STUDY GUIDE Table of Contents

Introduction 3

10 Things to know about going to the theatre 4

Cast and Creative Team Credits 5

Sherlock Holmes and the Extended Family 6

Synopsis and Characters 8

Inside Vertigo Theatre 9 — An Interview with Jenna Rodgers

Pre-Show Projects and Discussion Questions 12

Finding a Voice

Treasure!

“You see but you do not observe”

Your Burning Questions 14

Pre-Show Activities —To Get You Up On Your Feet 16

Statues

Watson’s Ruse

Post Show Discussion Questions 19

The Art of the Theatre Review 20

About Vertigo Theatre/AYA Program 21

Introduction

Welcome to the Study Guide for Vertigo Theatre’s production of AND THE RAVEN’S CURSE by R. Hamilton Wright, based on the works of Sir .

In this guide, you will find information about the Sherlock Holmes’s brother and love interest, information about the creative team and performers involved in the production, as well as a variety of activities to do with your class before and after the show. There are topics suitable for class discussion, individual writing projects, as well as games and exercises that get students moving around and learning on their feet.

For this production, you’ll find activities that will get students having a conversation with a famous literary character, and playing a game right out of the show. We are also featuring an interview with director Jenna Rodgers about her take on this new Sherlock Holmes mystery.

Sometimes your students might read an unusual word or term and feel some “ver- tigo”, so we’ve got handy-dandy blood spatters that provide definitions or point to topics of interest. Like this:

Vertigo is a medical condition one of the symptoms of which is the sensation of movement in a sufferer who is not moving. Often it feels like a spinning or swaying movement. Vertigo is the most common type of dizziness.

3 10 Things to Know About Going to the Theatre Because some of you may be first-time theatre attendees (and some of you more experienced theatre-goers may need a little reminder), we’ve compiled a Top 10 list of some of New York Show Tickets Do’s and Don’ts of Etiquette as well as a few of our own:

1. Power Down: Turn off your cell phone, people. Turn. It. Off. And, no, putting your cell phone on vibrate isn’t good enough - the people next to you can hear that weird buzzing sound, too. Besides which, the use of cameras and recording devices in the theatre is strictly prohibited.

2. Don’t Send Text Messages During the Show: You may think you’re being all incognito, but in a darkened theatre, the light from your cell phone screen is incredibly distracting to those around you. And why do you still have your phone on anyway? We just told you to turn it off!

3. Eat Your Lunch Before the Show, Not DURING It :This isn’t the movies. Eating, drinking or chewing gum is not permitted in the theatre. There is a water station out in the lobby for your use during the intermission.

4. Unwrap cough Drops and Candies in Advance: If you anticipate any coughing fits during the show, be sure to unwrap your lozenges before the performance starts and have them at the ready. That crinkling sound is like nails on a chalkboard during a quiet play. And, no, unwrapping it S-L-O-W-L-Y does not help the situation ... it’s much, much worse.

5. Preshow: When the houselights go down at the beginning of the play, this lets you know that weʼre starting. It is at this moment that the actors and technical staff do their final preparation for the opening moment, so please let them do their work by being quiet and respectful.

6. Don’t be a Disruptive Miss Manners: Sure, it’s irritating when someone’s cell phone goes off, but what’s even worse is when it’s followed by a series of annoyed “Tsks,” “Hmphs,” hisses, snarls, and shouts of “Turn it off!” can be just as distracting as the original disruption.

7. Zip those lips: A quick whisper to your neighbour, or an audible reaction to something interesting that happens on stage is fine (this is the live theatre, not the morgue), but keep conversations to the intermission and after the show.

8. Stay put, watch and enjoy the play: If you absolutely must use the washroom during the performance, please exit the theatre quickly and quietly. You will be readmitted to the theatre at the discretion of the House Manager.

9. You’re Not in your Living Room: Please do not stand up, walk around or put your feet on the seat or stage in front of you. Everyone around you, including the actors, will appreciate it.

