By Emlyn Williams Nicholas Martin Kate Burton In

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LimelightTEACHER LITERARY & CURRICULUM GUIDE 2008-2009

Kate Burton in

by Emlyn Williams Directed by Nicholas Martin

B.U. Theatre January 9 - February 8, 2009

HUNTINGTON THEATRE COMPANY IN RESIDENCE AT BOSTON UNIVERSITY huntington theatre company in residence at boston university

Peter DuBois Michael Maso Norma Jean Calderwood Managing Director Artistic Director

STAFF This Teacher Literary and Curriculum Guide was The Corn is Green prepared for the Huntington Theatre Company by by Emlyn Williams Alexandra Smith, Professional Intern Directed by Nicholas Martin

With contributions by Table of Contents Donna Glick, 1 Synopsis Director of Education 2 Emlyn Williams and His Lynne Johnson, Real-Life Miss Moffat Associate Director of Education 3 The Irresistible Pull of Miss Moffat M. Bevin O’Gara, 4 Morgan Ritchie: In the Blood Artistic Associate 4 The Corn is Green at the Williamstown Charles Haugland, Theatre Festival Stone Literary Fellow 6 Coal-Mining: The Bleak Legacy of North Wales Ilana Brownstein, Assistant Professor at 7 Civilization Versus Education Boston University’s School of Theatre in the 19th Century Becky Perlman, 8 Audience Etiquette Literary Manager, 8 Characters & Objectives Collaboration Theatre Company 9 Preparation for The Corn is Green Meg Wieder, Education Department Manager 10 Mastery Assessment Melissa Wagner-O’Malley, 11 Open Response & Writing Assignments Layout 12 Arts Assessment 12 Related Works and Resources 13 After Viewing the Production 14 Lesson Plans 15 For Further Exploration 16 Handout 1: Vocabulary Production Sponsor 17 Handout 2: Dramatizing Your Life Story 18 Curriculum Framework Ties SYNOPSIS The Corn is Green

ily Cristobel Moffat arrives in the Welsh mining town of Glasorno in 1895 with a mission: to found a school devoted to Lthe education of the boys and girls slaving away in the nearby coal mines. As an unmarried, highly-educated, thoroughly English woman, however, Miss Moffat is a curious outsider in Glasorno’s tight-knit community. She encounters stiff opposition to her plans almost immediately. The villagers are suspicious of her intentions and the mine-owning Squire rebuffs her efforts to shorten his young employees’ hours for school attendance. Worst of all, the young miners themselves are wild and stubborn. Just when things seem hopeless, reading the promising writing of bright young miner Morgan Evans steels Miss Moffat’s idealistic resolve. She finds an ally in her indomitable housekeeper, Mrs. Watty, though she instantly clashes with Mrs. Watty’s slatternly young daughter. Bessie Watty is lazy, flirtatious, and shallow — everything Miss Moffat is not. After winning over the town minister, Mr. Jones, and respectable spinster Miss Ronsberry, she enlists their help in converting her home into a classroom for the children. After a rough start, the students begin to blossom, and Morgan quickly rises to the top of the class. Convinced that Morgan has the ability to do great things, Miss Moffat uses crafty flattery to convince the arrogant town Squire to recommend Morgan for a full Oxford University scholarship. Soon, however, the pressure and iso- lation of his intense preparatory tutoring regimen prompts Morgan to revolt. He finds brief comfort in drink and the romantic atten- tions of Bessie Watty. Thankfully, his rebellion is short-lived. After serious thought, a contrite Morgan returns to Miss Moffat with renewed determination to attend Oxford. His admission to the school depends on a crucial entrance examination, but just as Morgan finishes the test, two unexpected arrivals upend everyone’s priorities and compel Miss Moffat and Morgan to take separate paths into unknown territories. Though their futures lie down different roads, both ways look bright. – BP

Limelight Literary and Curriculum 2008-2009 1 Emlyn Williams and His Real-Life Miss Moffat

mlyn Williams was born in the small town of Mostyn, Wales in 1905 and Egrew up in poverty as the son of a coal- miner. He was rescued from a hardscrabble Miss Cooke sent a life by local schoolteacher, Miss S.G. Cooke, who recognized the promise of his nimble telegram praising mind. A London social worker and teacher, Miss Cooke saw that the ten year-old had an ear for languages, even though he had spo- the script but ended ken only Welsh until the age of eight. She took him under her wing and spent by writing, “No the next decade schooling him to become a teacher like herself. Under her tutelage, offense, but can’t Williams won a scholarship to study French in Switzerland, and then gained admittance to Oxford University. His stratospheric rise see anyone being to Oxford would prove the main inspiration for the character of Morgan Evans in The interested [in a Corn is Green. While at Oxford, Williams attended the play about a theatre for the first time, seeing a performance of Somerset Maugham’s play Camel’s Back. He immediately knew he wanted to schoolteacher].” pursue a life in theatre instead of in education. Williams began to perform with the Oxford Dramatic Society, and wrote his first Emlyn Williams full-length play for the group, entitled Full Moon. By 1927, he was acting in professional Old Vic Theatre arrived soon after their wed- life, Miss Cooke’s instincts were incorrect. productions. His first recognition as a play- ding. While Williams performed in works by The Corn is Green became a smash hit in wright came three years later when his play Shakespeare and Ibsen, he kept Miss Cooke London, where it ran from late 1940 to early A Murder Has Been Arranged was performed close to his heart. Still living and busy teach- 1942. A successful engagement on Broadway in London. Acting roles on Broadway and in ing in Wales, she made time to read all of his starring Ethel Barrymore soon followed. motion pictures soon followed. plays and attend each of his London open- Williams’ theatrical success attracted the In 1935, Williams saw major success in ings. She also became close with his wife attention of the burgeoning motion-picture London and New York City with the pro- and served as an adopted grandmother to industry. He worked steadily as a screen- duction of his play Night Must Fall, a thriller his children. writer and film actor throughout the in which he also played a leading role as Always solicitous of Miss Cooke’s opin- 1930s and 1940s, including early-career a homicidal bell-boy. Upon returning to ion, Williams was especially nervous to work on Alfred Hitchcock’s 1934 film The England after the successful American hear what she thought of a new play he Man Who Knew Too Much. In 1948, he wrote, run, Williams co-starred in and co-directed began in 1938, inspired by the formative directed, and performed in The Last Days of his play, He Was Born Gay, with theatrical years he spent with her, called The Corn is Dolwyn, a movie set and filmed in Wales. luminary John Gielgud. He married Molly Green. Miss Cooke sent a telegram praising The film marked the cinematic debut of O’Shann in the same year, with whom he the script but ended by writing, “No offense, Williams’ protégé, Richard Burton (who would have two sons. An invitation to join but can’t see anyone being interested [in a had also made his professional theatre the esteemed repertory company of London’s play about a schoolteacher].” For once in her debut in an earlier Williams piece, Druid’s

