Games

Sydney Opera House Teacher Resources

Contents

Performance Description and Synopsis ...... 2 Meet the Creatives ...... 3 Interview with Henry Naylor...... 5 Pre-Performance Activities ...... 8 Drama ...... 8 English ...... 8 History ...... 8 Post-Performance Activities ...... 10 Drama ...... 10 English ...... 10 History Elective ...... 11 Extra Resource Materials ...... 12

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Performance Description and Synopsis

Henry Naylor’s Games minimalist play is set during the 1936 Olympics in Berlin. The play is based on the true story of Helene Mayor and Gretel Bergmann - two world class athletes and their journeys to represent their country. Watch Gretel Bergmann’s determination to participate despite all odds and watch the Helen Meyer’s journey as she realises that she is fighting for more than a gold medal at the Olympics. The play makes audiences critically think about who and what it is that defines us. It is a politically charged play which resonates with today’s audiences highlighting antisemitism, fascism, segregation, bias, extremism and injustice in the world.

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Meet the Creatives http://www.holdenstreettheatres.com/index.php/HST-Fringe-Programs/HST-Fringe- Programs/fringe-2019/games-henry-naylor

Sophie Shad - "Helene Meyer" Sophie worked professionally as a child, playing Little Cosette in the West End's 'Les Miserables', as well as a principal role in the BBC's Grange Hill. She went on to train at the Royal Central School of Speech and Drama, and has since worked in film, theatre and radio. As the Granddaughter of a Holocaust survivor, Sophie has always been passionate about telling meaningful stories from the past, and in recent years she wrote, produced, and acted in 'Kitty's Fortune' - a film that tells the story of Holocaust survivor Kitty Hart-Moxon's (OBE) first night in Auschwitz. The film was selected for BAFTA-qualifying film festivals, and has toured schools across the country with the aim of helping young people to connect with the atrocities from our past. She is a firm believer that we learn from our mistakes by ensuring that the past is never forgotten - and hopes that telling these stories through the means of film and theatre will be a cog in the wheel of working towards a more peaceful future. She is honoured to be playing the role of Helene Mayer in this production.

Tessie Orange-Turner - "Gretel Bergmann" Tessie trained at Royal Welsh College of Music and Drama Theatre includes Masterpieces (Finborough Theatre), All The Little Lights (Nottingham Playhouse and ), Sket (), Blister (), Bassett (), No Border (), The Wonderful World of Dissocia, You Can’t Take It With You, Relationshit, Thebans, Twelfth Night and A Chorus of Disapproval (Richard Burton Company). Film includes You, Me and Him. Television includes Casualty.

Henry Naylor - Writer Henry Naylor is a multi-award-winning UK playwright, who has been described as ‘one of our best new playwrights’ in The Times, ‘one of our best new playwrights’ in The Evening Standard, and ‘one of the most thought- provoking playwrights of our times,’ in The Spectator. In the past 3½ years his plays have won, or been nominated for 34 international awards, including one of France’s most prestigious awards for the arts, the Globes De Cristal. In 2016, he joined J.K. Rowling in having written one of the 10 Best Plays Of The Year by The Times. He is one of only a handful of writers to have won the Fringe First three times, and has won four of the top five Fringe awards at the Fringe, including the Carol Tambor Best of Edinburgh Award. The one he hasn’t won - the Amnesty International Freedom of Expression Award – he’s been nominated for three times. Three of his plays have had month long runs off- Broadway, and in 2017 alone there were over 300 public performances of his work, over five continents. His work has been translated into eight languages. ‘Naylor seems to have taken the mantle of writers like Athol Fugard: to make theater by telling the stories that matter.’ DC Theatre Scene (USA)

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Louise Skaaning - Director Louise spends her working life between London and her native Denmark. She first trained at Scenekunst Academiet at the age of 21 specializing in physical theatre. In 2010 Louise took part in a project that toured across Syria, Lebanon and Georgia – the project was in the style of forum theatre. After moving to London in 2011, Louise then furthered her training at the prestigious East 15 Acting School. This led onto many projects, including assistant director of Hiraeth at Soho Theatre in London, as well as her debut play Chlorine in 2014, about a young woman’s journey through psychosis and eventual recovery. More recently she has directed the acclaimed Flew the Coop at the new Diorama theatre. At the Adelaide Fringe in 2018, she began working with Naylor, when she co-directed the Overall Critics’ Circle Winner: Borders. Subsequently she went on to direct the previews and premiere of Games in Prague and in Edinburgh (where the show won the Innovation Award, the Voice award and was nominated for the Amnesty Freedom of Expression Award). At ease with both directing and acting, Louise is currently touring with a play in Denmark called Pudemin: a play aimed at younger audiences about confronting the fear of the unknown.

