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Home , John Caird (director)

Performance Study Guide FOR SCHOOLS

Book and Additional Lyrics by John Caird Music and Lyrics by Paul Gordon Based on the novel by Charlotte Brontë

TheatreWorks for Schools X Study Guide for

FOR SCHOOLS THE MUSICAL

Created by TheatreWorks www.theatreworks.org March 2003

What to bring to the About Student Matinees theatre— he Matinees will begin at 11:30 AM on April 30th and May 1st, 2003 at the Mountain View Center for the Performing Arts. The show runs Introspection T approximately 2 hours and 45 minutes with one intermission. Curiosity The post-show discussion with actors typically lasts 30 minutes. Student Questions audiences are often the most rewarding and demanding audiences that an acting ensemble can face. Since we hope every show at TheatreWorks will Respect be a positive experience for both audience and cast, we ask you to familiarize An open mind your students with the following theatre etiquette.

What to leave behind— When the performance is about to begin, the lights will dim. This is a signal for the actors and the audience to put aside concerns and conversation and settle Judgements into the world of the play. Cell phones, etc. Backpacks The performers expect the audience’s full attention and focus. Performance is a a time to think inwardly, not a time to share your thoughts aloud. Talking to neighbors (even in whispers) carries easily to others in the audience and to the actors on-stage. It is disruptive and distracting. For the Teachers There is no food in the theatre: soda, candy and other snacks are noisy and, Live theatre offers students an therefore, distracting. Please keep these items on the bus or throw them away opportunity to experience new ideas, before you enter the audience area. There are no backpacks in the theatre. challenge the status quo, and Walking through the aisles during the performance is extremely disruptive. discover people previously unknown Actors occasionally use aisles and stairways as exits and entrances. The actors to them. It is our hope that this study will notice any movement in the performance space. Please use the restroom guide will help your students get the and take care of all other concerns outside before the show or at inter- most out of their TheatreWorks mission. matinee. Among the things you will find in this study guide are: Pagers, watch alarms and other electronic devices should be turned off before the performance begins. When watch alarms, cell phones and pagers go off it is • Vocabulary & Reference Materials very distracting for the actors and the audience. • Plot Synopsis • Historical background There will be a brief informal discussion with the cast immediately following the • Student preparation activities performance. Students will get a chance to ask questions they had while watch- ing the production. If you would like additional information, contact Mary Sutton, We would like to reiterate that attending a live performance is a time to sit back Director of Education at and look inward, question for yourself what is being presented to you and be 650.463.7134, curious about worlds that are different than yours. As theatre artists we [email protected]. approach our audiences with respect and expect the same in return. We look forward to seeing you and your students at the theatre. REMEMBER: NO BACKPACKS IN THE THEATRES

TheatreWorks for Schools 1 A MESSAGE TO OUR TEACHERS

eptember 11, 2001—a turning point in history! As the shock wore off and the devastation settled, each of us emerged, transformed by the tragedy, Ssearching for answers to new questions about the purpose and connect- edness of our lives. This is equally true of our education department at heatreWorks would like to thank our TheatreWorks: What is the goal of our work in our community? TheatreWorks for Schools partners whose Tfinancial support enabled us to bring our If looked up in a thesaurus, community yields rich ideas like public, society, vision to over 15,000 students throughout and affinity. For me the one that stands out is fellowship, a concept I believe is Silicon Valley and the San Francisco Bay Area also at the root of theatre. The very act of bringing human beings together, as during the 2001-2002 school year. the theatre does, articulates the fundamental connection that binds one person to another. At no other time in my career was this more evident than the days Government Support California Arts Council and weeks after 9/11. We gathered in theatres for fellowship, hoping to con- struct meaning through the sharing of our stories. Foundation Support Air Systems Foundation, Inc. Today our communities are swamped with so much information technology that Arrillaga Family Fund some develop a sense of apathy and powerlessness. Yet stories about specific Charter Oak Foundation Community Foundation Silicon Valley individuals and their situations, shared through the theatre, usually have the William & Charlene Glikbarg Foundation opposite effect. By giving unwieldy problems a human face, they also bring Richard and Rhoda Goldman Fund those problems down to a human—and thus manageable scale. They let us The Grove Foundation glimpse the lives of those older or younger, richer or poorer, of different races, The Michelson Foundation or from places we'll never even see. They give us images for what is truly Palo Alto Community Fund Palo Alto Weekly Holiday Fund worth seeking, worth having, worth doing. The theatre can show us the links Public Welfare Foundation between our choices and their consequences, and it can train our sight to see Rathmann Family Foundation in new ways. The Sand Hill Foundation The Sequoia Trust Fund of the San Francisco This is the goal we embrace—to create images for students of all ages to Foundation VanLobenSels/RembeRock Foundation decipher the world and its complexities to help create healthy or healed or informed citizens. In large part that was the theme for TheatreWorks for Corporate Support Schools this year. Adaptec, Inc. Alza Corporation Traditionally, theatre education programs such as ours are formed to fill in the Applied Materials Foundation Bank of America Foundation gaps where public arts-in-education budgets have been cut. While we embrace Cisco Systems Foundation the opportunity to develop the audiences of tomorrow by exposing students to SBC our art, and hope they will develop a lifelong habit of attending theatre, as this Synopsys, Inc. year unfolded, I saw that we were doing much more. We were exposing young Washington Mutual audiences to a forum for understanding history, cultural legacies, and their own Individual Support emotions through meaningful works of art. By providing a focal point for per- Bill & Marsha Adler, Jean Bagileo, Gene & Marah sonal and intellectual investigation we were creating stronger individuals, more Brehaut, Bob & Maggie Cant, Malcolm Cohen & likely to give back to our culture in significant ways. Suzana Gal, Claudia Coleman, Chris Compton, Bob Crowe, Jane & Tony Cuneo, Kathy & Jim What a profound way to celebrate the potential of the human spirit. Danaher, Jennifer & Rick DeGolia, Brad & Pam Ehikian, Rebecca Follo & Tom Bentley, Sally J. Fong Family Fund, Diane & Bob Frankle, Terry & Carolyn Gannon, Rosie & Bill Garlock, Susan Gellen & Thom Bryant, John & Marcia Goldman, Robert Kelley Robert Horstmeyer, Betty and Bob Joss, Julie Kaufman & Wally Niemasik, Tom & Sharon Kelley, Gail & Fred Kittler, John Lerch, Susan & Dick Levy, Mac & Carol MacCorkle, Henry Massey & Amie Chang, Linda McPharlin, Kathy Kennedy & Dave Miller, Nicola Miner & Robert Anderson, Patricia McClung & Allen Morgan, Special thanks to Andy and Debbie Rachleff & John P. Morgridge, Nancy Mueller, Bob Rodert & Beverly Klitz, Susie & John Roos, Stuart Frank and Denise Quattrone for providing funds Rosenberg, The Rosewood Foundation, The Ralston School, Ron & Lila Schmidt, William J. to produce this study guide and our production Schroeder, David & Andrea Shearn, Grayson S. Taketa, Terri & Joseph Tiffany, Ann & Neil Wolff, of Jane Eyre, The Musical and Jean Young.