10. Enjoy Yourself! Come to the theatre to get swept away into another world. Be sure to thank all of the artists for their hard work by applauding during the curtain call. 4 The Cast Mike Tan Sir Donald/Conor Ferguson Braden Griffiths Sherlock Holmes Garett Ross Mycroft Holmes/Dr. Mowbray Katherine Fadum Beatrice Grimes Kristen Padayas Alice Rogers/Lucy Chert Kathryn Kerbes Mrs. Hudson/Nanny Bull Curt McKinstry Dr. John Watson Rong Fu Fiona MacKenzie The Creative Team R. Hamilton Wright Playwright Jenna Rodgers Director Narda McCarroll Set & Lighting Designer Leslie Robison-Greene Costume Designer Andrew Blizzard Sound Design Karl Sine Fight Director Michael Howard Stage Manager Claire Bolton Assistant Stage Manager Jennifer Yeung Apprentice Stage Manager Jane Macfarlane Voice/Dialect Consultant Techart Custom Creations Set Construction Derek Paulich Head of Props Leah Macrae Head of Wardrobe Adam Production Apprentice Dawna Mark Scenic Painter Cutter/Stitcher Hairstylist

5 Sherlock Holmes and the Extended Family

When Sir Arthur Conan Doyle published his first Sherlock Holmes story in 1887, he almost certainly didn’t dream that his characters and their world would become such a significant part of popular culture. But Conan Doyle’s stories have been constantly in print, adapted into virtually every medium—from video games to television to comic books—and re-imagined for each generation.

Sherlock Holmes and the Raven’s Curse is an original story that makes use of the characters and the world created by Conan Doyle, but isn’t derived from any specific work. The writer of this adaptation, R. Hamilton Wright, chose to focus on Holmes’s family, using Conan Doyle’s character Mycroft Holmes—Sherlock’s older brother—and then creating a further extended family outside of the canon.

Canon (Sherlock Holmes): The original works created by Conan Doyle himself, which is comprised of 56 short stories and four novels.

Mycroft Holmes, Sherlock’s older brother by seven years, is a government official. Though his exact position is never stated. Sherlock describes him as “the most indispensable man in the country.”

Mycroft is portrayed as having deductive and intel- lectual abilities that often surpass his brother’s. The difference between the two, however, is that Mycroft doesn’t possess Sherlock’s taste for fieldwork.

The character can frequently be found in the Diogenes Club (a Conan Doyle invention where members are under strict orders to observe silence and not to talk to other members. 6

The character of Irene Adler doesn’t appear in SHERLOCK HOLMES AND THE RAVEN’S CURSE, but she is almost certainly the inspiration for Fiona MacKenzie, Sherlock’s cousin.

In the canonical stories, Adler is an opera singer and actress, who appears only in the short story . She manages to best Holmes in a battle of wits, and he keeps a photograph of her and refers to her in subsequent stories. Though his feelings are never fully explored, there seems to be a possible romantic interest, or at least a platonic love.

Though it was never confirmed by Conan Doyle, it has been long suspected by Sherlockians (the name for Holmes enthusiasts and scholars) that Irene Adler was based on singer Lily Langtry (pic- tured below).

7 Synopsis

Time: December, 1890

Place: and Scotland

Sherlock Holmes is summoned to his childhood home to investigate the mysterious death of his favourite Uncle, and to uncover the truth about an ancient family curse. Along the way he is reunited with his long-lost cousins; an heiress apparent with a dark secret, and her adopted sister who may just be Sherlock’s intellectual superior. With danger lurking, Holmes and his loyal sidekick Watson must get to the bottom of this mystery before the Raven’s Curse claims another life. Characters

Mr. Sherlock Holmes - A Consulting Detective

Dr. John Watson - Sherlock’s partner

Mrs. Hudson - The housekeeper of 221b

Mr. Mycroft Holmes - Holmes’s older brother

Mrs. Beatrice Grimes (nee MacKenzie) - Holmes’s cousin

Miss Fiona MacKenzie - Holmes’s cousin, Beatrice’s younger sister

Sir Donald - Holmes’s uncle, owner of Ravenhall Estate

Conor Ferguson - Ravenhall’s Footman

Miss Alice Rogers - Sir Donald’s Nurse

Nancy Bull - Ravenhall’s Housekeeper

8 Inside Vertigo Theatre

We talk to director Jenna Rodgers about diversity in a classic series, the challenges of mystery theatre, and the crime stories that keep her on the edge of her seat.

What interests you about this particular take on the Sherlock Holmes stories?

A lot of the work that I do in the arts is rooted in equity and inclusion. I’m a firm believer that when playwrights do the great work of making space for culturally diverse stories in their work, that the creative teams assembled to produce the play should reflect some of that cultural specificity. Theatre is a collaborative art, and I really wanted to work on this play so I could collaborate on a contemporary classic story that reflects a Chinese woman (In this play, R. Hamilton Wright has written Fiona MacKenzie as a Chinese adoptee, and I am also of Chinese descent.)

Aside from that, I really appreciate the way that R. Hamilton Wright tells a story. He is extraordinary at creating a wild sense of adventure, and I am so excited to be diving into this play that journeys from London to Scotland in search of a mythical raven.

