Homeschool Drama Class

Farewell! God knows when we shall meet again.

2011-07-18T22:16:00.001-05:00

This quote is from Shakespeare's Romeo and Juliet, (Act 4, Scene 3), and it appears to be an appropriate sentiment for the last post on this site, now titled "Homeschool Drama Class." It is the combined work of two drama class activities for approximately five years. It was used as a way to help connect with students and parents and to encourage the study of literature through the medium of acting and the theater. I have seen many students attain knowledge, increase skills, gain confidence, overcome personal obstacles, and create lifelong friendships.

Thank you to all the students that taught me more than I could ever attempt to teach you! Thank you to all the parents that spent many hours helping in class, sewing and compiling costumes, building sets, sorting properties and selling tickets or concessions. Parents and students working together promotes everything homeschool is about; learning together!
I would also like to thank two special mom's that helped this Drama Mama become a better director by taking on the all important job of "stage manager." The Lord brought these two ladies into my life to help with this class, and to become my friends. Thank you Denise and Alicia!

I am always glad to hear when my past students have gone into successful careers or are excelling at college, but as John said: I have no greater joy than to hear that my children walk in truth. (III John 1:4). I pray that each student passing though one of my classes will use the skills they gained for the opportunity to serve God. Have no fear, friends, I am not leaving the world of homeschool theater. If you would like to join me for further adventures in theater, literature and language arts, visit SELAH, Southside Enrichment for Language Arts and History. Farewell! God knows when we shall meet again!

Thank you Classic Players and Young Thespians!

Mrs. Gwendolyn Bielicki

The Epic Production of The Scarlet Pimpernel

2011-05-20T23:53:00.029-05:00

Congratulations to all cast and crew of The Scarlet Pimpernel! I am so proud of all of the students and parents that put their whole heart into this production. I have heard that some theaters term the week of production as "hell week," but I have to say that this was one of my easiest productions as far as getting things done. There was a few emotional issues I had to deal with, but more about that later. What made this production truly magical is that each cast member wanted to be a part of this play. Each participant counted this play as "their play," and when they internalized that thought, they threw themselves into their parts and it showed! And lastly, the element that made everything else happen successfully: we all worked together as a TEAM! Parents helped in costumes, ticket sales, play bill assembly, kitchen duties, and of course the all important strike! Thank you again for everything you did to help these amazing young actors experience this wonderful production!

Make photo slide shows at www.OneTrueMedia.com

Exercise in Method Acting

2011-05-19T16:35:00.009-05:00

With costumes complete and ready to go, who want's to take them off? Well, we decided to combine some practice in method acting with an experiment in marketing. We spent a couple of days taking our cast out amongst the public. In each circumstance they were greeted with smiles, attention, questions, and even an instant fan that insisted on having his picture taken with the cast! This was a great experience and one that left this director thinking up more possibilities for next years cast! The cast received many compliments as to their acting abilities, but my favorite is when they were mistaken for actors from Disney!

Looks like the Prince of Whales has been captured while visiting Governor's State University!

Cast was invited on stage at GSU.

Suzanne and the Comtesse de Tourney.

Looking for their hero, the Scarlet Pimpernel!

Sir Percy takes his entourage shopping at Orland Mall, no doubt to find a new cravat for Chambertin, oh, he means Chauvelin.

Sir Percy is quite surprised to find young women dressed as young men, what a good idea for sneaking out of Paris!

Sir Percy's friends are dazzled by the floor show, but Marguerite is always looking for the Scarlet Pimpernel.

It is a great honor to have a picture taken with Sir Percy and Lady Blakeney, the most fashionable couple in England!

Sir Percy takes his friends out for tea.

Oh, my, it looks like the Pimpernel left his mark on Mistress Sally's cup!

Sir Percy has made his wife laugh! I wonder if he remembers what he said?

Finger food keeps the clothing clean!

Now, Sir Percy and Lady Blakeney take a stroll along the street.

Such a warm afternoon, good thing we have such big beautiful fans.

Signorina Bosca enjoys the window shopping.

Suzanne de Tourney is a little nervous that Lambert has joined the party.

Armand brings up the rear of the party...

...no doubt to keep an eye on the French spy, Lambert.

Such a lovey day for a stroll, where should we go?

Mistress Sally leads the party to a near by park.

Scarlet Pimpernel Dress Rehearsal

2011-05-16T22:53:00.001-05:00

This is the first year we experimented with renting costumes. Several students worked together on a fund raiser in December and earned enough to rent 12 costumes. We rented from Broadway Costumes in Chicago and I admit the experience was quite illuminating. Each costume was perfectly suited in style and size as well as including all accessories. Besides the excitement of the rented costumes, we also had a great rehearsal where everyone worked together and supported each other the way a TEAM should! Congratulations to all, we've laid the ground for an excellent performance! Break a leg!

Gloves, necklace, and oh, look! Here's a little purse to carry your gun!

"Suzanne" is looking for her gloves.

Lady Blakeney, costume #1, ready to go!

Thank you Mrs. H. for scooping up all of the plastic packaging!

Wow, it even came with paniers, don't really need them, I think I'll give them to Jellyband.

The costumes came with these beautiful head pieces!

The dark red is for Grenville's Ball and your garden party, the yellow for all other scenes, oh and don't forget your hat and cloak.

See, it's all right here on the costume plot.

Tying cravats can be kind of tricky!

Cool cloak...but I have four costume changes!

Brogard's Mice!

Cart in which The Pimpernel smuggles Suzanne de Tourney out of Paris.

Mrs. T. worked tirelessly back stage making sure all costumes were tagged, mended and ready to go, God Bless her!


Lady Marguerite Blakeney in traveling clothes. "The hat definitely needs more stage time!"

Method Acting

2011-05-13T22:18:00.000-05:00

Every once in awhile, one of my students shares an "ah, ha!" moment about what we have been practicing in drama class. I asked one of them to share their experience with us:

My director told me today that I did an great job in practice today and said she could see me really becoming my character. She asked what I had done differently. Here is my secret:

1. Recording: I recorded myself during rehearsal. I naturally talk really fast and I usually get told to slow down or asked to repeat what I said because I can't be understood. In drama and speech class I'm constantly being told to slow down. The thing is, I can't tell that I'm talking fast because to me it sounds normal. So, this time, watching one of my recorded rehearsals, I saw how fast I was talking and have tried to be slower.

2. Staying in Character: I love anime/Japanese culture, and I found a musical to one of my favorite animes Kuroshitsuji, or Black Butler. Along with a video of the show itself, they had behind the scene videos. I noticed that even in their rehearsals they were always in character. Even though they were just wearing sweats and baggy t-shirts with a couple costume pieces on, they were still in character. This helped me figure out this drama truth: That the people on stage are not the people who show up for rehearsal. "Sir Percy" is not my friend Kevin, he is The Scarlet Pimpernel that saved me from the guillotine; Sir Andrew Ffoulkes is not my friend Johnny, he is the man my character falls in love with; and I am not Hannah. I am "Suzanne de Tournay." a young French girl who just escaped from France as a boy with the plague. And if you take this attitude to the stage, it will be seen on stage.

You see, being in character spreads from beyond the stage. Getting in costume, in between scenes, or just while reading over your script at home, you need to be thinking, seeing, and breathing that character. That character must become a part of you. Just liking the character won't help much. Connecting and seeing your character will help you become that character on stage. Even when playing an extra; like the "Citizen," screaming Liberté, égalité, fraternité, You must feel their hatred and ambition towards the aristocrats while in the wings, before stepping on stage!

Sincerely,
Suzanne de Tournay

Stuart Little Production

2011-05-06T22:35:00.017-05:00

Congratulations to the Young Thespians for an excellent performance of Stuart Little. This production used a moving stage with boxes that when moved became tables, chairs, vehicles, counters and more. The Young Thespians worked together as a supportive TEAM and I am so proud of the final production. The pictures below captured some of the magic we witnessed on stage, and others portray the excitement shared after the play was over. Thank you to all the parents that provided services to make this play a success! Great Job to all!

Caps Off to the Cast!

2011-05-04T21:37:00.010-05:00

The production of The Scarlet Pimpernel is right around the corner and our students have been working hard to provide the audience with a great story all wrapped up in an entertaining evening!

Sneaking out of France...who is that pulling the cart, and what is inside?

The Fisherman's Rest is a popular destination for Lords, Ladies, Knights, and French Revolutionaries alike!

While finalizing details for the performance, (properties are set, stage is almost complete, costumes have been ordered and just need final fittings), there is one last thing we need - Phrygian Caps!

The Phrygian cap, or Liberty Cap, was a cap worn in antiquity by the inhabitants of Phrygia. Phrygia is a region of central Anatolia. The Phrygian cap is a soft conical cap, whose top is pulled forward. In France, the Phrygian cap is called bonne Phrygian. As the Liberty Cap, it is also called bonnet de la Liberté and the Red Cap (Bonnet Rouge).

It is commonly believed that the revolutionaries from Southern France adopted this cap as it symbolized liberty. An important fact about the Phrygian cap from history is that in June 1792, King Louis XVI was obliged to don a liberty cap by a mob that stormed the palace of Tuileries. The Archbishop of Paris was made to replace his mitre with the red Cap of Liberty, when he had to resign his duties.

The Liberty Cap became more popular, particularly after the fall of the French Monarchy and emerged as a revolutionary icon in the 18th century. It evolved as a symbol of freedom. It was even held aloft on a Liberty Pole during the American Revolutionary War. The Phrygian cap was adopted during the French Revolution. Till date, it's a part of the national emblem.

Source: PHRYGIAN CAP (THE RED CAP OF THE FRENCH REVOLUTION)

Wolfgang Amadeus Mozart

2011-04-20T20:30:00.014-05:00

Lord Grenville: Your Royal Highness, my lords, ladies and -

Prince: Nothing more to eat, I beg you, my lord - unless a dozen or so of oysters are available...

Lord Grenville: Not oysters, sir, but the musicians from the Italian Opera at your command.

Marguerite: What are they to sing?

Lord Grenville: Arias by Mozart, my lady.

Sir Percy: I don't think that Mozart fellow was murdered - I think she had him for lunch.

This line in the play puzzled me until I looked up the "death of Mozart." Mozart fell ill on September 6, while in Prague for the premiere of his opera La clemenza di Tito, written in 1791. He was able to continue his professional functions for some time, and conducted the premiere of The Magic Flute on September 30th. The illness then intensified ti the at which Mozart became bedridden, suffering from swelling, pain, and vomiting.

Mozart was nursed in his final illness by Constanze and her youngest sister Sophie, and attended by the family doctor, Thomas Franz Closset. It is clear that he was mentally occupied with the task of finishing his Requiem. However, the evidence that he actually dictated passages to his student Süssmayr is very slim.

Mozart died at 1 a.m. on December 5, 1791 at the age of 35. The New Grove gives a matter-of-fact description of his funeral:

Mozart was buried in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.

The cause of Mozart's death cannot be known with certainty. The official record has it as "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Researchers have posited at least 118 causes of death, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment. The most widely accepted hypothesis is that Mozart died of acute rheumatic fever.

Being without the looking glass of modern medicine, one can easily see how rumors would arise around a popular figure like Mozart and the subject of his death. Indeed, at the time of Sir Percy's statement, this kind of topic was still quite relevant. The validity of Mozart's possible murder still surface today, and there are quite a number of medical journals that discuss the issue. See below articles for further reading, or enjoy the video of Mozart's last masterpiece "Requiem"

Mozart's Death - Murder, Accident or Disease?

The Death of Wolfgang Amadeus Mozart: An Epidemiologic Perspective

Experts Rule out Foul Play in the Death of Mozart

Maximilien Robespierre

2011-04-06T20:57:00.001-05:00

After the king of France, Louis XVI, went to the guillotine in 1793, the Reign of Terror began. Marie Antoinette led off a parade of prominent and not-so-prominent citizens to their deaths. The guillotine, the new instrument of egalitarian justice, was put to work. Public executions were considered educational. Women were encouraged to sit and knit during trials and executions. The Revolutionary Tribunal, with Robespierre at its head, ordered the execution of 2,400 people in Paris by July 1794. Across France 30,000 people lost their lives.

The Terror was the most radical phase of the French Revolution and was masterminded by Robespierre. It was designed to fight the enemies of the revolution, to prevent counter-revolution from gaining ground. Most of the people rounded up were not aristocrats, but ordinary people. A man (and his family) might go to the guillotine for saying something critical of the revolutionary government. If an informer happened to overhear, that was all the tribunal needed. Watch Committees around the nation were encouraged to arrest "suspected persons, ... those who, either by their conduct or their relationships, by their remarks or by their writing, are shown to be partisans of tyranny and federalism and enemies of liberty" (Law of Suspects, 1793). Civil liberties were suspended. The Convention ordered that "if material or moral proof exists, independently of the evidence of witnesses, the latter will not be heard, unless this formality should appear necessary, either to discover accomplices or for other important reasons concerning the public interest." The promises of the Declaration of the Rights of Man were forgotten. Terror was the order of the day. In the words of Maximilien Robespierre, "Softness to traitors will destroy us all."

Robespierre was the leader of the Committee of Public Safety, the executive committee of the National Convention, and the most powerful man in France. He explained how terror would lead to the Republic of Virtue in a speech to the National Convention:

If the spring of popular government in time of peace is virtue, the springs of popular government in revolution are at once virtue and terror: virtue, without which terror is fatal; terror, without which virtue is powerless. Terror is nothing other than justice, prompt, severe, inflexible...It has been said that terror is the principle of despotic government. Does your government therefore resemble despotism? Yes, as the sword that gleams in the hands of the heroes of liberty resembles that with which the henchmen of tyranny are armed.

The old maxim "the end justifies the means" describes Robespierre's policy well.

Even the radical Jacobins, the supporters of Robespierre, come to feel that the Terror must be stopped. Danton rose in the Convention calling for an end to the Terror. He was its next victim. Fearful of Danton's reputation for eloquence, the Convention passed a decree stating that any accused person who insulted the court should be prohibited from speaking in his own defense. Danton was not allowed to speak in his own defense. Nevertheless after the trial Danton asserted that "the people will tear my enemies to pieces within 3 months." As he was led to the guillotine he remarked "Above all, don't forget to show my head to the people - it's well worth having a look at." Modesty was never one of his virtues.

When Robespierre called for a new purge in 1794, he seemed to threaten the other members of the Committee of Public Safety. The Jacobins had had enough. Cambon rose in the Convention and said "It is time to tell the whole truth. One man alone is paralyzing the will of the Convention. And that man is Robespierre." Others quickly rallied to his support. Robespierre was arrested and sent to the guillotine the next day, the last victim of the Reign of Terror.

Sir Francis Drake and a Game of Bowls

2011-03-30T20:14:00.012-05:00

Upstage, HRH the Prince of Wales, Sir Andrew, Blakeney, Lord Antony and Suzanne are playing at bowls. As Marguerite and Chauvelin enter a single bowl comes curving slowly down towards Chauvelin who leaps up nervously. Marguerite stops the bowl with her foot.

Chauvelin: And now what are they doing! What is this?

Marguerite: Playing at bowls. What did you take it for? A cannon-ball?

Prince: Nearly got him! We don’t want to encourage that knight of the rueful countenance, he would spoil the afternoon.

Marguerite: Who is winning?

Sir Andrew: Not his Royal Highness.

Prince: I’m last, I think, Blakeney - after that little overshoot!

Blakeney: That is so, sir - that is so.

Prince: Split me, I think that you’ll beat me after all, sir!

Blakeney: I hope so, your Royal Highness! I’m a loyal subject, I trust - but bowls takes precedence! Think of Sir Francis…

Men: Drake?

Blakeney: That’s the fellow.

The greatest sailor of his generation, the navigator Francis Drake was famous in his own lifetime. He first went to sea aged 13, an apprentice on a small trading ship. The master left the ship to Drake who sold it and sailed with his cousin Sir John Hawkins. Hawkins and Drake made the first English slave-trading expeditions.

The dream of French and English privateers in the sixteenth century was to capture Spanish silver mined in the Andes and then transported back to Spain. The most vulnerable part of the journey was crossing the isthmus of Panama in Central America. It was here with the help of the cimarrones, escaped slaves who fought the Spanish, that Drake ambushed a treasure train in February 1573. He returned to England a wealthy man.