2 Huntington Theatre Company Rest (1943). In appreciation of their friend- ship, Burton later named Williams as god- The Irresistible Pull of Miss Moffat father to his daughter, Kate Burton, who stars in the Huntington’s production as Miss laygoers and movie-buffs alike Moffat. Williams’ biggest cinematic hit was have been captivated by Emlyn the adaptation of The Corn is Green, filmed in PWilliams’ singularly ambitious 1945 and starring Bette Davis as Miss schoolteacher, Miss L.C. Moffat, ever Moffat. Another adaptation was filmed for since The Corn is Green opened in television in 1979 and featured Katharine London in 1940. The character’s Hepburn. indomitable ambition, rapid-fire In the 1950s, Williams translated his life- wit, shrewd wisdom, and enduring long love of Charles Dickens into a series of belief in the power of learning is as one-man shows. Performing as the great nov- inspiring and fascinating today as it John Dall and Bette Davis in the the 1945 elist, Williams toured the world to popular was nearly seventy years ago. film adaptation of The Corn is Green. and critical acclaim in the show, simply Given the role’s enormous appeal and complexity, it is no surprise that the women who called Emlyn Williams as Charles Dickens. He even brought the production to Wales, have portrayed Miss Moffat on stage and screen comprise a veritable “who’s who” of where he performed it in Welsh. In the 1960s, 20th century American theatre. In 1943, it was the last great Broadway role for Ethel he similarly adapted the memoir of fellow Barrymore before her retirement from the theatre. The New York Times theatre critic Welshman Dylan Thomas into a solo per- Brooks Atkinson wrote admiringly of her performance, “Whether [Barrymore] owns formance, entitled A Boy Growing Up, which Miss Moffat or Miss Moffat owns her is hard to say.” And Barrymore herself spoke to he performed in London and New York. both the challenge and appeal of the role in a 1940 press interview, saying, “I like it As the demand for television program- better than any [part] I’ve ever had. It has everything in it that I care about.” ming grew, the ever-flexible Williams Bette Davis took over the part of Miss Moffat in the first filmed adaptation of The Corn devoted his talents to adapting plays for is Green, donning a gray wig and a padded suit to age her thirty-five year-old body television broadcast on the BBC, including several of his own pieces. He also made the extra years. Noted classical actress Eva La Gallienne played the teacher in the numerous guest appearances on popular brief 1950 Broadway revival, while Katharine Hepburn took on the powerhouse role British shows as he grew older, including in the 1979 television adaptation — a performance that garnered her an Emmy Award the comedy “Rumpole of the Bailey.” In his nomination. later years, Williams devoted himself to Oscar-nominated and Emmy Award-winning actress Cicely Tyson played the school- writing two volumes of memoirs, George, An teacher in The Corn is Green’s 1983 Broadway incarnation, produced by Elizabeth Early Autobiography, published in 1961, and Taylor. Tyson, who is also an accomplished stage performer, was the first African- Emlyn: An Early Autobiography, 1927-1935, American actress to tackle the role. She was initially approached by Taylor to play published in 1974. At the age of seventy- Miss Moffat with an all-black cast, but demurred unless the play was produced as five, he wrote his first novel, the comic written. Commenting on the color-blind casting, Tyson said, “I don’t think it matters Headlong (later adapted as the movie King Ralph). Shortly after undergoing treatment a bit…it should be irrelevant to the audience that I’m black.” for cancer at 81, he passed away in his The Corn is Green did not receive another major American production for over twenty London home. Williams left behind a criti- years, until Nicholas Martin brought the play to the Williamstown Theatre Festival in cally-acclaimed body of writing spanning the summer of 2007. It seems only fitting that the goddaughter of the playwright, multiple countries, genres, and media. He Kate Burton, was the next grand dame of the theatre to take over Miss Moffat’s class- performed all over the world, on Broadway room. Her performance met with enormous critical acclaim. The Boston Globe called (garnering a Tony Award nomination for Miss Moffat, “An ideal role for Burton, making full use of her strength and wit [and Best Actor in 1958), in London’s West End, invested] with every ounce of energy and charisma at her command.” Variety con- and in over forty films. Perhaps most satis- curred, declaring that, “The production belongs to Burton’s Moffat, a perfect fit for an fyingly, he saw all of his twenty plays produced onstage. Whenever Williams was actress known for her intelligence, warmth, and avoidance of easy sentimentality.” asked for the secret to his long, successful Kate Burton has already received many awards and recognitions for her acting career, he ascribed it all to the influence of prowess, but The Corn is Green grants her one more — membership in a unique his beloved Miss Cooke — the wise teacher theatre sorority of Miss Moffats past and present. – BP who saw a glint of promise in a ten year-old boy so long ago. – BP

Limelight Literary and Curriculum 2008-2009 3 like everything could be so much easier and MORGAN RITCHIE maybe it could be, I don’t know. But there’s a point — I’m there now — when you realize the world is more complicated and it’s more beautiful and staggering and amazing than In the Blood you ever thought. Morgan, the character, is going through the same transition times-a- Grandson to legendary actor Richard Burton and son to Kate Burton, Morgan Ritchie has always had million because he’s never gone far from acting in his veins. He recently had a chance to test his mettle with his first major role in a professional his town, he’s never experienced the world. production, appearing as Morgan Evans in The Corn is Green. He recently spoke to Artistic Associate When you see him in the beginning having M. Bevin O’Gara about the play, acting as a career, and his newfound love of writing. learned English, he’s just excited to have taught himself how to read and write, but he Why do you think that The Corn is Green is a lost that it would never really happen. The thing discovers a love of learning and wants to go classic worth revisiting? I like so much about Corn is that it does have to this great university. I’ve had a similar arc Lots of reasons. First of all, I just think it’s a happy ending, and that it is the right end- in my life. I didn’t particularly apply myself a great play with a compelling story: the ing as far as I’m concerned. Morgan Evans when I was in high school, and when I got troubled student and the teacher that just makes the right decision. But there’s a real to college I found something like a joie de won’t give up. What’s so nice, for me, is that conflict, and it’s a conflict that speaks to the vivre about learning. I started writing, and it’s a very Welsh play. That’s not something time period and to the class struggle. that was something I’d never done before. American audiences are familiar with, or Suddenly I felt this sense of fulfillment even that you see often on the British stage. It’s been a year since you first appeared in The about my academic life — that definitely I certainly wasn’t familiar with it, even Corn is Green at Williamstown. With the passage informs the character of Morgan. though I am Welsh by background. On a of time, and with the life experience you’ve personal level, it helped me come in gained, how will the character of Morgan Evans You’ve said before that your mother, Kate Burton, contact with my cultural heritage. There’s a change for you? wasn’t entirely in favor of you pursuing acting. sweetness and elegance to the story and When you’re young — and I’m still quite Has the experience of working together changed people really respond to the way it ends. young and still learning — but when you’re that? We’ve come to a point where there’s a lot even younger than I am, you tend to think Before we did the show she had made her of pessimism, where a story with a happy that the problems of the world, the problems peace with the fact that I was going to fol- ending is seen as not real, or not legitimate, adults have, are so simple. It always seems low the well-trod path of my family into acting. She never would have agreed to do this show if she hadn’t been comfortable in that, and she wouldn’t put me out there unless she had felt a confidence in me being able to take it seriously and give it my all. When The Corn is Green at the the show closed, I found that the way we went about discussing theatre or going to Williamstown Theatre Festival shows or reading plays, it felt that we were more like peers. That was wonderful. But, of Kate Burton, Morgan Ritchie, and Nicholas Martin first tackled Emlyn Williams’ beloved course, she’s still my mom. play, The Corn is Green in the summer of 2007 at the Williamstown Theatre Festival in Williamstown, Massachusetts. A recipient of the 2002 Tony Award for Outstanding Regional Director Nicholas Martin has known you since Theater, the Williamstown Theatre Festival is one of the oldest summer theatres in the before you were born, but this is the first time you country. Located hours from both Boston and New York, Williamstown inspires many city- worked together on a substantial role. How do you dwelling theatre fans to make a pilgrimage into the scenic Berkshires every year when the think the experience changed your relationship? weather turns warm. The institution is blessed by a long history of collaborations with the Nicky is the seminal theatre director in my incomparable Kate Burton, who has performed at Williamstown in over thirty productions, head because he’s been directing me since I including Hedda Gabler which also was staged at the Huntington before moving to was eight years old. The first time he ever Broadway, as well as A Midsummer’s Night Dream, The Three Sisters, and The Front Page. put me in a show — I was playing a guy The Corn is Green is the latest of over two-dozen of the Festival’s productions to find a post- throwing a ball around — he gave me a lot summer audience in runs on Broadway or in leading regional theatres around the country. of business that wasn’t in the script, because – BP that’s just how Nicky works. I felt very comfortable with him, and of course still

