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Major Barbara STUDY GUIDE RESPONSE SHEET STUDY GUIDE 2005 CONTAINS ONTARIO CURRICULUM SUPPORT MATERIAL MAJOR BARBARA BY BERNARD SHAW Education Partner PRESENTS Major Barbara By Bernard Shaw This study guide for Major Barbara contains back- ground information for the play, suggested themes TABLE OF CONTENTS and topics for discussion, and curriculum-based lessons that are designed by educators and theatre professionals. The Players .............................................................3 The lessons and themes for discussion are organ- The Story ................................................................4 ized in modules that can be used independently or interdependently according to your class’s level and The Playwright .......................................................5 time availability. Director’s Notes ....................................................6 THIS GUIDE WAS WRITTEN AND COMPILED BY Production History................................................7 BARBARA WORTHY, DEBRA MCLAUCHLAN, AND DENIS JOHNSTON. ADDITIONAL MATERIALS Background: The Salvation Army .......................8 WERE PROVIDED BY JOSEPH ZIEGLER. Background: The Uniform ..................................9 COVER: DIANA DONNELLY AND BENEDICT CAMPBELL PHOTO BY SHIN SUGINO Background: Poverty in London ...................... 10 Classroom Application MAJOR BARBARA Before Attending the Play ............................11-17 Running time: 3 hrs 20 mins approx. After Attending the Play……………… 18-24 including two intermissions Glossary of Theatre Terms………………….25 Previews June 10 Response Sheet……………………………...26 Opens June 24 Closes October 29 For a calendar of performances visit: www.shawfest.com 2 The Players Lady Britomart Undershaft..................................................................Mary Haney Stephen Undershaft........................................................................ David Leyshon Morrison/Bilton..............................................................................Micheal Querin Barbara Undershaft........................................................................ Diana Donnelly Sarah Undershaft..........................................................................Charlotte Gowdy Charles Lomax.................................................................................... Evan Buliung Adolphus Cusins...................................................................................Ben Carlson Andrew Undershaft ..................................................................Benedict Campbell Rummy Mitchens...................................................................................Sharry Flett Snobby Price................................................................................... Andrew Bunker Jenny Hill ........................................................................................ Jenny L. Wright Peter Shirley............................................................................................. Jay Turvey Bill Walker....................................................................................... Patrick Galligan Mrs. Baines ....................................................................................... Patty Jamieson Army Members...................... Cathy Current, Evert Houston, Chilina Kennedy Directed by Joseph Ziegler Designed by Christina Poddubiuk Lighting Designed by Kevin Lamotte Musical Direction and Original Music by Allen Cole Stage Manager: Allan Teichman Assistant Stage Manager: Beatrice Campbell Technical Director: Jeff Scollon Production Stage Manager: Judy Farthing Costume Sketches of Adolphus Cusins and Barbara Undershaft by Christina Poddubiuk 3 The Story Bernard Shaw's Major Barbara has been called the the challenge. However, Undershaft believes that most controversial of Shaw's works, while also be- two things are necessary to salvation: money and ing recognized as a major work in the history of gunpowder. Love, truth, and mercy are the graces modern drama. of a "rich, strong, and safe life." And so Under- shaft plans to demonstrate his power over the As the play begins it is an evening in January 1906, Army in his effort to win Barbara over to his cause. in the library of Lady Britomart Undershaft. When her son Stephen enters, Britomart announces that Many of his plays are known for their involved ar- as a grown man, Stephen must now take charge of guments and Major Barbara is no exception. Shaw the family affairs, as neither of his two sisters are himself called the play "a discussion in three long capable, or in a position to do so. Sarah has be- acts," and much of the play's action consists, in come engaged, but cannot guarantee any money fact, of words. When the play was published in for years, and Barbara, the most promising