In 1577 Drake was commissioned to circumnavigate the globe, Queen Elizabeth being among the sponsors of the expedition. On the three year voyage aboard the Golden Hind Drake sailed through the Straits of Megallan into the Pacific. Here he raided Spanish treasure ships before proceeding up the coast of the Americas and landed in what is now California naming it Nova Albion (New England). Turning west across the Pacific, Drake visited the East Indies and loaded his ship with spices before returning to England via the Cape of Good Hope.

Drake's feat of navigation was extraordinary. Only one man, Magellan, had ever circumnavigated the globe before and he had not lived to tell the tale. The expedition captured an estimated £600,000 worth of booty and demonstrated the wealth and vulnerability of the Spanish empire. The Queen's share of £300,000 was more than the crown's income for a whole year.

War broke out with Spain in 1585. Drake sailed for the West Indies and stormed the Spanish cities of Santa Domingo and Cartegena. On the way back to England Drake captured the Spanish fort of San Agustín in Florida. As a result of these attacks King Philip II of Spain ordered planning to begin for an invasion of England.

The following year Drake famously 'singed the King of Spain's beard' when he boldly sailed a fleet into Cadiz, one of Spain's main ports, occupied the town for three days and destroyed 26 enemy ships as well as a large quantity of stores. This attack delayed the Spanish invasion by a year.

The first news of the Armada's appearance was received on 19 July (29 July new style) when, it is said, a game of bowls was being played. Drake is reputed to have remarked, "There's time to finish the game and beat the Spaniards too." Assuming the tides were wrong for leaving the harbor, this is exactly the type of statement he would have made. As the English fleet pursued the Armada up the Channel, Drake captured the Spanish galleon Rosario causing confusion in the English fleet in the process. He was also present at the Battle of Gravelines off Calais on 30 July 1588.

Under orders from the Queen to destroy the remains of the Armada, Drake led an unsuccessful expedition in 1589. After destroying a few Spanish ships in Corunna, Drake and Sir John Norris, commanding the troops, decided to excite a popular uprising in Portugal. An attack on Lisbon failed and with no Portuguese support the expedition returned to England empty handed. The Queen was furious and Drake was in disgrace.
Drake undertook a further privateering expedition to the West Indies in company with Hawkins. He died of yellow fever at Puerto Bello in Panama in 1596.

Becomming a Mob

2011-03-16T23:39:00.001-05:00

“Patriots!” said Defarge in a determined voice, “are we ready?”

Instantly Madame Defarge’s knife was in her girdle; the drum was beating in the streets, as if it and a drummer had flown together by magic; and The Vengeance, uttering terrific shrieks, and flinging her arms about her head like all the forty Furies at once, was tearing from house to house, rousing the women.

The men were terrible in the bloody-minded anger with which they looked from windows, caught up what arms they had, and came pouring down into the streets; but, the women were a sight to chill the boldest. From such household occupations as their bare poverty yielded, from their children, from their aged and their sick crouching on the bare ground famished and naked, they ran out with streaming hair, urging one another, and themselves, to madness with the wildest cries and actions. Villain Foulon taken, my sister! Old Foulon taken, my brother! Miscreant Foulon taken, my daughter! Then, a score of others ran into the midst of these, beating their breasts, tearing their hair, and screaming, Foulon alive! Foulon who told the starving people they might eat grass! Foulon who told my old father that he might eat grass, when I had no bread to give him! Foulon who told my baby it might suck grass, when these breasts were dry with want! Oh‚ mother of God, this Foulon! Oh‚ Heaven‚ our suffering! Hear me, my dead baby and my withered father: I swear on my knees, on these stones, to avenge you on Foulon! Husbands, and brothers, and young men, Give us the blood of Foulon, Give us the head of Foulon, Give us the heart of Foulon, Give us the body and soul of Foulon, Rend Foulon to pieces, and dig him into the ground, that grass may grow from him! With these cries, numbers of the women, lashed into blind frenzy, whirled about, striking and tearing at their own friends until they dropped into a passionate swoon, and were only saved by the men belonging to them from being trampled under foot.

This excerpt from A Tale of Two Cities, by Charles Dickens has been marked by scholars as an accurate description of an angry mob during the French Revolution. Loaded with descriptive adjectives, commanding verbs and strong nouns - it truly gives a visual picture of a mob. In our production of The Scarlet Pimpernel, there are several scenes in which our young actors are asked to portray an angry mob, but as expected, none of our students have neither been party to or witness to a mob.

But the portrayal of a mob can be achieved through implementing a few method acting techniques. These next few rehearsals, we will be focusing on the practice of using substitution, emotional memory, and sense memory to enhance character development. We can begin by using the above excerpt from A Tale of Two Cities.

Consider the words and phrases below, now highlighted in red. What emotions do they arouse, what senses do they stimulate and is there a memory you can recall that may remind you of that phrase? Great! Now substitute those emotions, senses and memories to become the character of a mob member.

“Patriots!” said Defarge in a determined voice, “are we ready?”

Instantly Madame Defarge’s knife was in her girdle; the drum was beating in the streets, as if it and a drummer had flown together by magic; and The Vengeance, uttering terrific shrieks, and flinging her arms about her head like all the forty Furies at once, was tearing from house to house, rousing the women.

The men were terrible in the bloody-minded anger with which they looked from windows, caught up what arms they had, and came pouring down into the streets; but, the women were a sight to chill the boldest. From such household occupations as their bare poverty yielded, from their children, from their aged and their sick crouching on the bare ground famished and naked, they ran out with streaming hair, urging one another, and themselves, to madness with the wildest cries and actions. Villain Foulon taken, my sister! Old Foulon taken, my brother! Miscreant Foulon taken, my daughter! Then, a score of others ran into the midst of these, beating their breasts, tearing their hair, and screaming, Foulon alive! Foulon who told the starving people they might eat grass! Foulon who told my old father that he might eat grass, when I had no bread to give him! Foulon who told my baby it might suck grass, when these breasts were dry with want! Oh‚ mother of God, this Foulon! Oh‚ Heaven‚ our suffering! Hear me, my dead baby and my withered father: I swear on my knees, on these stones, to avenge you on Foulon! Husbands, and brothers, and young men, Give us the blood of Foulon, Give us the head of Foulon, Give us the heart of Foulon, Give us the body and soul of Foulon, Rend Foulon to pieces, and dig him into the ground, that grass may grow from him! With these cries, numbers of the women, lashed into blind frenzy, whirled about, striking and tearing at their own friends until they dropped into a passionate swoon, and were only saved by the men belonging to them from being trampled under foot.

The above pictures were taken in class this week by a fellow student (Thank you, Miranda!). As you can see, they are using the above methods well, but because technique can always be improved, we will press on! Keep up the hard work, class - the end result will be amazing!

The Scarlet Pumpernickel

2011-03-09T21:11:00.001-06:00

The Scarlet Pimpernel has been parodied or used as source material in a variety of media in stage works, literature, games and at least 20 movies/films. It was parodied as a 1950 Warner Brothers cartoon short featuring Daffy Duck as the "The Scarlet Pumpernickel" and Sylvester as Chauvelin. An action figure of the Scarlet Pumpernickel was even released by DC Direct in 2006, making it one of the few, if not the only, toys based on the Pimpernel. When a piece of literature is made into a parody on one of the most popular cartoon series of all time, it is obvious that its place in pop-culture is well deserved!

Playing at Bowls

2011-03-09T21:00:00.005-06:00

A single bowl comes curving slowly down towards Chauvelin who leaps up nervously. Marguerite stops the bowl with her foot.

Chauvelin: And now what are they doing! What is this?

Marguerite: Playing at Bowls. What did you take it for? A cannon-ball?

Bowls is a sport in which the objective is to roll slightly asymmetric balls, called bowls, so that they stop close to a smaller, normally white, bowl called the "jack". Bowls is usually played outdoors, on grass but are also available in indoor varieties. The history of the game can be traced back to the 12th Century. It is most popular in New Zealand, Australia, the United Kingdom, and in other Commonwealth nations.

The opening scene in Act II of Beverly Cross's The Scarlet Pimpernel, begins in the Blakney's garden. There we find Sir Percy playing a game of Bowls with the HRH Prince of Wales. Unfortunately, Chauvelin, is not impressed with this game he knows nothing about. Sir Percy proceeds to use the rules of the game as a metaphor to warn Chauvelin from his pursuit of the Scarlet Pimpernel. The warning appears to be lost on him - but not for long - by the end of the scene, Chauvelin discovers the identity of the Scarlet Pimpernel.

To witness this match of wits yourself, you will have to attend the Classic Players production of The Scarlet Pimpernel! And when you see cast members tossing Bowls around the stage, have no fear - they're Bowls -not cannon-balls!

Lord Grenville's Ball

2011-03-02T19:10:00.100-06:00

You are cordially invited to the country residence of

Lord Grenville, Foreign Secretary, Baron of Wotton-under-Berhewood

At Wotton House, Wotton Underwood, Buckinghamshire

The distinguished HRH Prince of Wales will Grace us with his Presence

Entertainment will be provided by Signorina Bosco, of the Italian Opera

When discussing the historical accuracy of Orczy's writings, it is significant to note that she included historical characters in her writing. A recent post mentioned the boxer, Mendoza, but she also used the HRH Prince of Wales and Lord Grenville himself.

William Grenville, who served as Prime Minister from 11 February 1806 to 25 March 1807, was serving as Foreign Secretary in 1792. This explains why in our text the Prince asks Lord Grenville of the current conditions in France, and why Chauvelin is in attendance at this party. Most likely the Ball would have been held in town, but it could also have been held at his country residence:

Wotton House: the country residence of Lord Grenville

Also in attendance at the Ball would have been the current HRH Prince of Wales, George Augustus Frederick, later to be King George IV. Baroness Orczy's correctly characterizes the prince with his paunchy belly, taste for oysters, love of entertainment and wealthy surroundings. While Prince, and later as King, George IV led an extravagant lifestyle which eventually, made him very unpopular with his subjects. Obviously, Orczy wanted to emphasize the popularity and social height of her distinguished characters, Sir Percy and Lady Blakney, she placed them in a party of the highest social standing. In fact, she made them even appear to be more popular than the Prince himself. Form many, the popularity of the fictional Scarlet Pimpernel has certainly eclipsed the historical memory of George IV!

As for the entertainment by the Italian Opera singer, Signorina Bosco, a fictional character which could have been based on the real life diva, Marietta Alboni. Mozart's opera's were the popular music of choice and would have been familiar to Lord Grenville's guest. Below is an example of Mozart's beautiful music from The Marriage of Figaro, illustrated by period costumes most likely worn by the guest at Lord Grenville's ball.

So please take advantage of this opportunity to attend Lord Grenville's Ball in the performance of The Scarlet Pimpernel on May 19 and 20, I promise, you will not be disappointed!

Macbeth Field Trip

2011-02-28T23:29:00.044-06:00

Fifty-five students and parents were in attendance today at the Shakespeare Theater on Navy Pier to see the performance of William Shakespeare's Macbeth.

This 75 minute production turned out to be an excellent example of Shakespeare's story brought to life. It was set in the apocalyptic future where anarchy and the supernatural appear to be possible. Major themes were strategically highlighted through simple properties and patterns in dialogue. Macbeth was portrayed as a strong and capable hero, that was quickly swayed to perform evil and dangerous acts of violence in order to achieve his goals. The weird sisters took on a complete new interpretation as they infiltrated the everyday lives of the Macbeth's - influencing their daily operations and decisions.

The play ended with the cast spending some time answering questions, and explaining the productions vision and direction with their young audience. A hearty thank you goes out to the entire production crew and cast of Macbeth at the Shakespeare Theater! You did a great job and I know our students will be eagerly awaiting for next year to return for this amazing opportunity to see Shakespeare's words - brought to life!

Reading Macbeth

2011-02-25T20:24:00.088-06:00

It is impossible to overstate the importance of Shakespeare’s work. It is clever, witty, beautiful, inspirational, funny, deep, dramatic, and more. Shakespeare's work has inspired students and scholars for centuries, because it also tells us so much about life, love, and human nature. When we study Shakespeare, we find that human beings haven’t really changed all that much over the past several hundred years.

Shakespeare is different from any other piece of literature, in that it requires some engagement and active participation. Since Shakespeare never published his own plays, it is safe to say that they were never meant to be read - only heard. Reading Shakespeare out loud gives the reader a better sense of context and meaning. When we actually say the words out loud, they start to “click.”

Today, our drama students attended a second workshop to read Shakespeare's Macbeth. It was a major undertaking! With time out to discuss themes and interpretation, movement and motivation, and the addition of some fun properties, they were able to read just over half of the play. From the smiles on their faces, one can deduct that they were at least enjoying the challenge! The pictures were provided by one of our students, Miranda Joebgen. Her blog, Theater, contains more pictures and updates on this production as well as many others!

Shakespeare really makes more sense when we see the words come to life on stage. You won’t believe how much expressions and movements of the actors can demystify Shakespeare’s beautiful but complex prose.

On Monday, the drama classes at MHFA will be attending Macbeth at the Shakespeare Theater on Navy Pier. For two weeks we have been studying this great piece of literature, but soon they will see Macbeth come to life!

For more information on reading Shakespeare, visit the following links:

Reading Shakespeare's Language

Reading Shakespeare's Plays

Shakespeare Reading Tips

Reading Shakespeare Has Dramatic Effect On Human Brain

Sir Percy vs. Mendoza

2011-02-23T21:54:00.002-06:00

Rocky Balboa may just owe a debt of gratitude to to a real life boxer named Daniel Mendoza. Daniel Mendoza (1764–1836) was an English prizefighter, who was boxing champion of England, 1792–95.

Before Mendoza, boxers generally stood still and merely swapped punches. Mendoza's style consisted of more than simply battering opponents into submission; his "scientific style" included much defensive movement. He developed an entirely new style of boxing, incorporating defensive strategies, such as what he called “side-stepping”, moving around, ducking, blocking, and, all in all, avoiding punches. At the time, this was revolutionary, and Mendoza was able to overcome much heavier opponents as a result of this new style. Though he stood only 5'7" and weighed only 160 pounds, Mendoza was England’s sixteenth Heavyweight Champion from 1792 to 1795, and is the only middleweight to ever win the Heavyweight Championship of the World. In 1789 he opened his own boxing academy and published the book The Art of Boxing on modern "scientific" style boxing which every subsequent boxer learned from.

Mendoza was so popular that the London press reported news of one of his bouts ahead of the storming of the Bastille which marked the start of the French Revolution. He transformed the English stereotype of a Jew from a weak, defenceless person into someone deserving of respect. He is said to have been the first Jew to talk to the King, George III.

In Scene 5, of The Scarlet Pimpernel, Sir Percy defends himself before his wife by stating: "Afraid, ha! I don't patronize the ring for nothing! I've put up fists with Mendoza before now, and he did not get it all his own way." Baroness Orczy references Mendoza and his unusual fighting style in The Redemption of Chauvelin. Sir Percy certainly will need those boxing skills for later scenes in our play as he uses all of his skills and bravery to face the difficult task set out for him in our play. No matter what - it will be a scene that would even impress Rocky Balboa.

Macbeth Workshop

2011-02-18T22:10:00.007-06:00

The Classic players hosted a Macbeth workshop today; 24 students were in attendance. Activities began with a Cast Party, in which each student was given a character from Macbeth with a description of the character. They then "mingled," introducing themselves as their character. Imagine, "Macbeth" mingling with his murders, while his victims stand close by. They then shared all of their character descriptions, one by one with the entire class, thus providing them with context of the deep and sometimes twisted characters of this tragedy.

We then took a Journey through the Play; with key lines from Macbeth spoken and repeated by the class. Mrs. Joebgen led in a few activities that would encourage understanding of the words and language from Shakespeare in an activity called, Whirling Words. She then lead them through an exercise introducing key words, themes and passages titled: Talking Tableau.

After a short break, students were able to try their hand at acting out small scenes from Macbeth. These scenes were chosen for their key characters and importance to the plot. Students were able to give their own rendition without commentary, then Mrs. Bielicki would offer new direction, encouraging them to recognize Shakespeare's intent and motivation.

