STUDY GUIDEfor

PLAYHOUSE ON THE SQUARE’STouring production of

February 21 - March 9, 2012& May 1 - May 18, 2012

Study Guide by: Andrea Rouch

Playhouse on the Square66 South Cooper St. Memphis, TN 38104

Theatre for Youth: (901) 728-5631Business Office: (901) 725-0776

Box Office & Group Sales: (901) 726-4656www.playhouseonthesquare.org

table of contentsPart One: The Play.................................................................1 Synopsis................................................................................................................................................1 Vocabulary...................................................................................................................................................2

Part Two: Background...........................................................3 About the Playwright......................................................................................................................3 OriginsofthePlay..............................................................................................................................3 About Brothers Grimm....................................................................................................................4

Part Three: Activities and Discussion.................................5 Before Seeing the Play...................................................................................................................5 After Seeing the Play......................................................................................................................5 Themes.....................................................................................................................................................5 Curriculum Ties...................................................................................................................................6 Comic Strip Coloring Activity........................................................................................................8 HowToMakeYourOwnFairyTale............................................................................................10 Frog Word Search............................................................................................................................11 TheatreWordSearchandPlayReview.....................................................................................12

Part Four: The Theatre.........................................................13 History.......................................................................................................................................13 Theatre For Youth............................................................................................................................17 Elements of Production................................................................................................................15 The Audience.....................................................................................................................................16 Glossary ofTheatricalTerms........................................................................................................18

Part Five: Bibliography.......................................................19

Production Sponsors

SynopSiS

1

Thestorytakesplace“many,manyyearsago,andyetnottoofarinthefutureatthesametime.”TheplaybeginswiththeNarratoronthestage.HebeginschantingarhymeandsoontheWitch,Number1,Number2,Princess,andFrogPrincecomeonstageandchantdifferentryhmes.Everyoneconstantlyswatsatfliesthroughouttheplaybecausethereisaninfestationof them.TheNarratorbeginstellingthe“FrogTale”whilecreatingarulebookfortheFrogTaleashegoes. PeterPancomesflyingintothescenewithTinkerBell,andtheNarratorushersthemaway,explainingthatThe Frog PrinceisaFrogTaleandnotaFairyTale.TheNarratorexplainsthattheWitch,although“meanandtyrannical,isinlovewiththehandsome,youngPrinceJoebecausehealwaystellsthetruth.”PrinceJoecomesonstageandexpertlyswatsabunchof flies.TheWitchproposestoPrinceJoe,buthesaysnobecauseherwart is toougly.Toteachhimalesson,theWitchturnsthePrinceintoaFrog.Thespellcanonlybebrokenif aprincessletstheFrogPrincesitnexttoher,eatfromherplate,sleepinherbedforthreenights,andkissestheFrogPrince’swart. TheFrogPrincefindsanice,comfortablewishingwelltoliveinrightnexttoacastlethat3 princesses live in. He waits in the well formonths and months but no princess comes torescue him. Finally, a princess arrives carryingalovelygoldenball.Shethrowsherballupanddownandaccidentallydropsitintothewell.Theprincessbeginstowhineandcryaboutdroppingherball.TheFrogPrincethenmakesadealwiththeprincessthathewillbringherballbackif shepromisestositnexttohim,lethimeatfromherplate, lethimsleeponherbed for threenights,andkisshiswart.SheagreesandtheFrogPrinceretrieves her ball. The princess takes her balland thendarts awayas fast as she can, leavingtheFrogPrincebehind.Muchtohisdismay,theFrogPrincebeginshoppinghiswaytothecastle,whichisaverylongtripforafrog. Finally,hearrivesatthecastlewheretheFrenchMaidisservingdinnertothePrincessandherfather.PrinceCharmingarrivesatthehousewithaglassslipperandsaysthatwhoeverfitsintheshoewillbehiswife.TheNarratorkickshimout,though,becauseheisfrom“Cinderella”whichisafairytale.TheKingsotherdaughters,PrincessOpieandPrincessDopie,arriveatthedinnertableandbickeraboutsilly,pettythings.TheFrogPrincearrivesandcallsforthePrincessaskinghertofulfillherpromise.Shescreamsandwhines,buteventuallyletshimsitnexttoher,eatfromherplate,andsleeponherbedforthreenights.TheFrogPrinceaskshertofulfillthefinal

1 The Play

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promiseandkisshiswart.Sherefusesandleavesinahuff justastheFrenchMaidisentering. TheFrenchMaidofferstokisshimonthewarttoseeif itwillbreakthespell.Shetries,butitstilldoesnotbreakthespell.Instead, the FrenchMaid offers him a plan she has come upwith.Suddenly,Anniearrivessinging“Tomorrow,tomorrow...”andtheNarrator,afterhavinganervousbreakdown,makesherleavethestage.TheNarratorthencontinueswiththestoryandexplainstheFrenchMaid’splantodisguisetheFrogPrinceasPrinceCharmingandaskforakiss.ThePrincessnoticesthedisgusting smell and figures out that it is the Frog Prince indisguise. The Frog Prince tells her that if she doesn’t kiss hiswart,hewillnever,ever,ever,ever,evergoaway.Butif shedoeskiss hiswart, shewill never, ever, ever, ever, have to see himagain.ShekisseshimonthewartandheturnsintoaPrinceinfrontof herveryeyes. Eachof thethreeprincessesconfessesherlovetoPrinceJoe,buthehasfalleninlovewiththeFrenchMaidwholovedhimunconditionally.TheFrenchMaid then revealsherself astheWitchandthePrincehonestlyfindsherverybeautiful,wartandall.TheWitchandPrinceJoeforbidtheNarratortomakeanymorerulesandtheygolivehappilyeverafter.

