The June 5-7, 2015 Educational Materials

OLD TOWN PLAYHOUSE Y OUNG COMPANY

S y n o p s i s THIS ISSUE CONTAINS: Adapted by Edward Mast Mountain to the Dwarfs.  Synopsis and based on the classic Along the way he meets

 About the Author novel by J.R.R. Tolkien. The , the pitiful creature Hobbit is a suspenseful, fast singularly motivated by a  Theatre Vocabulary -moving journey through the precious magical ring and words sometimes dark, sometimes Bilbo’s life is forever  Quotable quotes charming, always compelling changed.  Riddle me this… world of Middle Earth. When  The definition of a , the legendary Hobbit wizard, knocks on Bilbo

 Curriculum Corner Baggins’ door, bringing along ,  After the show 11 ragged dwarfs and a contract for an adventure, how can he resist? Bilbo’s Educational Materials love for rousing adventure for The Hobbit are provided through a stories suddenly turns real grant from the as he and his companions Worthington Family try to defeat the dragon, Foundation. We thank , and restore the them for their support. Kingdom Under the

About the author

John Ronald Reuel Tolkien (1892- pre-historic era in an invented version 1973) was a major scholar of the Eng- of our world which he called by the lish language, specialising in Old and Middle English name of Middle-earth. Middle English. Twice Professor of This was peopled by Men (and women), Anglo-Saxon (Old English) at the Univer- Elves, Dwarves, Trolls, (or Goblins) sity of Oxford, he also wrote a number and of course . He is loved by of stories, including most famously The literally millions of readers worldwide. Hobbit (1937) and The Lord of the Read more at www.tolkiensociety.org Rings (1954-1955), which are set in a

Photo of J.R.R. Tolkien from his Biography by P a g e 2 T h e H o b b i t

GLOSSARY OF THEATRE TERMS Act: 1) The process of per- Auditions: Tryouts held for Backstage: The area out forming as a character. 2) actors who want to per- of view of the audience A main section of a play. form in a show. Actors that include the wings auditioning for a musical and dressing rooms as Actor: A person who per- may be asked to sing and well as the lounge area or forms as a character in a read a particular charac- “green room.” play or musical. ter’s lines from a scene as Blocking: The actors’ Antagonist: The opponent well as learn a short dance movement in a play or to the protagonist (or hero) sequence. musical, not including the of the story. An antagonist Author: A writer of a play choreography. The direc- may sometimes be called or musical, which is also tor usually assigns block- the “villain.” known as a playwright. A ing during rehearsals. Audience: The people who musical’s authors include

gather to watch the perfor- the book writer, the com- An artist’s impression of Tolkien’s Gandalf the Gray mance. The audience sits poser and the lyricist. in the house.

“More studies are Break a leg: A wish of Cast: 1) noun The perform- in the script. An actor may finding what we “good luck” in the theatre, ers in a show, “We have a play many characters in the which comes from a super- great cast.” 2) verb The act same play. already know in our stition that saying “good of the selection of an actor Choreographer: A person hearts—the arts luck” is actually bad luck! for a play, “I hope I get cast who creates the dance in the next play.” DO make a positive Broadway: The theatre numbers in a musical or impact on our district in New York City Character: A human (or combat sequences in an youth! that is home to 40 profes- animal) represented in a adventure story. sional theatres and one of play. Each actor plays a Individually. Climax: The height of the the world’s great capitals of character, even if that char- Socially. dramatic action in a play. live theatre. acter doesn’t have a name Academically.”

Company: All of the people Curtain Call: The entrance Dialogue: A conversation who make a show happen: of the company at the end between two or more char- actors, musicians, creative of the show to bow and acters. team, crew, producers, etc. acknowledge the audi- Diction: The articulation, or ence’s applause. Crew: A team of people who clearness of speech, while move scenery, operate lights Designers: The people who delivering one’s lines. Also and sound, handle props or create the sets, costumes, known as “enunciation.” work backstage during a lighting and sound for a production. production. P a g e 3 Director: A person who provides the artistic vision, coordinates the Entrance: When a character steps creative elements and stages the onto the stage from the wings or play. other offstage area.