mem- 1907 Shaw added, as with many of his works, a ber of the household, has joined the Salvation lengthy preface, contributing further discussion Army and taken up with a tempestuous Greek about the play itself. scholar, Adolphus Cusins.. Lady Britomart cannot In addition, the play is noted for its unconven- avoid the topic any longer— she must speak of tional attitudes toward morality as well as its irony the children’s father, the great military industrialist and humour. Issues of wealth and poverty, busi- Andrew Undershaft. ness and religion, cynicism and idealism are seri- Some time ago, perhaps 20 years, Undershaft and ously examined within the play, but it is sometimes his wife had separated. The cause of this was that easy to overlook the fact that Major Barbara is also a he made it clear that he would never pass on the comedy, albeit a very practical one. Shaw uses the business to his (then-infant) son, Stephen. The rea- play to entertain his audience, to make people son was the Undershaft family tradition: through laugh, while focusing on issues that are as impor- generations of armourers and now artillery manu- tant today as they were when the play was first facturers, the business had always been deeded to written. a “foundling” - that is, an orphan, one who was Shaw's seeming criticism of Christianity caused perhaps abandoned (“found”), and likely born out some to accuse him of blasphemy, while others of wedlock. To Lady Britomart, legitimacy was up- defended what they saw as Shaw's realistic presen- permost, and so was “primogeniture”, the system tation of religion. Critics complained about the vio- of passing on an estate to the eldest son. And so lence of the play, particularly in the second act, say- they separated. But now she is in financial need, ing it was so excessive as to be beyond realism. and so she has invited Andrew to visit with the in- Others disagreed, saying the depiction of violence tention of asking him for a substantial contribu- was perhaps unrealistic only in the fact that it was tion. The family is summoned to the library and subdued. informed of her plans. Barbara is amused and ex- pectant; she decides that her father, after all, has a Despite the opinions of critics the play was an soul to be saved like everyone else, and, as a Major overwhelming success with the public, and remains in the Salvation Army, she determines to take up so today. 4 The Playwright: George Bernard Shaw 1856 -1950 George Bernard Shaw, born in Dublin in 1856, drama critic and to make his living solely as a play- began his writing career as a novelist and journalist, wright. but gained his great fame as a playwright. Most In 1898 he married Charlotte Payne-Townshend, people consider Shaw the second-greatest play- an Irish heiress whom he had met through his Fa- wright in the English language, after only Shake- bian friends Beatrice and Sidney Webb. speare. Although Shaw’s plays were not popular initially, in Growing up in Dublin, Shaw developed a wide the period 1904-07 he began to reach a larger audi- knowledge of music, art and ence through an influential series literature under the influence of of productions at London’s Royal his mother, a singer and vocal Court Theatre. His plays became music teacher. At age 20 he known for their brilliant argu- moved to London, where he ments, their wit, and their unre- spent his afternoons in the Brit- lenting challenges to the conven- ish Museum and his evenings tional morality of his time. Among pursuing his informal education his plays presented there were the by attending lectures and de- premieres of John Bull’s Other Island bates. He declared himself a (1904), Man and Superman (1905), socialist in 1882 and joined the Major Barbara (1905) and The Doc- new “Fabian Society” in 1884. tor’s Dilemma (1906). His best- Soon he distinguished himself known play, Pygmalion, was first as an effective public speaker, performed in 1913. Two genera- and an incisive and irreverent tions later, it attained even greater critic of music, art and drama. fame as the musical My Fair Lady. Shaw’s first play, Widowers’ During World War I, Shaw’s anti- Houses, was produced at a pri- Bernard Shaw: 1905 war speeches and a controversial vate theatre club in 1892. It was followed by The pamphlet entitled Common Sense About the War Philanderer and Mrs Warren’s Profession. These three made him very unpopular as a public figure. In plays were published as Plays Unpleasant (1898). Heartbreak House (performed 1920) Shaw exposed, More palatable, though still rich with challenges to in a country-house setting, the spiritual bankruptcy conventional middle-class values, were his Plays of the generation responsible for the carnage. Next Pleasant published the same year: this volume in- came Back to Methuselah (1922)
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