Vocabulary- found in the show

AAbsurd: ridiculously unreasonable, unsound, or incongruous

CCondition: a state of being, how someone feels

DDespair: to lose all hope or confidenceDisguise: to change the customary dress or appearance ofDramatic: over-the-top, highly emotive

FFaithful: steadfast in affection and allegiance, loyalFeatures: the structure, form, or appearance especially of a person

HHesitation: an act or instance of hesitating

NNoble: possessing outstanding qualities

OOffensive: causing displeasure or resentment

PPlague: an epidemic disease causing many deaths and sicknessPotential: the capacity or ability for future development or achievement

RRetort: a sharp, angry or wittily incisive reply to a remarkRetrieve: to get back again, to regainRugged: physically strong and able to endure harshconditions; tough

SSpecialty: an unusual, distinctive, or superior mark or quality

TTainting: to spoil someone’s reputation or idea about somethingTale: a narrative or account of eventsThreatening: expressing an intention to cause someone harm or painTormenting: to tease persistentlyTrembling: to shake continuously out of fearTyrannical: ruling with absolute power over a population cruelly kept submissive and fearful

UUnconditionally: complete with no conditions or limitations attachedUnfortunately: used when someone wishes something were not true

WWary: cautious and watchfulWitnesses: somebody who saw or heard something that happened and can verify it

2Background

originS of the play

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The Frog Prince is a fairy tale, best known through the Brothers Grimm’s written version; traditionally it is the first story in their collection. In the tale, a spoiled princess reluctantly befriends a frog (possibly meeting him after dropping a golden ball into his pond), who magically transforms

into a handsome prince. Although in modern versions the transformation is invariably triggered by the princess kissing the frog, in the original Grimm version of the story the frog’s spell was broken when the princess threw it against a wall in disgust. In other early versions it was sufficient for the frog to spend the night with the princess. An article in “National Geographic” explains,

about the playwright Catherine Gray wrote her first play, Alice in Wonderland, for the Barter Theatre in 1999. Since then, she has written a play a year specifically for the Barter Players. Her other works include The Frog Prince, Sword in the Stone, The Pied Piper of Hamelin, and A Beatrix Potter Christmas. Catherine was also an actor in Barter’s First Light Company, during which time she toured schools all over the East Coast. Catherine, a member of Actor’s Equity, was also a part of the Resident Acting Company at Barter Theatre from 1998 to 2002 and has also appeared in numerous films while not on stage. Catherine now lives in Los Angeles, California with her husband and two daughters.

“Looking for a sweet, soothing tale to waft you toward dreamland? Look somewhere else. The stories collected by Jacob and Wilhelm Grimm in the early 1800s serve up life as generations of central Europeans knew it—capricious and often cruel. The two brothers, patriots determined to preserve Germanic folktales, were only accidental entertainers. Once they saw how the tales bewitched young readers, the Grimms, and editors aplenty after them, started “fixing” things. Tales gradually got softer, sweeter, and primly moral. Yet all the polishing never rubbed away the solid heart of the stories, now read and loved in more than 160 languages.”

An original Brothers Grimm illustration.

about brotherS grimm Jacob Ludwig Carl Grimm was born in January 4, 1785, in Hanau, Germany.

Just over a year later, in February 24, 1786, his brother Wilhelm Carl Grimm was born. Their father was a lawyer, and they had six more brothers and one sister.

In 1802, Jacob went to university to study law at the University of Marburg. As always, his brother followed him, and entered law school in 1803. During their university years they began to collect folk and fairy tales. Folklore is stories that have been passed down from parents to children, by word of mouth, but at that time many had not been published in books. The Grimms were especially interested in stories that included Germany and German culture.

Jacob and Wilhelm published their first book of fairy tales – “Children’s and Household Tales” - in 1812. There were 86 folktales. Readers were so happy to see the stories they had been told as children all collected together that the book was a success. In the next volume of “Grimm’s Fairy Tales”, the brothers added 70 more stories. It went on growing like this for six more editions. Finally, the book contained over 200 stories! It is probably the best-known work of German literature. Even if you don’t know the Brothers Grimm, you definitely know a Grimm fairy tale.

The Grimm Brothers were always together – even when Wilhelm married his wife Henriette, Jacob continued to live with them! The Brothers Grimm were both professors and scholars. In fact, Jacob Grimm is considered to be the father of the study of German history. They both taught as professors in Germany’s capitol, at the University of Berlin. They became known throughout Europe as experts on anything to do with folktales, language, and anything German. They were so into books that they both became librarians as well! During their lifetimes they published many more very important books, including “German Mythology,” “Old German Tales,” “The History of the German Language,” and even the German Dictionary. Grimm fairy tales include stories of kings, magic, and talking animals. Even though the stories are sometimes scary, fairy tales allow us to work through our fears. They often teach us a lesson about moral values, and right and wrong. In the Brothers Grimm version of The Frog Prince, the story begins when a young princess loses her golden ball down a well and a nearby frog offers to retrieve it for her. In return, however, he demands that she keep him near her as a close companion, and share her food, her drink, and her pillow with him. The princess is repulsed by the frog, but, reasoning that he has no way to enforce the promise, agrees. The frog returns her ball, and she runs home without him. Later that night, the frog appears at the castle, and the king insists on the princess keeping her promise to him. Come nighttime, however, the princess refuses to let the frog sleep on her pillow, and angrily throws him against the wall. To her shock, what lands is a handsome (and very forgiving) prince,

and the two of them fall in love and marry. As they ride off into the sunset, they hear three loud cracks from outside the coach - it was the prince’s faithful servant, Henry, who had had his heart bound with iron straps to keep it from breaking when the prince was enchanted. The cracking sounds were the bonds breaking as the man’s heart swelled with happiness. The iconic True Love’s Kiss that replaces the act of violence in breaking the spell seems to be an artifact of translations into English, and has completely replaced the earlier versions in popular culture, even in Germany. The ending with the faithful servant is also frequently left out. The princess’ violence may be a throwback to other animal-bridegroom type stories in which violent acts (such as beheading the animal or burning its skin) were the only way to break the spell. Removed from this context, though, it gives the story a broken Aesop feel; the moral up until that point had been about keeping your promises. In abusing the frog, the princess is breaking her promise with a vengeance, leading the reader to wonder why she deserves the handsome prince. Versions in which she kisses him avert this problem, like Catherine Gray’s, The Frog Prince.

Sculpture of the Brothers in Hanau, Germany

Wilhelm (left) and Jacob Grimm (right) from an 1855 painting by Elisabeth Jerichau-Baumann

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3 acTiviTies & discussion

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before Seeing the play1. Goover thevocabularyandbackground informationon theBrothersGrimm toassociate the studentswith theoriginsof The Frog Princestory.