9 In SHERLOCK HOLMES AND THE RAVEN’S CURSE we see aspects of the title character that we don’t frequently see—his family and his romantic interests. Why do you think the writer was inclined to go in this direction?

In many ways, I think Fiona MacKenzie becomes a reimagining of Irene Adler. She’s a character who is an intellectual match for Sherlock, and can put him through his paces – but can we trust her? It’s even further complicated by the fact that they’re family! If there were a mystery going on in your own family, would you be able to look at it objectively? Sherlock has to navigate his own biases and engage with people who have known him since he was his child, arguably making is job much more difficult. I think the writer wanted to give himself a challenge, and by showing us Sherlock’s family, he accomplishes it.

What is different about directing a mystery versus other types of theatre?

That’s a great question! I’m writing the answers to this study guide before we’ve started rehearsal, and this is my first time directing a mystery, so I’m eager to find out how what I think is different ends up playing out in the hall. I’ve assistant directed several times at Vertigo, and from what I’ve observed, directing a mystery is often about strategic misdirection.

Most of the time you want to direct a play and make the story as clear as possible, but with a mystery, you want to complicate the story – you want the audience to feel suspicious of multiple characters, and to have their own ideas about what might be happening. The genre also requires a deft hand regarding tension and suspense. Mystery directors use tension and release as a tactic to build that suspicion around several characters and keeping the audience engaged in sorting out who might be lying.

What is your favourite part of rehearsals? And which part do you find the most challenging?

I have grown to love tech week. It’s long hours, but at this point in the process, everyone has grown together as an ensemble, and we start to see the payoff to all our hard work in the hall. The long days in the theatre are challenging, but you get rewarded with pure theatre magic. It’s also when the entire design team comes together and joins the ensemble that’s been created with the cast, so as a Director it’s really fulfilling – those moments when the whole team is together.

The most challenging part of rehearsal – ironically for a dramaturg, is the tablework. It’s when we’re all starting to get to know one another, so we don’t quite have a common intuitive language worked out yet, and we often spend long days sitting still and talking. It’s incredibly fun to dive into the words and the world of the play, untangling intentions and objectives – but it’s also a lot of unseen mental work for a director: observing the intra-rehearsal dynamics, strategizing for scenes ahead, and trying to sit still!

10 What are some of your favourite books, films, TV shows from the crime genre? Can you give us some recommendations?

I remember the first mystery I really loved (aside from The Boxcar Children!) was Rebecca by Daphne du Maurier. I also really enjoyed the Girl with the Dragon Tattoo series. I think I’m often attracted to books that feature women in leading roles, it’s easier to place myself in the story.

And of course, I’ve always been a fan of Sherlock Holmes, I think it’s very special that he isn’t a policeman or authority figure… he’s a very intelligent man who loves solving problems. And, he’s so iconic, it’s something I can share with just about everyone!

What’s the best piece of advice you’ve received about becoming or being a director?

Trust your instincts.

11 Pre-show Projects & Discussion Questions

Finding a Voice

SHERLOCK HOLMES AND THE RAVEN’S CURSE is an original Sherlock Holmes story inspired by the works of Sir Arthur Conan Doyle. The playwright, R. Hamilton Wright, took the classic elements and put his own spin on them. It’s quite common for authors to try their hand at creating new stories for classic characters. Contemporary authors have written original works based on Ian Fleming’s James Bond series and Stieg Larsson’s Millennium trilogy. And amateur writers have written vast amounts of “fan fiction” that can be found online.

So what does it take to write from an established character’s perspective? To begin with, you have to think about the character’s attitude. Is he grumpy or friendly? Standoffish or helpful? Direct or meandering?

You might consider the language the character uses. Big words or small words? Plain language or jargon?

What are the quirks of this character? Sherlock Holmes, for instance, is renowned for quickly deducing the details of a person’s life through observation. It’s a quality that unnerves most people. He also plays the violin, smokes a pipe, and has occasionally used cocaine!

12 As an exercise, write a dialogue between you and a character of your choice. For example:

YOU: Hello, Sherlock, how are you?

SHERLOCK: The day so far has been tedious. I yearn for a new case to stimulate my imagination. You, on the other hand, have had quite the day so far, haven’t you? Woke up late because you were out partying!

YOU: What? How do you know that?!

SHERLOCK: It’s elementary! You see . . .

Have fun playing with the voice, interacting, and imagining that you’re hanging out with him or her. Treasure! Treasure, hidden fortunes, valuable objects, and the like are frequent devices in mystery stories. SHERLOCK HOLMES AND THE RAVEN’S CURSE uses the “Talisker Hoard” as the story’s McGuffin.