TheatreWorks for Schools 2 2003-2004 Season

PROOF THE FOURTH WALL A Brilliant Contemporary Play A Dizzying Satirical Delight By David Auburn By A. R. Gurney The first unforgettable play of the millennium, Proof is a rivet- This recent off-Broadway hit skewers the rightward march of ing masterpiece. A compelling tale of a faded mathematical the nation in a delicious satire of both art and politics. Buoyed genius and his damaged but brilliant daughter, it is a mystery by the bright songs of Cole Porter, A. R. Gurney’s delightfully of family instability and fledgling romance, an exhilarating, devious comedy demolishes the boundaries between actors and funny, and fulfilling tribute to the humanity that permeates our audience to tell the tale of a frazzled Connecticut housewife world of numbers, equations, equivocations, and codes. who rebels against the complacency of her friends, her mar- Contains mature language. “Rich and compelling. Full of riage, her government, and eventually even her furniture! life, laughter and hope.”—New York Daily News “Clever, sophisticated…and deliciously devious.”—The June 18–July 13, 2003 | Mountain View Center New York Times December 3–28, 2003 | Lucie Stern Theatre

BAT BOY THE MUSICAL MEMPHIS Good to the Last Bite Book by Keythe Farley and Brian Flemming A Riotous Rock ’n’ Roll Musical Music and Lyrics by Laurence O’Keefe Book and Lyrics by Joe DiPietro | Music by David Bryan Somewhere between Everything’s Ducky and Little Shop of World Premiere Horrors you’ll find Bat Boy, a wacky new musical with both We’re talkin’ downtown, down-home Memphis of the ’50s. tongue and fang set firmly in cheek. The tale of a strange boy Rock ’n’ roll is taking over the airways, Elvis is a wannabe, and discovered in a West Virginia cave, this off-the-wall winner a downright demented deejay named Dewey is spinning the blends wit, irony, and intelligence in a feast of the imagination. music of black and white America together for the first time. Mixing rock, Broadway, gospel, and country styles, this From the author of Over the River and Through the Woods and exuberant hit combines campy fun with compelling comedy. the composer-keyboardist of Bon Jovi comes a rafter-rattling You’d be batty to miss it! “Big laughs! It’s remarkable what musical comedy that immortalizes the man who gave rock its intelligent wit can accomplish.”—The New York Times original roll. Deeeegaw! July 16–August 10, 2003 | Lucie Stern Theatre Co-produced with North Shore Music Theatre January 21–February 15, 2004 | Mountain View Center NICKELAND DIMED ALL MY SONS A Discovery of America By Joan Holden A Drama for All Time Based on Barbara Ehrenreich’s Nickel and Dimed: By Arthur Miller On (Not) Getting By in America One of America’s greatest dramas, the impassioned, homefront When a prominent journalist went “underground” in working saga of a family struggling with its wartime secrets still res- class America, she asked: “can anyone survive on the mini- onates today. An award-winning revival at London’s National mum wage?” The answer, learned on the job from waitresses, Theatre, this intense, compelling tale of love, greed, and per- salesclerks, and housemaids across the country, became a run- sonal responsibility centers on the family of an airplane parts away bestseller. Mixing irrepressible humor, lively music, and a manufacturer whose profiteering may have compromised his own wealth of colorful characters, this wonderfully theatrical adap- son, a pilot missing in action.“A searing realization that the tation is an insightful, compassionate odyssey into America’s larger human family also matters.”—The Los Angeles Times heart. “Amusing and provocative.”—The Seattle Times March 3–28, 2004 | Lucie Stern Theatre Co-produced with BRAVA! For Women in the Arts September 3–28, 2003 | Mountain View Center MY ÁNTONIA A Tribute to the American Spirit A LITTLE NIGHT MUSIC By Scott Schwartz A Seductive Musical Masterpiece Adapted from the novel by Willa Cather Music and Lyrics by Stephen Sondheim | Book by Original Music by Stephen Schwartz Suggested by the Ingmar Bergman film Smiles of a Summer World Premiere Night One of America’s greatest novels comes to life in this boldly An enchanting waltz by moonlight, Sondheim’s most beautiful theatrical portrait of an immigrant girl whose passion and musical celebrates every possible nuance of love, from the resilience define the pioneer spirit. Boasting a boisterous tender blossoming of inexperience to the startled rekindling of onstage band and glorious underscoring by Academy Award- long-forgotten passion. Seductively set amidst the art nouveau winning composer Stephen Schwartz, this coming-of-age swirls of the belle époque, its compassion, humor, and heart drama relives the joys and hardships of the Nebraska frontier sweep lover and loner alike into a daring, innovative evening of at century’s end, discovering in the process the heart of glorious music and sensuous romance. “Civilized, sophisti- the American character. “No romantic novel ever written in cated and enchanting.”—The New York Times America…is one half so beautiful.”—H. L. Menken October 8–November 2, 2003 | Mountain View Center March 31–April 25, 2004 | Mountain View Center A return to nature and the belief in the goodness of humanity. Romanticism The exaltation of the senses and emotions over reason and intellect.

he Romantic Movement began with the French Revolution and was a She Walks In Beauty Trevolt against the rigid rules of classicism. In England, the beginning is by Lord Byron dated from the publication of Lyrical Ballads by William Wordsworth and Samuel She walks in beauty, like the night Taylor Coleridge in 1798. The movement continued through the first half of the Of cloudless climes and starry skies; 19th century. And all that's best of dark and bright Meet in her aspect and her eyes: The Main Principles of Romanticism Thus mellow'd to that tender light Which heaven to gaudy day denies. A return to nature and the belief in the goodness of humanity. One shade the more, one ray the less, The exaltation of the senses and emotions over reason and intellect. Had half impair'd the nameless grace Which waves in every raven tress, In Literature: Or softly lightens o'er her face; Where thoughts serenely sweet express Romanticism in literature was first visible in poetry. Poets such as Lord Byron How pure, how dear their dwelling- (see side bar), Percy Shelley, John Keats and William Cowper, focused on the place. individual and the poet's personal reaction to life. Poetry became less flowery and more concentrated on personal feelings as a simplification. And on that cheek, and o'er that brow, So soft, so calm, yet eloquent, In the novel, romanticism brought the introduction of the Gothic romance and The smiles that win, the tints that glow, the historical novels of Sir Walter Scott. Gothic romances focused on the But tell of days in goodness spent, mystery and adventure of the medieval period clearly seen in the works of Ann A mind at peace with all below, Radcliffe (Mystery of Udolpho) and Mary Shelley (Frankenstein). Jane Eyre has A heart whose love is innocent! been said to have been a work influenced by Gothic Romanticism. CONNECTIONS In the Visual Arts: Ask students to read the poem by Lord Romantic painters emphasized Byron. Silently have them write the emotion and imagination over answers to the following questions. rationality and the individual over - What is the poem about? society. Most of these painters were - How does the poet feel? French. English romantic painting - How does the poem make you feel? tended to be mostly of landscapes Share answers aloud. like the paintings of Joseph Mallord William Turner and John Constable. Look at the principles of Romanticism. Does the painting fit with the principles? CONNECTIONS Ask students to view the painting by Caspar David. (If possible, have art Other novelists, poets, playwrights and books with a colored copy available or artists of the Romantic Period: a color transparency) Silently have them write the answers to the following Jane Austen (1775-1817) questions. Pierre Augustin Caron de Beaumarchais (1732-1799) - What do you see? William Blake (1757-1827) - What do you think the man is thinking Thomas Chatterton (1752-1770) about? How does he feel? Samuel Taylor Coleridge (1772-1834) - How does the painting make you feel? John Constable (1776-1877) Maria Edgeworth (1767-1849) Share answers aloud. The Wandering Over the Sea of Oliver Goldsmith (1730-1774) Clouds was painted in 1818 by Look at the principles of Romanticism. John Skinner (1721-1807) Caspar David. Does the painting fit with the Joseph Mallord William Turner principles? (1775-1851)