2. Discuss with your students the etiquette of being an audiencemember at a live theatrical performance. Itemsfordiscussion:don’t talkduringtheplay,appropriateresponses,nochewinggum,goingtothebathroombefore theperformance,etc.

3.Discusswhatitislikeseeingaliveplay.Whatarethedifferencesbetweenseeingaplayandamovie?Discusshowtheelementsof aliveplaycontributetotellingthestory.Howdothecostumesandsetsenhancetheaudience’sunderstandingof thecharactersandplot?

4.HavestudentsfillouttheTheatreCrosswordonpage11of thestudyguidetobetterfamiliarizethemwiththeatreterms.

after Seeing the play1.Foryoungerstudents,usepages8and9of thestudyguideentitled“ColorandFillintheStory”.Makecopiesforstudentsinyourclassandletthemcolorineachof thesquares.Then,havethestudentsfillinthemissingblanksof thenarrationunderneaththepictures.

2.Forolderstudents,usingpage10of thestudyguide,havestudentswritetheirownfairytaleswiththeguidelinesgiven.

3.UsingtheFrogWordSearchactivitysheetinthestudyguideonpage11,havestudentsfindallthewordsrelatedtofrogsforafunactivity.

4.Whatweresomethemesormoralsof theshow?Usingthe“Theme”sectionbelow,askthestudentstosharelessonstheylearnedfromthestory.

5.Usingtheformatonpage12,havestudentswriteareviewof theperformance.

themeS In literature, the theme of the story is one of the most important aspects of a story and requires deep interpretation. The theme of a story is the point the writer is trying to make. Some people think of it as the lesson or the moral that the writer is trying to teach. There are many themes found in The Frog Prince. Have a discussion with your students about some themes and lessons they took from the story.

Listed below possible additional themes for discussion:

- Getting punished for foolishness or evil --> Witch turns Prince Joe into Frog Prince for his shallow nature.- Characters are put to a test, overcome obstacles --> Frog Prince must break the spell, Princess must keep her promise.- Honesty is the best policy --> Witch loves Prince Joe for his honesty instilled by Prince’s mother.- Do not judge a book by its cover --> Witch is considered ugly, but Prince Joe sees her inner beauty in the end.- Not all rules are good rules --> Witch takes the rule book away from the Narrator and rewrites her own rules.- Characters live happily ever after --> Witch and the Prince live happily ever after.

Theatre Arts

KindergartenStandard4-TheatricalPresentation 4.1Recognizeotherartformsusedintheatre. 4.2Utilizeotherartformsindramaticactivities. 4.3Recognizetheroleof theaudienceanddemonstrateappropriateaudienceetiquette.Levels1,2,andpartof 3areapplicable.

Standard5-SceneComprehension 5.1Experiencecreativedrama,formaltheatre,film,and/ortelevision.Levels1-3areapplicable.

Standard6-Context 6.1Exploresimilaritiesanddifferencesbetweenreallifeandtheatre,television,etc. 6.2 Developanawarenessof reallifeexperiencesandfantasythroughguideddramaticplay.Levels1-3areapplicable.

Grade 1Standard4-TheatricalPresentation 4.1 Discussotherartsformsusedintheatre 4.2 Utilizeotherartformsindramaticactivites. 4.3 Exploretheroleof theaudienceanddemonstrateappropriateaudienceettiquette.Levels1,2,andpartof 3areapplicable.

Standard5-SceneComprehension 5.1Respondtocreativedrama,formaltheatre,film,andtelevision.Levels1-3areapplicable.

Standard6-Context 6.1 Examinesimilaritiesanddifferencesbetweenreallifeandtheatre,television,andmultimedia. 6.2 Explorereallifeexperiencesandfantastythroughcreativedrama.Levels1-3areapplicable.

Grade 2Standard4-TheatricalPresentation 4.1Identifyotherartformsusedintheatre. 4.2Incorporateotherartformsintothecreationof dramaticprojects. 4.3Examinetheroleof theaudienceanddemonstrateappropriateaudienceetiquette.Levels1,2,andpartof 3areapplicable.

Standard5-SceneComprehension 5.1Exploreandrespondtocreativedrama,formaltheatre,film,and/ortelevision.Levels1-3areapplicable.

Standard6-Context 6.1Explorehowvariousculturesarereflectedthroughtheatre,film,andtelevision. 6.2Exploretheroleof theatre,film,television,andelectronicmediaindailylife.Levels1-3areapplicable.

curriculum tieS

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Grade 3Standard6-TheatricalPresentation 6.1Identifywaysinwhichotherartformscontrastand/orrelatetotheatre. 6.4Understandtheroleof theaudienceanddemonstrateproperaudienceetiquette.Levels1,2,andpartof 3areapplicable.

Standard7-SceneComprehension 7.1Respondtoselectedtheatricalexperiences. 7.2Examinecreativedramaandformaltheatre,film,andtelevision.Levels1-3areapplicable.

Standard8-Context 8.1Examinehowvariousculturesarereflectedthroughtheatre,film,television,and electronicmedia. 8.2Understandtheroleof theatre,film,television,andelectronicmediaindailylife.Levels1-3areapplicable.

Grades 4 & 5Standard6-TheatricalPresentation 6.1Exploreotherartformsastheycontrastand/orrelatetotheatre. 6.2Exploredramaticmediaasaforumforthesynthesesof allof thearts. 6.4Understandtheroleof theaudienceanddemonstrateappropriateaudienceetiquette.Levels1,2,andpartof 3areapplicable.

Standard7-SceneComprehension 7.1Respondtoselectedtheatricalexperiences. 7.2Examinecreativedramaandformaltheatre,film,andmultimediaproductions.Levels1-3areapplicable.

Standard8-Context 8.1Explainhowelementsof variousculturesarereflectedintheatre,film,television,&electronicmedia.Levels1-3areapplicable.

Grade 6Standard6-TheatricalPresentation 6.1Explorevariousartforms. 6.2Examinedramaticproductionsasasynthesisof allthearts.Levels1,2,andpartof 3areapplicable.

Standard7-SceneComprehension 7.1Respondtoavarietyof theatricalexperiences. 7.2Examineinformalandformaltheatre,film,television,andelectronicmediaproductions.Levels1-3areapplicable.

Standard8-Context 8.1Explainhowattitudesof variousculturesarereflectedbytheatre,film,television,andelectronicmedia.

