the Pi Beta Phi sorority who PROFESSOR CHARLOTTE KENYON: Tait have similar aspirations and attitudes College’s very first female Astronomy as Pat. Professor who also attended Tait as a student. She is strong-willed, SYLVESTER: A freshman and underdog intelligent, and fair-minded. When at Tait College who is desperate to be Tom Marlowe’s participation in an a part of the popular group so he joins upcoming game is in jeopardy as a the ranks of the football team. result of a failing grade in astronomy, Professor Kenyon provides him an SLATS AND WINDY: Two players on opportunity to retake the test. She the Tait College football team who had a fling with the current Coach, Bill frequently pick on Sylvester. Johnson, during college and appears to have never gotten over it.

BABE O’DAY: A student at Tait College and an avid fan of the football team. Babe is notorious for her ability to take control of any situation and flirt her way through the members of the entire football team.

Chelsea Morgan Stock as Connie in Goodspeed’s Good News!. Photo by Diane Sobolewski.

6 MEET THE WRITERS DESYLVA, BROWN & HENDERSON One of the most successful songwriting teams of the twenties, DeSylva, Brown and Henderson produced a multitude of songs that have become musical standards including “Birth of the Blues,” “Black Bottom,” “Life is Just a Bowl of Cherries,” “My Song” and “Sonny Boy.” Other Broadway shows with scores by DeSylva, Brown and Henderson include George White’s Scandals, Manhattan Mary, Hold Everything, Follow Through and Flying High. In 1944, their song “Together” was introduced and became one of the ten biggest hits of the year, sixteen years after being published. During the fifties, a movie biography of DeSylva, Brown and Henderson was released and titled The Best Things in Life Are Free.

CLICK HERE to watch a CLICK BELOW clip from the 1956 movie to listen to the songs The Best Things in Life of DeSylva, Brown & Are Free about DeSylva, Henderson Brown and Henderson

• Listen to “Birth of the Blues” • Listen to “Sonny Boy” • Listen to “Black Bottom”

B.G. DESYLVA (Book, Music and Lyrics) B.G. DeSylva, also known as Buddy, was a composer, author, and publisher. He was born in New York, NY on January 27, 1895. DeSylva graduated from the University of Southern California. Shortly after graduating, DeSylva was introduced to Al Jolson and instantly became interested in his unique style of music. In 1918, DeSylva and Jolson went to New York and began working together on Tin Pan Alley.

Buddy DeSylva wrote songs for many Broadway musicals including Ziegfeld Follies, Sinbad, Sally, The Perfect Fool and The French Doll. DeSylva also was the producer and co-librettist for Broadway musicals DuBarry Was A Lady and Panama Hattie. He was the Director of The American Society of Composers, Authors and Publishers (ASCAP) from 1922 - 1930. In 1925, DeSylva joined forces with lyricist Lew Brown and composer Ray Henderson creating the well-known DeSylva, Brown and Henderson songwriting and music publishing team.

In 1930, the team sold their publishing firm and went to Hollywood to work in the motion picture business. They wrote the film scores forSunny Side Up, The Singing Fool, and Just Imagine. DeSylva also produced many films such as The Little CLICK HERE Colonel, Poor Little Rich Girl, and Stowaway. From 1941 through 1944, DeSylva to learn more about was the Executive Producer for Paramount Pictures. B.G. DeSylva Buddy DeSylva died in Los Angeles, California on July 11, 1950.

7 MEET THE WRITERS

LEW BROWN (Music and Lyrics) Lew Brown was born on December 10, 1893 in Odessa Russia. His family immigrated to Bronx, New York when he was five years old. While a teen, Brown attended DeWitt Clinton High School and began writing parodies of popular songs. Eventually, he also began writing his own original lyrics. In 1912, Brown and his songwriting partner, Albert von Tilzer, wrote the hit “I’m the Lonesomest Girl in Town.” In 1916, the team wrote another hit, “If You Were the Only Girl,” and they continued to write many successful songs in the years to follow.

In 1922, Brown collaborated with pianist and composer Ray Henderson, which resulted in the writing of their first hit, “Georgette.” In 1925, B.G. DeSylva joined the team creating one of the most popular songwriting and publishing teams on Tin Pan Alley. DeSylva, Brown and Henderson contributed to several Broadway shows including Scandals, Good News, Hold Everything!, and Follow Thru.

In 1929, DeSylva, Brown and Henderson sold their music publishing firm and moved to Hollywood under contract with Fox Studios. CLICK HERE to learn more about In 1931, Brown and Henderson chose to continue writing together while DeSylva Lew Brown chose to move on and work with other composers. Brown and Henderson produced such works at “Life Is Just a Bowl of Cherries” and “The Thrill is Gone.” While continuing to work with Henderson, Brown also collaborated with other composers. In 1937, he wrote “That Old Feeling” with composer Sammy Fain. He also produced, directed, and co-wrote the Broadway musical Yokel Boy.

Lew Brown died on February 5, 1958 in New York City.

RAY HENDERSON (Music and Lyrics) Composer Ray Henderson was born in Buffalo, New York on December 1, 1896. He studied piano and composition at the Chicago Conservatory. After studying at the Conservatory, Henderson moved to New York and began working in music publishing on Tin Pan Alley and as a pianist for vaudeville. Henderson met lyricist, Lew Brown in 1922 and the two teamed up with Buddy DeSylva three years later. Henderson wrote many hit songs with other lyricists. In 1923, he wrote “That Old Gang of Mine” with Mort Dixon and Billy Rose. In 1925 he wrote “Alabamy Bound” with DeSylva and “Five Feet Two, Eyes of Blue” with Joe Young and Sam M. Lewis. Later in 1926, he and Dixon wrote “Bye, Bye Blackbird.”

Henderson contributed compositions to several Broadway shows including Say When, Manhattan Mary, Hot-Cha, Strike Me Pink, and Three Cheers. He also wrote many popular songs including “I’m Sitting on Top of the World,” “Red Hot Chicago,” “If I Had a Girl Like You,” “Animal Crackers in My Soup,” and “Without Love.”

CLICK HERE Ray Henderson died on December 31, 1970 in Greenwich, Connecticut. to learn more about Ray Henderson FRANK MANDEL & LAWRENCE SCHWAB (Book) Frank Mandel was a playwright, producer, director, and lyricist, born in San Francisco, CA. Mandel worked on over 30 productions during his career, but he was best known for his writing and remembered for his work in musical theatre. Several of the productions were a collaborative effort with his long time partner, Laurence Schwab. Schwab was born in Boston and went to Harvard. He was a successful music circus and Broadway producer in the 1920s and ‘30s before his time in Hollywood. The two wrote and produced Good News! in 1927. Other productions of theirs include The New Moon (1928) and Follow Thru (1929). 8 BEHIND THE SCENES Scenic Design

MEET THE DESIGNER: COURT WATSON Court Watson is a New York City based Set and Costume Designer whose designs have been seen all over the United States and Europe, including The Norma Terris Theatre (Meet John Doe). Mr. Watson has been an Assistant Designer on several Broadway shows, including Guys & Dolls, Grease!, Lestat, Little Women, The Coast of Utopia, Cry Baby, South Pacific, Mauritius and High Fidelity. He has been a Guest Designer on ABC's “All My Children” and “One Life to Live.” Mr. Watson’s watercolors are in private collections throughout the United States, United Kingdom, Germany, Austria, and Switzerland, and have been exhibited in New York's Leslie- Lohman Gallery. The Football Field

The Observatory The Sorority House

DESIGN INSPIRATION: 1920s Men’s Dorm Room

Tom and Bobby’s Dorm Room 9 BEHIND THE SCENES Costume Design

MEET THE DESIGNER: TRACY CHRISTENSEN Tracy Christensen previously designed Something’s Afoot and City of Angels at Goodspeed. Other recent design credits include Abundance (Hartford Stage), Thoroughly Modern Millie (MUNY), The Boys from Syracuse (Shakespeare Theater Company, DC), Eternal Equinox (59E59 Street), Luv (Guild Hall, East Hampton), SkippyJon Jones (Lucille Lortel), Curtains (Paper Mill), Company (NY Philharmonic), Souvenir (Broadway), the new whale and dolphin show Blue Horizons (Sea World, Orlando/San Diego), Annie Get Your Gun (Chicago’s Ravinia Festival starring Patti LuPone), The Ohmies (off-Broadway). Ms. Christensen spent seven seasons designing for the Chautauqua Theater Company and is a faculty member at SUNY Purchase for costume design.

DID YOU KNOW... In the NFL, football players were not required to wear helmets during the 1920s.

10 FOOTBALL IN THE 1920s

In the 1920s the game of football 1930: Foam padding was added to experienced substantial growth. As the shoulder pads. World War I was ending, veterans who hadn’t received the opportunity to 1934: The first molded leather helmet attend college or had to leave college was used. early were coming back home and seeking out educational opportunities. 1939: Riddell Sports Equipment Enrollment in colleges increased as did Company designed and began selling participation in college sports. College the first plastic helmet. Also, special teams were suddenly gaining fit, well- shoes were designed for football trained veterans who, more often than players. They were heavy high-tops not, turned the previously mediocre made from leather. teams into winning ones. 1940: The chinstrap was invented, With the increase of wins came which was made of leather, attached a similar increase in fans and to the bottom of the helmet, and was esteemed reputation. Many designed to keep a player’s helmet on schools became known as his head when he was hit by another “football schools.” Such colleges player. were, Fordham University, Boston College, Columbia 1943: Helmets became a mandatory University, Notre Dame, and piece of equipment in football. The University of Detroit. 1945: Football shoes were now low- THE RISE OF THE FOOTBALL HERO tops and made to be light weight. Since the game of football had They also had molded rubber cleats become the center of America’s sports on the bottom of the shoe to help with craze during the 1920s, the players traction and speed. involved in the sport were viewed as socially prominent. In publications from 1949: Plastic helmets were adopted the time, players were illustrated as the by the National Football League. The epitome of youthful masculinity. They helmets had a plastic shell and were were often idolized and the prime focus padded with leather on the inside. of female attraction. When females were featured in these depictions, 1955: The first single-bar facemask was they were usually very beautiful and added to plastic helmets. portrayed as followers and fans of the virile players. Similarly, football players 1960s: Shoulder pads were no now were shown living a glamorous life filled made with fibershell instead of foam with youthful hijinks, pep-rallies, and padding, felt wool, and leather. adoring flappers. As a result, the image Eventually, plastic was added to the of the football hero was born. pads as well.