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Interview with Henry Naylor

How did the concept of the show come about? I’ve always written political plays, about the ‘big issues’ of the day. Partly because I used to be a stand-up comedian, and my set was always about things which were in the news. Before writing Games, I wanted to do a piece attacking the rise of the Far Right, as it seems to be becoming increasingly powerful. Particularly in the UK, after the Brexit vote.

And I also wanted to do a piece for my actress friend Avital Lvova. I was on tour with her at a Festival in Cape Verde. Neither of us spoke Portuguese, so when we went for a drink after the show, we only had ourselves for company. And I said to her, ‘right – let’s come up with a new show for you. You’re Jewish, you’re built like an athlete… and I want to do something questioning the far right – let’s do a Google Search and see if anything comes up.’ So I think we searched ‘Jewish female athlete Nazi Olympics’ – and Helene’s tale popped up. It was such an incredible story – we spent about two hours clicking on all the links. And by the end of the evening, we had the framework for a play.

Could you describe the process you took to write the play?

When I write a play, the bulk of the time is spent researching. I’ll read and watch everything I can find about the subject, and, where possible do interviews with relevant people. This can take a good six months. After a while, I find that I hit a point where I understand the characters so well, that they ‘talk’ to me. I can have discussions and arguments with them in my head! That’s when I start writing – because the characters then have a voice, which I can channel.

In the case of Games there was an added complication – in that I was basing the story on real people in history. As a writer you feel a sense of responsibility – of wanting to try and portray the characters as fairly as you can.

Often I’m keen to cast the show before I’ve finished writing. I like to tailor the piece according to the actress – so that the words ‘feel true’. It’s also important, as a playwright, to hear your words back. It becomes much easier to edit the work when you hear it performed. It’s easier to spot sections which are flabby and need trimming. So I’ll continue to write and mould the script as we rehearse.

The show focuses on the stories of Helene Meyer and Gretel Bergmann. Why do you think it is important to remind audiences about personal stories?

I think it’s important, to help audiences connect with the past. One of the problems with the way that history is taught, is that we typically only learn about the decisions of World Leaders and about specific events. It can be quite alienating, and distancing. It’s hard for us to put ourselves in the shoes of the average person in history. Because the impact of policies and events on real people are often ignored. Especially as the horrors of history are often conveyed by numbers which are depersonalizing. We know that 6 million Jews died in World War 2. But that number is so huge, it’s impossible to imagine. Personally, I think the best way of teaching history, is by empathizing with the plight of one or two individuals. The evils of can better be understood, when we can see the impact of fascist policies upon on an individual we care about. That’s what I try to do with my plays – get the audience to empathize about the central character, and help them to share the character’s pain.

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The stories of are Helene Meyer and Gretel Bergmann are interwoven in your play. In real life the characters did the characters meet? Why have you chosen to have them meeting in the play?

I’m not sure if they did meet. But they would have been aware of each other. After all – they were the only two Jewish athletes selected for pre-Olympic training camps. It wouldn’t have been surprising if they had met. Meyer did tour German schools, after winning her gold. So it’s not such a stretch to imagine that she went to Bergmann’s school.

For dramatic purposes – it was important to have them meeting, because they had such different approaches to confronting Nazi ideology. I think all great dramas have a clash of values at their core. That's what I’ve tried to achieve here. The Meyer of the play is fiercely individual; she resists the Nazis by fighting their labels. The Bergmann of the play fights the Nazis by standing shoulder-to-shoulder with her oppressed community. Meyer and Bergmann cross metaphorical swords in a duel of values.

Could you give audiences an insight on the actors that have been chosen for the role?