Levels1-3areapplicable.

OtherCurriculumTiesPleaserefertotheTennesseeDepartmentof EducationCurriculumStandardsmanualforreferencetoEnglish,History,andSocialStudiesCurriculumTiesforKindergarten,Grades1-3,and4-6.

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color and fill in the Story!

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But when the Witch proposed to Prince Joe, he said he could not marry her because she was ugly. To teach him a lesson, the Witch turned Prince Joe into a ________. Only a Princess could help him break the spell.

Once upon a time, in a land infested with flies, there lived a handsome young prince named _________________, and an “ugly” Witch (as told in the Frog Tale Rules.) The Witch was in love with the Prince.

Finally, a Princess arrived and accidentally bounced her ball into the well. The Frog Prince offered to retrieve the ball if she would help him. But when he gave the Princess her ball back, she ___________.

Fairy TaleFrog TaleFrog Tale Rules

To break the spell, a princess had to let the Frog Prince sit next to her, eat from her plate, and sleep on her bed for three nights. Then, the Princess had to _____ the Frog Prince on his ugly wart!

The Frog Prince called after her, but the Princess was already out of sight. Determined to break the spell, the Frog Prince began to hop to the _______. It took the Frog Prince days to reach the castle because he was so much smaller in frog form.

The French Maid’s plan did not work. The Frog Prince said he would never, ever, ever go away unless he got his kiss. The Princess kissed him and suddenly, the Frog Prince transformed into ____________ right in front of her eyes!

Now that Prince Joe was handsome, the Princess and her sisters confessed their love for him. Prince Joe, however was in love with the French Maid, who loved him even when he was an ugly frog. The French Maid revealed herself as the _______ and they lived Happily Ever After!

Finally, the Frog Prince showed up at the castle and confronted the Princess. The Princess resisted, but her _______ insisted that she keep her promise. The Princess ran out and the French Maid set out to help the Frog Prince.

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1. Decide what lesson your fairy tale is going to teach before you write it. At their core, fairy tales are morality tales from the horror of stepmothers to not talking to strangers. They are generally teaching something and yours should do the same.

2. Create a good character. A fairy tale needs someone to root for. They don’t have to be perfect. Just think Jack in “Jack and the Beanstalk” or Red in “Little Red Riding Hood” but your readers should like them and want them to succeed.

3. Devise an evil character. A fairy tale must have an evil character that works as an antagonist to the good character. The evil character usually has special powers of some sort and they must use those powers in a way to cause the good character distress.

4. Design a magical character or object to write into the fairy tale. The magical character can be the evil character but many fairy tales have both good and evil magical characters that work to offset the other’s influence.

5. Identify what obstacles your good character is going to have to face. Whatever the obstacle, it should seem insurmountable and genuinely require a bit of creativity by your good character and a little magical assistance.

6. Write a happy ending. A fairy tale isn’t a fairy tale unless it has a happy ending. Your good character must succeed and your evil character must lose and lose in a big way so you can write your “happily ever after.”

how to write your own fairy tale

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frog word Searchcircle the words you find

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Search the letter grid below and circle the theatre terms listed.

How many can you find?Words may be listed left-to-right,

right-to-left, top-down, bottom-up,and diagonally up-or-down.

T A L F P T V V Q G N MH O U N O R P A L R U SE G P A C R O U E I O SS N S S J V L D N D T MP I T G W G R E U H W XI K A N X O C V G C J SA C G I B S L I X S E TN O E W O V L L A Q J RA L B R X T Q L O G E IA B P H O U S E A F K KJ P D O W N S T A G E E

APRON

BLOCKING

BORDER

DOWNSTAGE

FLAT

FOLLOWSPOT

GEL

GRID

HOUSE

LOGE

PIT

PRODUCER

PROSCENIUM

SET

STRIKE

THESPIAN

UPSTAGE

VAUDEVILLE

WINGS

HEADING1. Title, playwright, and type of play2. Date, place, and name of performing group3. Include a play program with review

ESSAY OUTLINEI. Theme of play (main subject or message)

II. Atmosphere (how it was expressed in the scenery, lighting, and sound)

III. Brief summary of story or plot

IV. Technical evaluation A. Setting/Scenic design B. Lighting C. Costumes D. Sound design

V. Acting evaluation A. Were actors convincing in their roles? B. Did all characters work together to

create an ensemble? C. How did voice/movement impact believability? D. Did actors underplay/overplay the

parts? E. Any outstanding performances? Be

specific.

VI. Directorial evalutaion A. Did the stage stay balanced? B. Did all the aspects communicate the

same concept or were some distracting? C. Did the production interpret the script

to your satisfaction? D. Was the director true to what you think

the playwright intended? E. Were any aspects of the show confusing?

VII. Personal opinion (Discuss any aspect of the play you wish, but give reasons to justify your beliefs.)

actiVity:write a play reView

theatre word Search & play reView

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In 1979, Circuit Playhouse, Inc. bought and moved to the former Guild Movie theatre at 1705 Poplar. It was a 10,000 square foot building and included space for a larger costume shop, its first dedicated scene shop, rehearsal space, improved dressing facilities, and storage for costumes and props. The two theatres continued to pursue their own directions. The Circuit Playhouse initiated the MidSouth Playwright’s Contest, offered a Foreign Film Series, and staged Off-Broadway and experimental works. Playhouse on the Square began to offer weekday matinees for school groups in addition to its regular season.In 1981, Playhouse on the Square initiated the Intern Program. The program was begun to enable emerging theatre artists to explore every avenue of the profession and apply their education in the real world. Today it includes twelve college graduates hired to assist in all phases of production.By 1985, Playhouse on the Square was again feeling growing pains. The student matinee series had outgrown the theatre’s capacity, and seating for many productions was limited. The Memphian Movie Theatre just down the street (a favorite after-hours screening facility for Elvis) was available. Circuit Playhouse, Inc. purchased the building and solicited three-year pledges from individuals and corporations and was able to complete a $150,000 renovation of the building.1986 saw the inception of the Playhouse on the Square’s Theatre for Youth program, which expanded into a full-scale Summer Youth Conservatory, TnT (Teens in Theatre), a touring program, and a full season of school matinees. In 1990, Playhouse on the Square instituted the city’s first independent Theatre School with theatre classes for children, teens, and adults. From the five classes offered during the first season, the school has expanded to a total of twenty courses.Having been concerned for some time that arts events were beyond the financial means of the city’s poorest citizens, Jackie Nichols suggested to the Arts Council that they arrange some way of making art, theatre, music, and dance available to the disadvantaged. In January 1990, Arts Access came into being making free tickets to arts events available to those on food stamps. In addition, Jackie Nichols instituted the Pay What You Can program in 1991. Every show produced at both The Circuit Playhouse and Playhouse on the Square