EQUIPMENT 1962: Plastic helmets with a double-bar Football equipment was extremely facemask were introduced. limited in the 1920s. Here is a short timeline that depicts the development 1966: Astroturf was introduced to of football gear from the1920s to today. the sport and quickly became the standard for all football fields. As a 1920: The first manufactured helmets result, in 1969, the first Astroturf-ready were introduced to football. These cleats were introduced to football. helmets were made of soft cowhide and had a snug fit. Then, later in the 1970s: Shoulder pads were now 1920s a hardened leather helmet universally made from plastic. was introduced that had leather pads stitched to the outside of the 1975: Plastic helmets were now helmet. Additionally, players began required to have full face masks. using felt wool and leather pads on their shoulders. 11 FOOTBALL IN THE 1920s

CLICK HERE 1982: Hip pads were required and Huddle: when members of a football to learn more about needed to be covered by the outer team gather together to plan/discuss the history of football uniform. the next part of the game

1983: All mandatory player equipment Hustle: to move quickly, hurriedly, and was required to be designed and energetically made by a professional football equipment manufacturer. Equipment Interception: when a defensive player was prohibited from being altered catches a ball intended to be caught from its original state unless directed to by an offensive player. An interception be changed by the team physician. results in a change of possession of the ball from the offense to the defense. Today: The NFL has dedicated more than $100 million towards researching Interference: when a player illegally new types of equipment to prevent blocks the football from a member of injuries and concussion-related the opposite team accidents. Single Wing Formation: a popular FOOTBALL LINGO formation from football’s first 50 years Huddle Throughout Good News!, you will hear but is scarcely used today. Single wing many football terms. This list of terms formation has many variations but may help you understand the “football the most common use was when the lingo” used by the characters. quarterback lined up a few yards off center with running backs on either Encourage your students to write a side of him to keep players from the scene between two characters that opposite team from knocking him to involves dialogue about a football the ground. game. Have students choose 7 of the words below to incorporate into their Outflank: to maneuver around the scenes. Then, have students read their opposite team’s strategies and players scenes aloud for the class. Tackle Quarterback: the player who is Audible: when the quarterback calls positioned directly behind the offensive a new play and formation to adjust to line and is considered to be the leader the opposite team’s formation and most crucial player on a football

Benchwarmer: a substitute athlete Safety: when the team with offensive who usually plays when a replacement possession of the ball has backward is needed. For example, Bobby fits the motion into their end zone and is definition of a benchwarmer because brought down. The defensive team is he is only asked to play after Beef is awarded two points and possession injured. of the ball after a free kick by the offensive team. Blitz: a sudden charge from the defensive team to the quarterback Snap: when the ball is passed back after the ball has been snapped or handed to the quarterback, the Touchdown holder, or the punter at the beginning End Zone: the area at each end of a of a play football field where the ball must pass for a team to score Tackle: a way of stopping the player carrying the ball from getting closer to Execution: when football players take the end zone, usually by knocking the a proposed play and make it happen player to the ground on the field Touchdown: while the ball is in Gridiron: an informal name for possession, a team scores when American football they advance the football into the opponent’s end zone 12 SORORITIES AND FRATERNITIES IN THE 1920s

Good News! follows the story of the coeds attending United States economy. Universities were no longer Tait College during the 1920s. As World War I was able to afford housing for all of their students. With coming to a close and troops were coming home, the growth in enrollment, American fraternities and college enrollment increased. It was with this increase sororities were often forced to independently acquire that sororities and fraternities became more common housing for their members. The purchase of off- in American colleges. campus fraternity/sorority houses led to a decrease in university involvement in Greek life. Since fraternities FRATERNITY AND SORORITY ORIGINS and sororities were now managing their own homes In 1776, five men gathered to create the first recognized and properties, universities were not responsible for the Greek fraternity, Phi Beta Kappa, at William and Mary residential, and often social details of the participants. College in Virginia. Phi Beta Kappa remained at Universities were becoming solely concerned with the William and Mary College 50 years and developed academic and philanthropic achievement of the chapters at Yale University, Dartmouth University, campus’ fraternities and sororities. and Harvard University. It was during the early stages, the late 1700s-early 1800s, when fraternities started In the 1920s, fraternities and sororities became a to form, that colleges enforced classes in the Greek hub for extra-curricular activities and socialization. language as an academic requirement for students. As years passed, they grew more popular but there It is said that the Greek influence for fraternities and wasn’t space for all the students that were interested. sororities came from this requirement. Although Members had to be selective in who they accepted today’s fraternities are much different from the into their organizations so an initiation process was “secret society” model from the early years, Phi Beta created. The process began with recruiting “pledges” Kappa set the precedent for many of the fraternities or people who wanted to join. Once recruited, the that exist today. members of the group would begin a customized initiation process.

HAZING Currently, it is illegal for fraternity and sorority initiations to incorporate hazing. Modern day hazing is characterized as intentional embarrassment, harassment, or ridicule that is used as a form of introduction and initiation to a group.

Hazing originated long before the 1920s and, in years prior, was frequently used as an induction tool by the The founders of Kappa Alpha Theta armed forces. The basic idea was that newcomers Years later, when women were admitted into college, were uneducated and inexperienced in the daily they wanted to start social groups of their own. In 1870, activities of a fraternal group and thus needed to a group of women started one of the first “women’s be “polished” before they could become regular fraternities” at DePauw University in Indiana. Later members of the group. As part of the initiation process, named Kappa Alpha Theta, this group was recognized leaders would assign members who had been active as the first Greek-lettered women’s fraternity. In 1874, with the group for extended periods of time to expose a Latin Professor for Syracuse University and the newcomers to practical jokes, physical abuse, and faculty advisor for the school’s chapter of Gamma other humiliating Phi Beta thought the term “fraternity” misrepresented and dangerous acts DID YOU KNOW... the group of young ladies and introduced the term that would be seen Coeds are students who attend sorority. as “rites of passage.” an educational institution that This mentality and enrolls both males and females. 1920S SORORITIES AND FRATERNITIES form of bullying By the 1920s, attending college had become a social carried on for The term “sorority” comes from norm for youth. With the younger generation enrolling generations, and, the Latin word “soror,” meaning sister. rapidly, there became more diversity in race, religion, by the 1920s, was ethnic groups, interests, and academic majors on utilized by fraternities The term “fraternity” comes college campuses. and sororities. from the Latin word “frater,” meaning brother. As society was changing in the 20s, so was the 13 THE ROARING ‘20s: YOUTH IN SOCIETY

GOOD NEWS! AND THE YOUNG MEN ROARING TWENTIES In the early 1900s, most young men Good News! is set at a time when the were not enrolled in high school United States was experiencing many because they had been drafted into changes. With the end of World War I World War I. In the early 1920s however, and the prosperous economic period young men were coming home from just before the Stock Market Crash the war and looking for their next in 1929, young people in the United step. As a result, enrollment in colleges States were exploring a new lifestyle began to increase. Similarly, those who and time period. didn’t choose college were looking for work. This influx created a younger YOUNG PEOPLE IN THE 1920S generation of working and educated During the Roaring Twenties, young men. It also increased the number of people were experiencing drastic men who were marrying young. cultural changes and found that many pre-war values and customs were out- of-date and irrelevant for the new times. As a result, young people began rebelling against societal norms and expectations that were enforced on them from their parent’s generation.

YOUNG WOMEN Young women of the twenties were instrumental in changing the morals and values of their time. As a result of the Women’s Suffrage Movement, women were granted the right to vote. Similarly, growing numbers of young females began attending college and more became visible in the workplace. Straying away from Victorian morals, young women were smoking—something only men had done in previous years—and drinking alcohol which was illegal due to Prohibition. Young men followed the latest fads just like flappers. For females, the twenties In an effort to be more modern, young were about liberation from social women began liberating themselves norms. For young men, the decade was by altering their appearance. Flappers about coming home and developing were the epitome of modern fashion; a new life. It was during this time that they shortened their skirts, rid themselves young men used their strength from of restrictive corsets, and bobbed their the physical demands of the war and hair. Young women chose shorter, created a growing interest in sports. looser and boxier clothing that would College and professional sports teams allow them to freely move to the new, were the newest fad and young men energetic dances of the Jazz Age. were often either sitting on the stands to cheer for their favorite teams or playing on a team.

14 A TROPE is a common or PRESENTING A TIMELESS TROPE overused theme

When the story begins, Tom and Connie are part of two separate worlds. Tom is the quarterback and star of the football team while Connie spends most of her time up in the Tait College observatory studying science and constellations. When Tom’s participation in an upcoming football game is jeopardized by a failing astronomy grade, Connie agrees to be his tutor. In the process, Tom breaks off his engagement to his popular and beautiful fiancée and unexpectedly falls for the new additions to his life—astronomy and the nerdy girl, Connie!

Good News! developed into the most acclaimed musical in a new wave of romantic musical comedies set on college campuses. When the DeSylva, Brown & Henderson trio collaborated on this quintessential lighthearted boy-meets-girl story, they didn’t realize that they were substantially contributing to a timeless and repeated plot structure revolving around a popular and hunky jock falling in love with a nerdy girl—a trope that is still used today.

Below are some examples of this trope with which you may be familiar. As you read through these examples, discuss the similarities and differences among each of the stories. Ask your students to brainstorm other examples and share them with the class:

• She’s All That

• Grease

• Sixteen Candles

• “Glee”

• Hairspray

15 LESSONS Middle School Language Arts

BEFORE THE SHOW: Character Study

English Language Arts Grades Pre-K-12 Exploring and Responding to Literature Standard 2.3; Students listen to, read and respond to texts about and from many cultures and times.

The Arts: Theatre Grades 5-8 Content Standard 2: Acting; Students will analyze dramatic text to discover, articulate and justify character motivation.

DeSylva, Brown & Henderson collaborated on many musicals and wrote some of the most famous musical theatre standards of our time. With an impressive repertoire of scripts, scores, songs, and lyrics, the trio created musicals with characters that represent some of the most memorable and relatable characters in musical theatre history.

ACTIVITY Have your students read the “Synopsis” and “Character Descriptions” sections on pages 3-5 of the Student Guide to familiarize themselves with the musical they are about to see. Before attending the show, explore the first and second scenes on the handout (found on pages 26-31 of the Teacher’s Instructional Guide) from Good News! as a class. Discuss the following scenes with the class: a. After reading the synopsis, where do you think each of these scenes fits into the storyline? b. After reading the character descriptions, what do you think each character wants at both the beginning and the end of the scenes?

Assign groups to one of the two scenes from Good News! Also, assign each student a part within the scene. Provide each group copies of their scene and a space to work. Instruct groups to read through the handout, explain to your students that they must now rehearse their scene and that they will be performing for the class.

As students are rehearsing, have them consider the following questions: a. Explain the conflict in the scene. b. Based on this scene, predict what the outcome will be between or among the characters.

After each group has performed their scene, have them answer these questions in front of the class.

UNDERSTANDING THROUGH EXPLORATION: A Popular Boy Meets a Nerdy Girl

English Language Arts Grades Pre-K-12 Communicating with Others Standard 3.1; Students use oral language with clarity, voice and fluency to communicate a message.

The Arts: Theatre Grades 5-8 Content Standard 1: Creating; Students will individually and in groups, develop characters, environments and actions that create tension and suspense.