After a quick Jump in Reading with Mrs. Joebgen, we finished with a Movie Trailer. This somewhat chaotic activity offered a fun way to summarize this great tragedy.

Next week we will have one last workshop in which students will read Macbeth as we act out key scenes. Click here to view the materials used in today's workshop from the Shakespeare Theater on Navy Pier, Education Department.

Finally, please enjoy this video of the activities from today's workshop. It is plain to see that we all had a great time studying Shakespeare's Macbeth. I also believe we achieved our goals of gaining a grasp of Macbeth's themes and characters, an understanding of plot and context, and an appreciation for Shakespeare's rich language and insight.

Tom Bowling

2011-02-17T09:34:00.001-06:00

This English tune was written by Charles Dibdin on the death of his eldest brother, Thomas Dibdin. The song is also known as the Sailor's Epitaph.

Charles Dibdin was the eighteenth son of a poor silvermaker. He was born in Southampton in 1740 and died in London in 1814. Thomas Dibdin was twenty-nine years older than Charles, a father-figure as well as a brother. Thomas Dibdin was captain of a ship in the East India trade who brought Charles to London. Tom found Charles a job tuning harpsichords for a music seller in Cheapside. Tom returned to sea, to be captured by a French man-of-war and died at sea.

In 1778 he became resident composer at Covent Garden. In 1803 the British government paid him to write a series of songs to "keep alive the national feelings against the French."

Dibdin's songs were said to be worth ten thousand sailors to the cause of England. His songs were also popular in Canada and America before and during the American Revolution and during the War of 1812.

After viewing the history of this song, it is quite obvious why the playwright, Beverly Cross, choose to use this specific tune in her play. Although the words are changed in the script, the music is the same, and therefore, worth the time to investigate! For our many students with musical talents, you may want to try your hand at playing this delightful tune. Click here for sheet music of Tom Bowling!

It's always nice to have some live music in each production, and The Scarlet Pimpernel will be no exception!

Heroism

2011-02-16T06:26:00.002-06:00

In The Scarlet Pimpernel, heroism is a major theme of the text. The Scarlet Pimpernel hears stories about the atrocities in France and feels for the aristocrats suffering at the hands of the new government. When it is clear the English government can do nothing to stop these atrocities, the Scarlet Pimpernel is born. The Scarlet Pimpernel and his league of gentlemen go into France and help aristocrats who have been targeted for execution escape their country. The Scarlet Pimpernel often goes to France himself, disguising himself in clever costumes and escaping the cities under the watchful eyes of the guards assigned to find him. For our purposes here, the word Hero is defined as:

1. Remarkably brave person

2. Somebody admired

3. Man with superhuman powers

4. Long sandwich

5. Main character in a fictional plot

Hero is a word that is often tossed around in modern times. A hero is no longer defined as it once was. Heroism in this novel well fits the first definition as a “remarkably brave person.” This novel contains a real hero, a man who puts his own life at risk in order to save the lives of others. The Scarlet Pimpernel faces down his biggest enemy without flinching and without backing down despite a terrible beating and the danger his wife has placed herself in. We can also use the second definition of a Hero, “somebody admired.” The Scarlet Pimpernel is a clever, intelligent man who has morals far superior to the morals of some modern day heroes. It is this fearlessness that makes heroism a theme of the novel.

Blakeney Escapes from Paris

2011-02-09T21:21:00.000-06:00

He had seen her earlier in the day, with her knitting and the whip of her cart close beside her. Now she had fastened a row of curly locks to the whip handle, all colours, from gold to silver, fair to dark, and she stroked them with her huge, bony fingers as she laughed at Bibot.

"I made friends with Madame Guillotine's lover," she said with a coarse laugh, "he cut these off for me from the heads as they rolled down. He has promised me some more to-morrow, but I don't know if I shall be at my usual place."

"Ah! how is that, la mere?" asked Bibot, who, hardened soldier that he was, could not help shuddering at the awful loathsomeness of this semblance of a woman, with her ghastly trophy on the handle of her whip.

"My grandson has got the small-pox," she said with a jerk of her thumb towards the inside of her cart, "some say it's the plague! If it is, I sha'n't be allowed to come into Paris to-morrow." At the first mention of the word small-pox, Bibot had stepped hastily backwards, and when the old hag spoke of the plague, he retreated from her as fast as he could.

"Curse you!" he muttered, whilst the whole crowd hastily avoided the cart, leaving it standing all alone in the midst of the place.

The old hag laughed.

"Curse you, citoyen, for being a coward," she said. "Bah! what a man to be afraid of sickness."

"MORBLEU! the plague!"

Everyone was awe-struck and silent, filled with horror for the loathsome malady, the one thing which still had the power to arouse terror and disgust in these savage, brutalised creatures.

Percy Blakeney, aka, the Scarlet Pimpernel, uses two dreaded diseases to strike fear into the hearts of his enemy and to aid his escape from France. Although Orczy’s text mentions smallpox and the plague, the play written by Cross only mentions “the plague!”

The plague, more specifically, the Bubonic plague or the Black Death had swept throughout Europe in the 14th century, but was always considered a threat for its devastating advance through history.

The plague is estimated to have killed 30% – 60% of Europe's population, reducing the world's population from an estimated 450 million to between 350 and 375 million in 1400. It took 150 years for Europe's population to recover. The plague returned at various times, killing more people, until it left Europe in the 19th century.

A scene showing monks, disfigured by the plague, being blessed by a priest. England, 1360-75

When our story takes place in 1792, the plague was not as common in France as the other dreaded disease, smallpox. That’s not to say that the plague was not feared for its highly contagious nature.

The plague had recently swept through Moscow in 1771, causing mass deaths and riots.  Witnesses reported that the plague brought such scenes of terror, superstitious savagery, and violence that much of the population of Moscow “seemed to have gone beserk.”

In 1796 Edward Jenner, an English doctor discovered that immunity to smallpox could be produced by inoculating a person with material from a cowpox lesion. The procedure was much safer than variolation, and did not involve a risk of smallpox transmission. This form of inoculation had come to England when Lady Mary Wortley Montaguin reported its use in the Turkish Embassy in 1717. Vaccination to prevent smallpox was soon practiced all over the world.

The French however, were skeptical of inoculation and banned it in their cities.  There was a change in the French court towards inculcation when King Louis XV suddenly contracted smallpox and died in 1774. Smallpox had not been an epidemic in Paris that year, but it was a problem in the town of Versailles. It is believed that the king may have caught the disease from the funeral procession of a peasant victim of smallpox.

So fearful was the French court that the new king and his wife, immediately left Versailles for the safety of another palace. The entire court went with them, except for the few whose duties required them to remain with the corpse. The elaborate formalities and ceremonies that usually followed the death of a French king were prudently ignored. When an autopsy was requested by the Faculty of Medicine, the chief surgeon informed the lord chamberlain, “I declare to you, if the body is opened, neither you nor I nor anyone present at the autopsy will be alive a week later.” No autopsy was performed, nor was the body embalmed. Instead, Louis’s deteriorating corpse was placed in double lead coffins, covered with lime, vinegar, spices and wine, and hastily escorted to the royal crypt at Saint-Denis.

Inoculation was finally taken up in France, beginning in Madrid that same year. When the new King Louis XVI was inoculated, his frivolous young queen’s milliner designed a fanciful hairstyle, pouf a l’inoculation, to celebrate the operation’s success. Unfortunately, inoculation could not save the Kings life when he was executed at the guillotine in 1792.

Consequently, our students should be able to recreate the fear exampled in the above scene. Certainly, our production will not only have the dialogue given by Beverly Cross, but our "victim" will have to be dressed for the part, with partial makeup depicting the disease.  When you attend The Scarlet Pimpernel, be prepared to view this fearful scene, but don't worry about contracting the plague or the pox - it's all just for the play!

Political/Social Order in The Scarlet Pimpernel

2011-02-02T23:04:00.003-06:00

When The Scarlet Pimpernel was first published, it was considered classist by critics because it so clearly takes the side of the upper-crust nobles in the French Revolution. Indeed, a key theme that emerges in Orczy's novel is an innate tie between nobility and heroism - the idea that all the qualities of a grand adventure hero, namely charisma, beauty, elegance, ingenuity, and fashion, are all natural qualities of the noble class. This is, of course, quite obviously wrong (as any look at the actual history that preceded the French Revolution will show), but Orczy, a baroness herself, makes no bones about her allegiance. In order to create sympathy for the nobility, however, she must create the sense that the masses are blood thirsty enough to kill indiscriminately.

This is a theme that will be revisited throughout the reading of the book and rehearsals of the play. From the very beginning of the adaption of this book, the stage is set to clearly define the separation of these two classes.

In the first scene of The Scarlet Pimpernel, as portrayed by the Classic Players, we find ourselves at the base of La Madame Guillotine herself. The stage is filled with several characters as typically found in this scene from history; the fate of some characters are more unfortunate than others. To fully and correctly portray these characters, we need to meet some of them and find out what motivates their actions.

When our play begins, it is October, 1792. Louis XVI has recently been arrested and taken into custody after the storming of the Tuileries Palace. The September Massacres, and the Battle of Valmy has taken place. On September 21, the National Convention meets for the first time where they confirm the Abolition of the Monarchy.

On a cold, bleak and sinister stage, we find a crowd cheering: "Liberté, Égalité and Fraternité, sinon La Mort!" Which translated is: "Liberty, Equality, Fraternity, or death!" This phrase has been widely associated with the Reign of Terror. The author of our story uses it here to set the stage for the need of a hero to save those facing the seemingly dire consequences of their titles as named in the text.

As the Sergent voice calls out the condemned, the crowd continues to jeer. The Abbé of Montbazon is the first victim in our story. An Abbé is the French title for a lower-ranking Catholic clergymen in France. The name Montbazon was the area around Montbazon, near Tours, in France. Unfortunately, since the Church was associate with great corruption, the Abbé finds no favor with the crowd.

Emmanuel Joseph Sieyès (3 March 1748 – 20 June 1836)

or Abbey Sieyes was a French Roman Catholic

abbé and clergyman, one of the chief theorists of the French Revolution.

Comte de Fayence would have been the Count of Fayence. Fayence is a Provence in France. As a Comte, his dress would have been impeccable. Although most noble men were stripped of their royal markings, wigs removed or hair trimmed, they probably would not have appeared before the guillotine as well dressed as the Comte below.

Joseph Hyacinthe François, Comte de Vaudreuil

(1740–1817) was a French nobleman

at the court of King Louis XVI of France

Comtesse de Villefranche would be the Countess of Villefrance. Villefrance is a Provence along the French Riviera. Below we see a picture of a Comtesse and her family. Perhaps the Comtesse de Tournay and Suzanne could have worn dresses similar to these:

Detail from a painting featuring Françoise and her elder sister,

Marie-Stéphanie with their aunt, the Duchesse de Choiseul and mother,

the Comtesse de Stainville.

Some of our Crowd members in this scene will be portraying the Sansculottes. The sans-culottes were the common people of Paris, and were so named this because they didn't wear upper class breeches or culottes. They were the working people, the shop owners, the tradespeople, the artisans, and even the factory workers. Of all the groups of France, the views of the sans-culottes is what drove the radical revolution from 1792 to 1794. The desires of the sans-culottes were simple. They believed that survival was a right of all people, inequality of any kind was to be abolished, and the aristocracy and the monarchy were to be eliminated.

When we meet our villain, Chauvelin, he is introduced in the script as the special agent of the Committee of Security of the Paris Commune. I was unable to find an exact match of that committee, but our author probably modeled it after a Civil Committee. A Civil Committee was one of 48 sections (territories) agreed upon at the National Constituent Assembly and sanctioned by Louis XVI. Each section was headed by a civil committee of 16 members (elected by active citizens in the area covered by the section), the judges de paix (judges) and members intended to act as intermediaries between their section and the Paris Commune. At the end of July 1792, the Parisians decided to abolish the distinction between active citizens and passive citizens. As a result the sections' assemblies sat permanently and became the political organ of the sans-culottes.

There were 52 of these commissioners in total, including Pierre-Gaspard Chaumette.

They triggered the events of 10 August 1792, putting an end to the monarchy

and giving rise to the 'Revolutionary Commune' of Paris.

In the uniform of a captain in the National Guard, Lambert is a henchman to Citizen Chauvelin. He makes the grisly discovery of the missing Suzanne de Tournay. This scene from the execution of King Louis XVI shows the National Guard on duty.

Despite the disappointment of many cast members (yikes), we are not going to have a guillotine on the MHFA stage! There will be a representation of the gruesome devise somewhere...but that is all I'm going to reveal at this time. So read the stories, listen to the language and music, and be prepared to be moved by a Crowd that will be ready to transport its audience from the 21st century back to the French Revolution. Au revoir!

Stuart Little Unit Study

2011-01-30T19:53:00.000-06:00

Here are some quick links for studyingE.B. White's Stuart Little. Unit studies offer great ways to overlap other studies such as vocabulary, art, science and history into your curriculum. I recommend putting together some kind lap book study; leaving room to add pictures from the performance. What a great keep sake your child will have at the end of this semester.

Stuart Little Free Unit Study

Stuart Little Lapbook

E.B. White Literature Lesson Plans

One thing that should be included is references of Stuart Little found in our daily occurrences. E.B. Whites influence can be seen in many aspects of children's literature and beyond. From the Sunday comics to major motion pictures, Stuart Little is a name that is recognized all throughout our culture. Keep your eyes open for these references, and collect them in your lap book!

Parlez-vous français?

2011-01-26T21:54:00.000-06:00

In the Scarlet Pimpernel, several of our characters are going to have to assume a "French" accent. This will help set the atmosphere and mood for the entire play. It can be very difficult to assume an accent and to keep it consistent for an entire performance, but I feel that our talented actors are up for the challenge! Here are some tips for those characters needing to use a French accent. This article was shared courtesy of a fellow cast member!

How to Speak with a French Accent

1) The "r" Sound - The first and most important part of a fake French accent is the "r." When you say, for instance, "Rat," you would push your tongue to the back of your throat as if pronouncing a "g" sound. Your "r" will turn out to be a rolled/groaned "rgr".

* It is important to relax the soft part of the back of your mouth as well as the tip of your tongue. When you try to force air between your tongue and the back of your palate, expect to hear the sickly sound of loose flesh flapping away.

* Another way to create an authentic French "r" sound is to replace the "r" with an English "h" sound, but try to really rough it up, almost gargling as you make the "h" sound.

* In words where the "r" is hard to pronounce, it may sound non-rhotic altogether. For example, "carpenter" can sound like "cahpentergr".

2) Sustained "e" - Next, when you say your "e"s, you will make it as long as possible. Example: "recorder" can sound completely transformed as "rgreh-caw-der".

3) Morphed "i" - When you say a short "i" sound, turn it into something more like an "ee". For example, "fish" will sound more like "feesh", but do not make it any longer than you would "fish".

4) Equal Stressing - In French, each syllable has about equal stress (DA-DA-DA-DUM), as opposed to English which tends to be iambic (stress comes second, Da-DUM-da-DUM). So it's good to think a little trochaic to counteract the English tendency (stress comes first, DUM-da- DUM-dum). So instead of "po-[lice]' de-[part]'-ment", think "[poe]'-leece [dee]'-part- [men]'".

5) "Th" to "dz" - The "th"s in words are spoken as a "z." And if you want to be really accurate, shoot for a "dz" sound, like "dzees" for "this".

6) Stressing the Last Syllable - In French, always stress the last syllable of a sentence or before you pause with a rising pitch as if asking a question. (E.g. "I am from New York?")

7) Euh - Be sure to throw in lots of gratuitous "euh"s. "Euh" in French is the equivalent of "Ummm" or "Ah..." in English, a place-holder sound people make when they are thinking about what they are going to say next. It is pronounced more or less as it is written here. Hold on to you your "euuhhhhhh" as long as you can and try to start every sentence with at least one good "euuhhhhhhhhhh". (Never ever say "Ummm" or "Ah..." when speaking or faking French!)

* To better pronounce "euh", start off with an "eh" sound (like in "bed") and slowly slide your way towards the "oh" sound (like in "so") BUT do not ever get there! You must end on a sound about halfway between, but make no hint at the "oh" sound.