In the summer of 1965, Jackie Nichols was a rising senior at Overton High School. He teamed up with fellow students to form a troupe of actors to perform shows in churches and civic centers. They called themselves The Circuit Players, and for the next four years, they performed a variety of musicals and straight plays wherever they could.Circuit Playhouse, Inc. was born on November 20, 1969 near the University of Memphis when the company rented a former home that had been converted to a ballet academy. In 1971, the space was sold, and the company relocated to 1947 Poplar across from Overton Park. When Circuit Playhouse, Inc. moved to this larger building, it rented an adjacent building to be used for a costume shop and a new performance space known as Workshop Theatre. It was a venue for new, original, and one-act plays. Two years later, another adjacent building was used to create Theatre II; a space for producing little known plays. This helped to spearhead a widespread revitalization of Midtown Memphis. For the next several years, the three theatres operated on an annual budget of approximately $30,000 with no paid staff.Recognition of the organization’s well-established position in the community came at this time with the first funding grant from the Greater Memphis Arts Council.In 1975, Circuit Playhouse, Inc. acquired a building in Overton Square in Midtown Memphis. With $30,000 provided by Overton Square Investors for renovation, and with increased funding from the Greater Memphis Arts Council, Playhouse

on the Square was born. It was a n o f f s p r i n g o f C i r c u i t P l a y h o u s e , I n c . , w h i c h con t i nued t o produce the kind of adventurous t h e a t r e i t s audience had come to expect. Playhouse on the Square opened on November 12, 1975 with a production of Godspell. It also had a resident c o m p a n y o f

professional actors and a paid staff. The first season was graced with the performances of many fine actors including Larry Riley and Michael Jeter, who would later achieve notable careers in New York and Hollywood.

4The TheaTre

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has a Pay What You Can night, ensuring that those who cannot afford the full price of a ticket will not be denied the pleasures of an evening at the theatre.In 1992, Playhouse on the Square acquired an adjoining building adding 6,000 square feet in which to build a new scene shop, a large multi-purpose room with bar, a meeting room, and wheelchair-accessible restrooms. To finance this expansion and ensure the financial stability of the theatres into the 21st century, Jackie spearheaded the Silver Challenge, a $350,000 fund-raising effort. Again, the Memphis community responded by producing the needed revenue in a matter of months.In 1994, construct ion began on TheatreWorks, a building near Playhouse on the Square, which was built to house a variety of small performance groups unable to afford quarters of their own. The following year saw the inception of a program that has had national impact in the theatre world—the Unified Professional Theatre Auditions. In February 1995, Playhouse on the Square hosted twenty-five theatres and two hundred actors from around the country. Since then, the growth has been phenomenal. 95 theatres and nearly one thousand actors and production personnel attended in 2011.With a view to ensuring a new generation of theatre patrons, Jackie Nichols launched the After School Acting Program (ASAP) in 1997. Several months were spent developing this program for 7-12 year-olds. Churches, schools, and community centers all over the metropolitan area host sites for troupes of children for the twice-weekly activity, which, under the guidance of a director, creates an original theatrical piece to be performed at a festival at the end of each semester.In December 1997, long-time supporters of the theatre donated to Circuit Playhouse, Inc. a building adjacent to The Circuit Playhouse. This building, now known as the Jeanne and Henry Varnell Theatre Arts Education Building, was refurbished to house all of our Theatre For Youth programs. In order to refurbish the building, Circuit Playhouse, Inc. created the 21st Century Challenge: Building for Generations, a capital funds drive that raised $600,000.The growth in artistic capability and maturity of the theatres has resulted in an expanded awareness and appreciation in the local community and beyond. This

D I D Y O U K N O W ?Playhouse on the Squareisproudto be Memphis’ ProfessionalRes ident Theatre Company.That means that the artists youencounterinourtheatre,onstageandoff,areprofessionals.

Nearly al l of the actors, thedes igners, technic ians, andadministrators do this as a full-time job. People interview fromalloverthecountrytobehiredforthesecovetedcareeropportunities.Nearlyalloftheartistshavebeento college, trained, and earneddegreesspecializingintheirfield.

Together, we work very hard toproduce season after seasonof quality work; ser ving ourcommunity with art, as well aseducationandoutreachprograms.

Mostimportantly,thisisourhome.Wearehonoredtoopenourdoorsto you and share the excitementof the performing arts. To showrespectforourhome,weaskthatteacherspreparestudentsfortheirtheatricalexperience,aidedbytheuseofourfreestudyguides.

The skills and guidelines hereine n h a n c e s t u d e n t s ’ c u l t u r a lliteracy.Weencourageeducatorsto integrate these principlesinto further study throughtouttheir curriculum. Thank you forsupportingthearts!

O U R M I S S I O NToproduceachallenginganddiverserepertoåireoftheatricalworkthatspeakstotheintelligence,thesoul,andtheimaginationoftheMemphiscommunity;

Toprovideanurturingartistichomeforactors,directors,designers,andstaffinwhichtheycanpracticetheircraftandsharetheirtalent;and

Tomakeallofourproductionsavailablethroughaccess,outreach,andeducationalac-tivitiestoeveryoneinthecom-munityregardlessoffinancialcircumstances.