Although Good News! was not the first musical comedy about college life, it had developed into such a huge Broadway hit that it became the most acclaimed example of this trope. The plot was fairly new during the Roaring Twenties—a popular boy unexpectedly falls in love with a nerdy girl—but today, it is one of the most common storylines that we encounter. As a result of DeSylva, Brown & Henderson’s infectious music and entertaining script, this trope is now a staple in pop culture.

ACTIVITY After reading the “Presenting a Timeless Trope” section on page 14 of the Student Guide, have students choose one of the following examples of the trope: She’s All That, Grease, Hairspray, and “Glee.” As a class, spend some time in the school library and have students watch video clips of their chosen example on the internet. For an additional assignment, ask students to either take out the movie from the library or rent the movie and watch the entire film. After exploring their chosen example of the trope, have each student write a monologue. The criteria for writing the monologues are as follows:

16 LESSONS Middle School Language Arts a) Each monologue must be based on the movie that you chose and is stated from the popular jock’s point of view. b) The monologue must be expressed to the nerdy girl. c) The circumstance before the popular jock says his monologue is that he just turned down the nerdy girl to save his reputation but has realized that he made a huge mistake. d) The nerdy girl ultimately forgives him.

Provide students time to draft, edit, and finalize their monologues. Once all monologues are completed, ask volunteers to perform her/his monologue for the class. Ask for an additional volunteer to sit in a chair and play the role of the nerdy girl. Explain that in theatre we do not always have to be gender specific in the roles that we play and that during Shakespeare’s time men always played the female roles.

AFTER THE SHOW: Bullying Prevention and Awareness

English Language Arts Grades Pre-K-12 Exploring and Responding to Literature2.3; Students discuss, analyze and evaluate how characters deal with the diversity of human experience and conflict and relate these to real-life situations.

The Arts: Theatre Grades 5-8 Content Standard 6: Connections; Students will explain how social concepts such as cooperation, communication, collaboration, consensus, self-esteem, risk taking, sympathy and empathy apply in theatre and daily life.

Bullying is an aggressive behavior that causes discomfort or harm towards a victim. It is a severe problem in the United States and affects people nationwide. In Good News!, Sylvester is a victim of bullying. Although it comes across as a humorous situation in Good News!, the 1920s was a much different time and bullying was not viewed as seriously as it is today. American society now views it as a major problem and strives to promote bullying prevention and awareness.

After reading the “Hazing” section of “Fraternities and Sororities” on pages 12-13 of the Student Guide, begin the activity with the following icebreaker:

Question Ball: The teacher must take a medium sized ball and write random questions all over it. The ball should be covered in 20-30 questions. Have the students stand in a circle and toss the ball to each other. When a student catches the ball they must answer the question that their right thumb is on top of and then pass it to someone else. If a question is asked more than three times, the teacher will have the third student answer it and then repeat the answers of the other three people. If they cannot remember, allow the rest of the circle to help. a. Discuss with the students why this activity is important and how it is related to bullying. b. Why would this be an activity that promotes bullying prevention and awareness? c. Go around the circle and ask each student to repeat one thing that the student to her/his right said that she/he didn’t know about the person.

Divide the class into three groups. Assign one of the following forms of bullying: hazing, name-calling, and spreading rumors. Have each group use the book We Want You to Know: Kids Talk About Bullying by Deborah Ellis to research their group’s specific form of bullying:

Available on Googlebooks http://books.google.com/books?id=oRt1ExaLxTcC&printsec=frontcover&dq=bullying+for+k ids&hl=en&sa=X&ei=dc8rUeuWEYWz0QG16IDIBw&ved=0CFgQ6AEwBg

After all groups have efficiently researched, give each a space to work. In these spaces, inform the groups that they will create a frozen image, or tableau, of their assigned form of bullying. Each groups frozen image must include the following three characters: a. A victim of bullying b. A bully c. A bystander

17 LESSONS Middle School Language Arts

The students will have three minutes to create their frozen image. Once their three minutes are up, have students go back to their seats and have one group present their frozen image to the class. As each group shows their frozen image, have the remainder of the class identify the victim, bully, and bystander in each image and the form of bullying that the image represents. Discuss the following questions after the victim, bully, bystander, and type of bullying has been identified: a. What evidence is presented in this frozen image that represents the specific form of bullying? b. What is the role of the bystander in this frozen image? c. If the bully had a thought-bubble, what might he or she be thinking? d. What are some ways that we can prevent this type of bullying?

After all the groups have performed, discuss the differences and similarities of each group’s frozen image as a class as well as strategies that can prevent or minimize bullying and its effects.

18 LESSONS Middle School History

BEFORE THE SHOW: Paul Robeson and 1920s Football

History Grades Pre-K-12 Content Knowledge 1.1; Students evaluate the role and impact that individuals have had on historical events.

The Arts: Theatre Grades 5-8 Content Standard 6: Connections; Students will make connections between theatre, other disciplines and daily life.

Paul Robeson is best known to the musical theater world as the actor who earned international acclaim for his performance as Joe in the 1936 filmed version of Show Boat. Robeson, however, was quite the Renaissance man. Prior to his substantial acting and singing career, he was an outstanding football player in the 1920s. He played for one of the first NFL teams, the Milwaukee Badgers, which existed around the time period ofGood News!. Robeson was the first and most famous individual to combine professional football and musical theatre as a career path.

ACTIVITY Have your students read the “Football in the 1920s” section on pages 10-11of the Student Guide and then read the following article as a class, http://prcc.rutgers.edu/about-us/paul-robeson/. Divide the class into four groups and assign each group to research one of the following events from Robeson’s life to research. a) Inducted into the Phi Beta Kappa Society b) Inducted into the College Football Hall of Fame c) Contributions to Musical Theatre

After researching, have students create a poster that shows off the main points of their research. Have groups hang their presentations and peruse the other presentations in a style similar to a science fair. As each group walks around, they must take turns having one group representative remain at the presentation to discuss it with the viewers.

After all students have viewed each of the presentations, discuss the following questions as a class: a) What were Paul Robeson’s major contributions to football and musical theatre? b) What are some of the challenges that Robeson met throughout his career? c) What can we learn about ourselves and society from studying Paul Robeson’s life?

UNDERSTANDING THROUGH EXPLORATION: Exploring Themes – Youth in the 1920s

History Grades Pre-K-12 Content Knowledge 1.3; Students explain how a civilization/nation’s arts, architecture, music and literature reflect its culture and history.

The Arts: Theatre Grades 5-8 Content Standard 6: Connections; Students will make connections between theatre, other disciplines and daily life.

Good News! is a story about young and energetic coeds on the campus of Tait College in 1927. During this era, the youthful generation experienced many drastic changes in society. Swayed by the end of World War I, the media, and new advertisements, young men and women began changing their appearances and values during the 1920s.

ACTIVITY Have your students read the “Synopsis,” “Character Description,” and “The Roaring Twenties: Youth in Society” sections on pages 3-5 and 15 of the Student Guide to familiarize themselves with the musical they are about to see. Have a discussion with your students focusing on their concepts of the roles of youth during the 1920s. Then contextualize the concept by comparing and contrasting the roles of today’s youth. The following are some questions that might be posed in relation to the musical: a. Explain how the 1920s and present day are both similar and different time periods for youth. b. How do you think Connie feels about the youth of the 1920s? c. What are some of the most prominent differences between youth of the 1920s and today?

19 LESSONS Middle School History

Divide the class into groups of four. Using the internet and your library, have groups research and choose one advertisement for a clothing item or business that targets young people from the 1920s. Then have students choose an advertisement of the same item type from present day (for example, if a group chose a 1920s perfume advertisement, they must choose a perfume advertisement from present day). After selecting their images, have students create a presentation that answers the following questions: a. In what ways would your group’s advertisement from the 1920s appeal to the youth of that time period? b. Would the 1920s advertisement appeal to the youth of today? Why or why not? c. In what ways would your group’s advertisement from present day appeal to the youth of today? d. Would the present day advertisement appeal to 1920s youth? Why nor why not?

Have groups present to the class, explaining the two advertisements and comparing/contrasting them for the class.

AFTER THE SHOW: DeSylva, Brown & Henderson

History Grades Pre-K-12 History/Social Studies Literacy 2.2; Students interpret information from a variety of primary and secondary sources including electronic media.

The Arts: Music Grades 5-8 Content Standard 9: History and Culture; Students will understand music in relation to history and culture.

The DeSylva, Brown & Henderson songbook includes many hits that were written between 1925 and 1931. In addition to these memorable songs, the trio wrote music for many Broadway shows and films. Together, they wrote such songs as “Together,” You’re the Cream in My Coffee,” and “Birth of the Blues.”

ACTIVITY Many students may have not heard songs from the DeSylva, Brown & Henderson collection. Have students listen to the songs of DeSylva, Brown & Henderson that are not from Good News!, using youtube.com, with no materials in front of them. Emphasize the importance of just listening and absorbing the style of music.

After listening, have a class discussion based on the music that they just heard. a) In your own words, state the meaning of each song. b) Identify and summarize what the characters are trying to express in each song. c) Compare and contrast the songs of DeSylva, Brown & Henderson to songs that you are accustomed to hearing on the radio or online.

Hand out copies of the lyrics to the DeSylva, Brown & Henderson songs from Good News! (found on pages 32-38 of the Teacher’s Instructional Guide). Using youtube.com, listen to some of the songs from the show and repeat the above conversation. Additionally, have students consider the following questions: a) Where do you think each of these songs fit into theGood News! storyline? b) Based on the information that you read in the “Roaring Twenties: Youth in Society” section on page 15 of the Student Guide, can you identify examples of societal realities of the roaring twenties in the lyrics?

20 LESSONS High School English

BEFORE THE SHOW: Character Study

English Language Arts Grades Pre-K-12 Reading and Responding Standard 1.4; Students communicate with others to create interpretations of written, oral and visual texts.

The Arts: Theatre Grades 9-12 Content Standard 2: Acting; Students will analyze the physical, emotional and social dimensions of characters found in dramatic text.

DeSylva, Brown & Henderson collaborated on many musicals and wrote some of the most famous musical theatre standards of our time. With an impressive repertoire of scripts, scores, songs, and lyrics, the trio created musicals with characters that represent some of the memorable and relatable characters in musical theater history.

ACTIVITY Before attending the show, explore the scenes on the handout (found on pages 26-31 of the Teacher’s Instructional Guide) from Good News! as a class. Discuss the following scenes with the class: a. After reading the synopsis, where do you think each of these scenes fit into the storyline? b. After reading the character descriptions, what do you think each character wants at both the beginning and the end of the scenes? c. Make an educated guess about the conversations that may have occurred before the scene. d. Predict the conversations that will occur after each scene.

Assign groups to one of the three scenes from Good News!. Also, assign each student a part within her or his scene. Give each group copies of their scene and a space to work. Instruct groups to read through the handout, explain to your students that they must now rehearse their scene and that they will be performing for the class.