8) Now practice, practice, practice! The more you work on it, the better your accent gets!

* Tips:
- Listen to French accents wherever you can.
- Take French language classes.

* Warnings:
- Do not do throttle yourself over the "r" sound, or your throat will begin to hurt.
- Be aware that in some French-speaking areas, obviously faking a French accent can be seen as an insult if you could be speaking the French language (ex. Quebec and Canadian French)

Read Through

2011-01-21T19:48:00.007-06:00

The Classic Players met today for their first official rehearsal for their production of "The Scarlet Pimpernel." This first rehearsal began with a "read -through." The read-through allows the director to discuss his or her vision, character motivation, and interpretation which will help the actors begin to see their characters in terms of a unified understanding. From Directing Theatre, by Debra Bruch.

This play contains all sorts of unusual elements - from head chopping scenes at the foot of Madame la Guillotine, rescuers dressed as Carmelite nuns to high action fight scenes. The read-through gave an opportunity to read the play without interruption for blocking or motivation. In fact, the read-through helps actors to begin the difficult process of learning character motivation by seeing, in one complete rehearsal, their story from beginning to end.

Actors were laughing out loud in response to this comedic adventure.

Even with many breaks to practice the unfamiliar French language, explanation of unusual lines, and motivation of several key phrases - the Classic Players are now ready to tackle our action packed semester. So stay tuned...there is ever so much more to come!

Mark your calanders for May 19 & 20...you won't want to miss this one!

Lady to Lady

2011-01-19T21:59:00.002-06:00

While the Classic Players rehearse for The Scarlet Pimpernel this semester, we also have a chance to revisit our favorite literature of the Bard, Shakespeare. With our field trip to the Chicago Shakespeare Theater approaching soon, I thought it would be appropriate to take a look at the subject of the performance we will be viewing, Macbeth.

The story of Macbeth has already been covered in an earlier post, so now would be a good time to start a discussion about some of its characters.

Surprisingly, a comparison of Shakespeare’s Lady Macbeth and Baroness Orczy’s Lady Blakeney makes very interesting food for thought. First, from the very beginning, it is obvious that both ladies suffer from strained relationships, unfortunately, both as a result of miscommunication. Even thought they both express their thoughts to their husbands, one is motivated by ambition, the other by pride.

Also, at all appearances, both Lady Macbeth and Lady Blakeney do not exhibit respect for their husbands. Lady Macbeth questions Macbeth’s manhood when he shows moral reservations to killing the King, and Lady Blakeney questions Sir Percy’s manhood when he is challenged to a duel, which he laughingly declines. But where Lady Macbeth hatefully pushes her husband to awful acts of cruelty and murder, Lady Blakeney learns that love can be gained through respect and trust.

Both women also display a great amount of determination. Lady Macbeth drives her husband on toward murder, all for the sake of selfish gain. On the other hand, Lady Blakeney’s actions drive her husband on a mission to rescue her brother, which was the original motivating factor of her folly. In the end, Lady Macbeth’s actions leave her wracked with guilt and the loss of her relationship (they do not even speak together past the third act of the play), and Lady Blakeney’s actions reward her with a renewed relationship with her husband.

While attending a workshop on the subject of Macbeth, it was pointed out that Lady Macbeth successfully used persuasion, or I would call it manipulation, to achieve her goals. Lady Blakeney also uses the same form of persuasion, but since her motivation is of a moral cause, she is rewarded in the end with the rescue of her brother; whereas, Lady Macbeth loses everything - even her life.

And lastly, a comparison of themes is in line. Both authors use the human experience and biblical principle that we are responsible for our own actions, which have consequences, i.e., “you reap what you sew.” Lady Macbeth’s actions drive her to madness, and Lady Blakeney’s actions drive her to right her wrongs - which bring her closer to her husband in the end.

But yet, while Macbeth is one of the greatest stories written by Shakespeare, Baroness Orczy’s, The Scarlet Pimpernel has been described as a melodrama (a dramatic or other literary work characterized by the use of stereotyped characters, exaggerated emotions and language, simplistic morality, and conflict). It should still be noted that the observant student of literature can learn something from both these characters - whether it be in caution, or inspiration.

The Scarlet Pimpernel

2011-01-05T22:16:00.001-06:00

In 1792, during the bloodthirsty, early stages of the French Revolution, Marguerite St. Just, a beautiful Frenchwoman is the wife of the wealthy English fop Sir Percy Blakeney, a baronet. Before their marriage, Marguerite took revenge upon the Marquis de St. Cyr who had ordered her brother beaten for his romantic interest in the Marquis' daughter, with the unintended consequence of the Marquis and his sons being sent to the guillotine. When Percy found out, he became estranged from his wife. Marguerite, for her part, became disillusioned with Percy's dandyish ways.

Meanwhile, the "League of the Scarlet Pimpernel", a secret society of 20 English aristocrats, "one to command, and nineteen to obey", is engaged in rescuing their French counterparts from the daily executions. Their leader, the mysterious Scarlet Pimpernel, takes his nickname from the drawing of a small red flower with which he signs his messages. Despite being the talk of London society, only his followers and possibly the Prince of Wales know the Pimpernel's true identity. Like many others, Marguerite is entranced by the Pimpernel's daring exploits.

We seek him here, we seek him there,

Those Frenchies seek him everywhere.

Is he in heaven?—Is he in hell?

That cursed, elusive Pimpernel.

At a ball attended by the Blakeneys, Percy's verse about the "elusive Pimpernel" makes the rounds and amuses the other guests. Meanwhile, Marguerite is blackmailed by the wily new French envoy to England, Citizen Chauvelin. Chauvelin's agents have stolen a letter incriminating her beloved brother Armand, proving that he is in league with the Pimpernel. He offers to trade Armand's life for her help against the Pimpernel. Contemptuous of her seemingly witless and unloving husband, Marguerite does not go to him for help or advice. Instead, she passes along information which enables Chauvelin to learn the Pimpernel's true identity.

What happens next becomes a true action romance that will take our main characters on a chase across two countries and a canal to save the lives of those that they love and ultimately, each other.

The Classic Players have just begun the production phase of this amazing story, and we will strive to deliver all of the action and adventure from the original literature by Baroness Orczy. As usual, our class is studying this piece during class each week. This always gives the students the full perception of the characters originally envisioned by the author. Stay tuned, because The Scarlet Pimpernel may prove to be one our our greatest productions here at MHFA - we promise!

Stuart Little

2011-01-05T21:20:00.000-06:00

This semester, the Young Thespians will be performing Stuart Little, written by E.B. White, and dramatized by Joseph Robinette. This is the ever endearing story of the Stuart family who has a child that looks like a mouse who becomes the enemy of the family cat and faces daily obstacles due to his small stature.

One reason this play was chosen, was due to it's ability to accommodate a large cast, but also because of E.B. White's amazing ability to capture us with his creative characters. His ability to personify his characters, without loosing their identity as an animal, is unique. This is exemplified in Charlotte's Web, White's later book, where the character Charlotte, a spider, is able to read and write; but her life span still follows that of a spider. The reader still identifies it's characters as animals, while enjoying the irony and humor of Charlotte and the other animals involved. The characters do not act like humans in animal costumes; which in my opinion is completely been over done in most children's genres.

Originally, the idea of Stuart Little came to White in a dream. He wrote a few episodes about a boy who looked like a mouse and then tucked them away in a drawer, thinking he might one day share them with his nieces and nephews. Some twenty years later he expanded and collected the stories as Stuart Little, published in 1945. Stuart Little was his first children's book. He later wrote, Charlotte's Web and Trumpet of the Swan.

Well, the Young Thespians now have a task to see White's dreams become real life as we bring this play to the stage at Midwest Homeschool Fine Arts. Stay tuned as we work our way through this piece of literature and play each week. I promise it will be a semester to remember!

Congratulations!

2010-11-30T23:58:00.000-06:00

Thank you to all actors, directors and parents that helped make this production a success! These images were taken by one of our parents. Some of the images are very powerful and others portray the whimsical humor that this play gave to its appreciative audience! Thanks again to all students/actors/production crew - you did an amazing job - keep up the good work!

Character Development in KMAS Radio

2010-11-30T23:57:00.007-06:00

In our recent production of KMAS Radio, Christmas on the Homefront, by Dave Tippett, I was very impressed at the lengths our students went to develop their characters in this relatively large themed comedy.

A few students had their costumes designed and prepared early in the production process. This made it easier for them to develop their characters more fully. Research, thought and a lot of creativity went into their choices, and the result was dramatic!

"Harry Gamp" the role created by the character Simon Beckwith, was performed with a unique voice style, mimicking an old time radio Private Eye Detective that the student researched from old radio clips.

In creating the harried radio station manager, "Arthur Kensington" the actor took some inspiration from the old Mary Tyler Moore shows in the character played by Ed Asner.

Female characters were inspired by images of Rosie the Riveter as they experimented with Victory curls and bandanas.

The actor playing "Danny Arnold" our "Sound Man," actually came up with a long list of effects that would help create the disheveled and out of whack sound effects for his character. The properties department was able to supply only a few of his request, but the result was still a hilarious combination of well timed slap stick style humor.

The "KLOW Staffer/Thug" had his costume created early and was ready to push his way around the set to collect "what he came for."

One actor faced the challenge of developing the deep and injured character of "John," the disabled soldier. He was forced to act the entire play with his arm held close to his waist with his sleeve pinned up to highlight his injury.

And lastly, there was only one costume change in our play this semester and it was quite necessary for the development of the all important "Martha," a drama queen. This actress even went so far as to complete a poem that her character creates and quotes in the play. The script only contained a portion of the poem written by her character, so she wrote the rest of the poem herself. This character building hand prop was found in the strike after the play. I thought it would be appropriate and inspiring to include it in this post:

The Night Before a Lovely and Fashionable Christmas

By Martha A. Miller

The night before a lovely and fashionable Christmas, and all through my beautiful house,

Not a creature was stirring, in my beautiful house.

The children were all nestled in their sweet little Early American beds,

With visions of whimsical homemade crafts and delicious freshly baked goods dancing in their heads.

When out on the handsomely manicured lawn there rose such a clatter,

I sprang from my authentic, 18th century custom-made mahogany and maple bed to see what was the matter.

When what should my beautifully and tastefully made-up eyes should appear,

But a tall, handsome gentleman driving eight smart-looking reindeer.

He landed on the roof as gracefully as you please,

And leaped out athletically with the greatest of ease.

He was clad all in silk from his well-proportioned head to his foot,

And climbed down the chimney after brushing away the soot.

I elegantly descended the spiral staircase to my stylishly decorated parlor,

And there beheld the perfectly attired stranger filling stockings with gifts.

The well-dressed Claus lifted expensive presents from his leather briefcase.

A pocket watch for Thomas, a sweet velvet gown for Emmaline Rose,

And beautifully sequined slippers of Mehitabel's twinkling toes.

Last from the briefcase he brought out--O Joy!--a fine mink coat.

Into the stocking marked, "Martha" it went.

As he left through my stately front double doors I could hear,

"A merry Christmas to All, and a fashionable New Year!"

Congratulations!

2010-11-30T23:44:00.000-06:00

The Young Thespians performed beautifully and graciously in the performance of O Christmas Tree tonight. Their part of the program was relatively small after their choir sang and they returned to the stage to share the joy of Christ in the symbols of the Christmas Tree. They really did a great job and were able to witness the amazing performance by the Classic Players. Lord willing, each of these Young Thespians will continue here at MHFA and we will see them continue on to more highly developed skills.

Most importantly, each of these students conquered the stage in an endeavor of public speaking. This accomplishment surely boosts their confidence and will help prepare them for the sometimes overwhelming high school years!

Congratulations again to all Young Thespians - keep up the good work!

O, Christmas Tree

2010-11-03T17:15:00.000-05:00

Young Thespians will soon be performing the sketch "O, Christmas Tree" in the Midwest Homeschool Fine Arts Christmas program. Students have been working hard this semester, some memorizing large pieces of literature for this program that presents the Christian origins of the Christmas tree.

As of today, convenience stores are filling their shelves with Christmas decorations, candy, and stocking stuffers for purchase. The local malls are putting up large displays to attract shoppers to their establishment, and children are beginning to write their Christmas lists.

With all of the hustle and bustle of the holiday, homeschool parents have the burden of meeting school schedules, attending and/or performing in church programs, entertaining friends and family and sometimes traveling long distances.

One way to keep Christmas special in the homeschool is to inergrate a unit study into your curriculium. Here are a couple sites that my be helpful in chososing activities for your holiday school schedule.

Christmas Unit Studies

Christmas Unit Studies and Lapbooks (free printable)

Fashion on the Homefront

2010-11-02T19:19:00.004-05:00

The following are costume suggestion for our production of K-M-A-S Radio, Christmas on the Homefront, by Dave Tippett. Before you begin to put your costume together, several things need to be taken into consideration. How old is your character, what social status is your character, and what job does your character have? Follow the directions in this site to choose the best type of costume for your character. Here are a few more suggestions that might help from How to Dress in the American 1940’s Fasion.

Arthur, Simon, Danny, Joseph, Pastor Sherman, and Caller #2 can all be similarly dressed alike. Most men were at war in WWII or in uniform awaiting orders, so research on the civilian clothing is scarce. Most research tends to place our characters (not including the Pastor and Caller #2) in a Zoot Suit. Being in the entertainment business, this may be appropriate for Arthur, Simon, Danny and Joseph. Pastor Sherman and Caller #2, would more likely to be wearing more streamed lined suits, since the fashion trends were to use less material in all fashion - men and women. It’s OK if you can’t find a “Zoot suit,” because according to Men’s Fashion in the 1940’s, the look can be accomplished with accessories: cuff links, black tie, fedora hat, suspenders, etc. Of course our K-L-O-W Staffers should follow the same directions, but be all dressed in black as to appear truly “thuggish.” Even better, here is a video on how to use every day clothing to create a "1940's" look:

The Orphans, Jane, Emily, Peter, Pamela, and even Jimmy would all be dressed simply as children with renewing clothing needs would have been dressed in simple clothing. Since we visited this subject last year when the Young Thespians did a “Christmas on the Homefront” sketch in the MHFA production of Salute to Veterans, please see the post, What Should I Wear, for information on how best to costume a child on the 1940’s. Note for Jimmy - your clothing will be similar, but with an older teen look, suspenders and a page boy hat would defiantly give Jimmy a young and wanting to conquer the world look!

Our Soldiers simply need uniforms. Your director is working hard to find shirts, hats, and ties for a “uniform” look for our men, but please be prepared to supply a pair of khaki pants and black shoes.

And last be never least, and never easily, it is time to develop costumes for our women. Katie, Brenda, Charlene, Sam #1 & #2, Martha, and Mary and even our Epstein Cousins need to take into account the above mentioned parameters. Obviously, Martha will be dressed much fancier than Brenda or Charlene. There is some detailed descriptions of the types of clothing women wore at 1940s Rationing - Utility Clothing Fashion and Costume History. With that said, please view the following videos to get an idea of what to look for to create your outfit.

Don't Forget the Hair!

The Tragedy of Macbeth

2010-11-02T18:02:00.021-05:00

Macbeth is one Shakespeare greatest tragedy themed plays. The themes illustrated in this play include ambition, tyranny, prophecy, deception and treachery. At the opening of the play, Macbeth is confronted by three witches that hail the great Scottish general on his victorious return from a war between Scotland and Norway. Macbeth and another General called Banquo, happen upon three witches. The witches predict that he will one day become king. The Scottish king, Duncan, has decided that he will confer the title of the traitorous Thane of Cawdor on the heroic Macbeth. Macbeth, driven by greedy ambition, decides that he will murder Duncan. Macbeth's wife readily agrees to his plan, immediately displaying her own evil ambitions. He then murders Duncan assisted by his wife who smears the blood of Duncan on the daggers of the sleeping guards. A nobleman called Macduff discovers the body. Macbeth kills the guards insisting that their daggers were smeared with Duncan's blood and are proof that they committed the murder. The crown passes to Macbeth. More murders ensue and the bloodied ghost of Banquo appears to Macbeth during a banquet. Lady Macbeth's conscience now begins to torture her and she imagines that she can see her hands covered with blood. Unable to assuage her guilt, she commits suicide. Macbeth and his crumbling kingdom are eventually brought down when he is killed my Macduff and Malcolm, Duncan’s son, becomes king.