is reflected in the numerous Memphis theatre awards presented to Circuit Playhouse, Inc. in recent years. In December 1990, Circuit Playhouse, Inc. was honored by the Tennessee Arts Commission with the Governor’s Award in the Arts. In October 1993, Jackie Nichols was awarded the Gordon Holl Award for Outstanding Arts Administration at the Governor’s Conference on the Arts, and in June 1999, Jackie Nichols received the Rotary Club Community Service Award. Circuit Playhouse, Inc. celebrated its 35th anniversary in 2004.The stimulus for “Breaking New Ground,” the Capital Campaign to build a new state-of-the-art theatre came from a strategic planning retreat attended by Board and staff over four years ago. The realization evolved that Playhouse on the Square could not move to the next professional level without a quality space in which to present its productions. The drive began for the $15 million campaign and was greeted enthusiastically by foundations, corporations, and individual supporters. With Playhouse on the Square occupying the new location at 66 S. Cooper, The Circuit Playhouse moved to the old Playhouse location at 51 S. Cooper. In keeping with the organization’s attitude of support for all of the arts in our community, the new Playhouse on the Square and The Circuit Playhouse have performance time set aside for other groups such as Ballet Memphis, The Memphis Symphony

Orchestra, Opera Memphis, and others, creating a fantastic new synergy for performing arts in the Midtown area of Memphis.As we move toward the half-century mark, our vision of “enriching lives through theatre” remains constant. As artists that make up Circuit Playhouse Inc., we will continue to bring a challenging and diverse repertoire of theatrical work that speaks to the intelligence, soul, and imagination of the Memphis community.

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Noproductionwouldbepossiblewithouttheimaginationandinspirationofits playwrights.Manytimes,theideaforashowgrowsfromanexistingbook,article,ormovie.Othertimes,playwrightswriteplaysfromanoriginalideaorconcept.Theplaywrightmustfirstcreateaworld.Theworldmaybetruetoreallifeorfantastical,thatmixesmundanewithmagical.Eitherway,thereisaspecficsetofrulesestablishedintheworldthateveryonemustfollow.Then,theplaywrightcreatescharactersthatallhavespecificgoalsandobstaclestoacheivingthosegoals.Theplaywrightwritesdialoguetoilluminatethecharactersandadvancetheplotatthesametime.Thedirectorhasthejobofinterpretingthestoryandestablishingtheoverallartisticvisionoftheshow.

Creative TeamThedirectorworkstocastboththe principal performers andthe ensembleor chorus members.Eachperformermusthaveappropriateactingskillstosupportthecharacterandalsotherightlookor“type”forthecharacter.Theseelementsareallevaluatedduringtheauditionprocess.Actorsareaskedtobringaheadshotandeitherperformamonologue,prepareascene,ordoacoldread.(Acoldreadiswhentheactorisaskedtoperformthescenewithoutpriorrehearsalormemorizationofthepiece.)Oncetheactorsarechosenfortheprincipalrolesandfortheensemble,theybecomethecast,andbeginworkingwiththedirectorduringtherehearsalprocess.

The Cast Thecastwilldoaninitialreadthroughofthescript.Often,thedirectorwillmeetwithactorsanddotable workwheretheactorandcharacterscantalkthroughwhotheythinktheircharacteris,whattheywant,andhowbadlytheywantit.Tableworkcanhelpestablishthefoundationuponwhichtheactorsbegintheircharacteranalysis.Then,actorsanddirectorsmeetforrehearsalsinrehearsalspaceswherethedirectorcoachestheactors’readingofthelinesandemotionsandalsogivesthemtheirblocking,linebyline,scenebyscene.Throughouttherehearsalprocess,actorsaregivenpropstoworkwithandeventuallytakethestage.Onceonthestage,theactorshaveaspacing rehearsalwheretheyreviewtheirblockinginthenewspace.Next,thelightingcrewadjuststheirlightstowheretheactorswillbestanding,whichstartsthetechnical rehearsalprocess.Thetechnicalrehearsaliswhenthefullcastandcrewwalkthroughtheentireshow,ensuringeverylightcue,soundeffect,microphone,etc.worksasplanned.Thisrehearsalismainlyforthetechstaff.Thecastandcrewwillalsogothroughadressrehearsalincorporatingallthedifferentelements:costumes, lights,andsoundtogether.Oncealltheelementsareworkingharmoniouslytogether,theshowisreadytoopen!

The Rehearsal

C r e w : Theset designercreatesthelocaleandperiodinwhichtheplayoccurs.Whilesomesetsareverysimpleandfocustheaudience’sattentionontheshowitself,some are lavish and extravagant providing visual appeal. The master carpenter is responsible for building the actual set. The lighting designer decides wherethelightinginstrumentsshouldgo,howtheyshouldbecolored,andwhichonesshouldbeonatanyparticulartime.Themaster electricianimplementsthelightingdesigner’sworkandmakessurethelightsaresetproperlyandsafely.Theproperty (props) masterisinchargeofobtainingormakingandmaintainingallpropsusedintheshow.Heorshealsosetsthepropsintheirproperplacesbeforetheshowbegins.Thestage managerisresponsiblefortheoverallintegrityofaproduction.Heorsheassiststhedirector,and“calls the show,”makingsureeachperformancerunsassmoothlyaspossible.

Sound:The sound designerplansthelayoutofallsoundplayback,effects,andequipmentfortheshow.Often,thereispre-showmusic, intermissionmusic,andpost-showmusictohelpestablishthefeeloftheplayorhelpinformtheaudienceoftheworldoftheplay.Thesoundeffectsarecreatedbythesounddesignerandmannedbythesound operator.Adjustmentsinvolumeandintensityaremadeusingthesoundboard.

Costumes and Make-up: Thecostume designerfirstresearchesthesettingoftheplay.Costumesmustbeappropriateforthetimeperiodandcultureoftheshow,beautifulandelaboratelydesigned,whilealsopracticalenoughformovementandpossibledancing.Heorshethendecideswhichstylesandfabricstouse,anddrawsthecostumesin renderings.Throughcostumefittings,thecostumesareadjustedtofiteachindividualperformer.Duringdressrehearsalsandperformances,actorshavedresserstohelpputonand/orchangetheircostumes.The make-up artistisresponsibleforapplyingcosmeticstoeachperformer’sfaceandbodytoincreasevisibility,enhancecertainfeatures,andmodifytheactor’slooktoresemblehisorhercharacter.Inadditiontomake-up,certainrolescallforaspecifichairstyle.Thewig master/mistressobtainsthewigs,stylesandshapesthem,andhelpstheactorsputthemon.

elementS of production

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Goingtoseeaproductionatthetheatreis an exciting experience! You will bewatching live actors perform onstage.This makes each performance veryspecial. Notwoshowsarealike,duetothespontaneityofliveperformance.