McGuffin- An object or device in a movie or a book that serves merely as a trigger for the plot. Coined by Angus MacPhail, the term was popularized by thriller director Alfred Hitchcock.

This guide will stay spoiler free, but suffice it to say that the story of the “Talisker Hoard”, its disappearance, and its ghostly legacy make for a compelling story. It ignites the imagination of the audience and fills us with suspense.

13 Try creating your own legend of a mysterious lost treasure. Here are some questions to get you started: 1. What is the treasure and how was it amassed? Is it gold, art, artifacts, cash or something that is beyond monetary value? Was it created, stolen, inherited, or gathered over a period of time?

2. What happened to the treasure? Did it get lost somehow (sunk at sea?) Was it secreted away (like pirate treasure?) or does one person or several know of its whereabouts?

3. Are there any clues as to where it is? A cave? Under the ocean? Has any- thing been left like a map or riddles that might help someone find it?

4. What is the history of people searching for it? Why has it been difficult to find? Is it cursed or have people endangered themselves trying to find it? “You see, but you do not observe”

The above quote references Sherlock Holmes’s famous powers of observation and situational awareness. A classic Holmesian plot device is for him to deduce seemingly impossible personal information about strangers he meets based on his or her appearance and mannerisms.

14 Though we aren’t often required to have such skills in life, they are a great asset for us as writers. The ability to accurately recall details from life is what allows readers to feel like they are experiencing the story for real.

How do your powers of observation com- pare? Choose a room in your house or a room or space in your school. Without going to see it or looking at pictures of it, write down details about what things are in the space, what’s on the walls, and anything you can see. Be specific about things you describe. What are the colours of things, the textures, the numbers of things, etc.

Then go take a look at the room. What did you record accurately? What did you forget about or make mistakes on? Why do you think you notice some things and not others? Your Burning Questions

There will be a question and answer session after the show. What questions do you have about putting on the play? What have you always wanted to know about theatre? What do you want to know about being an actor?

15 Pre-show Activities Statues

In Sherlock Holmes and the Raven’s Curse, Holmes plays an impromptu childhood game of “Statues”, where the players must take the shape of different statues, mov- ing very quickly from one to the next with no repeats. The following game, known as the “The Martha Game” uses a similar idea and challenges players to create shapes, free associate, and think quickly.

The Martha Game

INSTRUCTIONS

1. The group stands in a circle.

2. One person on the outside runs to the centre, takes the shape of a person or object and says what it is. (eg. “I am a pencil”)

16 3. Another person from the outside (in order, or from anywhere in the circle— whichever you prefer) runs on and adds something else to the picture, taking its shape. (eg. “I’m a paper”)

4. A third person enters and adds one last thing (eg. “I am an artist”)

5. The first person now chooses one of the two that came after to keep and voices it (eg. “I keep the paper (or artist)”

6. A brand new image has begun and, though it uses one item from the previous set, it must be a brand new picture with none of the same objects or setting. (eg. Adding “I am the printing press” to the paper, etc.)

7. The game carries on as the group continues to create new images.

TIPS FOR SUCCESS

- Encourage players to go with their gut instincts - Challenge players to connect with the images and not just random objects. -Push them to run in even before they know what they will say -As the game goes on, speed and boldness will lead to more interesting pictures Watson’s Ruse

Sherlock Holmes often disguises himself to observe suspects and key players without their knowledge, but in The Raven’s Curse Watson takes on this job. In order to be convincing, he takes on a whole different persona. The following game will challenge players to literally step into the footsteps of someone else.

17 The Imitation Game

Players take turns imitating each other’s walks to learn about how different styles of movement affect character.

INSTRUCTIONS

1. Everyone finds a partner.

2. Partner A starts walking normally around the room. Partner B follows behind, getting in step with partner A.

3. Partner B’s task is to imitate Partner A’s walk exactly.

4. Once Partner B feels like they have captured the walk, they say “okay” to Partner A and Partner A moves away and watches Partner B, who maintains the walk.

5. After looking at the walks, discuss what you noticed! And then switch roles

TIPS FOR SUCCESS

• Encourage Partner B to copy exactly, looking for things like length of stride, movement of arms, speed, hip movement, where they hold tension. • The goal is to imitate, not inflate. Their job is not to mock the partner, but to capture the honest truth.