As students are rehearsing, have them consider the following questions: a. Explain the conflict in the scene. b. What are your characters’ objectives in the scene? c. What do your characters have to gain and lose? d. Based on this scene, predict what the outcome will be between or among the characters in your scene.

After each group has performed their scene, have them answer these questions in front of the class.

UNDERSTANDING THROUGH EXPLORATION: A Popular Boy Meets a Nerdy Girl

English Language Arts Grades Pre-K-12 Communicating with Others Standard 3.1; Students use oral language with clarity, voice and fluency to communicate a message.

The Arts: Theatre Grades 9-12 Content Standard 1: Creating; Students will construct imaginative scripts and collaborate with actors to refine scripts so that story and meaning are conveyed to an audience.

Although Good News! was not the first musical comedy about college life, it developed into such a huge Broadway hit that it became the most acclaimed example of this trope. The plot was fairly new during the Roaring Twenties—a popular boy unexpectedly falls in love with a nerdy girl—but today, it is one of the most common storylines that is encountered. As a result of DeSylva, Brown & Henderson’s infectious music and entertaining script, this trope is now a staple in pop culture.

ACTIVITY After reading the “Presenting a Timeless Trope” section on page 14 of the Student Guide, have students choose one of the listed examples of the trope; She’s All That, Grease, Sixteen Candles, “Glee,” and Hairspray. As a class, spend some time in the school library/media center and/or online and have students watch video clips of their chosen example on the internet. For an additional assignment, ask students to borrow the movie from a local library and watch the entire film. After exploring their chosen example of the trope, have students write a monologue. The criteria for writingthe monologues are as follows: 21 LESSONS High School English a) Each monologue must be based on the movie that you chose and is stated from the popular jock’s point of view. b) The monologue must be expressed to the nerdy girl. c) The circumstance before the popular jock says his monologue is that he just turned down the nerdy girl to save his reputation but has realized that he made a huge mistake.

Give students time to draft, edit, and finalize their monologues. Once all monologues are completed, ask volunteers to perform their monologue for the class. Ask for an additional volunteer to sit in a chair and play the role of the nerdy girl. Explain that in theater we do not always have to be gender specific in the roles that we play and that during Shakespeare’s time men always played the female roles.

AFTER THE SHOW: Bullying Prevention and Awareness

The Arts: Theatre Grades 9-12 Content Standard 2: Acting; Students will, in an ensemble, create and sustain characters. Content Standard 6: Connections; Students will create and solve interdisciplinary problems using theatre.

ACTIVITY After reading the “Hazing” section of “Fraternities and Sororities” on pages 12-13 of the Student Guide, begin the activity with the following icebreaker:

Divide the class into 6 groups. Assign one of the following forms of bullying; hazing, name-calling, spreading rumors, making a threat, hate speech, and intimidating. Have each group use the book Violence in America’s Schools: Understanding, Prevention, and Responses by Robert Murray Thomas to research their group’s specific form of bullying.

Available on Googlebooks: http://books.google.com/books?id=Rv0V3UJyov8C&pg=PA149&dq=types+of+bullying+%2B+hazing&hl=en&sa=X&ei= ZYQmUePCA9Gz0QHjl4CgBw&ved=0CEIQ6AEwBA#v=onepage&q=types%20of%20bullying%20%2B%20hazing&f=false)

After all groups have efficiently researched, give each a space to work. In these spaces, inform the groups that they will create a frozen image, or tableau, of their assigned form of bullying. Each group’s frozen image must include the following three characters: a. A victim of bullying b. A bully c. A bystander

22 LESSONS High School English

The students will have three minutes to create their frozen image. Once their three minutes are up, have students go back to their seats and have one group present their frozen image to the class. As each group shows their frozen image, have the remainder of the class identify the victim, bully, and bystander in each image and the form of bullying that the image represents. Discuss the following questions after the victim, bully, bystander, and type of bullying has been identified: a. What evidence is presented in this frozen image that represents the specific form of bullying? b. What is the role of the bystander in this frozen image? c. If the bully had a thought-bubble, what might he or she be thinking? d. Can a volunteer come up and gently move the bystander into a position that would help the victim? e. What are some ways that we can prevent this type of bullying?

After all the groups have performed, discuss the differences and similarities of each group’s frozen image as a class as well as strategies that can prevent or minimize bullying and its effects.

23 LESSONS High School History

BEFORE THE SHOW: Paul Robeson and 1920s Football

History Grades Pre-9-12 Content Knowledge 1.1; Students evaluate the role and impact that individuals have had on historical events.

The Arts: Theatre Grades 9-12 Content Standard 6: Connections; Students will make connections between theatre, other disciplines and daily life.

Paul Robeson is best known to the musical theater world as the actor who earned international acclaim for his performance as Joe in the 1936 film version of Show Boat. Robeson, however, was quite the Renaissance man. Prior to his substantial acting and singing career, he was an outstanding football player in the 1920s. He played for one of the first NFL teams, the Milwaukee Badgers, which existed around the time period of Good News!. Robeson was the first and most famous individual to combine professional football and musical theatre as a career path.

ACTIVITY Have your students read the “Football in the 1920s” section on pages 10-11 of the Student Guide and then read the following article as a class, http://prcc.rutgers.edu/about-us/paul-robeson/. Divide the class into four groups and assign each group to research one of the following events from Robeson’s life to research: a) Inducted into the Phi Beta Kappa Society b) Named twice to the All American Football Team c) Inducted into the College Football Hall of Fame d) Contributions to Musical Theatre

After researching, have students create a visual 3-fold poster board that shows off the main points of their research. Additionally, instruct that each group must have an audio or visual element as part of their presentation, i.e., a sound clip or a movie clip.

Have groups set up their presentations on tables and peruse the other presentations in a style similar to a science fair. As each group walks around, they must take turns having one group representative remain at the table to discuss their presentation with the viewers.

After all students have viewed each of the presentations, discuss the following questions as a class: a) What were Paul Robeson’s major contributions to football and musical theatre? b) What are some of the challenges that Robeson met throughout his career? c) What were some of the outcomes of Robeson’s hard work throughout his life? d) What can we learn about ourselves and society from studying Robeson’s life?

UNDERSTANDING THROUGH EXPLORATION: Exploring Themes – Youth in the 1920s

History Grades 9-12 History/Social Studies Literacy 2.1; Students access and gather information from a variety of primary and secondary sources including electronic media.

The Arts: Theatre Grades 9-12 Content Standard 6: Connections; Students will make connections between theatre, other disciplines and daily life.

ACTIVITY Have your students read the “About the Show: The Story,” “About the Show: The Characters,” and “The Roaring Twenties: Youth in Society” sections on pages 3-5 and 15 of the Student Guide to familiarize themselves with the musical they are about to see. Have a discussion with your students focusing on their concepts of the roles of youth during the 1920s. Then contextualize the concept by comparing and contrasting the roles of today’s youth. The following are some questions that might be posed in relation to the musical: 24 LESSONS High School History a. Explain how the 1920s and present day are both similar and different time periods for youth. b. What evidence did you use to come to that conclusion? c. How do you think Connie feels about the youth of the 1920s? d. How do you think students of the 1920s would view students of today? e. What are some of the most prominent differences between youth of the 1920s and today?

Divide the class into groups of four. Using the internet and your library, have groups research and choose one advertisement for a clothing item, appliance, or business that targets young people from the 1920s. Then have students choose an advertisement of the same item type from present day (for example, if a group chose a 1920s perfume advertisement, they must choose a perfume advertisement from present day). After selecting their images, have students create a presentation that answers the following questions: a. Why is the image from the 1920s a valid depiction of its time? b. In what ways would your group’s advertisement from the 1920s appeal to the youth of that time period? c. Would the 1920s advertisement appeal to the youth of today? Why or why not? d. In what ways would your group’s advertisement from present day appeal to the youth of today? e. Would the present day advertisement appeal to 1920s youth? Why nor why not? f. How are the graphics for each advertisement similar and different?

Have groups present to the class, explaining the two advertisements and comparing/contrasting them for the class.

AFTER THE SHOW: DeSylva, Brown & Henderson

History Grades 9-12 History/Social Studies Literacy 2.2; Students interpret information from a variety of primary and secondary sources including electronic media.

The Arts: Music Grades 9-12 Content Standard 9: History and Culture; Students will understand music in relation to history and culture.

ACTIVITY

Many students may have not heard songs from the DeSylva, Brown & Henderson collection. Have students listen to the songs of DeSylva, Brown & Henderson that are not from Good News!, using youtube.com, with no materials in front of them. Emphasize the importance of just listening and absorbing the style of music. After listening, have a class discussion based on the music that they just heard. a) In your own words, state the meaning of each song. b) Identify and summarize what the characters are trying to express in each song. c) Compare and contrast the songs of DeSylva, Brown & Henderson to songs that you are accustomed to hearing on the radio or online. d) What evidence exists in these songs that demonstrates they are from a different time? e) Based on these songs, can you clarify what was going on in the world (eg., economic, political, social, environmental, religious) at the time that they were written? f) What are some similarities and differences between the events happening in the world then and the events happening now?

Hand out copies of the lyrics to the DeSylva, Brown & Henderson songs from Good News! (found on pages 32-38 of the Teacher’s Instructional Guide). Using youtube.com, listen to some of the songs from the show and repeat the above conversation. Additionally, have students consider the following questions: g) Where do you think each of these songs fit into theGood News! storyline? h) Based on the information that you read in the “Roaring Twenties: Youth in Society” section on page 15 of the Student Guide, can you identify examples of societal realities of the roaring twenties in the lyrics? 25 HANDOUT ACT ONE Scene 2 CAMPUS OBSERVATORY (The campus. We head up the hill to the Campus Observatory that overlooks the football stadium. CONNIE has her eye glued to a telescope, looking down [not up]. Kenyon enters.)

PROFESSOR KENYON Connie? Connie? (no answer) Miss Lane!

CONNIE (trying to cover) Oh, hello! Professor Kenyon! I was just... performing some lens re-calibration... and double-checking a few coordinates...

(Professor Kenyon casually TILTS the telescope up [with a squeak].)

KENYON The sky’s this way, Miss Lane.

CONNIE Right. Sorry, I was just—

KENYON Spying on your fellow students using cutting edge 1920s technology? (a knowing look) I hope this means you’ve completed—

CONNIE (handing over charts) This morning.

KENYON Really? Impressive. (Kenyon starts to head out. Connie stops her.)

CONNIE I just don’t understand college kids these days, Professor. It’s like they believe college is all about “kicking your heels up” and having mindless “fun” but, look at you—you’re the most respected astronomer on the Eastern Seaboard and I bet you were no fun in college.

KENYON Go on.

CONNIE I feel sorry for these modern youth. All this commotion over a silly football game and a dance and they have no idea how that very night, your greatest discovery will rocket across the night sky visible to the naked eye.

KENYON If my calculations are correct.

CONNIE Your calculations are correct, I just know it.