TheatreWorks for Schools 4 Charlotte Brontë

he Brontë family of Haworth, England, boasted three daughters who published Tnovels of lasting value, despite humble surroundings and tragic lives. Charlotte was born in 1816, the third of six children of Patrick and Maria Brontë. When Charlotte was four, her father became the rector at Haworth in northern England and the family moved there from another part of Yorkshire. Within a year, their mother died of cancer, leaving Patrick to raise five daughters and a son.

The children were educated at home, until their father sent the oldest children (Elizabeth, Maria, Charlotte and Emily) to the Clergy Daughters’School at Cowan Bridge, known for providing a good education at an inexpensive price. But, the teachers proved to be severe, the food virtually inedible, and the conditions nearly unlivable. Elizabeth and Maria contract- ed consumption (tuberculosis) and died, the school was racked by a Typhus epidemic, and the younger girls were miserable. It was this year that became the basis for Jane Eyre's experiences at Lowood School.

Charlotte and Emily returned home until 1831, reading widely and writing literally thousands of pages with their brother Branwell and sister Anne about the imaginary kingdom of Angria, which they created. Charlotte's father knew she would have to support herself, which meant either working as a teacher or a governess—those being virtually the only "respectable" occupations for women. She was sent to school again, this time with better results, eventually becoming a teacher at Roe Head School.

In 1838 Charlotte resigned her position at the school and returned home. She stayed with her family for three years and, in 1842, she and Emily went to Brussels for further study. During her stay, Charlotte became emotionally, though not romanti- cally, attached to the head of the school, finding him intellectually stimulating. His wife did not approve, however, and Charlotte returned to Haworth once more, Emily having returned the previous year.

Emily and Charlotte tried to start a school of their own after Charlotte's return, but could find no pupils. The three surviving girls, Emily, Anne, and Charlotte, then paid to publish a book of their own poems under the pseudonyms Currer (Charlotte), Ellis (Emily), and Acton (Anne) Bell. The book sold only two copies, but the women were not deterred.

The same year, Charlotte attempted to publish a novel, The Professor, with no success. She then began to write Jane Eyre. She completed the book in five months, and it was published the following year (1847), still under the pseudonym Currer Bell. It was so successful it was reprinted twice in six months. The same year saw Emily publish Wuthering Heights, while Anne's The Tennant of Wildfell Hall came out in 1848. The thrill of success did not last long, however, as both Emily and Branwell died in 1848—Emily of consumption and Branwell of the effects of drink and drugs. Anne died the following year, also of consumption, leaving Charlotte and her father the only surviving members of the family.

Charlotte published her final novels in 1849 (Shirley) and 1853 (Villette). She married the curate of her father's parish, Arthur Bell Nicholls, in 1854, but did not survive her pregnancy the following year. Her first novel, The Professor, was the last to be published, appearing in 1857, the same year as her first biography, Life of Charlotte Brontë by Elizabeth Gaskill. In the end, the father Patrick outlived his children, but the legacy of his Brontë family lives on in the seven remarkable nov- els written by Charlotte, Emily, and Anne.

TheatreWorks for Schools 5 From Book to Musical

he musical Jane Eyre took The piece received its first work- shape in the hands of Paul shop at , VOCABULARY TGordon and John Caird over seven New York, in 1994 turning Gordon's Looking up these words will give your years. It began with Gordon, who computer recordings into live students the flavor of the Romantic time had previously written music and performances. This brought radical period. Split this list between groups of lyrics for Greetings from Venice changes, which continued through students and instruct them to do an inter- Beach (1992) and composed the second workshop in Wichita, net or dictionary search. Challenge them numerous award winning pop songs Kansas the next year. Costumes to re-write definitions in their own words. including "Next Time I Fall" and and scenery were added and the "Friends and Lovers". In the early piece began to take shape. 90's he picked up several classic Aesthetics Elf The show was ready for its world novels in an airport looking for Appraise Exile premiere. The production at the material for a new musical. He Royal Alexandria Theatre in Toronto Arpeggios Festoons started with Jane Eyre and said, was wonderfully received by Auspicious Frock "by page ten I was weeping. I enthusiastic audiences, but Glen could barely restrain myself from Avaricious changes were obviously warranted. writing music then and there." He Bach Governess After Toronto, Gordon, Caird, and completed the first draft and Battlements Groom new co-director Scott Schwartz, recorded a demo which lead to an worked vigorously on rewriting the Benefactress Grudge introduction to John Caird just over musical. Until this point, the show Blighted Gypsy a year later. had been completely sung Bourdeaux Hack Caird is best known for his through— there was no dialogue Brass Impediment co-direction and adaptation of Les that was unaccompanied by music. Infirmary Miserables, but he has directed Some music was removed, scenes Butler many shows including productions were added (book written by Caird) Cadence Innuendo at the , the and characters were combined. Cadenza Insipidly Royal Shakespeare Company, and Three years later the rewritten ver- Cajoled Kinship several Broadway shows. He won sion was introduced at the La Jolla Leer for best director for Playhouse in California and this it Cardinal sin both The Life and Adventures of time was Broadway bound. Casement Lilting (1986) and Les Charade Linnets After almost seven years, Jane Miserables (1987) and has written Madeira Eyre opened on Broadway at the Chasten new versions of The Beggar's on Commandment Manor Opera, Peter Pan and the musicals December 10, 2000, running for Martyr Children of Eden and Conjugal 210 performances. The show was (which also earned him a 2000 Constitution Masquerade nominated for five Tony Awards in Olivier Award for best director). He Missionary 2001 including Best Musical, Best Crag listened to Gordon's demo of Jane Book (John Caird), Best Original Curate Moors Eyre and, as Gordon has said, Score (John Caird and Paul Mountain Eagle "[Caird] leafed through the script, Denounced Gordon), Best Actress (Marla corrected my spelling, pointed out Dependent Mozart Schaffel), and Best Lighting which words did not exist in the Depraved Parfait Designer (Jules Fisher and Peggy 19th century and from there, it just Parquetry Eisenhauer). It also received three Desolate got better." He and Gordon worked Outer Critics Circle Award nomina- Destitute Peevish for the next two years further tions in 2001, Persecution developing the show from Gordon's Droll including Outstanding Broadway first draft. Dungeon Perverse Musical. TheatreWorks is proud to Pestilence present the first production of Jane Eclipse Eyre following its New York debut.