DISCUSSION

- What were you suprised to see about your walk? -What did you find difficult to imitate in others? -What was it like for a woman to imitate a man and vice versa? -How did your feelings change when you imitated the walk? Did you feel more relaxed/tense, proud/hidden?

18 Post-Show Discussion Questions 1. How would you describe the relationship between Sherlock Holmes and his brother Mycroft?

2. Sherlock describes Fiona as “the only woman I have ever loved.” What draws him to her? Why do you think he can’t find love with anyone else?

3. Holmes usually disguises himself if the situation arises, but it falls to Watson this time. How does Watson feel about taking on this job? Does it help him with what he’s going through in his personal life?

4. Characters deal with grief in different ways in the play. Choose two characters who are mourning someone? How do they compare, how do they contrast?

5. This is an original take on a Sherlock Holmes story. Did you find it a satisfying addition to his body of work? If this is your first Sherlock Holmes story, are you interested to read or watch more? Why?

19 The Art of the Theatre Review

Now that you’ve seen the production, it’s time to write a review. But how do you do it? Where do you start? The Guardian Theatre critic Lyn Gardner suggests: A traditional theatre review often begins by giving the reader some background about a production, a brief outline of plot and themes, a sense of what the staging looks (and sounds) like; it offers an evaluation of the writing, the production and the performances and concludes with a summing up. But, most importantly, she says that: The first rule is that there are no rules – you’re writing a review to express your thoughts and feelings about a theatre show, not taking an exam. There are as many ways to write a review as there are personal responses to any production. There is no right or wrong. Allow yourself to develop your own distinctive voice, and be honest about what you really think about a production: convey your enthusiasm for it or explain why you disliked it. Don’t worry about going out on a limb. A timid theatre review is often a dull read. The hardest reviews to write are not about the shows you passionately loved or hated, but about ones that were just so-so. To begin, jot down what stuck with you in the production. -What do you remember the most? -Which performance did you love and why? -What did you think of the costumes, the set, the lighting, the sound? -Did you like the story? Was it clear? -Did the production make you feel something? This last question is perhaps the most important. Kenneth Tynan, one of the most celebrated critics of all time said the following: If a play does anything — either tragically or comically, satirically or farcically — to explain to me why I am alive, it is a good play. If it seems unaware that such questions exist, I tend to suspect that it’s a bad one. By “explain to me why I am alive”, Tynan is suggesting that a play should speak to you about some aspect of your life. Some other questions you could address are: - If you lost interest, where did the productions go wrong? -Was there a part of the story that you had difficulty accepting? A performance you didn’t believe? A twist in the story that didn’t make sense? -Would you reccommend this play to others? Was it worth your time? Bonus Activity! Can you summarize your review in the length of a tweet? If you’re on Twitter tag Vertigo Theatre @vertigotheatre, sow we can hear what you thought! 20 About Vertigo Theatre

We are a professional, not-for-profit charitable organization with a dual artistic mandate.

Our mission is to be a leader in developing, producing and presenting plays based in the mystery genre, and plays for young audiences, while providing a performance home for other organizations.

Our vision is to create exceptional entertainment experiences. Vertigo Theatre occupies a unique place in Calgaryʼs cultural landscape as: • The only professional theatre in Canada producing a series of professional plays based in the mystery genre

• The only theatre in Calgary presenting a full series of theatre for young audiences either produced by Vertigo Theatre or on tour across the country and beyond.

• Providing a performance home for other arts and arts education organizations

• Committed to mentorship and training in all areas – artistic, production and administration

Vertigo Theatre is a member of the Professional Association of Canadian Theatres and engages un- der the terms of the Canadian Theatre Agreement professional Artists who are members of the Cana- dian Actorsʼ Equity Association.

Vertigo is the only professional theatre company in Canada that produces a full season of plays based in the mystery genre, encompassing classical and contemporary work that stimulates, enter- tains and engages the audience. Access for Young Audiences

Theatre for young audiences is an exceptional art form that, over and over again, has proven to be a significant contributing factor in the development of children. Studies have shown that sustained exposure to the performing arts at an early age develops an appreciation of music, dance and theatre that lasts a lifetime. The Access for Young Audiences program offers a much-needed resource to schools and community groups that represent children and teens who are considered ‘high needsʼ by providing low-cost or free tickets to productions in our BD&P Mystery Theatre Series. The AYA program levels socio-economic backgrounds and allows kids to be kids, and teens to relate to each other on a deeper, more meaningful level. Children and teens are exposed to positively positioned real-life issues (bullying, drug-addition or racism), and the concept and impact of empathy for others. Most importantly, the AYA program is a tool to incubate the next generation of artists and arts supporters.

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