KENYON Why can’t more students be as singularly dedicated like you?

CONNIE Because they have boyfriends.

KENYON Well, I wouldn’t take a hundred featherbrained social butterflies over one of you. So many of my students think charm or money is a substitute for hard work. Take Tom Marlowe, for instance—

26 HANDOUT

CONNIE (the truth slips out) Oh, I’d take Tom Marlowe.

KENYON Miss Lane!

(Connie backtracks.) CONNIE I mean, from afar. He’s dating my cousin Pat Bingham—so I would never. I mean not never. Well, he would never with me, so— (realizing how she sounds) I should get back to my charts.

KENYON It’s good to have your head in the stars, Miss Lane, just keep your feet on the ground. (Kenyon exits.) (Connie QUICKLY GRABS the TELESCOPE and focuses it back down on the field. She swings it BACK AND FORTH.)

ACT ONE Scene 3 THE FIELD / OBSERVATORY On the field, PAT follows COACH on, trying to get his attention.)

COACH Now is really not a good time, Patricia—

PAT As president of Pi Beta Phi—as my mother was, as her mother was—planning the All-American Ball after the annual Tait-Colton game falls on me. So here’s my to-the-minute agenda for the evening. I just need you ready for the “Presentation of The Game Ball” at 9:43PM.

COACH At the Ball? I’m not going.

PAT You have to!

COACH I despise the Ball.

PAT But you’ve never been to my Ball.

COACH They’re all the same. The dancing. The tuxedoes. The moment your date screams at you that you spend more time with your football buddies than her, followed by the all-night break-up which destroys all hopes you’ll ever find love again.

PAT Sure, but this year we’re having a nautical theme.

(POOCH enters.) POOCH Coach! Coach! There you are...

COACH Save me, Pooch.

POOCH Save yourself! It’s Marlowe! Poor, poor Tom Marlowe!

27 HANDOUT

PAT Oh no!

COACH Is he sick?

PAT Is he lost?

COACH Is he injured?

PAT Is he dead?

POOCH Worse! Tom is... flunking a class! (Pooch expects the hammer to drop. Nope.)

PAT (calmly) So?

COACH Sure, Tom’s a heckuva football player—

PAT But he’s not exactly All-American between the ears, if you know what we mean. (Pat and Coach share a moment in agreement.)

POOCH But you’re forgetting about the Dean’s new policy!

PAT

Which is?

POOCH (reading) “Any student with a failing grade in one or more classes may not partake in athletics, no exceptions.” In other words—

PAT & COACH Tom can’t play on Saturday! (Pat begins to lose it.)

PAT This is not happening. Tom must play in that game. You don’t understand.

COACH I understand—

PAT No, you don’t understand! (a breath, gathering steam) If Tom doesn’t play, then Tom won’t win. And if Tom doesn’t win, then he won’t escort me to the Ball as Tait’s second four-time-All-American ever—following only my father, The Senator—and if that doesn’t happen, then Tom won’t be so swept up by his success and how gorgeous I look in my gown that he won’t drop to his knee and magically propose to me exactly how my father did to my mother at the same Ball twenty-five years ago and then, tell me, what will happen to our future years of joy and our future home on the river and—by God!—what will happen to our future babies, Ethel, Tilly, Sylvia, Marilyn and Tom, Junior if not for a high-stepping, blood-pumping Tait Victory March after this once-in-a- lifetime INTERCOLLEGIATE FOOTBALL GAME! (A beat.)

28 HANDOUT

POOCH What’s not to understand?

COACH She’s right, Pooch, this has to be stopped. C’mon, let’s find that Professor Fella who flunked Marlowe and make ‘im fall in line for Dear Ol’ Tait!

POOCH The Campus Directory says his office is up that big hill.

COACH By the Observatory?

POOCH In the observatory. Tom flunked Astronomy! (MARCH MUSIC shifts as COACH and POOCH start “marching” UP THE HILL, stomping in place...) (...as THE OBSERVATORY starts to slide on stage, where Connie peers down the hill through her telescope.)

CONNIE (looking through telescope) Professor...? (The music HOLDS on tremolo—)

POOCH (reading) Hey, Coach, it says here That Professor Fella ain’t a “fella” after all. A girl professor, huh? Maybe you can use some of that Bill Johnson charm you always tell me you used to have!

ACT ONE Scene 5 THE QUAD (AT NIGHT) STREET LAMPS flicker on and STARS fill the sky.

CONNIE (a bit nervous, a bit too verbose) So, I figure we’ll get right to it. I brought us each a textbook, this one’s for you—”The New Astronomy” by Stanley Wall. Stanley’s a snappy writer, although he’s a bit too hasty to draw conclusions about globular clusters from Hubble’s discoveries in the Andromeda galaxy, am I right? Yeah, I’m right. (Silence. Tom lays on the charm.)

TOM You must be Connie. You’re Pat’s cousin?

CONNIE Yes.

TOM You two are nothing alike.

CONNIE Flattery, my friend, will get you everywhere. (She laughs at her little joke—Tom doesn’t get it. She OPENS his textbook, settling in to teach.) Shall we? Let’s begin on page 34 with Astronomy’s bad boy, Nicolaus Copernicus.

(Tom CLOSES his textbook and gazes upwards.)

TOM Connie, Connie, Connie. Relax, it’s such a gorgeous night. Look, there must be a thousand stars up there.

CONNIE Current estimates are 900 million. (Connie OPENS Tom’s textbook again. He CLOSES it.)

29 HANDOUT

TOM You’re awful serious, aren’t you. You ever have a boyfriend?

CONNIE Well, there’s this one guy I do have my eye on... (OPENS textbook) Nicolaus Copernicus, page 34.

TOM Are you shivering? You’re shivering. Here, take my jacket.

CONNIE (overlapping) No, I’m fine. Really. I— (Tom puts his jacket around Connie)

Thank you, Tom. (a bit excited) It smells like dirty gym socks. (Tom flashes a smile, and TOSSES their textbooks aside.)

TOM You know, this doesn’t have to be such a grind. We can just kick back and stargaze at Neptune or whatever... all you need to do is slip me a few answers to tomorrow’s exam—

CONNIE Excuse me?

TOM I mean, you’ve seen the test, right?

CONNIE First off, no, I haven’t. And second, if I had, I wouldn’t “slip” you anything. And third, you can’t “stargaze” at Neptune because it’s not a star. It’s a planet!

TOM Hey, relax...

CONNIE You’re not here to learn, are you? You just want the easy way out.

TOM Come on, it’s just a bunch a lousy facts to memorize.

CONNIE We’re done here. (Connie gets up to leave.)

TOM Connie!

CONNIE The Professor’s right. You’re just some entitled, rich kid with life handed to you on a silver platter because you can throw a football and / or have really soft-looking hair.

TOM Don’t be like that.

CONNIE I wish I’d never met you up close, Tom Marlowe. You’re not who I thought you were. (She turns to go. Almost under his breath:)

TOM Yeah, well... join the club.

30 HANDOUT

CONNIE What’s that supposed to mean?

TOM I’m not who anyone thinks I am. Not Pat. Or Coach. Definitely not my parents. Everyone has their grand plans for Tom Marlowe, Tait’s Big Man On Campus, but no one’s ever asked me what I want.

CONNIE So, what do you want?

TOM I don’t know, no one’s ever asked me before. And as you can tell, I’m not much of a thinker.

CONNIE That’s bunk. I’ve seen you audible out of single-wing formation into a spread offense just to outflank a blitzing safety.

TOM You know football?! But I’ve never seen you in the student section.

CONNIE Yeah, I watch from a bit... farther away. (A beat.)

TOM Teach me. If you think I can learn it.

CONNIE I do. And it starts by realizing you’re not the center of the universe.

TOM (getting upset again) I get it—I’m spoiled! Never mind—!

CONNIE No, Tom. (softening) That’s Copernicus.

31 LYRICS GOOD NEWS AND SUPER-SOON, YOU START TO SWOON THE GUY CAN FLIP-FLOP ANY FLAPPER GIRLS & BOYS T-A-I-T PAT TAIT TAIT FOR VICTORY WALK COLLEGIATE, COLLEGIATE CLOTHES T-A-I-T HE’S A LADIES MAN! TAIT TAIT FOR VICTORY GET THAT SWAGGER AND GET THAT POSE BOYS HE’S A LADIES MAN! YEAH, TAIT! GIRLS GIRLS HIT ‘EM ON THE LEFT SIDE FAM’LY TREE AND MONEY STRICTLY UPPER CLASS BOYS HE WOULD BE A CATCH FOR ANY LUCKY LASS YEAH, TAIT! BUT TILL HE POPS THE QUESTION BETTER BLOCK THAT PASS! (WITH A KICK OR A BOOT) GIRLS (OR A LAUGH OR A HOOT) HIT ‘EM ON THE RIGHT SIDE (EVEN THOUGH HE IS CUTE) FIGHT FIGHT FIGHT FIGHT HE’S A MAN! FIGHT FIGHT FIGHT FOR TAIT HE’S A MAN’S MAN! FIGHT FIGHT FIGHT FIGHT WHAT A MAN! WHAT A MAN! WHAT A MAN! FIGHT FIGHT FIGHT FOR TAIT

ALL JUST IMAGINE GOOD NEWS YOU’RE BOUND TO DO ME GOOD CONNIE COME RIGHT HERE TO ME, GOOD NEWS! I KNOW I’VE FOUND MY IDEAL MAN GOOD NEWS I ALWAYS KNEW HE’D ARRIVE YOU’RE WHAT I’VE WAITED FOR THOUGH HE’S A TRUE, HEART-APPEAL MAN I WASN’T SLATED FOR BLUES! HE DOESN’T KNOW I’M ALIVE! GOOD NEWS IS WELCOME TO ME BUT I DON’T SPEND MY TIME IN GRIEVING BAD NEWS IS HELL COME TO ME I’VE LEARNED THE TRICK OF MAKE-BELIEVING SO, MISTER GOOD NEWS YOU’RE BOUND TO DO ME GOOD JUST IMAGINE COME RIGHT HERE TO ME, GOOD NEWS GOOD NEWS! THAT HE LOVES ME DEARLY JUST IMAGINE THAT I’M HIS SINCERELY LADIES’ MAN I’M PRETENDING THAT HE’S SENDING GIRLS LOVE NOTES ENDING “I LOVE YOU!” HE’S A MAN HE’S A MAN’SMAN SEEMS THAT HE’S THERE HE’S A MAN’S MAN... AND THAT’S WHY HE’S A LADIES MAN! AS THE DAY IS CLOSING THERE HE GOES, THE MODERN KNIGHT ON HIS KNEES THERE THE BOY’S DESPAIR, THE GIRL’S DELIGHT I HEAR HIM PROPOSING THE WOMAN’S HOME COMPANION IS HIS NAME HE’S A CLOWN AND HE’S A WIT HE’S NOT PRESENT... THE COEDS SAY THAT HE’S GOT “IT” STILL IT’S PLEASANT... AND WHAT HE DOES TO GIRLIES IS A SHAME! TO JUST IMAGINE THAT IT’S TRUE! (A DIRTY SHAME!) SEEMS THAT HE’S THERE PAT AS THE DAY IS CLOSING WALK COLLEGIATE, COLLEGIATE CLOTHES ON HIS KNEES THERE HE’S A LADIES MAN! I HEAR HIM PROPOSING... GET THAT SWAGGER AND GET THAT POSE HE’S A LADIES MAN! HE CAN’T SEE ME... STILL IT’S DREAMY... PAT & GIRLS TO JUST IMAGINE THAT IT’S TRUE! AS A LOVER, THE BOY’S A STAR WHEN HE GETS ‘EM INSIDE HIS CAR HE GOES OVER THE COURSE IN PAR! ...HE’S A LADIES MAN! I WANT TO BE BAD