Eachtimeyoucometothetheatre, it islikemakingapromisetocomeinsidetheworldoftheplaywehavemadeforyou.Weagreetocreateatheatricalworldforyoutovisit,andyouagreetostepinsideitforawhile.Thatagreementisthelaststepintheprocessofmakingaplayhappen!

So, when you walk into a theatre, youcanfeelasenseofimpendingdiscovery.Somethingimportantisabouttohappen.It’s exciting to be in the room. Thatstage holds the secret of what is aboutto come to life as you find the seatsreserved for you. Sometimes, it is sothrilling you want to get wiggly, laugh,andshout.Butrememberthatoncetheplaybegins,everbodyinthetheatrehasaresponsibility. Everbodyispartoftheplay-includingyou.

Theatre is an art form that depends onboth the artists and the audience. Asmembers of the audience, you play an important part in the success ofa theatrical performance. Audiencereactionstronglyaffectstheactors.

Q: What Makes Theatre Magical?A: The Audience!

They certainly don’t want a passiveaudience; they thrive on the audience’sresponse-thelaughterandtheapplause.When appropriate, such reactions“fuelthe fire” - but that response must be inco-operation with the action onstage,oritisoff-puttinganddistractingfortheperformersandotheraudiencemembers.

Students accustomed to watchingtelevision in their homes or attendingmoviesareusedtoeatingsnacks,movingaround,gettinginandoutoftheirseats,orsharingcommentsaloudduringashow.MoviesandTVshowsarenotaffectedbytheaudience,but theatre performances are! Studentsmaynotbeawareofhowdisturbingsuchbehaviorscanbe in livetheatre.Asacourtesy,preparestudentsfor their theatre experience. Discussbehaviorsthatareproblematicandwhytheyareaproblem.

Youareconnectedwiththeotherpeoplein the audience as well as the onesonstage.Theycanseeyou, hear you,andfeel you; just as you see, hear, and feelthem.Yourlaughter,yourresponses,yourattention, your imagination, and mostespecially your energy are important.Theyarearealpartoftheperformance,andthewonderful truth is thattheplaycanbebetterbecauseofYOU!

•Theatre is entertaining, as much as it is educational, mirroring society in all its complexity artistically through conflict and resolution.

•Audiences are able to observe and celebrate society’s heroes who overcome life’s obstacles to a prosperous or detrimental end.

•Audiences enjoy live theatre because it provides an escape from the outside world. Within the walls of the theatre, moral dilemmas are more easily grasped, and its characters can be scrutinized according to society’s mores.

•Delving into moral dilemmas elicits an emotional response from the audience for any one of the particular charaters, thus encouraging the audience to critically become aware of their own prejudices and suppositions of human behavior.

Peter Pan 2010Playhouse on the Square

Born in 1985, Playhouse on the Square’s Theatre for Youth Program now serves close to 30,000 young people every year in Memphis, Shelby County and beyond. From preschoolers to young adults, they all are engaged and enlightened, either as audience members or as active participants.

PlayhouseontheSquare’sSummerYouthTheatreConservatoryisopentoanystudentinterestedintheatreregardlessofexperience.Self-esteemisofprimaryimportancetoourprogram.Theatreistheperfectenvironmentforachildtofindtheirvoice.Sessionsaretaughtbyprofessionalartistsandsplitbyagegroup.Enrollmentislimitedtoallowformaximumindividualattentionanddevelopment.Offering:-One-week sessionsforages 5-6-Two-weeksessionsforages 7-11-Three-weeksessionsforages 12-17Pleasecallforspecificdates.

Summer Youth Theatre Conservatory

Celebratingover20years,theTheatreSchooloffersclassesforbothYouth and Adults.Classes,taughtbyprofessionalartists,meetfor9weeksinbothFallandSpringandendwithafinalshowcaseononeofourstages.Childrenages 7-17cantakeclassesinActing,Singing,orDance.

Theatre School Classes

AfterSchoolActingProgram(ASAP)sitesaremeetingatvariouslocationsthroughouttheMid-Southforchildrenages 7-12.Classesmeettwice a week for twelve weeks.InstructionintheelementsofActing,Improvisation,Movement,Music,andDesignaretaughtthroughaStyleofTheatre.StudentsalsoreceiveatickettoaPlayhouseproductiontoenrichtheiraestheticawareness.TheseskillsarethenutilizedintheTroupe’screationofashortproductionthatisperformedatPlayhouseontheSquareonthefinalday.MoreinformationaboutFallA.S.A.P.willbeannouncedatalaterdate.

ASAP

TeensInTheatreprovidesaperformanceandlearningvenuefor12-17 year oldsfromaroundtheMidSouth.TeensmayauditiontobeinvolvedintheFallandSpringproductionswhichperformatEvergreenTheatre,1705PoplarAvenue.

Teens iN Theatre (TNT)

For more information about any of our Theatre for Youth programs listed above, please call

(901) 728-5631, or email theatreforyouth@playhouseonthesquare.org.

You can also visit our website at www.playhouseonthesquare.org/education.

Anopportunityforstudents,K-12,toattendliveperformances,eitheratPlayhouse,Circuit,orbroughttotheirschool.WeofferedStudentMatineesofEvery Good Boy..., Gem of the Ocean, Annie. Stilltocomeistheproduction ...Patsy Cline. WetouredAesop’s Fable-ous Christmas TreeintheFallandwilltourThe Frog PrinceintheWinterandSpring.