TheatreWorks for Schools 6 Plot Summary

Act 1 Vocabulary continued The story begins with an older Jane in narration. Young Jane, an orphan, lives with Philanthropist Mrs. Reed, the widow of her maternal uncle. Mrs. Reed and her son treat Jane with cruel contempt. She is sent away to Lowood, a bleak charity school run by the brutal Physiognomy Mr. Brocklehurst (The Orphan). Plague Life is harsh at Lowood (Children of God), but here Jane meets fellow-student, Helen Poise Burns, from whom she learns the virtues of forgiveness and faith (Forgiveness). Propensities Jane grows up to become a teacher at Lowood. She advertises for a position and is Purge offered employment by Mrs. Fairfax, housekeeper of Thornfield Hall (Perfectly Nice) Quaint as governess to Adele Varens, young ward of the absent master of Thornfield, Quell Edward Fairfax Rochester. Rembrandt Rochester returns to Thornfield and questions Jane about her past. As the weeks go Reverence by, he begins to reveal some of his own secrets (As Good As You). Despite his gruff Rock of Ages and cynical manner, Jane finds herself drawn to him. A fire in the house leads her to Rooks suspect that Thornfield and its master harbour a dark secret. Sage Jane is beginning to fall in love with Rochester when she learns that he plans to Salon marry the beautiful, wealthy Blanch Ingram. When Blanche arrives with her family and friends for an extended stay (The Aristocrats Arrival), Jane paints portraits of Salvation herself and Blanche (Painting Her Portrait) as a reminder to herself of her lowly Schumann station in life and of the unbridgeable gulf between Rochester’s world and her own. Slander The visit of a mysterious stranger, Richard Mason, intensifies Jane’s curiosity about Sorceress the secrets of Rochester’s life. Both Jane and Rochester admit privately to their Solace growing love for one another (Secret Soul). Stallion Station Act 2 Staunch Rochester’s aristocratic friends remain in the house, now bored and listless. A gypsy Steward comes to tell the fortunes of the young women in the house, including Blanche and Strap Jane (The Gypsy). Tempered Blanche leaves abruptly when the gypsy tells her Rochester has no fortune. Temptation Rochester declares his love for Jane and asks her to marry him (The Proposal). Mrs. Terse Fairfax initially opposes the match, but is won over (Slip of a Girl). Thorntrees On the day of the wedding, Jane’s happiness is shattered when the secret of the Thrushes house is finally revealed. Unable to proceed with the marriage, Jane flees Thornfield Torrid and Rochester mourns her departure (Farewell, Good Angel). Days later, Jane is Trills rescued, sick and starving, on the moors by a young pastor, St. John Rivers. Typhus Jane is brought to the bedside of the dying Mrs. Reed, where she learns that she has a paternal uncle who has been trying to find her to adopt her. After Mrs. Reed’s Van Dyke death, St. John and Jane grow closer and he asks her to marry him and go with him Vault to India, as a missionary. Jane does not love him but is about to accept when she Vow hears the voice of Rochester calling her across the miles of desolate moorland that Wanderlust separate them (The Voice Across the Moors). She hurries back to Thornfield to find Ward the house a ruin, destroyed by fire. Rochester, in attempting to rescue those in the house, has been blinded. Jane finds him living at nearby Ferndean Manor. The West Indies lovers are reunited, never to part again (Brave Enough for Love). Yorkshire

Please Note: song titles appear in parentheses

TheatreWorks for Schools 7 The Social Hierarchy

child born into English society during the 1800s encountered a world in which fate and social des- tiny were largely predetermined. Large gaps separated the classes and moving from one to anoth- erA was nearly impossible and socially unacceptable. Even though 19th century fiction featured characters like Pip (in Dickens’Great Expectations) or Jane Eyre, who were released from the confines of their social class by a generous benefactor or a long lost relative's bequest, such situations were rare. For most, the course of their lives, from the professions they could enter to the status they might acquire, was directly dependent on the social class of their birth. When Jane Eyre was orphaned and left penniless, her aunt and uncle took her in, though they were under no obligation to do so. Once grown, her poverty meant that she could expect no male suitors and thus no financial security. A woman of Jane's social posi- tion had only two respectable options: working as a teacher or a governess. In becoming a governess at Thornfield Hall, Jane mirrored the experience of Charlotte Brontë herself and over 21,000 registered governesses at the time. A governess lived a mostly solitary life in the home of her employer but was neither a servant nor a member of the family. She would often be as educated as her employers and from a similar social class; but because she was paid a salary, she was perceived as a servant. (For more on servants, see page 10.) The masters of these great houses, like Rochester, were born into aristocratic land owning families, and were gentlemen by right of birth. Although titles were important, land was the single most important indicator of a family's wealth and status, and often a family with large landholdings and a distinguished family name, like Rochester's, would supersede the status of titled families. Regardless of title, the first born son was the most privileged of the children, the one entitled to inherit virtually all the family wealth and property. Younger sons were given an allowance because they only inherited the family land if their older brother died. Their social position was negatively affected by their lack of tangible wealth. Daughters of aristocratic families were in a worse position as they could never inherit land and were merely given small, yearly annuities. (For more on the status of women during this time period, see pages 11-12.) The social strata beneath the nobility and great landowners of England consisted of squires, knights, and some clergy with smaller properties. The character of St. John, like Charlotte Brontë's own father, was a member of the clergy. As a curate, St. John was a full-fledged clergyman but lacked a parish of his own. This meant he would assist a clergyman who owned a "living," as a parish was often called and was, therefore, considered middle class. This rigid structure of the social classes prevailed throughout the 1800s. Although the advent of the Industrial Revolution lent shape to an emerging middle class and promised the possibility of upward mobility, most people remained hemmed in by their social rank. Charlotte Brontë's Jane Eyre, published in the middle of the century sought to change these firmly entrenched attitudes regarding class. As a critique of the intransigent nature of 19th century class distinctions, Jane Eyre suggested an equality of intellect and social ranking between men and women despite social background and personal wealth - a petition which remained unheeded by society for years after it was published. (See chart on the following page.)

TheatreWorks for Schools 8 The Social Hierarchy

s detailed in the article on page 8, the societal structure during the CONNECTIONS A early 1800’s was very rigid and for the most part readily accepted by Why people as right, good, and the proper order of things. It was so rigid that you do you could pretty much fit everyone into a category. Below is a breakdown of the hier- think we would use a pyramid to archy in a pyramid formation. Characters from the play are listed to the left in illustrate the structure the category to which they would have belonged. of society during this time?