4 Huntington Theatre Company Kate Burton and Morgan Ritchie in the Williamstown Theatre Festival production of The Corn is Green; photo: Joan Marcus felt the need to rise to the occasion. I maker running around, and I just had a lot What are you looking forward to most about certainly felt a lot of pressure to do well, and of fun doing it. But even at that point I was- getting to tackle The Corn is Green again? a real desire to work hard and sink my teeth n’t quite sure why. So I threw myself into First, whenever you work on a show you in, but it was also comforting to be support- acting without ever understanding if I real- love, just getting the chance to do it again is ed and guided by someone I trusted, and ly wanted to study the craft, and as I did so exciting. It’s simple but it’s the truth. I’m with whom I had such a great rapport. We more, I became more impressed with the now in this great position of having dis- had a short-hand because we’ve known form and the craft of acting. What I eventu- tance from the show and all this time to each other so well and for so long. ally found was a very primal urge: the urge have thought about it and continue devel- to pretend to be other people and to be dif- oping a relationship with the play. As a Besides the obvious family traditions, what is it ferent characters. It’s something we do company, we’ll be able to think more about that draws you to acting? when we’re little. On the most basic level, character and the world of the play — we In the same way children of doctors, when that’s what draws me to acting. What draws had so little time at Williamstown. There’s they’re six, say they’re going to be doctors, I me to acting now as an art form is its mer- an old joke there: you walk offstage on the said the same thing of acting. Then I went curial nature. To create a performance and final Sunday performance and you say, “Oh, through a period until I was about 13 or 14 to have what is left not be an object, not be a my God! I’ve figured everything out! Finally, when I was feeling rather rebellious, and I book, not be a painting — a production is I know what this show’s about. Everything’s said, “There’s no way I’m going to act, there’s seen a certain number of times and then it’s really clicking.” Being able to come back no way I’m going into theatre. I’m going into gone, the only way it exists beyond that is in to the show gives me a chance to explore something else entirely.” And then I did a the memory of the people who saw it, but those things. And obviously the chance to few shows, one in Williamstown called inevitably it disappears into the ether. I find work with Nicky and my mom is always a Street Scene where I played a little mischief- it fascinating. pleasure and a privilege.

Limelight Literary and Curriculum 2008-2009 5 COAL-MINING The Bleak Legacy of North Wales

mlyn Williams set The Corn is Green in the fictional town of Glasarno, based on Ehis own childhood home in a small mining village in the North Wales Flintshire district. Though Williams wasn’t born until 1906, he chose to set the play a generation before his birth in 1895, in the midst of the Welsh coal-mining boom. Wales’ great min- eral wealth was first discovered in the late 1700s, as the budding Industrial Revolution increased the demand for iron and coal. Welsh coal was used as fuel in boilers and steam engines across the United Kingdom, and became essential to the booming iron- smelting industry. During this time, industrialists bought up great swathes of the green Welsh countryside to build coal mines. Soon, native Welsh farmland and pastures were displaced by gaping rock pits, sprawling ironworks, Disaster at the Albion Colliery, Pontypridd, Wales, 1894; The Illustrated London News smoke-belching collieries, and winding rows of rickety employee housing. Traditional rural communities were transformed, as By 1895, the life-expectancy for miners in families abandoned their old livelihoods for the promise of greater financial gains through work in the mines. Wales was decades lower than for any other Miners and their families lived bleak lives as the Industrial Revolution continued, and worker in the United Kingdom. the ravenous appetite for coal pushed safety regulations in the mines and pits aside. Thousands of Welsh miners died in under- dust and other lung irritants. By 1895, the open nearly round-the-clock to accommo- ground explosions and cave-ins. The lucky life-expectancy for miners in Wales was date the schedules of shift-workers, and alco- ones worked twelve-hour shifts without decades lower than for any other worker in hol consumption increased accordingly. breaks, six days a week. Young children and the United Kingdom. Churches, civic groups, and choral societies women were not prohibited from working In spite of the risk-filled, back-breaking were also important community bedrocks, in the mines until 1842, and many mines nature of their work, and the mandatory but many miners were too exhausted after a ignored the laws and continued to hire long shifts, Welsh miners were not compen- day spent working to do anything besides underage workers through the late 1860s. As sated fairly for their labor, were prohibited eat and sleep. As news of the dangerous mine owners imported immigrant workers from organizing into unions, and were work and bleak living conditions of Welsh to feed the labor demand, formerly small denied basic employee benefits like health mining towns made its way to England, villages became choked with new inhabi- care. When the price for coal fell, miners’ many activists and crusaders like The Corn is tants. Overcrowding led to fatal outbreaks of wages were lowered to protect company Green’s Miss Moffat made their way to influenza and cholera, and infant mortality profits, and as the mining became the de- Wales’ countryside with prescriptions for throughout Wales climbed. Miners who facto profession for families through the improving Welsh lives; however, most of escaped accident and sudden illness were generations, education ceased to be a priori- these well-meaning do-gooders remained plagued by chronic respiratory illness ty, especially in families struggling just to oblivious to their vast social, economic, and caused by the continuous inhalation of coal eat. In many mining villages, pubs were cultural differences. – BP