School Matinees and Touring

TheaTre for YouTh

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AAct (v) to perform or play a role; (n) a division of a dramaAction the core of a theatrical piece; the sense of forward movement created by a sense of time and/or the physical and psychological motivations of charatersArticulation clear pronunciation of wordsBBlocking the pattern actors follow in moving onstage, usually determined by the director.Box Officewhere ticket sales are hand-led, usually located in the theatre’s lobbyCCast(v) to choose the actors to play spe-cific roles in a play; (n) the group of actors who take the roles in a playCatharsisan emotional purification or relief (Greek)Characterone of the people who figures in a play; a part played by an actorChoreographeran artist who designs (choreographs) dances for the stageClimaxthe turning point in a plot when conflict comes to an emotional crestConflictstruggle between opposing ideas, interests, or forces in a play. The existence of conflict, either external (between two or more characters) or internal (within one character), is central to drama.Costumeany clothing an actor wears ons-tage for a performanceCostume Designerthe person who decides what the actors will wear, he/she designs costumes to build or chooses costumes to rent, borrow, or buy for a productionCuea final line or action that signals an actor to begin the next speechCurtain callthe return of the cast to the stage after the end of the perofrmance, when the actors acknowledge applauseDDenouementthe final resolution of the conflict in a plotDialect language features specific to the speech of a particular regionDialoguethe lines of the play spoken by the actors in characterDirectorthe person who oversees the entire productionDownstage the part of the stage closest to the audienceDramatic conflictthe conflict in which the main character in a play engages. There are four types of dramatic conflict: 1) per-son vs. person; 2) person vs. society; 3) person vs. self; 4) person vs. nature/fateEEnsemblethe interaction and blending of the efforts of the many artists involved in a

theatrical productionExpositionthe beginning of a plot that provides important background informationFFalling actionthe series of events follo-wing the climax of a plotFight directora movement and combat specialist who choreographs both armed and unarmed fight scenes and stunts onstageFourth wallan imaginary wall between the audience and actors in a representa-tional playGGesturean expressive movement of the body or limbsHHousethe auditorium or seating of a theatreIImproviseto speak or to act without a scriptInciting incident the event that sets in motion the action of the plotLLighting Designerthe person who deve-lops a lighting concept and design for a production, he/she oversees installation and operation of lighting for the productionMMonologue a story, speech, or scene performed by one actor aloneMotivationa character’s reason for doing or saying thingsOObjectivea character’s goal or intentionObstaclesomething that stands between a character and his/her ability to meet an objective or achieve a goalOpento keep the face and front of the body visible to the audience as much as possiblePPantomimeto act without words through facial expression and gesturePerformancea representation before an audience; entertainmentPlaywrighta person who writes playsPlot the sequence of events; the structure of a playProducerthe person or company who oversees the business details of a theatri-cal productionProject1) to make your voice fill the performing space; 2) to cast an image or patterned light onto a screen or other surfaceProperty or Prop anything that an actor handles onstage as well as furniture and other items used to enhance the setProscenium stageperformance space in

which the audience views the action as if through a picture frameProtagonistthe main character of a play; the charater with which the audience iden-tifies most stronglyRRising actionthe middle part of a plot, consisting of complications and discove-ries that create conflictRolea part in a play that is written by the playwright; the basis of an actor’s charac-terizationSScenethe basic structural element of a play; each scene deals with a significant crisis or confrontationSceneryonstage decoration to help esta-blish the time and place of a playScriptthe text of a playSetthe onstage physical space and its structures in which the actors performSet Designerthe person who develops the design and concept of the setSound Designerthe person who deter-mines the kinds of sound needed for a production, recorded or liveStage Managerdirector’s technical liaison backstage during rehearsals and perfor-mancesStage Picturethe succession of tableaux created by a director through blockingStrike1) to remove something from the stage; 2) to take down the setSymbola concrete image used to repre-sent a concept or ideaTTableaua silent and motionless depiction of a scene, often from a pictureTheatre1) the imitation/representation of life, performed for other people; 2) the place that is the setting for dramatic performancesThemeunderlying meaning of a literary workThespianan actor (named after the first actor, “Thespis”)Tragedya play that ends in defeat or death of the main characterUUnderstudyan actor who learns the part of another actor playing a major role, able to replace the original actor in case of emergencyUpstage 1) (n) the stage area away from the audience; 2) (v) to stand upstage of another actor on a proscenium stage, forcing the downstage actor to turn away from the audience; 3) (v) to steal the focus of the sceneWWingsthe sides of a stage just outside the scenery, unseen by the audience

a glossary of TheaTrical Terms

5 BiBliograPhy

“BBC - CBeebies - The Frog Prince.” BBC - Homepage. Web. 23 Dec. 2011. <http://www.bbc.co.uk/cbe

bies/misc/stories/misc-thefrogprince/>.

Bragg, Melvyn. “In Our Time: The Brothers Grimm.” Interview. British Broadcast Corporation. BBC Radio.

5 Feb. 2009. Radio.

Contributor, An EHow. “How to Write a Fairy Tale | EHow.com.” EHow | How to Videos, Articles & More

- Discover the Expert in You. | EHow.com. Web. 28 Dec. 2011. <http://www.ehow.comhow_2085331

write-fairy-tale.html>.

Fountain, The. “The Frog Prince (album).” Wikipedia, the Free Encyclopedia. Web. 23 Dec. 2011.<http:

en.wikipedia.org/wiki/The_Frog_Prince_(album)>.

“Frog Activities.” Kidzone - Fun Facts for Kids! Web. 2 Dec. 2011. <http://www.kidzone.ws/lw/frogs/activ

ties.htm>.

“The Frog Prince | Children’s Stories.” Child Bible Story Online. Web. 02 Dec. 2011. <http://www.childre

story.info/childrenstories/thefrogprince.html>.

“The Frog Prince.” Classic Children’s Stories |. Web. 23 Dec. 2011. <http://childhoodreading.com/?p=24>.

“The Frog Prince - Television Tropes & Idioms.” Home Page - Television Tropes & Idioms. Web. 02 Dec.

2011. <http://tvtropes.org/pmwiki/pmwiki.php/Main/TheFrogPrince>.

“The Frog Prince (story).” Wikipedia, the Free Encyclopedia. Web. 30 Nov. 2011. <http://en.wikipedia.org

wiki/The_Frog_Prince_(story)>.

“Grimm Brothers @ Nationalgeographic.com.” National Geographic - Inspiring People to Care About the

Planet Since 1888. Web. 23 Dec. 2011. <http://www.nationalgeographic.com/grimm/frog_king.html>.

GrimmFairyTales.com. Web. 27 Nov. 2011. <http://www.grimmfairytales.com/en/main>.

“Hanau.” Wikipedia, the Free Encyclopedia. Web. 1 Dec. 2011. <http://en.wikipedia.org/wiki/Hanau>.

“Playwriting 101: Story Development.” Playwriting 101: How to Write a Play. Web. 08 Jan. 2012. <http:/

www.playwriting101.com/chapter04>.

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