Classic Players, their parents and their high school siblings are invited to join other MHFA members at the Chicago Shakespeare Theater on Navy Pier, February 28, 2011. Our previous field trips to this theater included Romeo and Juliet and the Comedy of Errors. Following the same tradition as the previous field trips, there will be a workshop for students and families attending Macbeth. The workshop helps set the theater attendee up with an insight into the plot and themes of the literature as well as an overview of the theaters interpretation of this work. A second workshop will be offered in which students will be able to read through the entire piece of literature; acting out some of the most dramatic scenes. Boys…this is a play for you; sword fights, battle scenes, murders, hallucinations, even a beheading, you won’t want to miss this event! See the side column of this blog for dates of all workshops. Families are encouraged to attend both workshops!

Finally, Macbeth is a very relevant study for the Christian student. It contains many biblical quotations and illusions. Malcolm quotes from the book of Lamentations; and Macbeth has been compared to King Saul and Lady Macbeth to Queen Jezebel. Just Google Macbeth and the Bible and you find links for many pages and essays about the similarities between Shakespeare’s Macbeth and the Bible. For further instruction visit Progeny Press for a study guide from a Christian perspective.

Also, please visit the Chicago Shakespeare Theater website to view information about the production as well as have access to teaching materials. Any parents wanting to attend the Macbeth free teacher workshop at Navy Pier with myself and my co-teacher should register with the Education Department under the school, Midwest Homeschool Fine Arts. Please contact me if you have any questions about these events at gkfjbielicki@yahoo.com.

United Service Organizaions

2010-10-18T17:40:00.001-05:00

"Charlene," a character in our play has opened a USO in her toy store, where several of our scenes take place. President Franklin D. Roosevelt commissioned the United Service Organizations, with the objective of bringing together the many organizations supporting the troops and to provide the emotional support the troops needed. During World War II, the USO became the G.I.'s "home away from home" and began a tradition of entertaining the troops that continues today. Involvement in the USO was one of the many ways in which the nation had come together to support the war effort.

Before America entered World War II, USO clubs provided recreation for servicemen based in the states. Once we were in the war, the USO set up canteens where service men could relax and have that "home away from home." Canteens were also set up at train stations to provide support and cheer to soldiers as they traveled across country to leave for Europe or Asia.

All across the country, thousands of women volunteered at their local USO club, where soldiers could meet with friends, have something to eat and play cards or meet a pretty girl. Although the young people were chaperoned, and dating the soldiers was strictly forbidden, sometimes romance blossomed. In the larger cities, some clubs even provided overnight accommodations for servicemen on shore leave. Churches, museums, barns and railroad cars were used to host USO activities when space was tight. There were 3,035 clubs in the United States....that's a lot of coffee and doughnuts!

The Andrew's Sisters were regulars at USO's across the country; they delivered an upbeat war campaign that instilled hope, joy and allegiance through song and movement. They provided a musical security blanket to a war-torn country via radio, clubs, canteens, recordings and films that reemphasized the motto that America was strong and proud...and to keep on singing!

In our play, the characters, as well as the audience expects to meet the "Andrew's Sisters," but are suddenly surprised when the "Epstein Cousins" show up instead. Imagine the confusion and comedy that will create! Speaking of comedy - students should reference this post about Performing Comedy posted during our study of Much Ado About Nothing.

Keep practicing lines - this play has the chance to be truly epic...but then again, aren't they all!

Setting is Everything

2010-10-06T19:12:00.004-05:00

Actors gain motivation from knowing where their scene is set - in period, location, surroundings, etc. There are three settings for KMAS Radio Christmas on the Homefront by Dave Tippett. The three settings take place at a USO, a train station, and as the title suggest - one setting is in a radio station. Below is a clip from the 1982 movie, Annie, depicting radio segments intermingled with live sound effects, singers, comedians, and of course, audience interruption - it's great! Set just 5 years earlier than the time period of our play it gives a very good picture of what our set should look like.

Of course there are several obvious needs on a radio set - one of course is the main microphone, where the "show" will be produced. Fortunately, we have at least one on loan from another local theater group! The next is our sound effects desk. Our sound man will sit here and perform live sound effects, yes; just like they did in the old days - penny whistles, trumpets and door knockers - we plan to use many! And lastly, because we actually have live radio scenes - we need an "On Air" sign. Thankfully, we have a parent from our group designing one, so our set, although not on stage quite yet, is under construction, and On Air!

Much Ado About Something

2010-04-24T23:20:00.006-05:00

In our production of Much Ado About Nothing, I hope you will catch a glimpse of the genius of Shakespeare as he captures many human emotions and themes. One of those themes is that all is not what it seems. Mistaken identities, false accusations, misleading conversations, and ironic outcomes all confound the principle characters.

Another popular theme is that Love is NOT blind. Benedick well knows that Beatrice has a sharp tongue, and likewise, Beatrice well knows of Benedick's faults. Yet, before the end of play…well, I’ll leave that for your discovery.

Most importantly, and I believe most significant to the age of our cast, is that a woman's purity is a treasure no man should possess except in marriage. The lengths that Leanoto is driven to restore his daughter’s and thus, his families honor are not to be taken lightly.

But without any further ado, I now present the Classic Players in Much Ado About Nothing.

CAST OF CHARACTERS

Don Pedro - The visiting prince of Aragon and longtime friend of many in Messina, he is a half-brother of Don John and close companion of Claudio and Benedick.

Leonato - The governor of Messina, father of Hero, and uncle of Beatrice, Leonato is host to Don Pedro and his comrades-in-arms. At first somewhat untrusting of his daughter, he is convinced in the end that Hero is blameless and deserving of pity and sympathy, rather than censure.

Claudio - A young man from Florence, Claudio is a dear friend of Don Pedro and Benedick and quickly falls in love and is betrothed to Hero.

Hero - The only daughter of Leonato and cousin and constant companion of Beatrice, Hero quickly wins Claudio’s heart and then suffers much as the result of Don John’s machinations.

Benedick - A young man from Padua, Benedick has a sparkling wit, is a friend of Don Pedro and Claudio, and has vowed he will never marry; however, in the end he too is smitten by love and makes an ideal match with Beatrice.

Beatrice - The niece of Leonato and cousin and confidant of Hero, Beatrice is the perfect foil for Benedick, whom she eventually falls in love with and marries. In the play’s skirmish of wits with Benedick, Beatrice shows liveliness, humor and a keen intelligence; indeed her power of repartee is probably excelled by no other Shakespearean character.

Don John - The illegitimate half-brother of Don Pedro, Don John has recently fought with his more powerful and nobler brother, but they have reached an uneasy reconciliation. He is a malcontent and as he describes himself; “a plain dealing villain.”

Antonio - The brother of Leonato and the uncle of Hero and Beatrice, Antonio is Leonato’s helpful and trusting friend throughout the play.

Friar Francis - The priest who performs the marriage ceremony of Claudio and Hero, he believes in Hero’s innocence and is the driving force behind clearing her name.

Borachio - An unscrupulous follower of Don John, Borachio almost outdoes his master in villainy. He will do almost anything for money, and it is he who stages a scene with Margaret that practically wrecks the lives of Hero and Claudio.

Conrade - Another of Don John’s henchmen, Conrade is an underling to Borachio and helps him in his treacherous plots.

Margaret - Hero’s lady-in-waiting, Margaret was Borachio’s unwilling accomplice in tricking Claudio into thinking Hero was untrue.

Ursula - Another of Hero’s ladies-in-waiting, Ursula assists Hero in the task of deceiving Beatrice of Benedick’s supposed love.

Sexton - Municipal that records the villainous deeds of Don John as reported to him by Dogberry and the Watch.

Messenger - Delivers the news of Don Pedro’s return to Messina, is unwittingly caught in comedic conversation with Beatrice.

First Lord - Guard at Hero’s Monument. The fact that Hero’s tomb was being guarded is an indication of Leonato’s high social standing.

Balthasar - A musician employed by Don Pedro, Balthasar attends faithfully to his prince.

Singers - Join Balthasar in singing “Hey Nonny, Nonny.”

Dogberry - Chief policeman, of Messina; Coarse, dunderheaded, and likable, his blundering efforts contribute much humor to the play. Dogberry gets laughs mostly for verbal faux pas – in particular, malapropisms. For example: “O villain! thou wilt be condemned into everlasting redemption!”

Verges - The headborough of the region, Verges is as equally simple and comic as his companion, Dogberry.

The Watch - At nightfall, Dogberry and Verges instruct the night watch to watch over the city. They are responsible for uncovering Don John’s villainous plot.

Townspeople - Shakespeare typically includes “spectator roles” in his plays by providing weddings, funerals, and public gatherings, as we see in the first scene. These actors provide the much needed richness to support the main characters and the plot.

Much Ado About Nothing, Act I

2010-04-24T23:18:00.001-05:00

Photo and video editing at www.OneTrueMedia.com

Much Ado About Nothing, Act II

2010-04-24T23:17:00.000-05:00

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Much Ado About Nothing, Act III

2010-04-24T23:16:00.001-05:00

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Much Ado About Nothing, Act IV

2010-04-24T23:14:00.000-05:00

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Much Ado About Nothing, Act V

2010-04-24T23:13:00.001-05:00

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Congratulations!

2010-04-24T23:10:00.003-05:00

A hearty congratulations is in order for all who participated in the production of Much Ado About Nothing. Both performances were truly epic in this directors opinion! The entire cast worked together like a TEAM and performed with all the talent that was given to them from God. I believe that he blessed them for their hard work and dedication. Thank you to all the parents that gave up extra school time for their students to attend rehearsals and those that gave of their own time to prepare sets and costumes, take pictures, make concessions and fold programs. A special thank you to one special mom that came to each class, led in acting warm-ups and improv as well as all the other special things you did for the cast, thank you Alicia! And last but never least, thank you to Mr. Wessel for sponsoring our class at Midwest Homeschool Fine Arts. If you would like to view some of the pictures used in the above videos, visit this site posted by one of our cast members. http://mhfamuchadoaboutnothing.blogspot.com/

Parting is such sweet sorrow, but not for long - there's always more drama for those looking around them for God's wonderful gift of language! Adieu.

Happy Birthday Bill!

2010-04-23T09:32:00.001-05:00

It just happens that the opening day for Much Ado About Nothing is what scholars believe to be William Shakespeare's birthday. It is recorded in the Strarford church register that he was baptized on April 26, 1564 and was most likely three days old. Ironically, April 23 is also the day he died in 1616. Shakespeare lived for 52 years and in just 23 years, between approximately 1590 and 1613, he is attributed with writing 38 plays, 154 sonnets and five other narrative poems. He is the most widely read of all authors and the popularity of the life and works of Shakespeare, in English speaking countries, is second only to the Bible. His plays have been translated into every major living language and are performed more often than those of any other playwright.

Today in Chicago, you can celebrate "Talk Like Shakespeare Day" as declared by Mayor Daley in 2008. In fact, the Chicago Shakespeare Theater is sponsoring an actor to portray Shakespeare today in Chicago. So if you have the time to visit the city you may see him strolling Michigan Avenue, riding a train, or visiting Cloud Gate! And if you see him - make sure you wish Bill a Happy Birthday!

Shakespeare's Clowns

2010-04-09T23:45:00.000-05:00

Congratulations to the Young Thespians for the inspiring performance of this Shakespearean adaptation by Lane Riosley and Rebecca L. Byars. The comments that followed the performance were a mixture of elated statements that complimented the acting ability of the students, their ability to interpret Shakespearean language and the high comedy they were able to perform with understanding. These were very impressive comments for such a young cast! Thank you to all that worked so hard to learn your parts and thank you parents that used this project to enrich their students school year. Great job to all actors; your director is very proud of you!

Photo and video editing at www.OneTrueMedia.com

Performing Comedy

2010-03-12T21:01:00.062-06:00

Comic timing is use of rhythm and tempo to enhance comedy and humour. The pacing of the delivery of a joke has a strong impact on its comic effect; the same is also true of more physical comedy such as slapstick. A beat is a pause taken for the purpose of comic timing, often to allow the audience time to recognize the joke and react, or to heighten the suspense before delivery of the expected punch line. While delivery is how you say a joke, timing is when you say it. A proper pause can help create curiosity with an audience, giving them a chance to catch their breath, build tension, then zing...delivery! Victor Borge was famous for using the extended beat, allowing the pause itself to become a source of humour beyond the original joke.

The farce is another prime example of comic timing. Here, the humour is derived both from rapid speech and rapid movement - people running into and out of rooms at breakneck speed and managing to cause havoc in the process. The Marx Brothers were know for their use of the physical style of comedy. This is exampled in the clip from their movie, A Night at the Opera:

The Pregnant Pause (meaning - expectant) is a technique of comic timing used to accentuate a comedy element, where the comic pauses at the end of a phrase to build up suspense. It's often used at the end of a comically awkward statement or in the silence after a seemingly non-comic phrase to build up a comeback. Comedian Jack Benny perfected this technique as seen here:

When trying your hand at performing comedy, try using some of these techniques when reciting comedic lines:
- Raise your voice at the end of a sentence.
- Plant a pregnant pause just before the last word.
- Say the line more like a question than a statement?
- Either whisper or shout the line.
- Speed up or slow down the tempo.
- Break down in tears when you get to the punch line.

In our play, Benedict and Beatrice's many burns to each other would befitting of the comedic beat; they have so many the audience surely will need time to keep up with them all! Don Pedro and Leonato have several opportunities to use the pregnant pause, and of course our Watch has certainly used many elements of comedic farce already! Make sure you plan on attending the production of Much Ado About Nothing to witness our young actors performing comedy; you may cry, you may sigh, - but trust me - and you certainly will laugh!

"Just for Men" Hair Color is Not Such a New Thing

2010-03-10T23:07:00.084-06:00

In the Elizabethan Era, men were know to color their beards and shave them into different styles that they believed would flatter their faces. In A Midsummer Night's Dream, Bottom begs to play several parts in a play, claiming he will he will wear "Either your straw-colored beard, your orange tawny beard, your purple ingrain beard, or your French crown colored beard, your perfect yellow."

In class we discussed the importance and significance of hats during the Elizabethan period. In Shakespeare's time, the outward signs of courtesy toward those of higher rank were strictly demanded and observed. In the presence of a superior, the inferior stood bareheaded, hat in hand, with his head slightly bent forward in an attitude of humility; the inferior, especially if a servant, also "made a leg," or curtsied. Great men wore their hats, indoors and out, on all ceremonial occasions as a sign of their importance; and the etiquette of rank was exact even in moments of crisis.

Our production of Much Ado About Nothing will be set in the Old West, so of course, our actors will be wearing hats - cowboy hats. I asked students to imagine how they would use those hats to show the significance of the relationships in our play. After all, we recently learned about the social classes of our characters, now they have a physical item and action to indicate character rank. So while viewing our play, just keep an eye out for a tipped hat or curtsy!

For more information about Elizabethan hats, hairstyles and clothing visit:

Clothing in Elizabethan England

Elizabethan Era - Clothing

1550-1600 in Fashion

Hitch Hiker

2010-03-03T22:19:00.005-06:00

This is one of the games our class really enjoys. They ask for it often, or will just pick up the game during down times between rehearsals. The game begins with the use four chairs to build the interior of a car. One player, with three passengers, starts driving the car, and another player becomes a hitch hiker, hiking a ride. The hitch hiker character has a particular character tick or particular emotion, which the driver and other passengers take over. Other hitch hikers join in, each with their own characteristics or emotions, taken over by the driver and the passengers in the car as the hiker joins. Whenever a new hitch hiker enters the car, the driver leaves the car to make room for the new guest, with all passengers shifting over one spot and never leaving the car without a driver. Here are a few images of some of our students performing this game. I will leave it up to your imagination to figure out what "characters" they are trying to portray! Hopefully, the lesson learned, in addition to good improvisational skills, is to never pick up a hitch hicker!

