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Home , Abe Burrows, Betty Comden, Howard Lindsay, Jerome Weidman, Sheldon Harnick

Scene Study: Semester 1 School of Theatre: High School 2018-2019 Tuesday Periods 7 and 8, Thursday Period 7 Room 306 Ms. Potter Email: [email protected] classroom.google.com add code: pka7peh Message Phone: 510-873-8800

The Course: Course Learning Goal: The goal of this class is to explore the theatrical genre of musical theatre through examination of material and develop performance practices with regards to acting in a musical. This year we will also develop our skills as actors in plays and scenes outside the musical theatre repertoire. This year we will explore the history of the genre through specific examples of books and scores from influential musicals from the beginning of the Golden Ages of Broadway in the 1950’s to next generation of musical creators who begin to push the genre in a new direction, often referred to as “concept musicals”. Through a close examination of specific shows you will gain an in depth knowledge of the acting theories required to effectively perform in the swiftly changing genre and an understanding of how the difference in acting style correspond to American history at the time. You will also gain practical knowledge of musical theatre performance by directing, choreographing, and performing scenes from this period’s musical theatre repertoire along with acting theory that supports performance in straight plays from the mid including .

Expectations: Students are expected to be prepared to work when class begins, which includes being dressed and having all of their needed materials for class for that day. Failure to be prepared at the beginning of class will result in lowering of participation points for the day. All theatre department rules apply.

Required Supplies Each class you are expected to bring: -pencil -current scripts, reading or music you are working on during that time -MT Binder NOTE: Any students with financial hardships should see me for supplies. I’ve been hoarding binders so I have some to share. Please don’t be shy.

Attendance Afternoon classes begin at 1:35. Attendance will be taken at 1:35 after which time you will be given a brief period of time to change and collect items for class. But you will be marked tardy if you are not present for roll call at 1:35. If you are marked tardy during the week for this class you will receive a 0 out of 1 for your attendance accountability grade, which cannot be changed. 0’s add up, don’t come late. New to this year we will be taking attendance again at the end of class. If you have an appointment and you are excused early please make sure that that information is given to the front office so that your attendance reflects it accordingly.

Dress Policy For this class students will be required to wear actor neutral clothing. Actor neutral clothing is a top and bottom that is comfortable to wear that allows you to do a range of movement. Examples of appropriate actor clothing would be: t-shirts, sweatpants, gym shorts, yoga pants, comfortable leggings. Your clothing is not appropriate if you cannot move in it because of length, cut, or you don’t want to get it dirty by lying on the floor because you will lie on the floor at some point. Dress is part of your accountability grade and will be taken daily.

Electronics Except in certain circumstances or when requested by me as a class resource, all electronic devices should be set on silent and stowed for the remainder of the class period. The main “when requested” for this class will be if you are using recorded music on your personal device, so please plan accordingly.

Respect Acting classes by nature require participation and an open, safe environment in which every student feels safe to take risks. It is therefore expected that students will be supportive and respectful of their peers and participate fully in all class activities. This class will emphasize a respect for the process of theatre. Students will become familiar with professional rehearsal practices in preparation for working at the college and professional level.

Policy on Issued Books and Handouts You may be issued copies of plays throughout the year. It’s expected that you’ll keep these books safe and free from damage. Any lost or damaged books will be charged to the student at the cover price plus any shipping costs. Damage can include an unreasonably bent cover, missing pages, marked-up pages, food stains, and more than usual wear.

You MUST keep any and ALL handouts you receive during the year. If you lose a handout and I ask you to take it out during class and you don't have it, your participation accountability grade for that day will go from a 1 to a 0. You may get replacements at lunchtime if I have time to make an extra photocopy for you, otherwise you'll have to wait until the next opportunity I have to get to the photocopier. SO DON'T LOSE HANDOUTS.

Assessment: In this course you will be assessed in the following areas: Accountability- A1- Dress A2- Attendance A3- Audience Behavior A4- Participation A5- Work Completion Essential Skills- E1- Script Analysis E2- Rehearsal and Performance E3- Reflections E4- Techniques E5- Research and Scholarship

These categories will be reflected in PowerSchool. For Accountability (A) skills you will be given a 1 (you completed the skill successfully in the time it was asked of you) or a 0 (you did not complete the skill successfully when it was asked). Those numbers are unchangeable. For Essential (E) skills you will be assessed on the scale of 1-4 and you will have the opportunity to improve your score as you master the material. Rubrics will be made available for each Essential Skills assignment in order for you to see what is required of you for mastering each skill.