GIRLS BABE IN A PINCH, IN A CLINCH TO BE OR NOT TO BE? BETTER LEAVE YOURSELF LOTS OF HEADROOM THAT IS NOTTHE QUESTION PUT ON THE BRAKES WHEN HE MISTAKES I DECIDED LONG AGO “TO BE...” A RUMBLE SEAT FOR A BEDROOM WITH ME, IT’S WHAT TO BE GIRLS MAKE ME SOME SUGGESTION: THOUGH YOU SAY: “NOT TODAY “ GOOD OR BAD? WHICH IS THE BEST FOR ME? HE’S SO CHARMING AND SO DAPPER 32 LYRICS WHEN YOU’RE AFTER FUN AND LAUGHTER GUYS THIS AGGRAVATES YOU FOR THOSE HAPPY COLLEGE DAYS! SOME REFORMER SAYS A WARMER CLIMATE AWAITS YOU: SYLVESTER, THE FROSH (W / GUYS) WHEN WE CRAM (WHEN WE CRAM) IF IT’S NAUGHTY TO ROUGE YOUR LIPS, FOR EXAM (FOR EXAM) SHAKE YOUR SHOULDERS AND TWIST YOUR HIPS, LET A LADY CONFESS: “I WANT TO BE BAD!” GUYS THAT’S WHEN SCHOOL LIFE IS A SHAM! IF IT’S NAUGHTY TO VAMP THE MEN SLEEP EACH MORNING TILL AFTER TEN TOM THEN THE ANSWER IS “YES, I WANT TO BE BAD!” IN AFTER YEARS THROUGH TENDER TEARS THIS THING OF BEING A GOOD LITTLE GOODIE IS ALL VERY WELL! WE’LL SAY A WORD OF PRAISE! WHAT CAN YOU DO WHEN YOU’RE LOADED WITH PLENTY FOR THOSE... OF HELLLLLLLLLL-TH... AND VIGOR! TOM & GUYS WHEN YOU’RE LEARNING WHAT LIPS ARE FOR ...HAPPY COLLEGE... IS IT NAUGHTY TO ASK FOR MORE? CARE-FREE COLLEGE... LET A LADY CONFESS: “I WANT TO BE BAD!” EUPHORIC, SOPHOMORIC, DESPAIR-FREE COLLEGE... NOBODY CARES JUST HOW BLUE AND HOW LONESOME I AM! YES, THOSE HAPPY COLLEGE DAYS! IF I HAVE TROUBLES AND LAUGH, WHY THEY DON’T GIVE A DAMMMMMMM-SEL CREDIT. THE BEST THINGS IN LIFE ARE FREE IF IT’S WRONG TO LET SOMEONE TAKE JUST A LITTLE KISS BY MISTAKE, CONNIE LET A LADY CONFESS, I WANT TO BE BAD! THE MOON BELONGS TO EVERYONE THE BEST THINGS IN LIFE ARE FREE IF SOME DEVIL-MAY-CARE ALL-AMERICAN FORWARDS A PASS? THE STARS BELONG TO EVERYONE WHY SHOULD I FLINCH AT A CLINCH OR A PINCH IN THE THEY GLEAM THERE FOR YOU AND ME ASSSS-TOR BALLROOM THE FLOWERS IN SPRING! THE ROBINS THAT SING! IF IT’S WRONG TO LET SOMEONE TAKE THE SUNBEAMS THAT SHINE! THEY’RE YOURS, THEY’RE MINE... JUST A LITTLE KISS BY MISTAKE, AND LOVE CAN COME TO EVERYONE LET A LADY CONFESS, I WANT TO BE B-B-B-AD! THE BEST THINGS IN LIFE ARE FREE

TOM HAPPY DAYS THE MOON BELONGS TO EVERYONE THE BEST THINGS IN LIFE ARE FREE TOM THE STARS BELONG TO EVERYONE GIVE A CHEER FOR THE TIME SPENT AT SCHOOL— THEY GLEAM THERE FOR YOU AND ME HAPPY DAYS! HAPPY DAYS! WHEN YOU ACT LIKE A BLITHERING FOOL— THE FLOWERS IN SPRING! THE ROBINS THAT SING! HAPPY DAYS! HAPPY DAYS! THE SUNBEAMS THAT SHINE! THEY’RE YOURS, THEY’RE MINE... THOUGH THEY TRYTO FEED YOU KNOWLEDGE... THERE IS STILLA THRILL IN COLLEGE... TOM & CONNIE SO WE’LL MAKE EVERY CARE DISAPPEAR AND LOVE CAN COME TO EVERYONE AND ENJOY IT WHILE WE’RE HERE! THE BEST THINGS IN LIFE ARE FREE THE BEST THINGS IN LIFE ARE FREE TOM & GUYS HAPPY DAYS! HAPPY DAYS! ON THE CAMPUS IN A THOUSAND DIFF’RENT WAYS! BOYS & GIRLS TOM ON THE CAMPUS! THERE’S YOUR DADDY’S CHECK! COUPLES GATHER NIGHTLY AND THE GIRLS YOU NECK ON THE CAMPUS! AND THE FRESHMEN THAT YOU HAZE! WHEN THE MOON SHINES BRIGHTLY YOU WILL SEE US THERE, TOM & GUYS WHEN YOU CRAM PAIR BY PAIR, FOR EXAM WE ARE OUT FOR MORE THAN THAT’S WHEN SCHOOL LIFE IS A SHAM! JUST A BREATH OF AIR! ON THE CAMPUS! TOM IF A SNEAKY PROF SHOULD EVER LAMP US, WE’D BE THROUGH! BUT IN AFTER YEARS IT’S DARING... PAIRING... UP FOR A LARK THROUGH TENDER TEARS ON THE CAMPUS AFTER DARK! WE’LL SAY A WORD OF PRAISE IT’S DARING... PAIRING... UP ON THE LAWN ON THE CAMPUS TILL THE DAWN...