Drama Games

2010-03-03T21:20:00.071-06:00

When we are young, imagination games come easily and acting and performing are just part of a child's daily activities. Somehow, as we age, that creativity gets transferred to other interest and some games are never revisited. Although games are incredibly useful for a theatre class to increase performance or creative skills. "The participants work individually or with others to accomplish the goal of the game, and if the goal is not accomplished at the first try, the participants have still learned something from the experience." This semester, Mrs. Joebgen has been leading our class in a series of drama warm-ups/games each week before class/rehearsal begins. Students have been showing up 15 minutes early to participate in these fun activities. They missed her this week as she deservedly spent a week vacationing with her family. So I brought a couple of table cloths in from the kitchen with the following instructions:

Participants stand in a circle. The leader shows the fabric to the participants, saying "What could this piece of fabric be? We’re going to pass it around the circle and each of you will show us something that it could become." The leader demonstrates, turning the fabric into something and stating what it is. The fabric is passed from person to person, with each participant sharing an idea. If an idea is repeated, such as "a hat", the leader asks the participant to be more specific (a turban, a bonnet), thereby making the participant come up with their own idea. If the number of participants is small enough, the fabric can travel around the circle twice. A variation on this game is to limit the ideas to a category such as clothing, or things that are the color of the fabric.

Here are some of the ideas students came up with:

A Superman cape
A Table (with help from another classmate)
A Magic carpet
A Toga (Friends, Romans, Countrymen, lend me your ears. Julius Cesar)
An Hajab
A Dress (Antipholus... The Comedy of Errors)
A Burial Cloth
A Baby (it was rolled up and rocked in arms)
A Hankie
A Bridal veil (Hero's, of course!)
A Shawl (Mutul, I found him, won't you be a happy bride! Fiddler/Roof)
And many, many more!

Thank you to Mrs. Joebgen for leading the class each week, I know everyone is anticipating what exciting games you will have for them next week!

Thank you to Creative Drama and Theater Education Resource Site

May 'hap, I could help?

2010-02-24T21:19:00.000-06:00

In the first scene of Shakespeare's Clowns we meet the "Rude Mechanicals." These workman/artisan would have been of the lower class system in Elizabethan England. Their lines demonstrate their social standing by mispronouncing words from classic Greek literature and by making assumptions of the "Gentlemen" and "Ladies" for whom they are to perform. While practicing this scene with my students, we had a lengthy discussion about the way the words were written. We marked our script and emphasized the iambic rhythm of the language. After a while, I saw a little light arise in each one of their eyes. For parents, here is a short video about the pattern that Shakespeare favored.

And lastly, just in case you come against any unfamiliar words, visit, Shakespeare's Works for a virtual glossary of terminology. After all, Shakespeare is credited for having coined anywhere from 8000 to 1700 English words by either creating them or combining two existing words into a compound word. He is also cited for his influence in the expansion of the English language.

All of the students are doing a great job with the lines and action! But remember, parents, if they need an audience to practice in front of...may 'hap, you could help!

Hey Nonny, Nonny

2010-02-24T21:12:00.002-06:00

Several students were given the task of preparing music for our upcoming production of Much Ado About Nothing. Music will be played on guitar and piano according to the scene. Music of any kind, live or recorded always adds a heightened sense of emotion to a production. One of the selections we plan on using is Sigh No More by Patrick Doyle.

In the mean time, rehearsals for Much Ado are coming along beautifully! Most students are working off script and have the freedom to move freely with motivation. Thank you all for your hard work and great attitudes! Keep up the good work!

Taming of the Shrew

2010-02-17T23:29:00.000-06:00

The Taming of the Shrew depicts the courtship of Petruchio, a gentleman of Verona, and Katherina, the headstrong “shrew.” Initially, Katherina is an unwilling participant in the relationship, but Petruchio tempers her with various torments – the "taming" – until she is an obedient bride. The sub-plot features a competition between the suitors of Katherina's younger sister, Bianca.

Our class is practicing our one scene from this play with great energy; they promise to perform it with gusto! The Taming of the Shrew (with Elizabeth Taylor and Richard Burton) just happened to be the first film version I ever saw of Shakespeare's works. I picked a copy of it up at the library after studying Shakespeare under an inspiring high school teacher. If you view this film version with your students, you may also be inspired, or in the least, just have a good laugh. After all, that's what good comedy does, makes you laugh!

Why Shakespeare "Rocks!"

2010-02-17T19:02:00.076-06:00

During our recent field trip to the Shakespeare Theater on Navy Pier, the audience was given an opportunity to ask questions of the cast from The Comedy of Errors. One young audience member asked the question "Why does Shakespeare rock?" "Shakespeare rocks because his influence extends from theatre to literature to movies to the present day rap video to the English language itself,” was the answer given by one cast member. That certainly may be true, but Shakespeare provided us with so much more! Inspired by English writers like Chaucer, Shakespeare went on to influence Charles Dickens and Herman Melville. He is also credited for having coined anywhere from 8000 to 1700 English words by either creating them or combining two existing words into a compound word. He is also cited for his influence in the expansion of the English language. The fact that this expansion occurred just prior to the printing of the King James Bible is not coincidence in this teacher's opinion. For more information about Shakespeare’s influence check out these two sites. The second one even contains a virtual glossary of words found in Shakespeare's plays. Quite a handy resource for the student of Shakespeare’s works.

Shakespeare's Influence

Shakespeare's Works

Elizabethan England: The Social Classes

The last link here is to the article discussed today in class; a primary source detailing the social classes in Elizabethan England. Also very useful in understanding the relationships between Shakespeare's characters. Above all, whether or not you agree that Shakespeare "rocks," you should agree that he certainly continues to roll through our vocabulary and culture - and that really "rocks!"

As You Like It

2010-02-10T16:30:00.000-06:00

As You Like It follows its heroine Rosalind as she flees persecution in her uncle's court, accompanied by her cousin Celia and Touchstone the court jester, to find safety and eventually love in the Forest of Arden. The play features one of Shakespeare's most famous and oft-quoted speeches, "All the world's a stage," and is the origin of the phrase "too much of a good thing." In our production of Shakespeare's Clowns, we have two students performing a scene where Rosalind meets Orlando in the forest. Rosalind, dressed as a boy, schools Orlando in the attributes and behaviors of love. Follow the links below to see an animated version of As You Like It - you never know, you may just like it!

As You Like It, Part 1

As You Like It, Part 2

As You Like It, Part 3

Additionally, the MHFA Classic Players performed this play in the spring of 2008. Follow this link to view post about their original production. As You Like It, by William Shakespeare, performed by the Classic Players.

As Pure as the Driven Snow

2010-02-10T14:48:00.004-06:00

MHFA students were given a "snow day" today and all classes were cancelled. For Homeschoolers, this is a unique experience, and for homeschool moms it is a great opportunity to catch up on homework or household chores. This teacher took some time to rest and clean out a few closets - the costume/property closet was on that list, but it did not quite get finished.

I also wondered if Shakespeare had ever spoken of the snow. In fact, the title of this post has often been attributed to Shakespeare. Although it doesn't appear in that form in any of his writing. Shakespeare used snow as a symbol for purity and whiteness in several plays. In The Winter's Tale - Autolycus: "Lawn as white as driven snow." In Macbeth - Malcolm: "black Macbeth will seem as pure as snow."

As I reflected on those quotations, my mind recalled all of our MHFA students. As part of our program, we seek to train young people to develop their talents to use for Gods service. Oh, that they would desire to fulfill God's promises for their lives by protecting their purity so that some day when God is ready to use them, they will not only be well trained, but they will be "as pure as the driven snow."

Let no man despise thy youth; but be thou an example of the believers, in word, in conversation, in charity, in spirit, in faith, in purity.
I Timothy 4:12

Comedy of Errors Field Trip

2010-02-05T20:09:00.130-06:00

Today, 51 students and parents attended The Comedy of Errors field trip at the Shakespeare Theater on Navy Pier in Chicago. The main auditorium of this theater was inspired by the Royal Shakespeare Company's Swan Theatre in Great Britain. It's thrust stage offers "an intimate, immediate relationship between the actors and their audience members," who sit around three sides of the stage. The theater has two balconies and we were privileged to sit in the top balcony area. We were assured that in Shakespeare's day, Royalty would have been seated in these seats, so we felt quite special.

The play itself was quite unique in that director, David H. Bell, staged the production during the 1920's Great Depression. The costumes were a montage of assorted pieces, mixed colors and roaring 20's style. According to the play bill, the costume designer was inspired by Fellini films and Charlie Chaplin. After the performance, students were given a chance to ask the actors questions about the play and Shakespeare in general. They asked many questions about the production, costumes and such. One of my students asked how long it took to block choreography of this action packed play. The actors admitted that the whole rehearsal schedule took about four weeks. As for the acrobatic scenes that they had to practice trust in their fellow cast members.

A few of our students met a couple of the cast members on their way out of the theater. It was nice to see their excitement and appreciation for such good quality acting.

After the play, students walked the pier, rode the Navy Pier Ferris Wheel and enjoyed some treats from some of the many food stuffs around the pier.

At the end of the Pier we found this bell from the U.S.S. Silversides, a submarine that was docked at Navy Pier from 1979 to 1987. Ironically, it had a quote from Shakespeare's Hamlet, Prince of Denmark. It was Polonius advise to his son Laertes on his was to college.

This above all: to thine own self be true,

And it must follow, as the night the day,

Thou canst not then be false to any man.

How appropriate to end our day, our walk, and our Shakespeare field trip! Thank you to all who dressed up, showed up, and shared this amazing experience with our MHFA families!

I am Not as I Have Been

2010-02-03T14:42:00.002-06:00

Much Ado About Nothing actually has as much more to do about deception than anything else. Over the past two rehearsals, we were introduced to the deception of Benedick and Beatrice. At one point, Benedick even monologues to the audience about Claudio’s obvious transformation from a hardened soldier to a melancholy man in love. He asks if he could be so converted, and decides that he can not. But after overhearing the well planned counterfeit of Don Pedro, Leanoto and Claudio, he believes that Beatrice has fallen in love with him. He decides that he is "horribly in love with her" and decides to requite (return) the affection. A curiously similar event happens to Beatrice when she overhears the planted conversation of Ursula and Hero.

Shakespeare’s audience would have seen the transformation of Benedick with a possible costume change from that of a rugged soldier to a handsome courtier. Shakespeare's text actually describes Benedick as being shaved and perfumed, and he admits to his comrades: "Gallants, I am not as I have been."

In our production, Beatrice will have a similar transformation. Since we are setting this play in the old west, I imagine her starting out as an "Annie Oakley" type character, than transforming to a softer style, demonstrating a girl in love.

Either way, these two characters are in for quite an adventure as they are deceived, chided and ultimately driven to a “mad humor of love.”

Romeo and Juliet

2010-02-03T04:44:00.000-06:00

Romeo and Juliet is a tragedy written early in the career of William Shakespeare about two young "star-cross'd lovers" whose deaths ultimately unite their feuding families. In class today, we discussed the plot line with the students. They seemed to be quite impressed that what they thought was a "mushy love story" actually contained many fight scenes. Either way, this animated adaptation will give them the entire story in pictures. It is a timeless tale, that will make a lasting impression on any viewer.

Romeo and Juliet, Part 1

Romeo and Juliet, Part 2

Romeo and Juliet, Part 3

Comedy of Errors Workshop

2010-01-29T20:07:00.088-06:00

As part of our study of Shakespeare this semester, students will soon be attending a field trip to see Shakespeare's Comedy of Errors. In preparation for this trip, 24 students participated in a workshop on this very humorous play. In addition to reviewing the synopsis of the play, we took a “Journey Through the Play” where students dramatically repeated lines from the play such as:

Proceed, Solinus, to procure my fall.

Therefore by law thou art condemned to die.

I to the world am like a drop of water

That in the ocean seeks another drop.

They say this town is full of cozenage.

Fie, dost thou jeer and flout me in the teeth?

Dromio, thou Dromio, thou snail, thou slug, thou sot.

Justice, most gracious Duke, O grant me justice!

We came into the world like brother and brother,

And now let's go hand in hand, not one before the other.

Mrs. Joebgen then led the students in an activity that interpreted the opening monologue by Egeon and his plea to the Duke of Ephesus. This was a very fun activity where students were directed to read, speak and draw sections of the monologue. The pictures were saved and made into a collage that will be displayed at our performance on April 23 and 24.

When we took a break, students snacked on ginger-bread, tarts, shepherd's pie, and candied fruit, all inspired by Shakespeare and the Elizabethan era.

In an exercise titled "The Pleasure of Rhyme", students practiced a “Set-up” and Completion” activity; turning their palm-up at the beginning of a rhyme and closing their hand on the completion of the rhyme, using two excerpts from the play, Comedy of Errors.

Nursery rhymes are one of our first encounters with language that is rhythmical and organization. Psychologist have said that the repetition of vowels and consonants is a pleasurable activity relating it to the babbling of children. Rhyme also gives us a feeling of reassurance. A more organized type of thought ties things together. In Shakespeare, we find four different ways of organizing thoughts. Prose is the least organized and Song is the most structured.

Whenever a character changes the way that they are speaking, there is usually a significant shift in psychology. For example, a scene might be written in prose and suddenly shift to verse. Or perhaps the characters are speaking in blank verse and then begin to rhyme. The change of language structure signals that something important has shifted. (by Christine Adaire, Roosevelt University)

In Comedy of Errors, Act 4, scene 2 they acted out a scene between two sisters. One sister is married (Adriana ) and the other is unmarried (Luciana). Adriana thinks that her husband has been flirting with her sister. Of course, the gentleman that had spoken to Luciana was actually the brother to Adriana’s husband, but they do not know it!

In Act 4, scene 2 we witness a scene where Antipholus of Ephesus returns home to find his door locked. Adriana is entertaining Antipholus of Syracuse whom she believes to be her husband. The men, including Dromio of Ephesus try to break down the door, that is guarded by Dromio of Syracuse.

Make an on-line slideshow at www.OneTrueMedia.com

And last, but certainly not least, we all worked together to film a trailer for the Comedy of Errors. What a hoot this turned out to be! (by Timothy Duggan, Ed. D., Northeastern Illinois University)

Workshop Outtakes!

Much Ado About Nothing

2010-01-27T16:16:00.000-06:00

In Much Ado About Nothing, a pair of lovers named Claudio and Hero are due to be married in a week. To pass the time before their wedding day, they conspire with Don Pedro, the prince of Aragon, to trick their friends, Beatrice and Benedick, into confessing their love for one another. The prince's brother, Don John, however, jealous of both Don Pedro's power and his affection for Claudio, plans to destroy the coming wedding. But fortunately, the whole plot is foiled by some humorous antics of the local constable, Dogberry and his Watch. Unfortunately, there is not animated short film for this production, but fortunately, again, the Classic Players will be performing this in April. So plan on attending the play to see all the action live on the MHFA stage! In the mean time, here is a clip from a production set in the Victorian era.

In our production of Shakespeare’s Clowns, our Master Constable and Watch will be mimicking the antics of Barney Fife. The Dogberry cast watched this clip in class today to “set the scene” for quite a unusual spoof of this timeless comedy.

The Meloncholy Humor of Shakespeare

2010-01-27T14:58:00.005-06:00

In Much Ado About Nothing and As You Like It (one of our previous productions) the Classic Players have been presented with the Melancholy character. In As You Like It, we met Jacques. Jacques is an example of a stock figure in Elizabethan comedy, the man possessed of a hopelessly melancholy disposition. As one that watches life from the sidelines, it is fitting that he monologues about the stages of life in his famous "All the World's a Stage" speech.

However in Much Ado About Nothing which is generally considered Shakespeare's happiest comedy there runs a strain of melancholy, because Much Ado about Nothing tells a powerful warning tale of the potential tragedy that can result from deception and miscommunication. In fact, Shakespeare even uses the Humor of Melancholy to highlight some of the main characters down falls. At least that of the brooding Don John and the love struck Claudio.

Either way, the study of Elizabethan Humor is fascinating. That a person's actions were controlled by the amount and type of bodily fluids one has in his body is not unlike our modern medicine that the answer to many health issues can be found with a blood test. Thankfully, medicine has come quite a long way, and we no longer have to face the option of blood letting for a quick cure! For more information on the Four Humors, and the Melancholy Humor, see the following articles.