Keep in mind, it was extremely rare At the top of the hierarchy, you to move from one category to anoth- would find the king (or queen). er. Also, keep in mind that those at During the time when Jane the top were the ones with the most Eyre was set, George III (pic- money, the most power compared to tured here) was king. those at the bottom.

The Ingrams (Blanche’s Into which class (upper, middle or father was a Baron) UPPER CLASS: lower) do you think most people were born? Edward Rochester NOBILITY Mrs. Reed (Jane’s aunt) GENTRY GENTLEMEN Can we create a pyramid of power Mr. Brocklehurst and wealth for our society today? (headmaster at Lowood) Is it as difficult to move from one class of society to another in present The upper class was made up of the nobility, (dukes, marquess, earls, viscounts, barons), and the gentry (baronets, knights and gentlemen). "Gentleman" was a generic term used to day America? describe a large number of people in a wide variety of circumstances, however, there were some basic requirements for this term: one had to have at least two servants (one male During the time of the play, America and one female), a carriage, and must own land. They made money off their land, but did was still operating under a system of not perform manual labor. legal slavery. The United States was progressing towards a civil war that MIDDLE CLASS: would begin in 1861. It would still be Doctors another 100 years after that before St. John Rivers Clergy our Civil Rights movement would take place. When we look at the The middle class consisted mainly of doctors and the clergy. The minimum qualifications for “pyramid of power” in our modern being middle class was to have servants and a carriage. The main difference between the society, what ethnic groups are middle and upper classes was ownership of land. Sometimes a doctor might own a house more often represented at the top, in but not a substantial piece of land like an estate, so he still had to work for a living and was the middle and at the bottom? therefore considered middle class. The other difference between middle and upper class families is that middle class families were not given titles. How about women during this time? Where are they represented in this LOWER CLASS: structure? For more on women’s Tradesmen roles in the 19th century, see pages Ms. Scatcherd (teacher) Surgeons Anyone who handled money 11-12. Where are women within the Jane Eyre (governess) Apothecaries or performed manual labor power structure today? Was Jane was considered lower class. Working Poor Eyre over-stepping her boundaries when she agreed to marry Mrs. Fairfax (housekeeper) Servants Grace Poole (servant) Rochester? Would that occur today? Farm Laborers

TheatreWorks for Schools 9 About the Servants

he number of servants in a household depended on the family’s A governess actually ranked higher T income and the size of house. Large houses of wealthy families than all the servants in a household. employed a great many servants while smaller households might have as A housekeeper oversaw the entire few as one servant to do everything, in which case the ladies of the house household staff, yet was still a step lower than the governess. A woman would help with the housework. Just as there was a social hierarchy outside from the middle class, like Mrs. the house, there was also a hierarchy among the servants within the house. Fairfax in Jane Eyre, sometimes worked in a household for financial reasons. Most servants, however, Upper Servants were culled from the lower class Steward and consisted of uneducated Collected the rents from the tenants and supervised the women with no other opportunities. whole estate (grounds and household). Servants of the 19th century were paid very poorly and worked cease- Butler Housekeeper lessly within their master’s home, Supervised and presided over the male and female staff of the household. beginning their day before dawn Also in charge of hiring and firing servants. and often not finishing work until Addressed by the family by his Addressed by everyone as “Mrs.” last name and by the staff as (i.e. Mrs. Fairfax) even if she is “Mr.” (i.e. Mr. Smith) In charge of unmarried. In charge of the the wine cellar, the silver, household linen, keeping the announcing visitors and household accounts, and super- supervising the footmen. vising the housemaids’ work. Valet Lady's Maid Didn't report to the butler or housekeeper. Attended the Master and Lady of the house directly, helping them to dress and managing their clothes.

Lower Servants Footmen House maids Waited at dinner, carried coal, Cleaned the house (dusting, polished silverware, and attended scrubbing floors, etc.), kept the the family when they went out, fires going, brought fresh water riding on the back of the carriage. for all the bedrooms and took Expected to be good looking and away old water. imposing (tall). Cook Supervised the preparation of all Coachman the meals for the house. (Menus Drove and maintained the coach were chosen by the lady of the Costume rendering for the character of (carriage). “Mrs. Fairfax”in TheatreWorks 2003 house, but in the absence of production of Jane Eyre. All renderings Gardner and Gameskeeper specifications the cook chose the by costume designer Fumiko Bielefeldt. The gardner looked after the gar- menu instead.) den and greenhouses on the Kitchen maids property. The gameskeeper Helped the cook prepare the raised and protected all the game meals. on a country estate. Groom Scullery maids Looked after the horses. Washed the dishes.

TheatreWorks for Schools 10 The Status of Women

ne hundred and fifty years ago, the status of women was vastly different Charlotte Brontë was one of many Ofrom today. During Charlotte Brontë’s lifetime (1816–1855), women were notable women of the 19th century. seen by most as subservient to men. A woman was expected to stay in the Have students research other famous home, raise the children and create a warm, comfortable environment for women. her husband. She had almost no legal rights and was expected to have even fewer ambitions. In England, these notions of femininity were forwarded Hold a “Woman’s Summit” with by organizations like the Women’s Mission which advocated that a woman students portraying the historical become an "Angel of the Hearth," caring for the private home while her hus- characters in which they share their band dealt with the public world. Not only did most people believe a "woman’s views on politics and the status of place was in the home" but, the ideal woman of the period possessed several women in their time. What would they essential qualities including self-restraint, self-sacrifice on behalf of others, gen- have to say to women today? tleness, delicacy, and obedience. George Sand (1804–76) was the Before marriage, a girl of the upper and middle classes spent her time master- pseudonym of 19th century novelist Amandine Aurore Lucie Dupin. She led an ing duties associated with womanhood. She would learn to sew, embroider and unconventional life—first joining a convent knit with grace, perfect a foreign language (most likely French) and learn to play which she later left, then marrying and an instrument. She also learned the proper decorum and etiquette of entertain- divorcing (a rare practice during the time) ing in her home. Girls had limited academic opportunities. Although most girls and wearing men's clothing. She wrote more from the middle and upper class were educated by governesses or sent to than 80 very popular novels which often boarding schools while young, they were barred from advanced education. tackled issues like equality between the Strong emphasis was placed on female friends and maintaining solid relation- sexes and the right of a woman to love who ships with the women in one’s life. Most middle class women of 19th century they wanted and have an interesting career. England spent their lives in the company of other women, sisters, teachers and Harriet Tubman (1820–1913) was born into friends. While single, women under the age of thirty were not permitted to slavery in America. She escaped to be in the same room with a man unchaperoned, unless he was a close rel- freedom in 1849 and went on to help more ative like a brother, father or uncle. than 300 people out of slavery as one of the "conductors" of the Underground Railroad. Women had little choice in whether they wanted to marry, remaining single invit- She also went on to help the Union army in ed particular hardship on them, both financially and socially. Wealthy families the Civil War, working as both a nurse and a passed down the bulk of their money to the sons; girls only received a small spy. percentage intended to cover basic day to day needs. In theory, marrying Sojourner Truth (1797–1883) was given the ensured a woman that she would be taken care of financially since most middle name Isabelle Van Wagenen when she was and lower-class families could not afford to keep their daughters at home after born a slave in New York. She was later marrying age (their early twenties). Moreover, even if they didn’t want to get freed by New York's Gradual Emancipation married, few women could afford to remain single, as few professions were Act. In the 1840s, she adopted the name open to them. Women without financial security had only two respectable Sojourner Truth and began traveling through- professions to pursue; they could become a teacher or governess. out New England as an advocate for slave Socially, the woman who remained single was pitied and disapproved. Divorced emancipation and the rights of women. She was a powerful orator despite the fact that women (a rare phenomenon), unmarried mothers and children, especially girls, she never learned to read. born out of wedlock were all seen as outcasts. Florence Nightingale (1820–1910) was Even when married, many women suffered hardship. Legally, she gave up all born in Italy and is considered the founder of her rights to her husband. For example, everything a woman owned, inherit- modern nursing. During the 1850s, she ed or earned would belong to her husband, as well as all of her children. worked as a nurse in the Crimean War and She had no right to leave her spouse even in cases of cruelty and adul- by its end had gained acclaim for her tireless tery. Also, as there was no form of birth control, women became pregnant often work ethic. She was nicknamed the "Lady and families with half a dozen children were not at all uncommon. Childbirth with the Lamp" and spent the rest of her life was much riskier in the 1800s; the ratio of women dying in childbirth was 1 in teaching others to be nurses, which she felt was a noble profession. She was awarded 200 in 1870, as opposed to the current U.S. maternal mortality rate of 7 deaths the British Order of Merit in 1907. per 100,000 live births.