Dress Rehearsal: A run-through of Exit: When a character leaves the the show that includes costumes, stage. props and technical elements. Follow Spot: Large, movable light at Ensemble: 1) A group of people the back of the house that follows who work together to create a an actor as he or she crosses the show. 2) The chorus, or members stage. Also called a spotlight. of the cast other than the leads.

Front of House: Any part of this break is called “the In- Matinee: A performance of a the theatre that is open to terval.” show held during the day. “Independent the audience, including the License: Permission, or the Mic: Short for “microphone,” studies show box office, lobby, restrooms rights, to produce a play in a device that electronically and concession area. increased years of exchange for a fee which amplifies the voices of the Improvisation: When an covers script copies and roy- actors. enrollment in arts actor performs something alties for the authors. courses are Monologue: A large block of not written in a script. Light Board: A computerized lines spoken by a single char- positively correlated Intermission: A break be- board that controls all of the acter. When spoken alone with higher SAT tween acts when the audi- theatrical lights for a show. onstage or directly to an audi- ence gets a snack or uses the ence, a monologue reveals the verbal and math Lines: The dialogue spoken restroom while the company inner thoughts of a character. by the actors. scores.” changes the set and cos- tumes. In European theatres

Offstage: Any area out of formed live on a stage. A musi- which means that each group that presents a show will view of the audience. cal is one kind of play. have a unique production.

Onstage: Anything on the Plot: The chain of events that Program: A booklet that lists the entire company of a stage and within view of the occur during the play. production and may include other information about the audience is said to be on- play. Producer: The person in charge stage. of a production who oversees Prop: Anything an actor holds or carries during a perfor- Pantomime: To act some- budget, calendar, marketing mance. Short for “property.” thing out without words. and the hiring of the creative

team, cast and crew. Performance: 1) A single showing of a production. 2) Production: This term refers to An actor’s interpretation of a everything about a show on- character in front of an audi- stage and off, every given night ence. of the run. A production in-

cludes the performing and Play: A type of dramatic technical aspects of the show, writing meant to be per- P a g e 4 T h e H o b b i t GLOSSARY OF THEATRE TERMS, cont.

Proscenium: A type of theatre in Role: The character that an actor Set Change: A change in scenery, which a large frame, or arch, divides plays. often between scenes or acts. the stage from the house. Scene: A section of a play in one Set Designer: A person who cre- Protagonist: The main character or particular location and time. ates the scenery. hero of a story. Script: 1) The written words that Setting: The location, environment Raked Stage: A stage that is raised make up a show, including dia- and time period of a play. slightly upstage so it slants towards logue, stage directions and lyrics. Sound Board: An electronic board the audience. 2) The book that contains those or computer that controls the words. Rehearsal: A meeting during which mics, sound cues and any other the cast learns and practices the Set: The entire physical environ- audio in a production. Also called show. ment onstage, which may include a sound console. backdrops, flats, furniture, props Rights: Permission to perform a show Stage: The area where the actors and projections. that is obtained through a license and perform in a theatre. payment of a fee called royalties.

Stage Business: Small actions per- Stage Manager: A person responsi- formed by actors that make a play ble for keeping all rehearsals and more realistic and believable. performances organized and on schedule, and for calling sound and Stage Directions: Words in the light cues during the show. script that describe the actions for the characters that are not part of Stage Right: The right side of the the dialogue. stage, from the actor’s perspective.

Stage Left: The left side of the Strike: 1) To remove a prop or set stage, from the actor’s perspec- piece from the stage. 2) To clean up Bilbo’s “Hobbit Hole” tive. the stage after closing.

Tableau: A frozen image made up of Technical Rehearsal: A rehearsal Theatrical Lights: Lights that hang actors, usually showing a specific mood when the crew begins adding sets, from the ceiling of a theatre or on or idea. lights, sound etc., to the show poles, or “booms” above or on the once the performers know the side of the stage. These lights illu- Technical Director: A person who coor- lines, songs and blocking. Also minate the actors and convey time dinates the construction and painting of called “tech.” of day and specific moods. the sets, the hanging of the lights and the setup of the sound system. P a g e 5

Theatre versus Theater: The word “theatre” can also be spelled “theater” and is defined in two ways. The first definition is the art of producing plays and

musicals for a live audience. The second definition is the building or place in which a show is performed including stage, backstage and house. Often the word is spelled with an “er” when it describes a cinema or movie theater. For the purposes of this glossary, we are using the “re” spelling throughout to re-

fer to both the practice of theatrical activity and the physical building in which it takes place.