First and foremost, they were chosen because they’re brilliant actresses! We chose Sophie for Helene Meyer, partly because of her physical resemblance to the fencer. Meyer was blond-haired, and aristocratic. Sophie has a regal presence, which I believe works very well, and she doesn’t look unlike her. Also, Sophie’s Jewish, and close relatives of hers were survivors of the death camps. I think that personal connection to themes of the story has its own special power. Sophie was also a child star in the UK, playing a regular role in the popular TV drama, Grange Hill. I think this helps her connect with Helene’s character, as Helene was a massive celebrity in Germany.

Tessie is mixed race, and has a real ‘street’ presence. Director Louise Skaaning thought this was important to help make the show even more relevant for today. She was keen to show that racial prejudice can be experienced by many different communities. And so the casting would help broaden the message.

When we did the show in London, we did a Q & A session. One of the members of the audience knew Bergmann, and said that Tessie’s ‘street’ energy was exactly like that of Gretel herself. Which was a great compliment for Tessie.

When writing the play did you expect the story be so topical?

Yes. I deliberately wrote it because I was alarmed by the surge of racism in Western society, as electorates have increasingly been selecting right-wing populist leaders. I thought it was important to remind people of the dangers of extremist politics.

More specifically I wrote it because of the rise of anti-semitism in Britain. The Labour Party in the UK – traditionally the most-inclusive party – was being investigated for this racism at the time. They didn’t deal with it effectively, and accusations of anti-semitism have been hurled at the party for 18 months now. Members of the Jewish community feel understandably nervous in my country.

I was shocked to find that similar worries have been felt in countries right across the world. Particularly in New York, where the show was a big hit. It’s an international problem that we should all be addressing.

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The play is minimalist in style. Why has this style been chosen?

Partly for practical reasons. The story is an epic; it’s almost cinematic in scope. The action takes place in many different countries. And there are many characters in the story. Normally it would be impossible, for budgetary reasons, to tell such a story conventionally. You’d need loads of sets, costumes, and actors. It’d be too expensive to make. A minimalist style makes it possible.

There’s a few different reasons for this. Personally I like the minimalist approach. It involves the audience in the show; treats them as though they’re smart. Gets them to imagine sets and characters and scenarios, thereby involving them in the creative process. They build the sets, etc. from their own imaginations. And partly because I enjoy the challenge of telling vast stories on the stage. It shouldn’t be possible. But I believe that the essentials of good theatre are a good script, good performers and a good director (and a good technician!). Trust in these elements – and Theatre can compete with the movies!

What do you want audiences to take away from this show?

I like to provoke debate, and hopefully the audience will go away discussing the themes in the show.

I believe Games to be a particularly relevant story for today, because a lot of public debate centers around identity politics. We’re all wondering who we are, and how we should be defined. Should others be defining who we are, or should we choose our own labels? Do we have a responsibility towards our communities, our countries, or towards ourselves as individuals?

I can understand both Helene’s and Gretel’s perspectives. And I think, as a society, we need to work out where we stand, through measured debate. The Helene and The Gretel of the show disagree and fight with each other so much – they’re in danger of losing sight of who the real enemy is. Essentially, they’re on the same side – the side of Humanity – and their real enemy is prejudice and Inhumanity.

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Pre-Performance Activities

Drama

Stage 5 and 6 1. The State Theatre Company’s website has a document How to Write a Theatre Review. Read through the document and answer the first four questions (What is the play called? Who is the director? Who is the designer? Who wrote it?) to prepare you for the show http://statetheatrecompany.com.au/content/uploads/2017/02/How-To- Write-a-Theatre-Review.pdf 2. The play is minimalist in style. Conduct research into this style: Where did it originate? Why it is used? What happens on stage? What are examples of this? Present your findings to the to the class.

English

Stage 5 1. Watch the SoHo playhouse’s trailer on Henry Naylor’s Games: https://www.youtube.com/watch?v=ETDfODJwlqg From this short clip write predication of what you think will unfold during the play. 2. Research the two personalities in the play: Helene Meyer and Gretel Bergmann. Write a summary of their involvement in the Olympic Games in Berlin. 3. The film What if (2008) traces Helene Meyer’s journey and Berlin 36 (2009) follows Gretel Bergmann’s experiences during the . Watch these films and reflect on how these two women and their stories have been represented. Deconstruct how film techniques have been used by the directors of the films.