TheatreWorks for Schools 11 Despite the cultural pressure for young women to conform to convention- Susan B. Anthony (1820–1906) and al practices, some were starting to question the constraints and limita- Elizabeth Cady Stanton (1815–1902) were tions women endured. One of the reasons for this shift may have been that American reformers and leaders of the England, during the mid-1800s, contained an overabundance of young single women’s-suffrage, or right to vote, movement. With several other women, Stanton women. Charlotte Brontë was one of these so-called "superfluous women." organized the first women’s rights convention According to the census of 1851, over 2 million single women, age fifteen and in the United States in 1848 and helped draft up, lived in England. Most of these women would never marry and had to find a bill of rights for women. Anthony and ways to support themselves from very limited opportunities. Stanton began to work closely in 1852 and became leaders within the new women’s Simultaneously, a new social reform movement with personal freedom as its rights movement. heart began to appear among different minority groups. In the pre-civil war Elizabeth Blackwell (1821–1910) was the United States, African American slavery was being questioned and middle-class first American woman to receive a medical landless men were demanding the same rights accorded to the land-owning degree. She helped to found the New York gentry class. About the same time Charlotte Brontë published Jane Eyre Infirmary for Women and Children in 1857. In (1847), women in the U.S. organized a convention in Seneca Falls, NY 1868, she expanded it to include a Women’s which issued a declaration of independence for women. The declaration College for the training of doctors, the first of demanded full legal equality, full educational and commercial equality, equal its kind. She also helped establish the compensation, and the right to vote, a right women wouldn’t secure until 1920. London School of Medicine for Women in England. In England, many writers and thinkers of the time began to ponder the Emily Dickinson (1820–1886) is considered "Women Question," asking whether women possessed more intellectual to be one of the greatest poets in American ability than merely sewing and entertaining and what type of education literature. She lived a mostly solitary life in they should receive. As a result of these questions, the first institute of higher her hometown of Amherst, Massachusetts, and wrote poetry reflecting on the themes of education for women was established in London in 1849. Legally, women were loneliness, love and hope. Her style was also starting to gain ground. Beginning during the 1840s, British novelist unusual for the time: her lyrics were Caroline Norton actively campaigned for better rights for women and by the straightforward and original, conveying 1880s, she had successfully secured pivotal rights for women including the right profound emotion. Although she wrote more to ask for a divorce from a cruel or adulterous husband and the right to retain than 1000 poems during her lifetime, her one’s own money and property after marriage. work was not published until after her death in 1886. Women also began asking if certain qualities belonged to a man alone. George Eliot (1819–1880) was the Could women possess "manly" qualities like self-assertion and ambition pseudonym of the English novelist Mary Ann without forsaking her womanhood? Charlotte Brontë was one of these Evans. Her best known novel, Middlemarch, women. In her letters and her novels, Brontë consistently called for equality of deals with small-town rural life in England intellect and social ranking between men and women. Her novel Jane Eyre during the 19th century. Mary Ann was caused quite a stir in England when it was published because Brontë ’s heroine well-schooled as a young woman and when Jane is independent and passionate and Jane (acting as Brontë ’s mouthpiece) she was in her early thirties, she began publishing stories under the name George expressed views of equality between the sexes that were seen as radical by Eliot, as men’s fiction was taken more many. seriously than women’s. Over the next 25 years, she published 6 novels and many It has been more than a century since Jane Eyre was first published and much essays and poems. has changed for the rights of women. However, Brontë’s eloquent petition for Clara Barton (1821–1812), born in the equality for all remains current, as women continue to fight for equal footing, Massachusetts, dedicated her life to in all aspects of life. humanitarian causes. During the Civil War, she worked tirelessly aiding and caring for sick and wounded soldiers. After the war, Questions/Connections President Abraham Lincoln appointed her to a position searching for missing prisoners, as How were novels like Jane Eyre important for well as identifying the dead. In 1881, she helping women in their movement towards founded the American Red Cross and served equality? as its president until 1904. Mary Cassatt (1844–1926) was an American Are women treated equally today? born painter and artist who became part of the inner circle of influential French Have students research the history of the Impressionist artists like Manet and Degas in women’s movement from Brontë’s time the latter part of the 19th century. She was through today. Use the women listed in the remarkable for being one of the only publicly side bar as a guide, or add others. recognized female painters of the 19th centu- ry and for making a lasting contribution to the Impressionist style of painting.

