Three Men Study Guide May 9 Final 4

STUDY GUIDE 2004 CONTAINS ONTARIO CURRICULUM SUPPORT MATERIAL THREE MEN ON A HORSE by John Cecil Holm and George Abbott Education Partner PRESENTS Three Men on a Horse by John Cecil Holm and George Abbott This study guide for Three Men on a Horse contains back- ground information for the play, suggested themes and topics for discussion, and curriculum-based lessons that are designed by educators and theatre professionals. TABLE OF CONTENTS The lessons and themes for discussion are organized in mod- ules that can be used independently or interdependently ac- cording to your class’s level and time availability. The Players ..............................................................................3 The general information is on white paper and the lessons are on green. Running Time .........................................................................3 The Authors ........................................................................4-6 THIS GUIDE WAS WRITTEN AND COMPILED BY DENIS Director’s Notes .....................................................................7 JOHNSTON, DEBRA MCLAUCHLAN, AND BARBARA WOR- The Story .................................................................................7 THY. ADDITIONAL MATERIALS WERE PROVIDED BY SIMON BRADBURY, JIM MEZON, AND CAMERON PORTEOUS. The Characters ........................................................................8 Essay.........................................................................................9 Classroom Application Before Attending the Play .............................................10-16 THREE MEN ON A HORSE After Attending the Play................................................17-19 Previews April 24 Opens May 8 Glossary of Theatre Terms…………...………………...21 Closes October 29 Response Sheet………………………………………..22 For a calendar of performances check: www.shawfest.com 2 The Players Audrey Trowbridge ..........................................................................................Catherine McGregor Erwin Trowbridge ........................................................................................................Kevin Bundy Clarence Dobbins ............................................................................................... Douglas E. Hughes Tailor/Delivery Boy/Al...................................................................................................... Al Kozlik Harry.................................................................................................................................Peter Millard Charlie ..................................................................................................................................Peter Hutt Frankie .................................................................................................................................Jeff Lillico Patsy............................................................................................................................Simon Bradbury Mabel.............................................................................................................................Glynis Ranney Moses..............................................................................................................................Kevin Dennis Gloria Gray........................................................................................................................Jillian Cook Hotel Maid....................................................................................................................Darcy Dunlop Mr. Carver................................................................................................................ Anthony Bekenn Directed by .........................................................................................................................Jim Mezon Designed by.......................................................................................................... Cameron Porteous Lighting designed by.................................................................................................Louise Guinand Running Time APPROX. 2HRS. 45 MINS INCLUDING TWO INTERMISSIONS Production History Three Men on a Horse opened on Broadway in January 1935 and ran for over 800 performances. A durable classic of the American theatre, it has enjoyed three Broadway revivals, including one in 1993 that starred television’s “odd couple,” Tony Randall and Jack Klu- man. It also appeared on Broadway as the musical Let It Ride (1961). Costume sketch for Mabel by Cameron Porteous Costume sketch for Audrey by Cameron Porteous 3 “Mister Abbott” and the Midas Touch George Abbott 1887-1995 Excerpts from the programme essay written by Don B. Wilmeth for the Shaw’s 2004 production of Three Men on a Horse Everyone called this theatrical giant, now a Broadway legend, not unusual for Abbott to have three hits running on Broad- “Mister Abbott” -- even Presidents of the United States, and way simultaneously; twice (in 1934 and 1939) he directed five the name will remain a prominent one in U.S. theatrical circles different Broadway plays that opened in the same year. It is a for many reasons. Even if his theatrical accomplishments are telling statistic that during an extraordinary fifteen-year partially forgotten, which is doubtful, his name certainly will be stretch (1948-62), Abbott shows won forty Broadway Tony remembered because annually the awards, including five for himself (as Society of Stage Directors and Chore- author, director, or both). He was an ographers bestows an honour called indefatigable worker. He would return the “Mister Abbott Award” on an home from a rehearsal of one show to exceptional New York stage director. rewrite another; he would frequently leave the rehearsal of one musical to If you’ve done your math correctly, cast another. Yet he was always mind- you have no doubt noted that George ful of living a balanced, abstemious Francis Abbott, who as an actor, first life. opened on Broadway in 1913, playing a drunken collegian in Misleading Lady, In the mid-1930s Abbott collaborated and didn’t quit until the mid-1990s, with an actor named Cecil Holm who died at age 107! Up to 1987 his name had written a comedy called Hobby appeared prominently on theatre pro- Horses. It lacked structure and, as Ab- grammes for more than 120 produc- bott later confided, was without a tions. (In 1994, a year before his suitable last act. Warner Brothers death, he attended pre-Broadway re- studios promised to back the project hearsals for the revival of Damn Yan- if it could be properly written and kees, which he originally directed in directed; in stepped “Mister Abbott.” 1955). In his autobiography Abbott writes “I George Abbott could see very clearly what was Abbott’s protean presence was felt as needed. The notion that a little greeting-card writer could tell an actor, writer, producer, director, and play doctor, for he by intuition what horse would win a race had to be carried on possessed the rare talent of making many a faulty script work. to its extreme, to be blown up like a balloon; but at the same Indeed, this magic touch - one might even say a midas touch - time it had to be logical enough for the audience to accept it. seemed to apply to any theatrical job he accepted. Certainly his I thought of a way to do this and began work immediately.” talent as a theatre director was known by all as the “Abbott Abbott also thought up the title of Three Men on a Horse, re- touch,” which, as one writer explains, was an uncanny ability to placing Holm’s Hobby Horse. The play, despite a slow start, keep his shows spinning at a brisk clip, although Abbott him- turned into a major Broadway success, soon with three road self downplayed this successful directorial technique, claiming companies and a London production. that all he did was to drill his actors to “say their final sylla- bles.” In truth, this touch also meant bringing to the table taste, The Broadway production also established Abbott’s reputa- artistic judgment, and a sure sense of “size” - how much to do tion for excellence in casting and for discovering new, out- and when to stop. The result of his “touch” was extraordinarily standing talent. In this production the great Sam Levene ap- successful, especially when faced with a vehicle, like Three Men peared as the head gangster Patsy (one of three diehard gam- on a Horse, that was a farcical exploration of a fantasy. It was blers “on a horse”); Shirley Booth had one of her early lead- 4 “Mister Abbott, continued ing roles, the tough moll Mabel; and Garson Kanin, later the New Jersey nightclub. How typical. And yet how anomalous, the author of such well-knows plays as Born Yesterday, served for Abbott, at 6’ 3”, was a lanky austere presence with sur- as an assistant director to Abbott and played Al, the photog- prisingly puritanical habits for someone in show business. He rapher. Abbott later confessed to having had a “Pygmalion looked more like a preacher or a banker than a flamboyant complex,” with a clear preference for working with young, theatre director or producer. It was often suggested that he unknown actors. “You’re always better off if you can do was the most tightfisted man in the theatre. Regardless, the without a star,” he once stated. “Besides saving money, it history of Broadway - and especially the heyday of the Ameri- saves wear and tear on the nervous system.” can musical - thanks to the unstinting energies, optimism, and contributions of “Mister Abbott”, is in many

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