Stage 6 1. Listen to Judi Herman’s podcast with Henry Naylor https://www.jewishrenaissance.org.uk/jr-outloud/henry-naylor. Make notes on Henry’s writing and how he has chosen to represent both personal and public worlds in his texts Borders and Games. Pay attention to how Henry Naylor has made the play topical. 2. Research an individual or group that has received little recognition by their community. Using this research as a stimulus write a creative piece in the style of your choice.

History

1. Conduct research and find two sources (primary or secondary sources) about The Olympic Games in 1936. For each source: identify the origin of the source, list the content, provide context and the purpose of the source.

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2. Watch United States Holocaust Memorial Museum The Nazi Olympics : Berlin 1936 https://www.youtube.com/watch?v=gNKlxcqLKcM. In the documentary it is stated that the Olympics were a propaganda victory for the Nazis. Discuss why this was the case.

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Post-Performance Activities

Drama

Stage 5 and 6 1. The State Theatre Company’s website has a document How to Write a Theatre Review. Write a theatre review on Games. At first answer the questions and then format your review. 2. Group Devising: Conduct your own research into a personality that is not well known and stage it with the minimalist conventions. Reflect on your performance in your logbook. 3. In the play there are lines that have been written by Henry Naylor to make this play topical to resonate with contemporary issues. Listen to Judi Herman’s podcast with Henry Naylor https://www.jewishrenaissance.org.uk/jr-outloud/henry-naylor and identify what had been included. Write a reflection on the importance of these lines. 4. Conscience Alley/Thought Tunnel. Helene Mayer’s salute at the time of her winning the silver medal caused controversy at the time. What would you have done at the time? The class is split in two lines, the two lines give opposing advice as the chosen person who embodies Helen Mayer walks down the alley/tunnel. At the end the student chooses what they will do. Students to reflect on this in their log books.

English

Stage 5 1. Look back at your prediction of what you thought would occur in the play. Was it different? Was it similar? Write a reflection of viewing the play. 2. Using what you have learnt in the play and using your research of Helene Meyer and Gretel Bergmann write a piece of creative writing that reflects one or both of their lives. You can write in first person or third person. 3. Compare and contrast how Helene Meyer and Gretel Bergmann have been represented in the play and in the films that have been made about them: Berlin 36 (2009) and What if (2008). 4. Debate: Helene Mayer’s salute at the time of her winning the silver medal caused controversy at the time. What would you have done at the time? The class is split in two and debates Helene Mayer’s actions – either justifying them or opposing them.

Stage 6 1. Read through Henry Naylor’s interview. Helen Naylor intended this play to be topical. With this in mind, deconstruct the play highlighting moments that have been included to resonate with audiences and the tensions in the world today. 2. Write an essay unpacking how Henry Naylor’s Games has represented personal and private worlds. In essay reference the techniques used on stage. 3. Compose a piece of creative writing that represents the struggles faced in personal and public worlds.

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History Elective

1. Conduct research into the lives of Helene Meyer and Gretel Bergmann. Create a timeline that reflects their achievements and major events. 2. Events and people in the context of their time Students. As per the syllabus write a response and “explain how people from the past were influenced by different values, attitudes and motives”. Write your response with reference to Helene Meyer and/or Gretel Bergmann. 3. Read the following article by David B Green 1936: A Jew Wins a Medal for Nazi Germany in the Berlin Olympics https://www.haaretz.com/jewish/.premium-1936-a- jew-wins-olympic-medal-for-nazi-germany-1.5420870 to provide you more of an insight/context to Helene Mayer Empathy task: Below is an image of Helene Mayer wining the silver medal at the Berlin Olympics. Write a diary entry from her perspective about the Olympic Games.