33 LYRICS YOU’RE THE CREAM IN MY COFFEE LUCK’S NOT PLUCKED UP FROM THE GROUND...

COACH KEEP YOUR FOUR-LEAF CLOVERS I’M NOT A POET SAVE YOUR LUCKY CHARMS HOW WELL I KNOW IT ‘CUZ, HE’S GOT LUCK THAT BEATS YOUR LUCK I’VE NEVER BEEN A RAVER WHEN I AM IN HIS ARMS! BUT WHEN I LOOK AT YOU I RAVE A BIT IT’S TRUE... LUCKY IN LOVE, LUCKY IN LOVE, WHAT ELSE MATTERS IF YOU’RE LUCKY IN LOVE? THE THING ABOUT YOU GOOD BREAKS ARE FEW, I’M LOST WITHOUT YOU FEW SKIES ARE BLUE, YOU GIVE MY LIFE IT’S FLAVOR BUT BAD LUCK SCATTERED WHEN HE STEPPED INTO VIEW! WHAT SUGAR DOES FOR TEA I KNOW JUST WHAT THE FUTURE WILL BRING THAT’S WHAT YOU DO FOR ME... ONE FINE GUY AND A SWELL DIAMOND RING OH, YES WE’RE LUCKY IN LOVE, YOU’RE THE CREAM IN MY COFFEE WHO NEEDS ANY LUCKY PENNY WHEN WE’RE LUCKY IN LOVE YOU’RE THE SALT IN MY STEW YOU WILL ALWAYS BE MY NECESSITY TOM I’D BE LOST WITHOUT YOU LUCKY IN LOVE, LUCKY IN LOVE, WHAT ELSE MATTERS IF YOU’RE LUCKY IN LOVE? YOU’RE THE STARCH IN MY COLLAR WHO WOULD’VE GUESSED... YOU’RE THE LACE IN MY SHOE ... I’D BE SO BLESSED? YOU WILL ALWAYS BE MY NECESSITY AND GOOD WINDS BLOW IN, ALL FROM BLOWIN’ A TEST I’D BE LOST WITHOUT YOU ONE DAY, I’M JUST A FRIVOLOUS GUY THEN, GREAT FORTUNE FALLS OUTTA THE SKY MOST MEN TELL LOVE TAILS STRAIGHT FROM THE HEAVENS ABOVE AND EACH PHRASE DOVETAILS IF YOU’LL TAKE ME, THAT’LL MAKE ME, OH, SO LUCKY IN LOVE YOU’RE HEARD EACH KNOWN WAY THIS WAY IS MY OWN WAY... CONNIE LUCKY IN LOVE, LUCKY IN LOVE YOU’RE THE SAIL OF MY LOVE BOAT WHAT ELSE MATTERS IF YOU’RE LUCKY IN LOVE YOU’RE THE CAPTAIN AND CREW NEVER BEFORE YOU WILL ALWAYS BE MY NECESSITY HAVE I FELT MORE I’D BE LOST WITHOUT YOU PERHAPS THE UNIVERSE IS OURS TO EXPLORE...! YOU’RE THE SALT IN MY COFFEE YOU’RE THE CREAM IN MY STEW ALL THREE YOU WILL ALWAYS BE MY NECESSITY LUCKY IN LOVE, LUCKY IN LOVE I’D BE LOST WITHOUT YOU WHAT ELSE MATTERS WHEN YOU’RE LUCKY IN LOVE GOOD BREAKS ARE FEW, KENYON FEW SKIES ARE BLUE, YOU’RE THE THORN IN MY COLLAR BUT BAD LUCK SCATTERED WHEN I FIRST LOOKED AT YOU! YOU’RE THE ROCK IN MY SHOE I DON’T CARE WHAT THE FUTURE WILL BRING YOU WILL ALWAYS BE MY NECESSITY IF WE’RE THERE TOGETHER, I WON’T NEED A THING I’D BE LOST WITHOUT YOU OH, YES, I’M LUCKY IN LOVE SO MUCH FUN TO BE SOMEONE WHO’S OH, SO, LUCKY IN LOVE! COACH & KENYON YOU GIVE LIFE FAVOR BRING OUT ITS FLAVOR THE VARSITY DRAG AND THIS IS CLEAR, DEAR YOU’RE MY WORCESTERSHIRE, DEAR! BOBBY WE’VE ALWAYS THOUGHT COACH KNOWLEDGE WAS NAUGHT YOU’RE THE SAIL OF MY LOVE BOAT WE SHOULD BE TAUGHT... TO DANCE! RIGHT HERE AT TAIT KENYON WE’RE UP-TO-DATE YOU’RE THE CAPTAIN AND CREW WE TEACH A GREAT... NEW DANCE! DON’T THINK THAT I BRAG... COACH & KENYON I SPEAK OF THE DRAG! YOU WILL ALWAYS BE MY NECESSITY I’D BE LOST WITHOUT YOU WHY SHOULD A SHEIK YOU WILL ALWAYS BE MY NECESSITY LEARN HOW TO SPEAK I’D BE LOST WITHOUT YOU... LATIN AND GREEK... BADLY? GIVE ‘EM A NEAT MOTTO COMPLETE LUCKY IN LOVE SAY IT WITH FEET... GLADLY! FIRST LESSON RIGHT NOW PAT YOU’LL LOVE IT AND HOW LUCKY FOUR-LEAF CLOVERS YOU’LL LOVE IT! SHINY PENNIES FOUND SUPERSTITIOUS NONSENSE 34 LYRICS ALL COACH (W / ALL) HERE IS THE DRAG BACKS GO CRASHING THROUGH (RAH! RAH! RAH!) SEE HOW IT GOES BREAK THAT LINE IN TWO (RAH! RAH! RAH!) DOWN ON YOUR HEELS UP ON YOUR TOES ALL THAT’S THE WAY TO DO THE VARSITY DRAG! T. A. I. T.—THAT SPELLS VICTORY TAIT WILL WIN THE DAY! IT’S HOTTER THAN HOT! RAH! RAH! RAH! NEWER THAN NEW! RAH! RAH! RAH! MEANER THAN MEAN! T. A. I. T.—THAT SPELLS VICTORY BLUER THAN BLUE! TAIT WILL WIN THE DAY! GETS AS MUCH APPLAUSE AS WAVING THE FLAG! POOCH YOU CAN PASS MANY A CLASS WE’LL BRING COLTON TO THEIR KNEES; THEY’LL KNUCKLE UNDER WHETHER YOU’RE DUMB OR WISE! WE’LL PLUNGE THEM TO DEFEAT AND STEAL THEIR THUNDER IF YOU ALL ANSWER THE CALL WHEN YOUR PROFESSOR CRIES... “EVERYBODY!” COACH & POOCH (W / ALL) WE’LL SHOW THE WORLD THAT TAIT IS NUMBER ONE DOWN ON YOUR HEELS (NUMBER ONE) UP ON YOUR TOES NO TEAM IS GREATER UNDERNEATH THE SUN STAY AFTER SCHOOL (UNDER THE SUN) LEARN HOW IT GOES EVERYBODY DO THE VARSITY DRAG! COACH (W / ALL) TO THE NORTH (TO THE NORTH!) HERE IS THE DRAG TO THE SOUTH (TO THE SOUTH!) SEE HOW IT GOES TO THE EAST (TO THE EAST) DOWN ON YOUR HEELS TO THE WEST (TO THE WEST) UP ON YOUR TOES THAT’S THE WAY TO DO THE VARSITY DRAG! ALL TO THE BEST TEAMS IN ALL THE U.S.A... IT’S HOTTER THAN HOT! NEWER THAN NEW! POOCH MEANER THAN MEAN! THE WONDERFUL TEAMS THAT TAIT WILL SLAY BLUER THAN BLUE! TAIT IS OUT TO WIN TAIT MEN DON’T GIVE IN GETS AS MUCH APPLAUSE AS WAVING THE FLAG! OUT TO DO OR DIE WITH NO ALIBI YOU CAN PASS MANY A CLASS WHETHER YOU’RE DUMB OR WISE! GIRLS IF YOU ALL ANSWER THE CALL CHEER, CHEER FOR WHEN YOUR PROFESSOR CRIES... “EVERYBODY!” GOOD OLD TAIT WE’RE HERE TO STATE DOWN ON YOUR HEELS THAT TAIT IS GREAT UP ON YOUR TOES SAY GOODBYE TO BOO-HOO-HOO-HOO-HOO-HOO-HOO BOYS AND DO THE VARSITY DRAG! FIGHTING TO THE DEATH ON EV’RY PLAY!

GIRLS TAIT SONG HIT THAT LINE, BOYS! BACKS GO CRASHING THROUGH COACH BREAK THAT LINE IN TWO TAIT IS OUT TO WIN! GIRLS POOCH FIGHT TILL THEY ARE BLACK AND BLUE RAH! RAH! RAH! BREAK THEM IN TWO!

COACH ALL TAIT MEN DON’T GIVE IN! T. A. I. T.—THAT SPELLS VICTORY TAIT WILL WIN THE DAY ALL RAH! RAH! RAH! RAH! RAH! RAH! RAH! RAH! RAH! COACH OUT TO DO OR DIE T. A. I. T.—THAT SPELLS VICTORY WITH NO ALIBI TAIT WILL WIN... THE DAY! FIGHTING TO THE DEATH ON EV’RY PLAY!

ALL YEAH!

35 LYRICS GIRLS OF THE PI BETA PHI BROKEN HEARTED!

PAT THERE THEY GO... GIRL AND GUY DAYS WE SPEND TOGETHER TILL THE DAY... THE GUY MUST DIE! IN PI BETA PHI! AND HERE AM I BROKEN HEARTED! PAT (AND GIRLS) ALL OUR CARES ARE LIGHTER THAN A FEATHER (OOOOH!) AS THE YEARS GO BY (OOOOH!) IF YOU HAVEN’T GOT LOVE

ALL TOM PARTING HAS TO COME WITH GRADUATION I’VE NEVER HAD A WORRY BUT PARTING DOESN’T MEAN A SEPARATION I’VE NEVER HAD A CARE FOR OUR HEARTS ARE BOUND AS WITH A TETHER EV’RYTHING I’D EVER NEED ...TO PI BETA PHI! (TO PI BETA PHI) HAS ALWAYS JUST... BEEN THERE.

BABE THEN, SUDDENLY, BY STARLIGHT HERE AND THERE AND EVERYWHERE… MY HEART, IT STARTS TO FALL... AND NOW THE THING FLO & MILLIE THAT MAKES ME SING— THERE’S A GIRL OF THE PI BETA PHI IT’S NOT A “THING” AT ALL...

GIRL 3 MOST THINGS IN LIFE I’VE PLENTY OF LONGING FOR... WHAT GOOD’S THIS, THAT OR THE OTHER IF YOU HAVEN’T GOT LOVE? GIRL 4 & 5 THREE MEALS A DAY, A ROOF ABOVE THE DAYS OF YORE... WHAT GOOD’S THIS, THAT OR THE OTHER IF YOU HAVEN’T GOT LOVE?

GIRL 6 (BOBBY?!) LIFE IS SWEET, BUT LOVE PROVIDES THE ZEST OF IT THAT SHE KNEW IN THE PI BETA PHI! GIVE ME LOVE AND YOU CAN KEEP THE REST OF IT (I’LL HAVE THE BEST OF IT) ALL PERHAPS A DAUGHTER ON HER KNEE FOR LOVE AND JOY GO HAND IN GLOVE HEARS THIS LULLABY: WHAT GOOD’S THIS, THAT OR THE OTHER “I HOPE AND PRAY YOU’LL BE SOMEDAY IF YOU HAVEN’T GOT LOVE? A BEAUTIFUL GIRL A DUTIFUL GIRL LIFE IS SWEET, BUT LOVE PROVIDES THE ZEST OF IT GIVE ME LOVE AND YOU CAN KEEP THE REST OF IT PAT (I’LL HAVE THE BEST OF IT) AND A GIRL OF THE PI... FOR LOVE AND JOY GO HAND IN GLOVE GIRL-BOBBY WHAT GOOD’S THIS, THAT OR THE OTHER ...PI BETA PHI!” IF YOU HAVEN’T GOT LOVE?

ALL MY LITTLE PI BETA PHI! BUTTON UP YOUR OVERCOAT

BABE (HERE AM I) BROKEN-HEARTED LISTEN, BIG BOY NOW THAT I’VE GOT YOU MADE BEEF GOODNESS, BUT I’M AFRAID THERE SHE IS MY OLD GAL SOMETHING’S GONNA HAPPEN TO YOU! THERE HE IS MY OLD PAL... LISTEN, BIG BOY AND HERE AM I YOU’VE GOT ME HOOKED AND HOW BROKEN HEARTED! I WOULD DIE IF I SHOULD LOSE YOU NOW...

MINE ONE DAY, THEN SHE’S GONE BUTTON UP YOUR OVERCOAT HE MOVES IN, SHE MOVES ON WHEN THE WIND IS FREE AND HERE AM I TAKE GOOD CARE OF YOURSELF BROKEN HEARTED... YOU BELONG TO ME

SHE LEAVES ME FOR MY BUDDY-PAL EAT AN APPLE EVERY DAY NOW I’M A TOTAL WRECK! GET TO BED BY THREE IT’S BAD ENOUGH SHE BREAKS MY HEART... TAKE GOOD CARE OF YOURSELF I’VE GOT TO BREAK HIS NECK! YOU BELONG TO ME

THERE THEY GO IN THEIR JOY BE CAREFUL CROSSING STREETS (OO-OO) HAPPY GIRL... LUCKY BOY... DON’T EAT MEATS (OO-OO) AND HERE AM I CUT OUT SWEETS (OO-OO) 36 LYRICS YOU’LL GET A PAIN AND RUIN YOUR TUM-TUM STILL TIED KEEP AWAY FROM BOOTLEG HOOCH I WOULD YELL UNTIL THE FELLAS SHOWED THEIR SUNNY SIDE WHEN YOU’RE ON A SPREE TAKE GOOD CARE OF YOURSELF SLATS / WINDY YOU BELONG TO ME! HE WOULD YELL UNTIL THE FELLAS SHOWED THEIR SUNNY SIDE!