Humorism

On Melancholy

The Four Humors

Shakespeare and the King James Bible

2010-01-20T13:49:00.006-06:00

It is noteworthy that the King James was produced during the period when the English language and literature (as well as knowledge of other languages by English-speaking people) had reached their zenith of power and expressiveness. That was the age of Shakespeare, for example. Modern English, on the other hand, has become merely a decadent remnant of its former beauty and clarity.

This phenomenon seems to be a universal characteristic of languages as well as people, cities, and institutions of all kinds. A period of youthful growth and vigor reaches a zenith and is then followed by a gradual decline and eventual death. Albert Baugh, in a widely used textbook on this theme has said: The evolution of languages, at least within the historical period, is a story of progressive simplification.... Language may reintroduce previously lost complexity but over-all the superfluous and redundant aspects are systematically streamlined from the complex structure of language. (A History of the English Language New York. Appleton Century-Crofts, 1957. p. 10.)

With respect to the English language, the authors of a more recent study, companion to a PBS television series, note the literary accomplishments of the Elizabethan period in England as follows. "The achievements of these astonishing years [i.e., 1558-1625, the reigns of Queen Elizabeth and King James I] are inescapably glorious. Elizabeth I came to the throne in 1558 at the age of twenty-five. William Shakespeare, her most famous subject, was born six years later in 1564. Her successor, James I, who gave his name to another famous masterpiece, the Authorized Version of the Bible, died in 1625. During their reigns, about seventy years, the English language achieved a richness and vitality of expression that even contemporaries marveled at." (Robert McCrum, William Cray and Robert MacNeil, The Story of English New York, Viking. 1986. p. 91.)

These writers call the King James Bible "probably the single most influential book ever published in the English language." They also make an important observation concerning the beautiful simplicity of the King James Language.

The King James Bible was published in the year Shakespeare began work on his last play, The Tempest. Both the play and the Bible are masterpieces of English, but there is one crucial difference between them. Whereas Shakespeare ransacked the lexicon, the King James Bible employs a bare 8000 words-God's teaching in homely English for every-man. From that day to this, the Shakespearean cornucopia and the Biblical iron rations represent, as it were, the North and South poles of the language, reference points for writers and speakers throughout the world, from the Shakespearean splendor of a Joyce or a Dickens to the Biblical rigor of a Bunyan or a Hemingway.

It is no wonder that a Bible translation produced at that special time in history has (except for changes in spelling and letter form) endured for almost 400 years, meeting the needs and guiding the culture of over ten generations of English speaking peoples. In fact, it has been very instrumental in standardizing the language itself, providing a common bond among its millions of readers, and restraining what would otherwise have been a more rapid deterioration of the language.

We have abandoned today many fine points of English grammar commonly used in 1600. For example, we forget that "thee," "thou," and "thine" were used to express the second person singular, with "you," "ye," and "yours" reserved for second person plural. Today we use "you" indiscriminately for both singular and plural, thereby missing some of the precise meaning of many texts of Scripture. The same applies to the "th" and "st" endings on verbs associated with second-person pronouns; they also contribute significantly to the musical quality of the language, especially as used in the King James Bible.

The translators were not only Biblical scholars but accomplished writers, and one of the deliberate goals--in fact, a part of their assignment--was to produce a Bible that would "sing" with beauty and power, and would also retain literal faithfulness to the Greek and Hebrew texts, which had themselves been written with majestic musical beauty.

With all these factors in mind, do we not most honor the Lord and His revealed Word by having it read and used in that form of our language which was in use when the English language was at its best, instead of in our modern jargon? So what if it does not sound like a modern newspaper or novel? The fact is, it should not sound-like that, for God is speaking! His Word should be distinctly different from that in some current novel or newspaper.

The above is an excerpt from:
A Creationist's Defense of the King James Bible

Here is a link, to an article discussed in class, on the theory that William Shakespeare may have translated the 46 Psalm. Although it is this teachers opinion that he did not, considering that the King James version was translated by scholars, not poets or playwrights. Still the theory is fascinating, and the fact that some consider it reliable is just another example of Shakespeare's far reaching influence.

Shakespeare and the King James Bible

Hamlet, Prince of Denmark

2010-01-20T10:30:00.000-06:00

"To be or not to be, that is the question." This is usually the first Shakespearean quotation that comes to mind when Shakespeare is brought up as a topic. How many comedic spoofs can you recall with that statement as a rejoinder? Probably quite a few. But Hamlet, Prince of Denmark is very relevant for today’s audience and is a valuable piece for any student of Shakespeare or literature. Most of these topics are not usually expounded upon until students reach a more mature level of comprehension, but the story itself can be appreciated without serious interpretation. View this BBC animated series of Hamlet - it may just capture your attention, or perhaps the conscience of a king!

Hamlet, Prince of Denmark, Part 1

Hamlet, Prince of Denmark, Part 2

Hamlet, Prince of Denmark, Part 3

Comedy of Errors Workshop and Field Trip

2010-01-17T21:51:00.005-06:00

Comedy of Errors Workshop

Friday, January 29, 1:00 - 3:30

Students planning on attending the Comedy of Errors Field Trip will benefit from this workshop where they will be introduced to the story and interpretation of the play as well as participating in activities that will give a better understanding of the language and setting. Students will be well prepared for the performance by learning about the directors themes and vision for this amazing play. Students are welcome to bring a Shakespearean theme food or treat to share during our snack break. Check the following sites for ideas:

Fooles and Fricassees: Food in Shakespeare's England

Shakespearean Feast
Elizabethan Dessert Recipes
Elizabethan Recipes (with video)
Old Elizabethan Recipes

Comedy of Errors Field Trip

Friday, February 5, 12:00 noon

Chicago Shakespeare Theater on Navy Pier, Chicago

Meet at the bottom of the theater staircase outside the Häagen-Dazs ice cream shop by noon. For more information about the play or the theater, see their website, and be prepared to have a great time!

Shakespearean Bulletin Board

2010-01-13T14:28:00.004-06:00

New this semester, the Classic Players is going to attempt to compile a Bulletin Board featuring William Shakespeare and our play, Much Ado About Nothing. While studying your lines and the life of Shakespeare, keep eyes and ears open to anything Shakespeare. Perhaps you may see him quoted in a magazine or the newspaper. Perhaps one of his stories/plot lines is remade into a Made-for-TV movie. Bring in your clipping or advertisement and we will add them to our board. Also, keep an eye out for items that remind you about Much Ado About Nothing. It could be a Valentine that reminds you of Hero’s jest “…loving goes by haps, some Cupid kills with arrows, some with traps.” Or perhaps a picture of a bull in reference to Don Pedro’s joke “In time the savage bull doth bear the yoke.” Whatever inspires you to think of Shakespeare, consider adding it to our grand collage. Let’s see what happens, could turn out to be something great, or it could just be Much Ado About Nothing!

A Midsummer Nights Dream

2010-01-13T12:00:00.000-06:00

The Young Thespians began rehearsals on Shakespeare's Clowns today with an overview of the play A Midsummer Nights Dream. The scene being performed by our students is part of the "Mechanicals," amateur actors in the midst of rehearsing. Below are links to the complete animated story produced by the British Broadcasting Company. Watching them with your student will help them to understand a little more about the lively and magical tale of A Midsummer Nights Dream.

A Midsummer Nights Dream, Part 1

A Midsummer Nights Dream, Part 2

A Midsummer Nights Dream, Part 3

Shakespeare's Clowns

2010-01-06T19:48:00.000-06:00

Proverbs 17:22 says “A merry heart doeth good like a medicine.” Shakespeare knew this better than anyone of his time. “Comedy," in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriage for all the unmarried characters, and a tone and style that is more lighthearted than Shakespeare's other plays. But Shakespeare wisely used clownish characters to heighten the suspense in his tragedies, and gain sympathy for his tragic characters or - as in the case of many of his plays - draw attention to the folly of man.

Shakespeare’s Clowns by Riosley and Byars is a great introduction to Shakespearean language. Sometimes the Old English language is unfamiliar to us in our modern age. But the use of language was so important in Shakespeare’s day when it could truly be said to “take a man by his word.” When properly exposed to Shakespeare for the first time, children always respond positively because in the course of development they crave the spoken word.

The Young Thespians will be performing this excellent collection of some of Shakespeare's humorous characters on Friday, April 9, 2010.

Much Ado About Nothing - the Story

2010-01-06T13:29:00.003-06:00

At Messina, Don Pedro, a Spanish prince from Aragon, and his deputies, Claudio and Benedick, have just returned from a successful battle. Leonato, the governor of Messina, welcomes them for passing by the city and invites them to stay for a month and to have a masked party.

Leonato's niece, Beatrice, and Benedick, longtime adversaries, carry on their arguments. Claudio’s feelings for Hero, Leonato's only daughter, are rekindled on his seeing her, and Claudio soon announces to Benedick his intention to court her. Benedick tries to dissuade his friend, but is unsuccessful in the face of Don Pedro’s encouragement. While Benedick teases Claudio, Benedick swears that he will never get married. Don Pedro laughs at him and tells him that when he has found the right person he shall get married.

A masquerade ball is planned in celebration, giving a disguised Don Pedro the opportunity to woo Hero on Claudio’s behalf. Don John uses this situation to get revenge on his brother Don Pedro by telling young Claudio that Don Pedro is actually wooing Hero for himself. Claudio then becomes furious at Don Pedro and confronts him. The misunderstanding is quickly resolved and Claudio wins Hero's hand in marriage.

Don Pedro and his men, bored at the prospect of waiting a week for the matrimonial ceremony to take place, harbor a plan to matchmake Beatrice and Benedick. The men, led by Don Pedro, proclaim Beatrice’s love for Benedick while knowing he is eavesdropping on their conversation. The women, led by Hero, do the same likewise to Beatrice. Struck by the fact that they are apparently thought to be too proud to love each other, Beatrice and Benedick, neither willing to bear the reputation of pride, each decides to requite the love of the other.

Meanwhile Don John, Don Pedro's illegitimate brother, is a malcontent who plots to ruin Claudio and Hero’s wedding plans by casting aspersions upon Hero’s character. His follower Borachio courts Margaret, Hero's chambermaid, calling her “Hero”, at Hero’s open bedroom window while Don John leads Don Pedro and Claudio to spy below. The latter two, mistaking Margaret for Hero, are convinced of Hero's infidelity.

The next day, during the wedding at the church, Claudio climactically refuses to marry Hero. He and Don Pedro humiliate Hero publicly before a stunned congregation and Margaret, who is attending the wedding, does not speak up in Hero's defence. The two leave, leaving the rest in shock. Hero, who has fainted from shock, revives after Don Pedro and Claudio leave, only to be reprimanded by her father. The presiding Friar interrupts, believing Hero to be innocent, and he convinces the family to fake Hero's death in order to extract the truth and Claudio’s remorse.

Leonato and Antonio, Hero's uncle, subsequently blame Don Pedro and Claudio for Hero’s death, and both challenge Claudio to duels. Benedick, forcefully prompted by Beatrice, does the same.

Astonishingly, however, on the night of Don John's treachery, the local Watch has apprehended Borachio and his ally Conrade. Despite the Watch's comic ineptness, headed by constable Dogberry, they have overheard the duo discussing their evil plans. The Watch arrest them and eventually obtain the villains' confession, whilst informing Leonato of Hero's innocence. Though Don John has meanwhile fled the city, a force is sent to capture him. Claudio, though maintaining he made an honest mistake, is repentant; he agrees to not only post a proper epitaph for Hero, but to marry a substitute, Hero's cousin (not Beatrice), in her place.

During Claudio’s second wedding, however, as the dancers enter, the "cousin" is unmasked as Hero herself, to a most surprised and gratified Claudio. An impromptu dance is announced. Beatrice and Benedick, prompted by their friends’ interference, finally confess their love for each other. As the play draws to a close, a messenger arrives with news of Don John’s capture – but his punishment is postponed another day so that the couples can enjoy their newfound happiness.

Upcoming Events!

2009-12-02T21:48:00.002-06:00

Second Semester begins January 6, 2010, 9:30 a.m. at Family of Faith Church in Steger. We are beginning an exciting semester studying and performing Shakespeare! Much Ado About Nothing is a romantic comedy by William Shakespeare set in Messina, Sicily. The story concerns a pair of lovers named Claudio and Hero who are due to be married in a week. To pass the time before their wedding day, they conspire with Don Pedro, the prince of Aragon, to trick their friends, Beatrice and Benedick, into confessing their love for one another. The prince's illegitimate brother, Don John, however, jealous of both Don Pedro's power and his affection for Claudio, plans to destroy the coming wedding.

Auditions for parts in this play will be held on Friday, January 8, 2010 also at Family of Faith Church. Auditions scripts were passed out to students that participated in Classic Players first semester but please contact us if you need a practice copy. Positions are also available in Costume Design and Tech Crew. Please contact Mrs. Bielicki if you have any questions about this exciting second semester with the Classic Players!

Audition Scene One

2009-11-25T22:08:00.005-06:00

In this, the First Act, Scene one of Much Ado About Nothing, you will find lines from the audition scripts. Here you will see Don Pedro's return, Beatrice & Benedicts skirmish of words, and Benedict and Claudio's discussion on marriage. This production was filmed for television and is set in Italy with traditional Elizabethan costumes.

Audition Scene 2

2009-11-25T22:06:00.001-06:00

In this clipping from a movie filmed on site in Messina, Italy we see the deception cleverly played out against Benedict and Beatrice. This movie is costumed in an achromatic color scheme to draw a heightened attention to the characters and the setting. Also, since it is a movie, much of the movement you will view may not be possible on stage. Even so, it is a humorous interpretation of this cleverly crafted scene. I do apologize that Beatrice's monologue is cut off at the end, but you can still witness a change in her attitude toward Benedict before the video ends. WARNING - Students - do not rent this version and view without your parents permission. The producers took broad liberties with the story by adding scenes not in Shakespeare's original text.

Audition Scene 3

2009-11-25T22:04:00.003-06:00

The following scene Constable Dogberry and his deputy Vergas, gives instructions to the Watch. This production filmed by the British Broadcasting Company in set and costumed in the Victorian era, thus, Dogberry appears as a "Keystone Cop." Notice how is mixes up his words as he speaks...

Parting is Such Sweet Sorrow...

2009-11-18T23:16:00.007-06:00

As part of our end of semester activities students were first of all congratulated on a successful production of A Salute to Veterans. Mrs. Bielicki then introduced the Classic Players second semester project, William Shakespeare's comedy, Much Ado About Nothing. They were also given audition scripts and a list of characters for next semester's play. We then finished out the first semester with a few improve games. The biggest hit of all was a game called "Murder Mystery." In this game, the first actor on stage explains that a murder just took place, including a method of murder in the description. The second actor then "murders" the first either with the described mode or weapon, or by a design of his own. The catch to this game is that no words were to be used between actors, only verbal sounds or body language. Below are a few images from the game!

These pictures may appear graphic, but trust me, these teens were having a great time! Good job to all students that participated in the Classic Players first semester classes...stay tuned for next semester...lots to do and learn and lots of fun to be had! See you in class on January 6, 2010!

Parting is Such Sweet Sorrow....

2009-11-18T09:09:00.000-06:00

As part of our last class this semester, Mrs. Bielicki discussed the second semester project. The Young Thespians will be studying and performing Shakespeare's Clowns. Students then participated in some Team building activities that encouraged eye contact and partner trust. In what may appear to be an contradiction, they actually worked best together (and had a ton of fun) while playing an improvisational game called "Murder Mystery." In this game, the first actor on stage explains that a murder just took place, including a method of murder in the description. The second actor then "murders" the first either with the described mode or weapon, or by a design of his own. The catch to this game is that no words were to be used between actors, only verbal sounds or body language.

Good job to all Young Thespians! See you all second semester!

Salute to Veterans

2009-11-14T21:39:00.000-06:00

Midwest Homeschool Fine Arts saluted America's Veterans in song, dramatic prose and verse. We are very thankful for all those that protected our nation and those that still volunteer to serve and protect our nation. Congratulations to the Classic Players and all Midwest Homeschool Fine Arts participants of this exciting program!

Salute To Veterans

2009-11-14T19:23:00.000-06:00

Nursery Rhyme Fun

2009-10-14T22:33:00.000-05:00

In an exercise to encourage our young cast members to create dialogue during improv and ad lib situations on stage. They broke into groups and were given a nursery rhyme. They were instructed not only to act out the rhyme, but to create dialogue by answering these questions about their story and characters.