Underscore: Music that Types of Stages plays under dialogue or dur- Arena: The audience is seat- ing a scene change. ed on all four sides of the Understudy: An actor who performance space. Also learns a character other called “in the round.” than his own and is able to Proscenium: The audience is play that character if the 6 Benefits Associated with the seated on one side, facing other actor is sick. the stage. The arch or frame study of Arts Upstage: The part of the around the stage is called stage furthest from the audi- the proscenium arch.  Higher reading and ence. Stadium: The audience is language skills Usher: A person who shows seated on two opposite the audience to their seats sides of the performance  Improved math skills and hands out programs. space.  Warm-up: Exercises at the Developed thinking skills Thrust: The audience is seat- beginning of a rehearsal or ed on three sides of the per-  before a performance that Increases social skills formance space in a U- prepare actors’ voices and shape. The stage itself can  Positive school environment bodies. be shallow or very deep. Wings: The area to the side  Motivation to learn of the stage just out of the audience’s view.

“When students have the opportunity to engage in a dramatic enactment of a story, their overall understanding of the story improved...Drama can also be an effective method to develop the quality of a child’s narrative writing.” P a g e 6 T h e H o b b i t Quotable quotes

The following quotes can be found in The Hobbit by J.R.R. Tolkien

 “If more of us valued food and cheer and song  “You certainly usually find something, if you above hoarded gold, it would be a merrier look, but it is not always quite the something world.” you were after.”

 “May the wind under your wings bear you  “out of the frying pan and into the fire” where the sun sails and the moon walks.”  “We are plain quiet folk, and I have no use for  “Where there's life there's hope.” adventures. Nasty, disturbing, and uncomfort- able things. “  “So comes snow after fire, and even have their endings.”  “Don't tell us about dreams – dream dinners aren't any good and we can't share them.”  “You have nice manners for a thief and a liar," said the dragon.”  “Far over the misty mountains cold. To dun- geons deep, and caverns old.”  “May the hair on your toes never fall out!”  “Third time pays for all”  “There are no safe paths in this part of the world. Remember you are over the Edge of the  “If you sit on the doorstep long enough, I Wild now, and in for all sorts of fun wherever daresay you will think of something” you go.”  “He thought much but said little.”  “ and on.”  “Things are drawing towards the end now,  “Farewell! O Gandalf! May you ever appear unless I am mistaken. There is an unpleasant where you are most needed and least ex- time just in front of you; but keep your heart pected!” up!”

 “A safe fairyland is untrue to all worlds.”  “Every worm has his weak spot.”

 “Trolls simply detest the very sight of dwarves  “Don't dip your beard in the foam, Father!" (uncooked).” They cried to Thorin. "It is long enough with- out watering it!”  “You may not like my burglar, but please don't damage him.”  “But I don't think I ought to leave my friends like this, after all we have gone through to-  “There is nothing like looking, if you want to gether.” find something.”  “We don't want any adventures here! You  “That was the most awkward Wednesday he might try over the Hill or Across the Water.” ever remembered.”

 “Elvish singing is not a thing to miss, in June under the stars, not if you care for such things.” P a g e 7 Riddle Me This...

The back and forth of riddles asked and answered between Gollum and . Do you know the answer to these riddles?

A. What has roots as nobody sees, E. Voiceless it cries, Is taller than trees, Wingless flutters, Up, up it goes, Toothless bites, And yet never grows? Mouthless mutters.

B. Thirty white horses on a red hill, F. A box without hinges, key, or lid, First they champ, Yet golden treasure inside is hid. Then they stamp, G. An eye in a blue face Then they stand still. Saw an eye in a green face. C. It cannot be seen, cannot be felt, “That eye is like to this eye” Cannot be heard, cannot be smelt, Said the first eye, It lies behind stars and under hills, “But in low place, And empty holes it fills, Not in high place.” It comes first and follows after, H. Alive without breath, Ends life, kills laughter. As cold as death; D. This thing all things devours: Never thirsty, ever drinking, Birds, beasts, trees, flowers; All in mail never clinking.