BOBBY POOCH, WINDY & SLATS BUTTON UP YOUR OVERCOAT KEEP YOUR SUNNY SIDE UP, UP WHEN THE WIND IS FREE HIDE THE SIDE THAT GETS BLUE! TAKE GOOD CARE OF YOURSELF YOU BELONG TO ME IF THEIR TEAM IS KNOCKING YOU FLAT SMILE AND SAY YOU’RE BETTER THAN THAT! WEAR YOUR FLANNEL UNDERWEAR WHEN YOU CLIMB A TREE ALL TAKE GOOD CARE OF YOURSELF (YOU GOTTA) KEEP YOUR FUNNY SIDE UP! UP! YOU BELONG TO ME LET YOUR LAUGHTER COME THROUGH, DO! STAND UP ON YOUR LEGS, DON’T SIT ON HORNETS’ TAILS (OO-OO) BE LIKE TWO FRIED EGGS, IRON NAILS (OO-OO) KEEP YOUR SUNNY SIDE UP! OR THIRD RAILS (OO-OO) YOU’LL GET A PAIN AND RUIN YOUR TUM-TUM KEEP YOUR FUNNY SIDE UP! UP! LET YOUR LAUGHTER COME THROUGH, DO! KEEP AWAY FROM BIG OL’ BRUTES WHEN YOUR LUCK RUNS THIN WHEN YOU’RE ON A SPREE GROWL AND SHOW A GRIN TAKE GOOD CARE OF YOURSELF KEEP YOUR SUNNY SIDE TAKE GOOD CARE OF YOURSELF YOUR FUNNY, SUNNY SIDE TAKE GOOD CARE OF YOURSELF... KEEP YOUR SUNNY SIDE UP! YOU BELONG TO ME! LIFE IS JUST A BOWL OF CHERRIES KEEP YOUR SUNNY SIDE UP KENYON POOCH AREN’T WE STRANGE THERE’S ONE THING TO THINK OF WHEN YOU’RE BLUE THERE’S NO WAY OF KNOWING THERE ARE OTHERS MUCHWORSE OFF THAN YOU WHY WE KEEP MOONING ABOUT IF A LOAD OF TROUBLE SHOULD ARRIVE. WHY DON’T WE STOP SOMEDAY LAUGH! AND SAY, “IT’S GREAT TO BE ALIVE!” ADDRESS OURSELVES THIS WAY:

KEEP YOUR SUNNY SIDE UP! UP! “WHY ARE WE HERE?” HIDE THE SIDE THAT GETS BLUE. “WHERE ARE WE GOING?” IF THEIR TEAM IS KNOCKING YOU FLAT IT’S TIME THAT WE FOUND OUT SMILE AND SAY YOU’RE BETTER THAN THAT! WE’RE NOT HERE TO STAY WE’RE ON A SHORT HOLIDAY... (YOU GOTTA) KEEP YOUR FUNNY SIDE UP! UP! LET YOUR LAUGHTER COME THROUGH, DO! LIFE IS JUST A BOWL A CHERRIES STAND UP ON YOUR LEGS, DON’T TAKE IT SERIOUS BE LIKE TWO FRIED EGGS, —LIFE’S TOO MYSTERIOUS— KEEP YOUR SUNNY SIDE UP! YOU WORK, YOU SAVE, YOU WORRY SO ARE YOU UP, UP, UP? BUT YOU CAN’T TAKE YOUR DOUGH WHEN YOU GO, GO, GO? SLATS NO, I’M DOWN, DOWN, DOWN! SO, KEEP REPEATING “IT’S THE BERRIES!” THE STRONGEST OAK MUST FALL POOCH THE SWEET THINGS IN LIFE, TO YOU ARE JUST LOANED WILL WE WIN, WIN, WIN? —SO, HOW CAN YOU LOSE WHAT YOU NEVER OWNED?!—

ALL LIFE IS JUST A BOWL OF CHERRIES NO, WE’LL LOSE, LOSE, LOSE! SO LIVE AND LAUGH AT IT ALL POOCH WILL YOU SCORE MORE? CONNIE LIFE IS JUST A BOWL OF CHERRIES ALL DON’T TAKE IT SERIOUS NEVER! NEVER! —LIFE’S TOO MYSTERIOUS—

POOCH BABE DON’T YOU REALIZE YOU GUYS ARE TOPS YOU WORK, YOU SAVE, YOU WORRY SO I GUESS I’LL HAFTA PULL OUT ALL THE STOPS...! BUT YOU CAN’T TAKE YOUR DOUGH WHEN YOU GO, GO, IF I WERE OL’ KNUTE ROCKNE AT NOTRE DAME GO? TRYIN’ TO GET HIS BOYS INTO THE HALL OF FAME I WOULD LIGHT A LOTTA CANDLES BUT IF THE GAME WAS

37 LYRICS KENYON, CONNIE & BABE SO, KEEP REPEATING “IT’S THE BERRIES!” THE STRONGEST OAK MUST FALL THE SWEET THINGS IN LIFE, TO YOU ARE JUST LOANED —SO, HOW CAN YOU LOSE WHAT YOU NEVER OWNED?!—

LIFE IS JUST A BOWL OF CHERRIES SO LIVE AND LAUGH AT IT ALL

BEST THINGS IN LIFE… / GOOD NEWS (FINALE)

CONNIE & TOM THE MOON BELONGS TO EVERYONE THE BEST THINGS IN LIFE ARE FREE

BABE & BOBBY THE STARS BELONG TO EVERYONE THEY GLEAM THERE FOR YOU AND ME

COACH THE FLOWERS IN SPRING!

KENYON THE ROBINS THAT SING!

PAT THE SUNBEAMS THAT SHINE!

BEEF THEY’RE YOURS, THEY’RE MINE

ALL AND LOVE CAN COME TO EVERYONE!

38 RESOURCES

BULLYING AND HAZING

Ellis, Deborah. We Want You to Know: Kids Talk About Bullying. Canada: Coteau Books. 2010.

Thomas, Robert Murray. Violence in America’s Schools: Understanding, Prevention, and Responses. Connecticut: Praeger Publishers. 2006.

FOOTBALL

2012 NFL Fact Book. “Chronology of Professional Football.” http://static.nfl.com/static/content/public/image/history/pdfs/History/Chronology_2011.pdf

Schmidt, Raymond. Shaping College Football: The Transformation of an American Sport, 1919-1930. New York: Syracuse University Press. 2007.

Watterson, John Sayle. College Football: History, Spectacle, Controversy. Maryland: The Johns Hopkins University Press. 2000.

FRATERNITIES AND SORORITIES AND YOUTH IN THE ‘20S

Drowne, Kathleen Morgan and Huber, Patrick. Nineteen Twenties. Connecticut: Greenwood Press. 2004.

Hansen, Mary Ellen. Go! Fight! Win!: Cheerleading in American Culture. Bowling Green State University Popular Press. 1995.

Jones, Betty Mullins. History of Fraternity and Sorority Life: The American Fraternity. University of Texas Arlington: Division of Student Affairs.

GOOD NEWS!, PRESENTING A TIMELESS TROPE, AND THE WRITERS

Green, Stanley. The World of Musical Comedy: The Story of the American Musical Stage. California: A.S. Barnes & Co. 1980.

Hischak, Thomas S. Boy Loses Girl: Broadway’s Librettists. Maryland: Scarecrow Press, Inc. 2002.

Jones, John Bush. Our Musicals, Ourselves: A Social History of the American Musical Theatre. New Hampshire: University Press of New England: 2003.

Laufe, Abe. Broadway’s Greatest Musicals. New York: Funk and Wagnalls. 1977.

Maloney, Alison. Bright Young Things: A Modern Guide to the Roaring Twenties. New York: Potter Style; a division of Random House, Inc. 2012.

The Teacher’s Instructional Guide for Good News! was prepared by: Joshua S. Ritter, M.F.A, Education & Library Director Christine Hopkins, M.A, Education & Library Assistant Katherine Griswold, Marketing Coordinator 39 THEATRE ETIQUETTE

Seeing a musical at the Goodspeed Opera House is a unique and exciting experience. All the members of the production, both cast and crew, work hard to give you a great show. As an audience member, you also have an important job. You must help the performers give their best performance possible. You can do this by practicing these rules of theater etiquette:

• Do laugh when the performance is funny.

• Do applaud when the performance is over. Applause is how you say “Thank you” to the performer. The actors will bow as you applaud. That is how they say “Thank you for coming.”

• Do stand and applaud if you thought the show was outstanding.

• Don’t forget to turn off your cell phone. A ringing or buzzing phone can be very distracting. It can also be embarrassing for you if it is your phone that is disrupting the show!

• Don’t text during the performance.

• Make sure to visit the restroom before the production begins.

• Don’t speak or whisper during the performance...whispering is still speaking, so only in an emergency should whispering occur.

• Remember that the Overture (introductory music) in musical theatre is part of the performance, so remain silent when the show begins.

• Don’t take pictures during the performance. It can be very distracting to the actors and it can result in an accident.

• Don’t put your feet up on the seats or kick the seat in front of you.

• Do sit ONLY when your seat is in the folded down position.

• Do remain in your seat for the entire performance. If you must leave, exit during intermission. In an emergency, calmly walk toward the nearest exit.

40 GOODSPEED MUSICALS MUSICAL THEA TRE INSTITUTE

TAKE ADVANTAGE OF GOODSPEED’S EXCITING EDUCATIONAL OPPORTUNITIES IN 2013 & 2014!

AUDITION INTENSIVE • Aug 2 - 4, 2013 Goodspeed’s Audition Intensive is a dynamic three-day program designed to prepare the next generation of Broadway hopefuls for the all-important college entrance audition process. High school Sophomores, Juniors and Seniors will hone their audition skills and learn tricks of the trade from industry professionals.

MUSICAL THEATRE DANCE INTENSIVE • Aug 4 - 11, 2013 Calling all up-and-coming hoofers! If you can’t help but move to the rhythms of Broadway and you want to be cast in musicals, this is the workshop for you! Goodspeed’s Dance Intensive is designed as a musical theatre dance boot camp for college age performers and young professionals. Each day will include sessions focused on preparing dancers for musical theatre auditions and the week will culminate with several mock auditions in front of industry professionals.

PROFESSIONAL DEVELOPMENT SERIES • Oct 26 & Dec 14, 2013 Directing a High School Production Earn your CEU Credits with Goodspeed! This seminar series designed especially for teachers will address the challenges that arise in directing high school productions. Take advantage of this rare opportunity to receive individualized support, expert advice, and diverse perspectives from educational, community, and professional theatre practitioners.

INTRODUCTION TO SCENIC PAINTING INTENSIVE • Jan 20 - 24, 2014 Bring out your inner artist and learn from the best scenic painters in the industry! During this six-day intensive introductory program, participants will learn to create textured surfaces using a variety of scenic painting techniques and begin to master skills such as cartooning, color mixing, squaring up, drop layout, and wood graining.

INTERNSHIP & APPRENTICESHIP PROGRAM Goodspeed’s Administrative Internship and Technical Apprenticeship programs serve as a training ground for aspiring theatre professionals by providing experiential learning, networking opportunities, regular seminars taught by staff members, and bimonthly meetings with members of the senior staff.

OBSERVERSHIP PROGRAM Ever wonder what it would be like to be part of the rehearsal process for a Goodspeed show? Well, now’s your chance! This tuition-based program will offer young professionals and students invaluable firsthand experience that can’t be taught in a classroom. The Associate Program will allow talented young theatre artists to work alongside Goodspeed’s Director, Choreographer, or Music Director on a Goodspeed Opera House or Norma Terris production.

FOR MORE INFORMATION, VISIT www.goodspeed.org/education-library

The Max Showalter Center for Education in Musical Theatre