6 Huntington Theatre Company Civilization Versus Education in the 19th Century

he 19th century was a time of constant ings, popularly known as the Blue Book Welsh children. Yet the young Welsh upheaval and instability for Wales and Reports, were published the following year. colliers, such as The Corn is Green’s Morgan Tits people. As a nation, it was ruled from In their 1847 reports, the Blue Books Evans, often struggled to become students afar by the imperious British government. Commissioners compared the Welsh to the again after being forced to assume adult Welsh citizens were not fairly represented in Irish, whom they saw as similarly “uncivi- workloads in the nearby mines. Parliament and only the wealthiest four lized,” writing, “There is a great similarity The English people’s imperialistic efforts percent of the country’s population was per- between the lower orders of the Welsh and to educate and “civilize” the Welsh increased mitted to vote. Many of these franchised Irish — both are dirty, indolent, bigoted, the ever-widening cultural schism dividing citizens were transplanted Englishmen like and contented...Mentally and morally, [they the two countries. Many Welsh became The Corn is Green’s Squire, who also held local are] the most degraded and benighted of Her more suspicious of the English, and hostile positions of power as magistrates, member of Majesty’s Subjects.” Although their findings to their social-reform efforts, however the gentry, or industrialists. Accordingly, clearly reflected the Commissioners’ own genuinely well-intentioned. In spite of this small group of rich English men easily prejudices much more accurately than general improvements implemented by the controlled Wales’ largely working-class they did the true Welsh national character, national educational system in Wales, population in spite of the native Welsh peo- their judgment was accepted as fact in many communities continued to be under- ples’ simmering resentment. Discriminatory Parliament, with devastating consequences served by the national education system in legislation, predatory hiring practices, and for the Welsh. the late 19th century. Often, religious forced labor triggered waves of unrest and Many British government officials blamed schools, run by area churches, sprung up to powered the burgeoning pro-democracy the perceived ignorance and immorality of fill in these gaps, and a small number of movement. the Welsh on their continued insistence independently-run private schools — such Native Welsh politicians such as Thomas on speaking Welsh, rather than English. as the one started by Miss Moffat in The Corn Edward Ellis sought self-rule and democra- Parliament decided that a lack of standard- is Green — were also created. Whether a cy for Wales, but were blocked at every ized education was to blame, and began a school was run by the Welsh or the English, turn by the British. As the demands of the sweeping reform of the Welsh education each struggled to retain students after the Industrial Revolution further transformed system. By 1870, there were three English elementary years. In 1895, the year in the Welsh landscape and its people, civil schools for every one school run by Welsh which The Corn is Green is set, young people uprisings and riots broke out in every cor- teachers and administrators. In these English- like Morgan Evans were legally allowed to ner of the small country. Already disparaged run schools, children were punished for leave school after they turned eleven years by the English as wild and childlike, the speaking their native tongue in the class- old. With the urgent need to provide for Welsh soon acquired an additional unfair room, and as English fluency and literacy their families by joining the workforce, reputation as lawless, unclean, lazy, and climbed, national knowledge of the Welsh many Welsh children never made it to sec- promiscuous. The British Parliament was so language began to flag. Just as significantly, ondary school, and even fewer graduated alarmed by the Welsh people’s appetite for by learning to speak English instead of from high-school. To set one’s goals on civil protest and their disinclination to Welsh in school, many students also learned attending Oxford University, as Morgan assimilate into British society that it com- to regard English culture as superior to Evans does in the play, and as Emlyn missioned an inquiry into the so-called Welsh. By 1895, the year in which The Williams did in real life, was an almost “educational and linguistic deficits” of the Corn is Green is set, Parliament declared ele- ludicrous impossibility for most Welsh country in 1846. The Commissioners’ find- mentary education to be mandatory for all young people. – BP

Limelight Literary and Curriculum 2008-2009 7 BU Theatre by T. Charles Erickson Audience Etiquette Kate Burton and Morgan Ritchie in the Williamstown Theatre Festival production of The Corn is Green; photo: Joan Marcus Because many students have not had the opportunity to view live theatre, we are including an audi- BACKGROUND ence etiquette section with each literary/curriculum guide. Teachers, & Objectives please spend time on this subject since it will greatly enhance your students’ experience at the theatre. Use the following synopsis and objectives to inform your teaching of The Corn is Green curriculum. 1. How does one respond to a In the year 1895, Lily Cristabel Moffat appears in the Welsh mining town of Glasarno with boxes of books and a selfless objective. Having learned of the area’s high number of illiterate live performance of a play, as Jchildren who are forced to work in the mines at as young an age as twelve, Miss Moffat arrives opposed to when seeing a film with the goal of starting a school to educate these children. But despite her good intentions, she at a local cinema? What is the is met with suspicion from the villagers and strong objection from the mine owners to shorten- best way to approach viewing a ing the workday to include instruction time. live performance of a play? As she moves forward with her plans, and the villagers begin to discover a love for learning, Miss Moffat believes she sees a special aptitude in Morgan Evans, a bright, mischievous fifteen- What things should you look and year-old. Over the course of two years, Miss Moffat guides Morgan from barely speaking and listen for? writing in stilted, error-laden English to studying the classics. 2. What is the audience’s role dur- However, when Miss Moffat decides to advance Morgan’s future by submitting him for a scholarship to Oxford University, the conflict becomes less about his abilities and more about ing a live performance? How do his desire and commitment to be part of the world Miss Moffat has envisioned for him. When you think audience behavior can shocking developments threaten to bind Morgan to Glasarno forever, Miss Moffat must step affect an actor’s performance? back and let Morgan decide his own path . . . not for her reasons, but for his own. 3. What do you know about the OBJECTIVES theatrical rehearsal process? Students will: Have you ever participated in 1. Identify key issues in The Corn is Green including: one as an actor, singer, director, • perceptions of ignorance vs. civilization or technical person? • the transformative power of education • obligations to oneself and others 4. How do costumes, set, lights, 2. Relate themes and issues in the play to their own lives. sound and props enhance a 3. Analyze the themes and issues within the historical and social context of the play. theatre production? 4. Participate in hands-on activities that enhance understanding of the production. 5. Evaluate the Huntington Theatre Company’s production of The Corn is Green.