Gnaws iron, bites steel;

Grinds hard stones to meal; Fish h) daisies the on Sun g) Egg f) Wind e) Slays king, ruins town, Time d) Dark c) Teeth b) Mountain a) Answers: And beats high mountain down.

Just what is a Hobbit?

“I suppose hobbits need some description nowadays, since they have be- come rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded Dwarves. Hobbits have no beards. There is little or no magic about them, except the ordinary everyday sort which helps them to disappear quietly and quickly when large stupid folk like you and me come blundering along, making a noise like elephants which they can hear a mile off. They are inclined to be fat in the stomach; they dress in bright colours (chiefly green and yellow); wear no shoes, because their feet grow natural leathery soles and thick warm brown hair like the stuff on their heads (which is curly); have long clev- er brown fingers, good-natured faces, and laugh deep fruity laughs (especially afer dinner, which they have twice a day when they can get it).” Tolkien’s illustration of Bilbo Baggins Excerpt from The Hobbit by J.R.R. Tolkien P a g e 8 T h e H o b b i t CURRICULUM CORNER Use the exercises and activities below to infuse and reinforce your students’ work.

THEATRE GAMES

Count to Ten

Use this exercise to develop group cooperation and non-verbal communication.

1. Have students sit in a circle. Explain that they are going to count to ten.

2. Set the limitations: Only one person may say a number at a time. If more than one person says the same number simulta- neously, the circle will need to start over at one.

3. Allow the students to try to count to ten. Generally, the first attempt will be unsuccessful.

4. Encourage the students to look each other in the eye and make it clear that they are about to “make an entrance” with a number. They should take deep breaths and focus on the energy in the circle.

5. For more of a challenge, have students count to a higher number or say the alphabet. For a real challenge, have the stu- dents close their eyes. This will force them to listen and feel the energy of the group without visual cues.

ART Character Portraits Use this activity to utilize art as a means to explore character. The Hobbit is filled with many rich and vivid characters. Have each student choose a character to analyze. Then, have your students sketch, paint or sculpt a portrait of their chosen char- acters as they imagine them. Encourage your students to be non-literal and create a portrait that is thoughtful and filled with imagery. These portraits can make an excellent display and discussion platform. Mapping Middle Earth An activity to examine the story by creating a map of the locations of major events. Throughout The Hobbit the characters experience many important events all over the fictional place Tolkien called “Middle Earth”. Have your students create a physical map by listening to the performance closely, alert for clues about the land features of the region. Then they should mark places on the map where important events take place, such as Bag End where Bilbo lives or the Forest. En- courage your students to use symbols and color to make their maps engaging and understandable. Include these maps in a classroom display. DISCUSSION Some questions for discussion and debate following the performance.  Does The Hobbit have a happy ending?  Is Thorin Oakenshield a good guy or a bad guy? Why?  What is the lesson in The Hobbit? Is this lesson articulated by a character in the play?  Discuss the term “anthropomorphic” and how this device is used in The Hobbit.  Would Smaug have been destroyed if Gandalf hadn’t suggested Bilbo as the fourteenth traveler?  It has been suggested that The Hobbit is an allegory. Can you think of what it may be an allegory of or for? T h e h o b b i t P a g e 9