TheatreWorks for Schools 12 Marriage in the 1800’s

arriage was often considered to be an economic arrangement rather than a union of two people in love. This is not to say thatM love was not a factor, or that it did not prevail in some cases. However, people did not often marry without attention to the financial and social standings of the people involved; especially in the middle and upper classes. The most common scenario was a gentleman with a title or respected family name and an old family estate choosing a wealthy woman to marry. Men with title and high social rank could actually be quite poor. The appearance of respectability was expensive, especially if a large house with many servants had to be maintained. With the rise of trade and the number of rich gentlemen with no titles, the easiest way for men to bring in money was to marry a daughter of one of these families—a title or social rank in exchange for ten to thirty thousand pounds or more. This explains why Mr. Rochester's father is so insistent on marrying him to Bertha Mason in Jane Eyre. As a younger son who would not inherit his father's estate he would have little or nothing to live on if he didn't Costume rendering for the marry a rich woman. For a man of his class marriage was his only character of “Jane” in her respectable choice. If he did not marry a wealthy woman he would be wedding gown. forced to work as a clergyman, a sailor, or a lawyer, diminishing his status as a gentleman. Women, similarly, often strove to marry men of high rank. Not only would The following lyrics are sung by the a marriage assure that they would be well taken care of, they would character of Jane in “Painting Her advance up the social ladder and see their children with a distinguished Portrait” where she compares herself family name. to Rochester’s intended bride, Blanche Ingram:

Connections: [I] will live All of [my] life as a governess The lyrics in the side bar are sung by Jane as she contemplates her [Blanche] will always be happy beloved Rochester’s proposed marriage to Blanche Ingram, a beautiful, And marry a man who will carry wealthy women of high society. her away And should you fancy How does the societal structure with its ingrained prejudices regarding That he really loves you class affect the way Jane determines her own self worth? Just compare the pictures Two completely different mixtures Do we have limitations in selecting our mate today that are imposed on You should be ashamed Jane us by society, family, friends? When answering consider: Why would he trade his silver? -race For some unpolished metal? -age Why would he settle for a slave -sexual orientation When he could have a queen, Jane? -socio-economic class (How much money we have?) It’s foreseen, Jane! Are these limitations accepted and readily acknowledged by society as Don’t even dare anymore to they were in the 1800’s or are they more veiled and hidden? compare Say a prayer for your sorry soul, Jane!

TheatreWorks for Schools 13 Jane Eyre and “Love”

he play opens with an adult Jane narrating her story for the audience. A Tyoung Jane is seen in the attic of Gateshead Hall with her book and doll... All human beings must love something, and for want of a worthier object of affection, I had my little rag doll. Later, when Jane is sent to the Lowood School for orphan girls, she exclaims to Helen Burns, “If others don't love me, I would rather die than live!” If at such an early age this sentiment can be so passionately spoken by one who has already been deprived of the very thing of which she speaks, it is not surprising that what unfolds over the course of this play is, at its heart, a por- trait of love. Jane’s journey embodies many different types of love: the awareness of self-love and self-worth, the capacity to forgive those who have hurt her, the love she finds through her faith and belief in God, and her romance with Rochester. Jane’s journey is not an easy one, but is ultimately triumphant as she clings to that young girl’s belief that we must all love and be loved. It is a journey that requires the utmost strength and bravery as sung by the ensemble at the close of the play: I will never lose faith I will never lose heart For you have restored my trust And I know you’re afraid I’m as scared as you are But I’m willing to be brave Brave enough for love. Love Instead of relying on a dictionary to define this word, have your class develop their own working definition.

- Divide your class into small groups - Instruct each group to talk about the word and conduct an internet search on the word - When the class gathers together again make a list of the definitions that build to encompass more and more information.

You may want to include pictures or diagrams in your working definitions. Often they reveal more about a complex idea than a definition that relies only on words.

How do we act when we are “in love.” How do we shape our thoughts on love and romance? Use the exercises on the following page, to explore these questions with your students. Costume rendering for the character of “Young Jane” in TheatreWorks 2003 production of Jane Eyre.

TheatreWorks for Schools 14 Modern-day Love?

harlotte Brontë came of age during “A Moment Like This” sung by Kelly Clarkson C the height of Romanticism. (For more (from AMERICAN IDOL) information on this genre of literature, see page 4.) As an educated woman she would What if I told you have been familiar with and influenced by It was all meant to be Would you believe me, the writers of that time period. Other than Would you agree the spoken word, writings were the only means of disseminating It's almost that feelin' information. Today, thanks to technology, we have many more That we've met before means of communication such as the television, radio, and the So tell me that you don't think I'm crazy internet. We can also distribute this information faster and more When I tell you love has come and easily, making it readily available to a wider number of people. now... Almost anyone can pick up the newest issue of a popular magazine (CHORUS) to find out what our favorite celebrities are up to, see “the hottest For a moment like this new look,” or read tips on how to get a boyfriend or girlfriend. Do Some people wait a lifetime, these and other forms of popular culture (songs, movies, etc.) influ- For a moment like this ence our sense of self worth? Do they mold our feelings about love Some people search forever, and romance? Is this good or bad—or a little of both? For that one special kiss Oh, I can't believe it's happening to me

Compare and contrast the sonnet by Hartley Coleridge (1796-1849) below with the lyrics from the new hit love song by Kelly Clarkson (right column).

- What do they say about love and romance? - Are there other songs or pieces of writing that reflect your ideas of love? - Do you think we view romance the same as people did in Some people wait a lifetime, For a moment like this Charlotte’s time? How is it the same or different? Everything changes But beauty remains Sonnet VII Something so tender by Hartley Coleridge I can't explain Well I maybe dreamin' Is love a fancy, or a feeling? No. But 'till I awake It is immortal as immaculate Truth, Can we make this dream last forever 'Tis not a blossom shed as soon as youth, And I'll cherish all the love we share Drops from the stem of life--for it will grow, In barren regions, where no waters flow, CHORUS Nor rays of promise cheats the pensive gloom. Could this be the greatest love of all A darkling fire, faint hovering o'er a tomb, I wanna know that you will catch me That but itself and darkness nought doth show, when I fall It is my love's being yet it cannot die, So let me tell you this... Nor will it change, though all be changed beside; Some people wait a lifetime Though fairest beauty be no longer fair, Though vows be false, and faith itself deny, OHHHH, YEAH, 'cuz people search for Though sharp enjoyment be a suicide, every moment like this. And hope a spectre in a ruin bare.

TheatreWorks for Schools 15 Education

ducation in the early 19th century was different in many ways from today. First of all, upper class boys were the most likely to have access to an education,E although many girls and lower class boys had limited access. The poor were only beginning to be educated at this time. Young men were taught at public schools or by private masters or governesses at home. Public schools were only open to young men of the area surrounding the school, but not to the poor. Middle and upper class boys were educated for the sake of education, especially since upper class men didn't actually have to have an education in order to earn their living, since most of them didn't work, but lived off their estates. Boys were taught reading, writing, math, history, the Bible, Greek and Latin. Those from the middle and upper classes could also continue their education at institutions of higher education like Eton, Oxford, and Cambridge. Education for young women was either through a governess at home or at boarding school, like Lowood in Jane Eyre, but was still considered controversial, like educating the poor, which really only began around 1811. It was believed that education of the poor would be "bad" for them, giving them more knowledge than would be of use to them in their menial occupations, and they were taught to read only so they could read the Bible. In addition, women were considered by many to be incapable of more than basic learning and the purpose of educating them was to give them skills to promote their advance in society and enhance their opportu- nities in marriage. Both groups were taught the same subjects as the boys, except at a more basic level, and subjects like Greek and Latin were generally considered to be "above" them and were not usually available. Instead, girls were taught sewing skills and social etiquette. Other training was available to some women. Boarding schools for girls who hoped to make a living as a governess, some of them charitable establishments, like Lowood, offered French, music, dancing, drawing, geography and natural sciences. For women of the middle and lower classes, that was the only education available and higher Costume rendering for the characters of the education was not an option for any woman, no matter what her station. “school girls” in TheatreWorks 2003 production of Jane Eyre.