8 Huntington Theatre Company northern US society. Compare the agents PREPARATION FOR of change and beliefs of the late 19th century US, and those of Britain and Wales. The Corn is Green The Transformative Power of Education In 1847, a British commission was assigned to investigate the educational defects of the Note to Teachers: Use the following ideas to local families to go to work in the same Welsh people. Their findings, known as the engage your class in thinking about The Corn is British-owned mines? Blue Book Reports, led to the establishment Green and its major themes. Although modern labor laws prevent of English schools throughout Wales, with children as young as those in The Corn is the aim of not only teaching English lan- AUTOBIOGRAPHICAL INFLUENCES Green from being employed, are there guage and culture, but also assimilating Playwright Emlyn Williams based some of places in Wales or even in the United States Welsh students into the English way of life. the characters and setting of The Corn is today where a specific industry forms the The British sought to use basic education to Green on people and places in his real life. economic basis of the community? How transform the Welsh populace from intel- The town of Glasarno was inspired by might a dependency on a particular indus- lectually deficient to, at the very least, Williams’ hometown of Mostyn Wales. try develop? How would the community be peacefully subjugated. Miss Moffat’s tutoring of Morgan Evans impacted if this industry were no longer In the play, the Squire regards the vil- mirrors the playwright’s experiences with available as a means of employment? lagers in Glasarno as simple-minded, yet his own teacher, Miss S.G. Cooke. Oxford initially disapproves of Miss Moffat’s University is not only the school where KEY ISSUES attempts to educate them. Why would it Morgan applies for a scholarship, it is also be to The Squire’s benefit to discourage the school Mr. Williams attended. Perceptions of Ignorance vs. Civilization education for the villagers? What might However, Williams changed some major In the late 19th century, British citizens change if the villagers acquired an educa- details by setting The Corn is Green a gen- arrived in large numbers in Wales, many tion? How would the villagers’ lives be dif- eration before his own, and placing as magistrates or industrialists with the ferent? Does The Squire stand to gain any- Morgan directly into the harsh Welsh coal goal of bringing “light into the minds of thing if Miss Moffat’s efforts are successful? mines, a place Williams himself never rude and ignorant people.” British In today’s world, why is having an educa- worked. Why might some one choose to Imperialists moved to the Welsh country- tion important? write this kind of “fictional autobiogra- side bringing “civilization” in the form of phy?” What fictional details in the play the mines that employed generations of Obligations to Oneself and Others are vital to its plot? How might the process Welsh citizens, or their roles as magis- Upon arriving in Wales, Miss Moffat claims of writing an autobiographical play be dif- trates who oversaw all aspects of the vil- that when she learned of the poor state of ferent from writing a play that is entirely lagers’ lives. In their opinion, they saw the education in Glasarno, she felt obligated to made up? What other plays and books Welsh as ignorant, lazy, and full of devote herself to saving the children from a were similarly “inspired by a true story?” immorality. Other British, like Miss life of ignorance by creating a school for How does knowing biographical informa- Moffat, transplanted themselves to Wales them. Later, the character Bessie Watty does tion about the playwright help the audi- in order to introduce British education, not want to be tied down and places her ence to understand the play? and establish civilization for the masses. personal comfort over her obligations to Define the words “ignorance” and “civi- her child. In order to relieve Morgan of INDUSTRY AS A WAY OF LIFE lization.” Do either, or both, of these words what he sees as his obligation to Bessie and When Miss Moffat arrives, Glasarno, Wales apply to the villagers in Glasarno? How their child, Miss Moffat agrees to adopt the is a town where the vast majority of men so? What about the Squire and other baby, believing that it is more important and boys over the age of 12 go to work in British transplants to Wales? What quali- that Morgan fulfill his duty “to the world.” the dark, dangerous coalmines, which are ties and behaviors should be present in Think of a time in your life when you owned by British Squires and provide the order to consider a society “civilized?” By had an obligation to some one else that you economic base of the community. While the standards you just identified, is the were unsure you could fulfill. Was this Glasarno is a fictional town, there was no modern United States a civilized country? because of a commitment elsewhere or did shortage of similar places in Wales in the Why or why not? Research the United you prioritize your own needs ahead of it? late 19th and early 20th centuries. Research States post-civil war history when How did you decide what to do? In what Welsh history of the late 19th century. Northerners traveled to Southern states types of situations might the obligations What economic factors and social condi- with similar goals of establishing educa- you have to yourself trump those you have tions in the late 19th century contributed tional and cultural systems reflecting the to others? And vice versa? Do you think to the poverty that forced generations of values and customs of late 19th century Morgan made the right choice?

Limelight Literary and Curriculum 2008-2009 9 ACT II, SCENE 2 MASTERY 33. How long has Bessie been away? 34. Why does Miss Moffat think it is not very likely that Morgan will win the Oxford Assessment University scholarship? 35. What news does Bessie bring when she ACT I, SCENE 1 ACT II, SCENE 1 returns? 1. What language does Jones use when sing- 22. What question does Old Tom ask Miss ACT III, SCENE 1 ing and in communicating with Idwal? Ronberry regarding Shakespeare? 36. What news is everyone waiting for at the 2. Why hasn’t Sarah’s post office had a 23. What is Miss Moffat’s strategy for teach- beginning of the scene? letter for seven weeks? ing Greek to Morgan when she doesn’t 37. Describe Morgan’s experience with know the language herself? 3. Where have Miss Ronberry and The the examiners and other scholarship Squire met before? 24. Where has Bessie’s mother, Mrs. Watty, applicants. gone? 4. What reason does the Squire give for 38. Who is the father of Bessie’s baby? why he won’t forget Miss Ronberry at 25. What does Bessie say she has heard 39. What does Bessie say she wants from the next wedding? Morgan does while on his walks? Morgan? 5. How old is Idwal? 26. Why does Bessie ask Miss Moffat for 40. Who volunteers to marry Bessie? Why money? 6. Why isn’t Idwal working in the mine? does she refuse? 27. Who wrote, “Bessie Watty has the face of 7. What has Miss Moffat brought in huge 41. Who does Mrs. Watty suggest should an angel?” numbers? adopt the baby? Why does this person 8. What about Miss Moffat surprises the 28. Describe Morgan’s appearance and agree? Squire and Miss Ronberry? behavior when he returns to the school. 42. How does Morgan find out what is 9. What problem did Mrs. Watty have 29. What excuse does Morgan give to Miss going on? before she was “saved?” Moffat explaining why he cannot recite 43. According to the letter that arrives for the Voltaire verse yet? 10. Who is the source of the singing Miss Miss Moffat, who has won the Oxford Moffat hears? 30. Why does Miss Moffat feel proud that scholarship? Griffith, the butcher, laughed so hard at 11. What do Miss Moffat and Miss Ronberry 44. What does Miss Moffat say Morgan’s life the Squire’s pun? have in common? will be like if he goes after Bessie? 31. How does Miss Moffat convince the 12. According to Miss Moffat, why is Jones Squire that Morgan should be allowed to 45. Why can Morgan never see Miss Moffat “a disappointed man?” compete for the Oxford scholarship? again? 13. Where are the village children sent after 32. Where does Morgan tell Miss Moffat 46. What is Morgan’s final decision? they turn twelve? he is going? 47. What document does Miss Moffat receive? 14. What does Miss Moffat plan to do?