Examine The Differences

The following excerpt is from the book by J.R.R. Tolkien. Notice the same passage as it was dramatized by the (On a ledge of the . Rock face, with a doorway in it. THORIN, BALIN, GLOIN, BOMBUR and BILBO Inspect the door. BOMBUR play’s author, Edward Mast. What are the differences turns away and calls offstage.) in the texts? Encourage students to select their favorite BOMBUR. Found it! passages from the story and try to dramatize them in play form. GLOIN. Shhhh! Don’t shout, numbskull. BOMBUR. Sorry. “Now is the time for our esteemed Mr. Bag- BALIN. This is the side door, all right. Do you remember it? gins, who has proved himself a good companion on our long road, and a hobbit full of courage and resource far THORIN. Not well. Never had to use the side door in my day here. exceeding his size, and if I may say so possessed of good GLOIN. Well, now what? luck far exceeding the usual allowance—now is the time BOMBUR. Well, now I would say it’s time for our esteemed burglar to for him to perform the service for which he was includ- earn his one-fourteenth share of our treasure. ed in our Company; now is the time for him to earn his BILBO. If you mean it is my job to enter this cavern first, oh, Master Reward.” Bombur, may your beard fall off. BOMBUR. It only makes sense. You have the invisible trinket, after all. You are familiar with Thorin’s style on im- portant occasions, so I will not five you any more of it, BALIN. And you have had your share of good luck on this journey. though he went on a good deal longer than this. It cer- BILBO. More than my share, and I’m not inclined to expect more, tainly was an important occasion, but Bilbo felt impa- Master Balin. tient. By now he was quite familiar with Thorin too, THORIN. Mister Baggins, sent in alone to encounter Smaug? Nonsense. I’ll go in. Let the dragon know that the King has returned. and he knew what he was driving at. BALIN, GLOIN & BOMBUR. No! “If you mean you think it is my job to go into GLOIN. Begging your pardon, Thorin, but perhaps the bold front will not the secret passage first, O Thorin Thrain’s son Oak- be the best strategy just now. enshield, may your beard grow ever longer,” he said THORIN. Perhaps not. crossly, “say so at once and have done! I might refuse. BILBO. All right, all right. I can see the river running to the ocean here. I I have got you out of two messes already, which were am your burglar, curse my fate, and I do have a magic ring, hardly in the original bargain, so that I am, I think, al- curse my luck. Will someone come in part way and be ready ready owed some reward. But ‘third time pays for all’ for a cry for help? as my father used to say, and somehow I don’t think I BALIN. Surely. I’ll stand by. shall refuse. Perhaps I have begun to trust my luck GLOIN. We’ll gather the rest here with equipment. Take care. more than I used to in the old days” - he meant last BILBO. I’m touched by your concern. spring before he left his own house, but it seemed cen- THORIN. He is sincere, Mister Baggins. You are a most brave companion turies ago—”but anyway I think I will go and have a to undertake this. It is simple reconnaissance, though. We peep at once and get it over. Now who is coming with don’t expect you to kill the dragon, nor pluck u the whole me?” treasure on your back. Have a look see and come back safely to tell us the situation. He did not expect a chorus of volunteers, so he BILBO. Well, that’s just as well. Getting rid of dragons is not at all in my was not disappointed. Fili and Kili looked uncomforta- line. (To us.) Of course, neither is burglary. All right, then. ble and stood on one leg, but the others made no pre- Balin? tence of offering—except old Balin, the look-out , BALIN. Right behind you. who was rather fond of the hobbit. He said he would THORIN. Good luck, both of you. come inside at least and perhaps a bit of BOMBUR. You’ll need it. the way too, really to call for help if nec- THORIN. Quiet. (BILBO and BALIN enter the doorway. Lights down.) essary.

The Hobbit by J.R.R. Tolkien O L D T O W N PLAYHOUSE YOUNG COMPANY

148 E. 8th Street Traverse City, MI 49684 Phone: 231-947-2210 Fax: 231-947-4955 E-mail: [email protected]

Be Bright. Be Bold. Be Young. Photos by Maddy Kachadurian

Arms & Armor used in the hobbit with bamboo and foam weapons, the actors final- ly get to work with the real thing a few weeks before the show opens. They undergo a daily warm-up and stretch to prepare for the weight of their actual swords—some of which can weigh up to 10 lbs. This photo (right) was tak- en the day the weapons were being distributed to swords, daggers, plate armor, the actors for the first time. Most of the armor used by the grieves, belts and bucklers is Jon A. “Keep your tips DOWN!” actors in The Hobbit were rented Reeves. Mr. Reeves forges the metal from Combat Ready Art in Kalama- and creates the ominously carved zoo, Michigan. The artisan respon- handles in his eclectic metalworks sible for the broadswords, short studio. After rehearsing for weeks