Elek Ilona of Hungary (middle), Helene Mayer of Germany (on the right, making ) and Ellen Müller-Preis of Austria at the 1936 Olympic Games in Berlin. Wikimedia Commons

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Extra Resource Materials

Podcast Judi Herman (Games starts at 11:53): https://www.jewishrenaissance.org.uk/jr- outloud/henry-naylor Review by Robert Guthrie: https://www.scotsman.com/arts-and-culture/theatre/video-henry- naylor-doesn-t-hold-back-in-new-fringe-play-games-1-4785116 Review by Gordon Forester: https://www.limelightmagazine.com.au/reviews/games-by- henry-naylor-adelaide-fringe/ Review by David Knight https://www.adelaidereview.com.au/arts/performing- arts/2019/02/18/fringe-review-games-by-henry-naylor/ Review by Julian Cunningham: http://theadelaidian.net/games-by-henry-naylor/ Review by Rachael Wong https://collageadelaide.wordpress.com/2019/02/14/2019-fringe- festival-review-games-by-henry-naylor/ Review by Cathy Tune: https://theclothesline.com.au/games-by-henry-naylor-adelaide- fringe-review/ Review by Steve Davis: https://theadelaideshow.com.au/reviews/games-by-henry-naylor/ SoHo Playhouse: Henry Naylor's GAMES makes US Premiere: https://www.youtube.com/watch?v=ETDfODJwlqg Games: A closer look: https://www.youtube.com/watch?v=iaVxi2yFSrg The Guardian: Nazi Germany's Jewish champion: the mystery of Helene Mayer endures https://www.theguardian.com/sport/2016/jul/28/helene-mayer-nazi-germanys-jewish- champion-fencer The Sydney Morning Herald: Gretel Bergmann, the world-class Jewish athlete Nazi Germany couldn't hold down https://www.smh.com.au/world/gretel-bergmann-the- worldclass-jewish-athlete-nazi-germany-couldnt-hold-down-20150408-1mgh22.html United States Holocaust Memorial Museum The Nazi Olympics : Berlin 1936 https://www.youtube.com/watch?v=gNKlxcqLKcM How to write a review: http://statetheatrecompany.com.au/content/uploads/2017/02/How-To- Write-a-Theatre-Review.pdf SoHo playhouse’s trailer on Henry Naylor’s Games: https://www.youtube.com/watch?v=ETDfODJwlqg

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Games

Subject Content Outcomes Stage 5 Stage 6 Stage 6 HSC General capabilities and Preliminary cross-curriculum English A. communicate EN5-1A responds to and composes EN11-1 EN12-1 through speaking, increasingly sophisticated and responds to and composes independently responds to and Critical and creative thinking listening, reading, sustained texts for understanding, increasingly complex texts for composes complex texts for writing, viewing interpretation, critical analysis, understanding, interpretation, understanding, interpretation, and representing* imaginative expression and pleasure analysis, imaginative expression critical analysis, imaginative Personal and social capability and pleasure expression and pleasure

D. express EN5-7D understands and evaluates the EN11-7 EN12-7 themselves and diverse ways texts can represent understands and explains the explains and evaluates the their relationships personal and public worlds diverse ways texts can represent diverse ways texts can with others and personal and public worlds represent personal and public their world worlds Drama Appreciating 5.3.1 A student responds to, reflects on and evaluates elements of drama, dramatic forms, performance styles, dramatic techniques and theatrical conventions.

5.3.2 A student analyses the contemporary and historical contexts of drama

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Critically Studying H3.1 critically applies P3.1 critically appraises and understanding of the cultural, evaluates, both orally and in historical and political contexts writing, personal performances that have influenced specific and the performances of others drama and theatre practitioners, styles and P3.2 understands the variety of movements influences that have impacted upon drama and theatre H3.2 analyses, synthesises performance styles, structures and organises knowledge, and techniques information and opinion in coherent, informed oral and P3.3 analyses and synthesises written responses research and experiences of dramatic and theatrical styles, H3.3 demonstrates traditions and movements understanding of the actor- audience relationship in P3.4 appreciates the contribution various dramatic and theatrical that drama and theatre make to styles and movements Australian and other societies by raising awareness and H3.5 appreciates the role of expressing ideas about issues of the audience in various interest dramatic and theatrical History Elective HTE4-3 sequences people and events HTE5-3 sequences major or heritage features, within specific historical events or heritage periods of time features, to show an understanding of continuity, HTE4-7 identifies and discusses change and causation different contexts, perspectives and interpretations of the past HTE5-7 explains different HTE4-9 uses a range of historical terms contexts, perspectives and and concepts when communicating an interpretations of the past understanding of the past HTE5-9 applies a range of relevant historical terms and concepts when communicating an understanding of the past

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