ACT I, SCENE 2 15. What does Miss Moffat do when Morgan asks her for a kiss? 16. Why hasn’t any work on the school been accomplished? 17. What message does the Squire deliver to Miss Moffat? 18. Why is the Squire upset about the workers being out of the mine? 19. Why does Morgan live alone? 20. How did Morgan learn to read? 21. Where does Miss Moffat decide to start this school? Kate Burton and Morgan Ritchie in the Williamstown Theatre Festival production of The Corn is Green; photo: Joan Marcus

10 Huntington Theatre Company 5. When Morgan arrives back at the OPEN RESPONSE & WRITING school drunk, Miss Ronberry comments that she’s “never seen [him] like this before,” to which Morgan responds: Assignments “You haven’t, have you? Well—now I come to think of it, I haven’t neither.” What does Morgan mean by this? Read OPEN RESPONSE ASSESSMENT WRITING ASSIGNMENTS Morgan’s monologue that follows this Instructions to the students: Please answer the 1. In the mid to late 19th century, many exchange. How has his daily life following as thoroughly as possible in a well- people similar to the character of Miss changed as a result of his new educa- planned and carefully written paragraph. Moffat traveled to Wales to bring British tion? In his view, what kind of impact Remember to use topic sentences and examples education and civility to the Welsh has his education made on his life? from the text. countryside. Is it accurate to describe 6. Throughout the play, Miss Moffat is the Welsh villagers in The Corn is Green faced with the challenge of convincing 1. The play, The Corn is Green is structured in as “uncivilized?” Why or why not? Use the Squire that the villagers, who are his three acts, but its overall length is similar specific examples from the text to sup- workers, should be engaging in educa- to many contemporary one and two act port your argument. plays. When each act is relatively short, tional pursuits. Why do you think she 2. Write a journal entry from Miss Moffat’s why would a playwright decide to divide has to work so hard to do this? What perspective, as if it was written on her the play up in this way? What does struc- does the Squire gain by preventing the turing a play in three acts allow the play- journey to Glasarno, Wales. How did workers from attending classes? What wright to do that cannot be done in two? she first hear about Glasarno and what does he gain by permitting them to go? What are the pros and cons of the three- made her decide to go there? What Describe how Miss Moffat changes the act structure? hopes and fears does she express about Squire’s mind. the future? How does she plan to 2. Describe the role of singing and music in progress upon her arrival? 7. When Bessie Watty returns to Glasarno the play. What is its purpose in the char- with news of her pregnancy, she tells 3. In Act One Scene Two, Miss Moffat acters’ lives? How does it factor in as a Miss Moffat, “I’m teaching you some- discovers a bit of writing in a composi- dramatic device? thing, am I? You didn’t know things like tion book by Morgan Evans, in which 3. At the beginning of the play, Miss that went on, did you? Why? You could- he refers to “where the corn is green.” Ronberry, Mr. Jones, and the Squire are n’t see what was going on under your Read the line in the context of the rest expecting L.C. Moffat to be a man, and nose, ‘cause you’re too busy managin’ of the speech. What is Morgan writing are shocked to meet a woman instead. everythin’! Well, you can’t manage him about? Why do you think Miss Moffat Why do you think they made that any longer…” What does she mean by sees this bit of writing as special? Why assumption? this? How and for what purpose has do you think playwright Emlyn Miss Moffat been “managing” Morgan? 4. Do you think Bessie Watty planned in Williams used this line as the title of How does Bessie think her news will advance to seduce Morgan? Why or why the play? not? What was her primary motivator? change things? 4. Examine the following dialogue: 5. Describe Miss Moffat’s interactions with 8. At the end of the play, Morgan must and comments about Bessie. How do you MISS MOFFAT: Do you want to make a choice between marrying Bessie think they impacted Bessie’s decisions learn any more? Watty to take care of their child, or and eventual fate? MORGAN: No, thank you. accepting the Oxford University scholarship and allowing Miss Moffat 6. Miss Moffat fears that the examiners will MISS MOFFAT: Why not? not understand or appreciate Morgan’s to adopt the baby. He initially intends to MORGAN: Nobody ever ask me to. “highly original intelligence,” and choose choose the former, claiming he has to give the scholarship to someone with a Consider the time and place in which “a duty to—to them both.” Miss Moffat more general academic knowledge of Morgan lives. Do you believe Morgan’s rea- counters that argument with the belief facts and dates, which Morgan lacks. In son that he had never been asked to learn that Morgan’s “only duty—is to the today’s world, do you think it is more before is a valid reason for not having or world.” What does Miss Moffat mean important and useful to be able to desiring an education? Should modern stu- by this? Describe Morgan’s future if he remember and report information, or to dents take any responsibility for decisions goes to Oxford University. How will use critical thinking skills and express regarding their own intellectual develop- Morgan be fulfilling a duty to the world original ideas and interpretations? ment? Why or why not? if he chooses this future?

Limelight Literary and Curriculum 2008-2009 11 musical instruments were common? What themes do the lyrics focus on? How do these Arts Assessment aspects of the traditional songs compare to the Welsh folk music of today? What about traditional and contemporary American The following exercises are interactive, hands- one or two English words throughout, folk music? How does it compare to the on challenges in Drama, Music, Design, and but the scene should be overwhelm- Welsh version? Find an example of each to ingly played in gibberish. Visual Arts. They aim to give students a better share with your class, either by playing understanding of the many tasks that con- • The rest of the class must determine audio versions or by singing/performing tribute to a theatrical production. the conflict, and how it was solved. them yourself. Discuss what vocal and physical choic- ACTING es the actors made to communicate THE DESIGN PROCESS Many of the actors who perform in produc- what was happening. The first scene of The Corn is Green includes tions of The Corn is Green play characters descriptions and comments from the char- that speak in Welsh or in both Welsh and CHARACTERIZATION acters regarding the house where Miss English. What challenges do you think Break students into groups. Assign each Moffat will be living. Imagine you are the actors face when playing a bilingual role? group a scene from The Corn is Green, and a set designer, and must translate the infor- What skills do they use to communicate character to play in the scene. Students mation in the stage directions and dialogue with their audience in a language that nei- should read the scene out loud, and then in this scene into a design for the set. Start ther they nor the audience may under- decide what events happened in each char- by researching the play’s period and loca- stand? To explore this, use the following acter’s day from the time they woke up until tion. What might the house itself look like? improvisation exercise: the moment the scene begins. How do dif- The furniture and other contents? How • The instructor should write conflicts ferent experiences impact the character’s does the interior of a home reflect the per- on pieces of paper and put them into a behavior, emotions, and tone in the scene? son who lives there? Use your research, as hat, then break the students into pairs. Try reading and performing the scene a few well as the details discussed in the play and different times, with different days plotted knowledge of Miss Moffat’s character to • Each pair should select a conflict from for each character. depict the style and contents of the room in the hat. which the play takes place. After viewing • The students’ challenge is to improvise MUSIC the Huntington Theatre Company’s pro- a scene in which they introduce and The Welsh villagers are frequently heard duction of The Corn is Green, compare your resolve the conflict using gibberish singing throughout the play, including on design with that of the production’s set (nonsensical) language and nonverbal their way to and from working in the mines. designer. How were your ideas similar or communication. Students may insert Research traditional Welsh music. What different?