Course Breakdown:

Semester 1 MUSICAL SCENE WORK: Golden Age of Twentieth Century Musical Theatre (1950-1964)

Unit Goal: 1) To engage in a conversation about how musical theatre, reaching the height of its cultural dominance in post war America, influenced the popular culture of the day. 2) To develop your skills as a musical theatre performer by heightening the light hearted techniques from the first half of the century to deepening character and plot being developed in these more “mature” works.

Guys and Dolls (1950) Music and Lyrics by Book by

Wonderful Town (1953) Music by Lyrics by & Book by Joseph Fields & Jerome Chodorov

The Pajama Game (1954) Music and Lyrics by Richard Adler & Jerry Ross Book by & Richard Bissell

House of Flowers (1954) Music by Harold Arlen Lyrics by Truman Capote & Harold Arlen Book by Truman Capote

Bells Are Ringing (1956) Music by Lyrics and Book by Betty Comden & Adolph Green

West Side Story (1957) Music by Leonard Bernstein Lyrics by Book by

The Music Man (1957) Music, Lyrics and Book by Meredith Wilson

Once Upon a Mattress (1959) Music by Mary Rodgers Lyrics by Marshall Barer Book by Jay Thompson, Dean Fuller & Marshall Barer

Gypsy (1959) Music by Jule Styne Lyrics by Stephen Sondheim Book by Arthur Laurents

The Sound of Music (1959) Music by Lyrics by Oscar Hammerstein Book by & Russell Crouse

Fiorello! (1959) Music by Lyrics by Book by & George Abbott

Camelot (1960) Music by Lyrics and Book by

How to Succeed in Business Without Really Trying (1961) Music and Lyrics by Frank Loesser Book by Abe Burrows

No Strings (1962) Music and Lyrics by Richard Rodgers Book by Samuel Taylor

She Loves Me (1963) Music by Jerry Bock Lyrics by Sheldon Harnick Book by

Funny Girl (1964) Music: Jule Styne Lyrics: Bob Merrill Book: Isobel Lennart

Mame (1966)* Music and Lyrics and Book: & Robert E. Lee

We will explore what makes these shows important pieces of musical theatre and reflect on how they grew out of America’s involvement in WWII. While we may not get to work scenes from each of these shows these are all pieces with great solo songs that you can work in Voice class. We will also pick some group numbers to perform from these selections.

*Mame falls a little past our “dates” and the advent of the concept musical but it’s got more fun duets than Hello, Dolly! which would be the other Jerry Herman show that would fit in this unit...he never wrote any concept musicals, his most political contribution to the genre comes in the 1980’s...stay tuned!

PLAY SCENE WORK Mid-Century American Plays Besides your summer assignment work on Tennessee Williams (which we will continue to work for the beginning of Q1) we will also spend the semester looking at other mid-century plays that correspond with the years our musicals were written. Playwrights may include: , Samuel Beckett, Alice Childress, Eugene O’Neill, , Lorraine Hansberry and others. More detail will follow for given assignments and assessments.

Individual Research Project During the first semester you will complete an independent research project on a show, composing team, actor, or creative involved in this era of musical theatre (1950-1964). In this project you will explore the historical influence of the musical or individual you choose. This project will also entail a performance element inspired by the work or artists you research.

Important Note:

All of us learn differently. Part of my goal as a teacher is to teach to everyone in the class equally. If you know you learn better a certain way, please let me know. For example, if you struggle with keeping papers and prefer digital or visa versa, let me know. I’ll try to always anticipate your needs, but if you are able to communicate them to me that helps us all work together better.

If you need help with a personal issue, reach out to me, the dean, a counselor, or another trusted adult on campus. We’ll see what we can do to assist you. You should know that all adults on campus are Mandated Reporters - that means, if I suspect that you are experiencing harm or abuse from someone, I will reach out to Child Protective Services to make sure you are safe and cared for. Your wellbeing is my most urgent priority.