CONNECTIONS

Compare and contrast establishments of education in the 19th century with today. - How is it different? How is it the same? - What has changed? What hasn’t changed?

Imagine you lived during this time period. What type of education would you have received? What options would you have for your profession? (See social status on page 9 for more ideas regarding professions.)

Would you have the same opportunities as you have today?

Would you be content with the opportunities you had back then or would you want more?

Does this make you appreciate today’s educational opportunities more or less?

TheatreWorks for Schools 16 Fashion in the 1800’s

The Ladies The Gentlemen

Women wore dresses in the In 1815 trousers, or pants, empire waist style, with a belt or became the normal choice for the waist of the dress just under day wear and breeches were the breasts. This style, which only seen as evening wear or on started at the beginning of the ceremonial occasions. The century, was a return to riding outfit that developed simplicity from the full skirts and during the end of the 18th small waist silhouettes of the century inspired the frock coat 18th century. During the 1810's and style of clothing generally dresses remained high waisted, worn during the day at the but more detailing appeared in beginning of the 19th century. the form of slightly puffy sleeves Frock coats resembled modern and trimming on the lower edges tailcoats, the main differences of skirts. Dresses were floor being the smooth cutaway line length falling to the ankle and from the bottom front to the were very pale and often white at tails and two rows of buttons the beginning of the century with instead of one. In addition to the darker colors appearing in the frock coat, waistcoats and cra- 1810's. Underneath, women wore vats made up the rest of a stays - a garment like a corset man's outfit. The waistcoat designed to support and cleanly resembled a modern tuxedo encase the torso. Unlike a corset, vest and cravats were worn stays did not cinch the waist in. instead of ties for a fuller look, The result was a smooth line that building up the chest. Boots followed the outline of the dress. were often worn during the day What we think of as underwear while shoes tended to be worn was not generally worn by at night. Colors tended to be women until the 1830's. dark for most of the outfit with “Jane” and “Rochester” in TheatreWorks’ 2003 the exception of the shirt and production of Jane Eyre: The Musical. All costume cravat. renderings by designer Fumiko Bielefeldt.

“WOW! THEY SURE DID DRESS FUNNY BACK THEN!”

We often say that about people in times past. Did you ever stop to think that’s just what they’ll be saying about you 200 years from now? Styles of fashion are often a reflection of the times in which people lived.

Look through the sketches throughout this study guide and think about the history you have learned. What sentiments are reflected in the fashion of this time period?

We have more options in our fashion today. Think about your own fashion choices. What sentiments are reflected in your personal style? Analyze others’ styles. How does their per- sonal style fit their personality?

TheatreWorks for Schools 17 After the Performance

Comparing the Novel to the Play -When you were reading the novel, what did you visualize (or picture) in your mind? How did the characters look? What did the setting look like? We want to hear -Were any of your visualizations similar to what you saw onstage? -Did you see anything onstage that made you think of something you hadn’t from you! considered while reading the story? -Was it helpful to see the story in this form? Why or why not? RESPONSES FROM Jane Eyre as a Musical STUDENTS: Given what you now know about the time period, how did the different theatrical It is very important for us to hear elements assist in telling the story and creating the period? Consider the your students’ reactions to our costumes, the lighting, the projections, and the scenery. work. Some of the following Heightened Language in Musicals exercises may be used as a In musicals, such as the version of Jane Eyre you saw, actors suddenly burst general follow-up activity. into song. This is a convention of musicals. Different conventions exist in all art forms. For example, in movies and television, characters don’t really get from Write a letter to the director, one place to another as quickly as they appear to, but we understand that the actor or author of the play telling boring part of their journey has been cut. Conventions help the poetry of the them what you appreciated about work of art come to life. A song is often described as “poetry to music.” the show. Characters in the theatre live in a heightened state of reality or a heightened Write a review of the show as if it sense of life in which they experience emotions with great force. It is almost as if were to appear in the school their passion, their pain, their happiness is so overwhelming, it can only be newspaper. Would you recom- expressed through song. mend it to your fellow school- What heightened moments were expressed through song in the musical Jane mates? What did you like? What Eyre? Could you tell how the characters were feeling (happy, sad, angry) by the did you dislike? way the actors delivered the song? Is this different or similar to songs you hear If you participated in a workshop on the radio? Why are we drawn to listening to stories through song? before the performance, what did Why Jane Eyre? you like best about it. What didn’t Why did Paul Gordon and John Caird choose to make it into a musical? Why do you respond to in the workshop? we still read the novel after 150 years? Sure, our English teachers make us read it because it is a “classic.” But why is it a classic? What does it say to us that is still relevant today? What are the universal themes that we can still learn FROM TEACHERS: from today? Consider status in society, gender roles, and love. (See previous pages of study guide for more specific questions.) What about this experience was most valuable to you? Discussion Questions 1. In the novel, Rochester tells Jane, “if you are cast in a different mould to the Did this program impact your majority, it is no merit of your; Nature did it.” What does he mean? Do you agree teaching in any way: i.e. ideas for or disagree? Why? lesson plans and activities? 2. Jane asserts her equality throughout the story. What does she mean by Did this experience affect your equality and why is it so important to her. classroom instruction? If so, how? If not, what can we do different- 3. What is the balance of power between Jane and Rochester when she is a ly? governess in his house. Does this balance change when she accepts his pro- posal? when she finally marries him? by the end of the story? Please mail or email responses to: Write a letter to Charlotte Brontë! Why were Charlotte’s achievements so phenomenal? Write a letter of TheatreWorks commendation. Tell her how her book has affected you. Attn: Tiffany Cothran PO Box 50458

TheatreWorks for Schools 18 Sources and References

Ackerman’s Costume Plates: Women’s Fashions in England 1818-1828 edited by Stella Blum The Illustrated History of the World vol. 7 by J.M. Roberts Oxford History of Art: Art in Europe 1700-1830 by Matthew Craske A Concise History by Martin Pugh The Brontë’s: A Collection of Critical Essays edited by Ian Gregor Charlotte Brontë and Victorian Psychology by Sally Shuttleworth The Regency by Jennifer Ruby The Concise Encyclopedia of Romanticism by Francis Claudon Dickens’ Fur Coat and Charlotte’s Unanswered Letters by Daniel Pool An Elegant Madness: High Society in Regency England by Venetia Murray Everyday Life: The Nineteenth Century by E.R. Chamberlin A Survey of Six Centuries: Chaucer to Queen Victoria by G.M. Trevelyan, O.M. James Herriot’s Yorkshire by James Herriot Life in Regency England by R.J. White Literary Britain edited by Mark Haworth-Booth Nineteenth Century Art: From Romanticism to Art Nouveau by William R. Johnston Our Tempestuous Day: A History of Regency England by Carolly Erikson The Timetables of History by Bernard Grun What Jane Austen Ate and Knew by Daniel Pool Women in the 19th Century by Fiona McDonald

TheatreWorks for Schools 19