The BBC’s Website for Welsh music: Related Works and Resources www.bbc.co.uk/wales/music You might explore the following works as supplements to this guide: The Official Website for Welsh Tourism: www.visitwales.com Website for the Welsh Assembly Government, with Books options to view the site in either English or Welsh: Night Must Fall (1966) by Emlyn Williams new.wales.gov.uk/splash A Month in the Country (1974) adapted by Emlyn Williams Website for the Williamstown Theatre Festival: from Ivan Turgenev www.wtfestival.org

A History of Wales (1977) by John Davies DVD The Corn is Green (Film—1945) with Bette Davis and John Dall WWW The Blue Books of 1847 online at the National Library of Wales: The Corn is Green (TV adaptation—1979) with Katharine www.llgc.org.uk/index.php?id=thebluebooks Hepburn and Ian Saynor

12 Huntington Theatre Company Kate Burton and Morgan Ritchie in the Williamstown Theatre Festival production of The Corn is Green; photo: Joan Marcus After Viewing the Production

Post-show discussions can serve as a valuable more enlightened way of life, essay on the Wealth of Nations? way for students to process what they have whatever it takes. End MISS MOFFAT: … I don’t under- seen in the performance and relate it to aspects • Ignorance is bliss. stand you at all. of their own lives or other academic subjects. In • Page 60-65, Bessie/Squire/Miss addition to the post-show actors’ forum offered • No one should have to learn anything they don’t want to. Ronberry/Jones/Mrs. Watty/Miss by the Huntington Theatre Company, it can be Moffat useful to actively engage students in an exami- It is likely that a variety of opinions will Begin BESSIE: Hello. nation of the play and the themes it presents arise. It is important to allow students to End BESSIE: …What d’you bet me? upon returning to the classroom. speak more on their thoughts if they would like to do so. But they should at all For each scene, examine the contrast PART I: STATEMENTS times be speaking in support of their own between the text and subtext of the scene. Read this series of statements to the stu- position, rather than attacking other stu- What are the characters saying versus dents, all of which are related to actions dents’ positions. It is important that differ- what do they actually mean, think, or feel? and choices made by the characters in The ing opinions not only result from this What in the actors’ performances at the Corn is Green. They should stand if they process but are also welcomed by the class. Huntington Theatre Company and in the agree with the statement, and sit if they classroom indicates that there is some- disagree. PART II: EXPLORATION thing else being communicated beyond the words being spoken? • Men and women should adhere to Explore subtext and “reading between the traditional gender roles. lines” by getting student volunteers to read the following three scenes out loud. PART III: REFLECTION • People should mind their own busi- This can be done either with the students This is the time to tie things up. Ask the stu- ness at all times and not interfere in in their seats, trying to recall the staging dents to offer any final thoughts about the other people’s lives. used in the Huntington Theatre Company play. Was there any character they particu- • Life is only fulfilling if it is spent in performance, or creating your own stag- larly identified with? Was there a specific the service of others. ing. aspect of the production they felt was particularly well executed? Did the live per- • It is the responsibility of students, • Page 5-6, Miss Ronberry/Squire/Jones formance reflect what they expected as a not teachers, to make sure learning is Begin MISS RON: Squire… result of their in-class work? What do they taking place. End SQUIRE: All these books. think might happen to the characters in • Those who are “civilized” are obligat- • Page 42-44, Miss Moffat/Morgan the future? Do they still have any questions ed to bring the “uncivilized” into a Begin MISS MOFFAT: Is this your about the characters or the play?

Limelight Literary and Curriculum 2008-2009 13 Lesson Plans

Teachers’ note: Choose activities that are appropriate for your classroom period. All assignments are suggestions. Only a teacher knows his or her class well enough to determine the level and depth to which any piece of literature may be examined.

ONE-DAY LESSON PLAN introduces students to the context and major themes of the production. DAY ONE - Introducing the Play 1. Distribute Mastery Assessment (P. 10) for The Corn is Green for students to read before the performance and to review again after attending it. Optional: Distribute Handout 1: Vocabulary and ask students to define each word. A vocabulary test could be administered after viewing the play. 2. Read the Synopsis (P. 1) of the play. Discuss other works students have studied with similar themes and issues. 3. If time allows, discuss further pages from the literary guide, narrating highlights for students.

FOUR-DAY LESSON PLAN introduces students to the production and then, after viewing the performance, asks them to think more critically about what they have seen. Includes time for class discussion and individual assessment. DAY ONE - Introducing the Play Same as Day One above; completed before seeing the production. DAY TWO - The Production Attend the performance at the Huntington Theatre Company. Homework: Students should answer the Mastery Assessment (P. 10) questions.

DAY THREE - Follow-up Discussion Discuss Mastery Assessment answers in class.

DAY FOUR - Test Individual Assessment: Choose either several questions from the Open Response (P. 11) or one question from Writing Assignments (P. 11) for students to answer in one class period. Optional: Students may choose one of the For Further Exploration (P. 15) or Arts Assessment (P. 12) tasks to complete for extra credit.

SEVEN-DAY LESSON PLAN completely integrates The Corn is Green into your schedule. Within seven school days, you can introduce the play, assign reading and vocabulary, and assess your students as individuals and in groups. Students will ideally view the play after completing all assigned work. DAY ONE - Introducing the play Same as Day One above. Optional: Distribute Handout 1: Vocabulary due on Day Three. Homework: Read the Act One and answer corresponding Mastery Assessment (P. 10) questions.

DAY TWO - Act One Discuss Act One and answers to Mastery Assessment questions. Homework: Read Act Two and answer corresponding Mastery Assessment questions.

14 Huntington Theatre Company DAY THREE - Act Two Discuss Act Two and answers to Mastery Assessment questions. Homework: Read Act III. Begin work for Handout 2, Dramatizing Your Life Story.

DAY FOUR - Act Three Discuss Act Three and answers to Mastery Assessment questions. Homework: Continue working on Handout 2, Dramatizing Your Life Story due on Day Six.

DAY FIVE - Attend Performance Homework: Prepare work from Preparation Key Issues (P. 9); For Further Exploration (P. 15); or Arts Assessment(P. 12) sections. Continue working on Handout 2, Dramatizing Your Life Story due on Day Six.

DAY SIX - Dramatizing Your Life Story Presentations Presentations: Read student-written scenes out loud in class. Discuss the questions at the bottom of the sheet.

DAY SEVEN - Test Individual Assessment: Choose either several questions from the Open Response (P. 11) section or two questions from Writing Assignments (P. 11) for students to answer in one class period.

were assigned to be the dramaturge for a production of The Corn For Further Exploration is Green, what kind of images and other information would you Note to Teachers: The following ideas and questions can be used provide to the production? to further explore the text. They can be used as prompts for class 3. In the Huntington Theatre Company’s production of The Corn is discussion or additional writing assignments. Green, acting runs in the family: Morgan Evans is played by 1. In the Huntington Theatre Company’s production of The Corn is Morgan Ritchie, the real-life son of Kate Burton, who plays Miss Green, Kate Burton reprises the role of Miss Moffat, who she pre- Moffat. Kate Burton’s father, Richard Burton, was also a well- viously played at the Williamstown Theatre Festival. Other notable known stage and film actor. Research the history of U.S and actresses to assume the character over the years include Ethel European performing families. In what kinds of settings in the Barrymore, Eva La Gallienne, Bette Davis, Katharine Hepburn, and past would you find groups of related performers? Are there any Cicely Tyson. Research the theatrical careers of these women. contemporary film, television, or stage actors who have acting “in What other roles did they play before and after Miss Moffat? How their blood”? Would you want to follow the career path of anyone are they similar to or different from this role? What qualities char- in your own family? Why or why not? acterize these actresses’ performances? What about this particular 4. Miss Moffat submits Morgan for consideration for a scholarship to character do you think would have been appealing to them? Oxford University, a university that has been in existence for at 2. A dramaturge is a person who provides the director, actors, and least 800 years, and continues to be one of the top universities in company producing a play with various pieces of background the world today. Explore the history of Oxford University. How is it information that will help them to interpret the script. This back- structured? What kinds of research is it best known for? Who are ground information could include, but is not limited to: informa- some famous graduates and faculty members over its 800-year tion about the socio-economic status of the characters, the histo- history? What are the admission and scholarship application pro- ry of the period and location in which the play was written or is set, cedures both today and in the late 19th century, the time when any motifs or recurring symbols, past productions of the play, The Corn is Green takes place? How do they compare to admission and/or relevant biographical information on the writer(s). If you and scholarship application procedures in the United States?