What are they doing?

Where are they at?

When did it happen?

Why are they doing it?

In the end, the students put together several clever sketches containing some interesting twist to the original nursery rhymes. To put the exercise into practice we rehearsed our Homefront sketch and the cast practiced adding dialogue to their scene. They did such a good job, that we added some of their suggestions to the script. But as I stated at the beginning of the semester when describing a TEAM effort: "everyone is a genius!"

What Should I Wear?

2009-10-07T14:07:00.000-05:00

Young Thespians are portraying a group of school age children in 1944, brought together to work on projects to support the war effort. In order to make this scene more realistic, students are asked to style their costume to suit that time period. This photograph form Blysthwood School, 1944 is a good illustration of how children dressed during World War II. Because of rationing clothing and various material, new clothing was hard to come by. Girls dresses were sometimes fashioned out of old clothing or household items (feed and potato sacks). Jumpers became very popular since the shoulder straps be "let out" as the child grew. Boys fashion stayed similar except for the disappearance of knickers (despite the picture), historians point out that by 1945, this clothing item had all but disappeared in America.

Therefore, as directors of the Young Thespians and Children's Choir we request that your student dress as a "child of the Home Front" to honor our Veterans and their families that still remember those days when America pulled together to support each other and win the war around the world!

Note: Girls dresses should fall below the knee when in a sitting position; Boys, no gym shoes or white socks! Thank you.

What Should I Wear?

2009-10-07T13:11:00.008-05:00

A "Salute to Veterans" is a combination of our MHFA drama and choir groups. For this reason, costuming for our Classic Players is very simple. ("Families" will be provided with a few extra pieces to their costumes). Students are expected to wear "Concert Attire" as described in the MHFA Handbook.

Ladies should wear black dress shoes; black or neutral hose or tights; choice of black dress, black jumper with white or black blouse; black skirt with white or black blouse. Note: dresses and blouses should have a modest neckline and dresses/skirts must cover the knee when seated (mid-calf or longer, no slits above the knee please. Hair should be neatly styled and out of the eyes, unusual or faddish hairstyles are to be avoided.

Gentlemen should wear black dress slacks; long sleeved white dress shirt, conservative neck tie (no cartoon ties please!); black socks; black dress shoes; hair should be trimmed and neat, again, no unusual or faddish hairstyles please.

Because of the patriotic nature of this program, a red white and blue scarf or tie would be very appropriate. A suit coat for either the ladies or gentlemen would really make the speaker appear professional and truly show respect to those we are striving so hard to honor, namely, our Veterans!

Making Faces

2009-10-01T00:08:00.000-05:00

As part of an exercise in character development, students tried their hand a Making Faces, a drama game where the participants are given an emotion to portray. They were instructed to continue that emotion no matter how the improvised scene progresses. With our Assistant Director acting as the lead, these images captured in class may tell the rest of the story...

"Sad and Happy" friends at the Ice Cream Shop.
"Angry and Suspicious" brother and sister shopping for a Mother's Day present.

"Irritated and Excited children with Sympathetic Mother" at the Art Museum.

...so much for the sympathy!

"Tired, Aged, Fearful, Obsessive" characters waiting for the bus.

With "On the Space Shuttle," this director definitely needs the students to remind her of their chosen emotions because my memory of this improv is completely muddled with the memory of just laughing!

A stow-away!!! So funny!

Congratulations to all Young Thespians. You all made a team effort to create memorable and exciting characters. Lord Willing, these students will carry this energy into their performance and share their enthusiasm with all!

Band of Brothers

2009-09-30T22:12:00.002-05:00

While participating in interpretation exercises the class had a chance to practice vocal techniques, and the use of emotional images taught in class recently. Using sensory images students were encouraged to visualize their surroundings, hear the sounds of those surroundings, smell, feel and ultimately see their surroundings. Our students did an admirable job of interpreting Henry V, by William Shakespeare. This play contains a Shakespeare's famous speech containing the often quoted phrase, "Band of Brothers."

This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,

But we in it shall be remembered-
We few, we happy few, we band of brothers;

For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition;

And gentlemen in England now-a-bed
Shall think themselves accurs'd they were not here,

And hold their manhoods cheap whiles any speakes

That fought with us upon Saint Crispin's day.

Each group acted as a group of soldiers and chose one Henry to lead them in the charge. Everyone did a great job interpreting this moving piece of literature. Congratulations to all!

Learning About the Home Front

2009-09-23T23:28:00.000-05:00

Information and well as imagination is a large part of developing believable characters in drama and on the stage. As part of our rehearsal, we are reading portions of Molly's World, a picture book with images of what life was like on the home front during World War II. This book was chosen because it's content is geared for children from ages 8-12. Most students had already studied this time period at one point in their history lessons, to some these stories were completely new. Whatever the case, this simple explanation of that time period was a boost to our rehearsal today as the pictures and descriptions opened up the room for discussion and these young thespians flooded the rehearsal with ideas and amazing interpretation. Since the lines are so short in this play, we were able to toss the scripts aside after just one rehearsal, good job class!

Below are a few book suggestions to read about World War II. Parents: please view all materials before allowing your students to read any form of printed media. MHFA believes it is up to the parent to choose enrichment materials for their children.

Boxes for Katje by Candace Fleming

Inspired by actual events, this engaging story of post-WWII Holland provides a potent and merry lesson in generosity as a young Dutch girl writes to her new American frined in thanks for a care package and starts receiving larger and larger boxes.

Number the Stars by Lois Lowry

(from back cover)

Ten year old Annemarie Johansen and her best friend Ellen Rosen often think about life before the war. But it's now 1943 and their life in Copenhagen is filled with school, food shortages, and the Nazi soldiers marching in their town. The Nazis won't stop. The Jew of Denmark are being "relocated", so Ellen moves in with the Johansens and pretends to be part of the family.
Then Annemarie is asked to go on a dangerous mission. Somehow she must find the strength and courage to save her best friend's life. There's no turning back now.

Other WWII Books for Children and Young Adults

Learning the Importance of Vocal Quality

2009-09-23T22:35:00.003-05:00

Today students received their first in a series of "Actor Notes." These notes share techniques for improving vocal quality and basic acting techniques. Students even had a chance to practice the exercisers suggested in today's notes. For further study of oral interpretation, visit Your Speaking Voice.

To encourage the students to practice what we covered in class, they were given a clipping from William Shakespeare's Henry V, Band of Brothers speech. This segment of Shakespeare's work has been repeatedly used in military novels and films. Next week, we will use this selection in a special class exercise. For inspiration, view the below video of the speech in a film featuring Kenneth Brannagh.

Note: Students are never recommended to watch any films about the subject matter - all media should be viewed and approved by your parents!

Salute to Veterans

2009-09-16T23:13:00.000-05:00

Across this state and country live many American Veterans; some may be relatives, some our church members or neighbors, but they are always with us. MHFA would like to pay tribute to these Veterans utilizing our students many talents in our drama and choir programs.
Today students were given a copy of our program, A Salute to Veterans. Many parts are included and also, very short semester. Our Young Thespians will perform a sketch about life for school children on the Home Front during WWII. With concentrating of techniques of character development and acting techniques students will be able to perform at their best and, God Willing, should produce a performance that will truly honor all of our Veterans.

A Salute to Veterans

2009-09-16T21:46:00.007-05:00

Heroes of all truth and light

Men who Live

And Die

And Fight

That all might live on freedom's soil

And then forget

The cost, the toil.

Across this state and country live many American Veterans; some may be relatives, some our church members or neighbors, but they are still with us. MHFA would like to pay tribute to these Veterans utilizing our students many talents in our drama and choir programs.

Today students were given a copy of this program. Parts are many and few this short semester, thus giving each student an opportunity to learn the many techniques important to the interpretation of literature, principles of vocal quality and basic acting techniques.

Welcome Classic Players!

2009-09-09T21:33:00.002-05:00

Welcome to the Classic Players 2009-2010 school year at Midwest Homeschool Fine Arts. Our goals are to experience the theater production process and learn dramatic skills in a manner that honors and glorifies God. To accomplish these goals we focus on working together as a team. Today in class we discussed what it takes to work as a team, and it can be described as follows:

T = Together; everyone must work together to accomplish our goals!
E = Everyone is a genius; every idea is welcome!
A = Always listen to the Director!
M = Monologuing is not allowed; there are no solo acts in this class!

Enrollment this semester was quite large and as a teacher first, director second, I did not have the heart to cut any from the class, although as of today, enrollment is now closed. I don't believe this will cause a problem if the whole class determines to act as the type of team described above!

Welcome Young Thespians!

2009-09-09T17:48:00.000-05:00

Welcome to the Young Thespian 2009-2010 school year at Midwest Homeschool Fine Arts. Our goals are to learn basic acting techniques and character development and movement in a manner that honors and glorifies God. To accomplish these goals we focus on working together as a team. Today in class we discussed what it takes to work as a team, and it can be described as follows:

T = Together; everyone must work together to accomplish our goals!
E = Everyone is a genius; every idea is welcome!
A = Always listen to the Director!
M = Monologuing is not allowed; there are no solo acts in this class!

Due to a large interest in our drama class this year, enrollment is at it's max and is now closed. I don't believe this will cause a problem if the whole class determines to act as the type of team described above!

Woman in White, Act I

2009-06-05T23:16:00.002-05:00

Woman in White, Act II

2009-06-05T22:26:00.000-05:00

Around the World in 80 Days

2009-05-30T00:25:00.000-05:00

The extraordinary adventures of a traveler in a hurry. For a bet, Phileas Fogg sets out with her servant Passepartout to achieve an incredible journey - from London to Paris, Suez, Bombay, Calcutta, Hong Kong, New York and back to London again, all in just eighty days! There were many alarms and surprises along the way - and as a last minute setback seemed to cause the end of our main character...a surprise ending saves the day and Mr. Fogg comes out triumphant!

Click on slide show to view images individually.

The Chorus sang appropriate music that helped take our cast around the world and added to the adventure. This was a mature story for such young actors, but they all stepped up to the challenge and gave an exceptional performance that delighted the audience.

Around the World in 80 Days - Costumes

2009-04-13T19:08:00.000-05:00

The costumes depicted below are merely suggestions. Do not try to replicate the costume exactly, but please observe only "elements" of the costume pieces and try to select a few of their characteristics. With the exception of Fogg, Passepartout, Aouda and Fix, all cast members should be in costume basics as described in the previous post. These suggestions for characters in Around the World in 80 Days:

With classic Victorian style, Phileas Fogg can wear a top hat, ascot tie, white shirt, vest, and jacket and coat in contrasting colors, and black dress shoes. A perfect hand prop would be a walking stick. Passepartout should wear black shoes, pants, coat, and tie, a bowler hat and a white shirt, and of course, carry the all important carpet bag. Mr. Stuart, Mr. Falletin and Mr. Flanagan should wear something similar to Phileas Fog with the exception that they wear their black pants as required in the group costume requirements. His Majesty's Counsel would also wear similar costume pieces with the exception of no hat.

Detective Fix should wear a suit similar to Passepartout but in a lighter color. A detective hat as pictured would achieve the classic Victorian detective appearance, a note pad would be the perfect hand prop for this character.

A classic Newsboy would wear a newsboy hat, a ragged coat, perhaps a neck tie, and of course his newspapers.

The Landlord joins the story in India so some appropriate costume pieces would be a turban, an apron and as a hand prop, a tray of dishes.

Sir Francis Cromarty was a decorated British officer and could wear a red coat with extra gold buttons added and a belt on the outside. He could carry a sword in his belt.

The British Conductor could wear a blue coat with extra added gold buttons and a blue conductor hat. A pocket watch would be an excellent hand prop for this character.

The Parsee wears any colorful dress or large shirt, and an Indian hat called a kepha.

Princess Aouda needs to wear a sari, but should be able to move freely. Another good alternative would be a long Salwar, with a head scarf, bangles and necklaces. Of course she needs a bindi "red dot" added to her forehead as a symbol of her married status. She will remove this after being rescued by Phileas.

The Sailor, Dock Officer and Chief Engineer could all wear old fashioned sailor hats (modern white ones would work well also), and a white sailor scarf over their required black costumes pieces.

John Bunsby and Captain Andrew Speedy should look the part of sea captains by wearing captain hats and dark jackets with gold buttons. Appropriate hand props would be a map or an eye scope.

William Batulcar is a classic circus director and could wear a coat with tails, colorful vest and a top hat, if very brave, a handle bar mustache would add a much comedy to the scene.

The Clown Troup will add only a few clownish elements to their basic black uniforms. A ruffled collar, pointed hat and a colorful sash will complete their humorous outfits. They will enter the stage juggling and clowning for the audience.

The American Train Engineer should wear a classic striped engineer hat and a red neck kerchief.

Around the World in 80 Days - Group Scene Costumes

2009-04-11T07:52:00.000-05:00

Because of the nature of this play, most cast members need only a simple black drama outfit. This outfit is standard in most drama groups as it can be worn for any performance with added costume pieces.

Girls should wear black short or long sleeved shirt (no turtlenecks), black skirt or gauchos (if portraying a male character), black tights, and black dress shoes.
Boys should wear white short or long sleeved collared shirt, black dress pants, black socks and black dress shoes.

During the play, characters will travel around the world with Phileas, Passeparout, and Fix. When a new country is reached, they will "cross" stage as a citizen of that country. Thus, when Phileas is in Egypt, cast members will cross stage dressed as Egyptians, in India, as Indians, etc. Therefore, as a director, I would ask you and your student to stretch their imaginations and think about what costume pieces can be added to enhance the scenes as they travel through the following countries:

The journey begins in London!

This picture of a busy London bridge in the late 1800's depicts the busy stage where Phileas and Passepartout will their travels.

Boys: top hats, long jackets, walking sticks, packages, satchel (briefcase), one could dress as a chimney sweep. Girls: short coats, muffs, fancy bonnets, shawls with a pretty ties around the neck.

The journey continues on to Paris, France.

This busy street shows Parisians strolling along a Paris street like the one on which Phileas and Passepartout may have traveled.

Boys: coats, top hats, walking sticks, one may want to dress as an artist and wear a beret and carry a paint box or painting pallet. Girls: fancy hats, purses, parasol, perhaps carry a cute (stuffed) French poodle in your arms.

The journey continues on the Egypt:

The busy streets in Egypt bring all kinds of possibilities for unique costume pieces.

Boys: turbans, large white tunics, beaded necklaces, carrying baskets.
Girls: long sleeved dress (or shirt to place over standard black costume), head cloth, wide bracelets, basket balanced on head.

India offers a chance to introduce color and excitement: Boys: long white tunics (like one worn in Egypt), simple Indian hats called Kephas. These hats can be simply made with white card stock and colored markers.

Girls: sari's, baskets and head, large pots on head, bangle bracelets. Click here to visit a useful site on how to tie a Sari.

China in next stop on their journey:
Boys: wear a simple large button down shirt, Chinese bowl hat perhaps with a long Chinese pony tail attached, or a straw pointed hat. One could carry on their shoulders, two baskets suspended at the both ends of a pole.

Girls: long colored tunics, baby on back, hair tied back or pinned up with chop sticks inserted for ornamentation.

Japan should be the most colorful stop on our journey.

Boys: could dress in traditional Japanese clothing (robe top), wide pants, wide sash belt; or wear a similar jacket as worn in London or Paris. Japanese men would carry fans, just like women.

Girls: Kimono robes (any silk robe could work), large wide sash, carry fans

A journey across the Pacific Ocean takes us to the American West.

Boys: fringed jackets, bola ties, gun belts, bowler or cowboy hats. Girls: Ruffled skirts, shawl's wrapped around shoulders, carrying baskets over arms, or baby in arms.

When Phileas and his group cross America they end up in New York city.

Boys: plain coats, bowler hats, walking sticks, packages, some could be dressed as sailors, carrying ropes. Girls: same dresses as in the American West, carrying packages for traveling.

All of these suggestions can be considered, but are not mandatory. Some costume pieces will be available in class. Please plan on keeping all of your students props together in one place. During the week of the performance, they will be able to store their costumes at the school. Remember, use your imaginations! Happy hunting!