Limelight Literary and Curriculum 2008-2009 15 Name:______Date:______

Handout 1 VOCABULARY

Appurtenances Mongrel

Barbarian Nuisance

Benign Obstinate

Civilly Pedagogue

Conquest Percolated

Conscience Poaching

Cropper Posterity

Crude Premonition

Deplorable Protégé

Despondent Provocation

Deuced Pulverize

Excavate Radius

Exuberant Rubbish

Florid Sciatica

Forbears Shrewdness

Fulsome Spinster

Gentry Staccato

Indulge Stolid

Infuriating Tankard

Invigilating Toil

Liveried Tremulous

Miser Virile

Mite Name:______Date:______

Handout 2 DRAMATIZING YOUR LIFE STORY

Writers sometimes look to their own lives for inspiration when developing a play, novel, or other piece of writing; they borrow from their real-life experiences, or the experiences of people they know, to create a character or plan out a plot. In this exercise, imagine that you have decided to follow in Emlyn Williams’ footsteps by writing a play that is “based on a true story”—the story of your own life!

1. Start by making a timeline of major events in each year of your life, from your birth up to this moment. Include • Things that you did or that happened to you • Things that your friends and family members did that affected you • Things that happened to your friends and family members that affected you • Major local, national, and world events and their impact on your life

2. Next, determine the focus of your play. Review your life’s timeline—Are there any events that occurred more than once? Are there any events in which you can draw a cause-and-effect correlation? Are there any events that are similar to each other? Is there any one event that stands out as a pivotal moment in your journey to who you are today? Decide whether you will focus on one specific event in your life, or on a combination of related events.

3. Make a second timeline, which will focus solely on the subject you have chosen for your play. Chart out what happened, and include as many specific details as possible.

4. Look over your new timeline. Other than the basic situation, are there details of what happened that you would like to change in your play? Or are there embellishments you would like to add? Decide what you will alter and what you will keep true to life.

5. Make changes to your timeline to reflect which facts you’ve decided to alter. This new timeline will serve as an outline of your play’s plot.

6. Write at least one scene. Be sure your scene has a distinct beginning, middle, and end. The scene should also have a central conflict. Have volunteers read the scene out loud in class, and be prepared to explain: • Where does this scene fit into the overall plot of your play? • Did changing some details of your life’s story make it easier or more difficult to write the scene? • If you had been writing using only the facts, how do you think your approach would have been different?

Good luck! CURRICULUM FRAMEWORKS TIES Technical Theatre • 4.12 Conduct research to inform the design of sets, costumes, sound, The Huntington Theatre Company’s Student Matinee Series provides an and lighting for a dramatic production. For example, students select a play invaluable opportunity for teachers, students, and families looking to from a particular historical period, genre, or style and conduct research using increase young people’s understanding of and interest in dramatic literature reference materials such as books, periodicals, museum collections, and the Internet and the performing arts. This section contains a list of the Massachusetts to find appropriate examples of hairstyles, furnishings, decorative accessories, Curriculum Frameworks for Theatre and English Language Arts that are and clothing. addressed fully, in part, or are supplemented by attending the Huntington’s production of The Corn is Green and utilizing this study guide as a pre- and Critical Response post-show resource. • 5.5 Continue to develop and refine audience behavior skills when attending informal and formal live performances THEATRE • 5.12 Attend live performances of extended length and complexity, Acting demonstrating an understanding of the protocols of audience behavior • 1.7 Create and sustain a believable character throughout a scripted or appropriate to the style of the performance improvised scene • 1.10 Use vocal acting skills such as breath control, diction, projection, ENGLISH LANGUAGE ARTS inflection, rhythm, and pace to develop characterizations that suggest Grades 5-8 artistic choices • 8.19 Identify and analyze sensory details and figurative language • 1.11 Motivate character behavior by using recall of emotional experience • 8.20 Identify and analyze the author’s use of dialogue and description as well as observation of the external world • 8.23 Use knowledge of genre characteristics to analyze a text • 1.12 Describe and analyze, in written and oral form, characters’ wants, • 8.24 Interpret mood and tone, and give supporting evidence in a text needs, objectives, and personality characteristics • 8.25 Interpret a character’s traits, emotions, or motivation and give • 1.13 In rehearsal and performance situations, perform as a productive and supporting evidence from a text responsible member of an acting ensemble (i.e., demonstrate personal responsibility and commitment to a collaborative process) • 9.5 Relate a literary work to artifacts, artistic creations, or historical sites of the period of its setting • 1.15 Demonstrate an understanding of a dramatic work by creating a character analysis • 10.3 Identify and analyze the characteristics of various genres (poetry, fiction, nonfiction, short story, dramatic literature) as forms with distinct • 1.17 Demonstrate an increased ability to work effectively alone and characteristics and purposes collaboratively with a partner or ensemble • 17.3 Identify and analyze structural elements particular to dramatic literature (scenes, acts, cast of characters, stage directions) in the plays they read, view, write, and perform • 17.5 Identify and analyze elements of setting, plot, and characterization in the plays that are read, viewed, written, and/or performed: setting (place, historical period, time of day); plot (exposition, conflict, rising action, falling action); and characterization (character motivations, actions, thoughts, development)

Grades 9-10 • 9.6 Relate a literary work to primary source documents of its literary period or historical setting • 11.5 Apply knowledge of the concept that the theme or meaning of a selection represents a view or comment on life, and provide support © Huntington Theatre Company from the text for the identified themes Boston, MA 02115 • 17.7 Identify and analyze how dramatic conventions support, interpret, January 2008 and enhance dramatic text No portion of this Teacher Curriculum Guide may be reproduced without written permis- Grades 11-12 sion from the Huntington Theatre Company’s • 9.7 Relate a literary work to the seminal events of its time Department of Education. • 11.6 Apply knowledge of the concept that a text can contain more than one theme Inquiries should be directed to: • 11.7 Analyze and compare texts that express a universal theme, Donna Glick, Director of Education and locate support in the text for the identified theme Huntington Theatre Company 264 Huntington Avenue • 17.9 Identify and analyze dramatic conventions (monologue, soliloquy, Boston, MA 02115 chorus, aside, dramatic irony)