GableStage's Audience Enrichment Guide for How I Learned What I Learned

HOW I LEARNED HOW I LEARNED WHAT I LEARNED WHAT I LEARNED

WrittenbyAugustWilson WrittenbyAugustWilson

ABOVE: Demolition Zone for the Civic Arena, Pittsburgh, PA.

Carey Brianna Hart is thrilled to present art at GableStage. She is a native Floridian, born in Miami and a graduate of the New World School of the Arts and The Goodman School of Drama at DePaul University. Carey has taught Theatre for the Miami Dade County Public Schools, AreaStage and M Ensemble Theatre. Carey has worked on productions by the African American Performing Arts Community Theatre, AreaStage, City Theatre, Ebeneezer Productions, GableStage, Juggernaut Theatre, M Ensemble Theatre, Mad Cat, Main Street Players, New Theatre, Thinking Cap Theatre, Vinnette Carroll Theatre and Women’s Theatre Project. She has directed TopdogUnderdog, Shakespeare Is A White Supremacist, Blues For An Alabama Sky, Sisters, Shakin’ the Mess Outta Misery, Tears A Sister Cries, Other Side of America. Carey hosts a weekly radio talk show about the Arts on am 1490 WMBM (Saturdays @ 9:30am). Carey seeks to continue contributing to the Artistic Landscape of the World.

OUR ACTORS OUR ACTORS

Melvin Huffnagle is ecstatic to make his debut at GableStage. A Native of Buffalo, NY., Mr. Huffnagle holds an MFA from The University of Florida. Melvin has worked professionally in NYC for over twenty years. He is a ten year member of The Layon Gray American Theatre in NYC where he originated numerous roles in the company's many Off-Broadway productions; Cowboy, Gus The Kings of Harlem Coach, Ben Coffey III, and Searching for Willie Lynch , Harlen Davis. Mr. Huffnagle also appeared as Jerimaih Jones in the company's long running and award winning Black Angels Over Tuskegee. Most recently, Melvin appeared as Memphis in The M Ensemble’s production of Two Trains Running. Film and Television Credits include: Striped Search, Directed by Sidney Lumet, Law and Order SVU, Law and Order CI "Royal Pains", The Family Business, and the Award winning short film Brooklyn In July. Melvin currently serves as an Assistant Professor of Acting in FIU’s Theatre Department.

Robert Strain has worked as a professional actor in South Florida for the past twenty-two years. He has performed at various theatres in the area, including Miami New Drama, GableStage, New Theatre, Mosaic Theatre, The Jerry Herman Ring Theatre, and City Theatre. Some of Robert’s favorite roles include: Christian in Ruined (GablestageCarbonell Award, Best Supporting Actor), Lucius in Tom Walker (New Theatre-Carbonell Nomination Best Supporting Actor), Kreon in Antigone, Kent in King Lear, and Roosevelt in Radio Golf. Robert has been a faculty member at Florida Memorial University in Miami Gardens for the past twenty-four years and would like to extend a special thanks to his friends and colleagues there who have worked together with him, both inside and outside of the classroom, to make a positive difference in students’ lives. Go Lions!

Performing 10/4, 10/11 and 10/18 at 2pm and 10/12 at 10:30am

“I WRITE THE BLACK “I WRITE THE BLACK EXPERIENCE IN AMERICA, AND EXPERIENCE IN AMERICA, AND CONTAINED WITHIN THAT CONTAINED WITHIN THAT EXPERIENCE, BECAUSE IT IS A EXPERIENCE, BECAUSE IT IS A HUMAN EXPERIENCE, ARE ALL HUMAN EXPERIENCE, ARE ALL THE UNIVERSALITIES.” THE UNIVERSALITIES.”

August Wilson August Wilson

“I BELIEVE IN THE AMERICAN THEATRE. I “I BELIEVE IN THE AMERICAN THEATRE. I BELIEVE IN ITS POWER TO INFORM ABOUT THE BELIEVE IN ITS POWER TO INFORM ABOUT THE HUMAN CONDITION, I BELIEVE IN ITS POWER HUMAN CONDITION, I BELIEVE IN ITS POWER TO HEAL, “TO HOLD THE MIRROR AS 'TWERE UP TO HEAL, “TO HOLD THE MIRROR AS 'TWERE UP TO NATURE,” TO THE TRUTHS WE UNCOVER, TO TO NATURE,” TO THE TRUTHS WE UNCOVER, TO THE TRUTHS WE WRESTLE FROM UNCERTAIN THE TRUTHS WE WRESTLE FROM UNCERTAIN AND SOMETIMES UNYIELDING REALITIES”. AND SOMETIMES UNYIELDING REALITIES”.

One of six children, playwright August Wilson was born Frederick August Kittel in

One of six children, playwright August Wilson was born Frederick August Kittel in Pittsburgh’s Hill District. His father was a German immigrant who abandoned the Pittsburgh’s Hill District. His father was a German immigrant who abandoned the family when August was young; his mother was an African American who cleaned family when August was young; his mother was an African American who cleaned houses. Wilson legally took his mother’s name at age 20, when he began seriously houses. Wilson legally took his mother’s name at age 20, when he began seriously writing plays and poetry. His secondary education was marred by racism; he writing plays and poetry. His secondary education was marred by racism; he transferred to three different high schools before dropping out altogether after a transferred to three different high schools before dropping out altogether after a teacher accused him of plagiarism. Wilson undertook his own education, spending teacher accused him of plagiarism. Wilson undertook his own education, spending long hours at the Carnegie Library of Pittsburgh (which granted him an honorary high long hours at the Carnegie Library of Pittsburgh (which granted him an honorary high school diploma) and on the streets of the Hill District. He also enlisted in the Army school diploma) and on the streets of the Hill District. He also enlisted in the Army and held a series of odd jobs after leaving the service. and held a series of odd jobs after leaving the service.

Wilson began his career writing poetry. In the 1960s, he joined the group of writers Wilson began his career writing poetry. In the 1960s, he joined the group of writers and artists then coalescing as the Centre Avenue Poets Theater Workshop. With Rob and artists then coalescing as the Centre Avenue Poets Theater Workshop. With Rob Penny and other members of the group, Wilson cofounded the Black Horizon Theater Penny and other members of the group, Wilson cofounded the Black Horizon Theater in 1968. A community theater troupe, the group was invested in African American in 1968. A community theater troupe, the group was invested in African American culture and produced plays from the black canon as well as new work by emerging culture and produced plays from the black canon as well as new work by emerging African American writers. It was his first exposure to the theater. In 1978, he moved African American writers. It was his first exposure to the theater. In 1978, he moved to St. Paul, Minnesota, and joined the Penumbra Theater. The first production of his to St. Paul, Minnesota, and joined the Penumbra Theater. The first production of his work at Penumbra was a play based on his poem cycle Black Bart and the Sacred work at Penumbra was a play based on his poem cycle Black Bart and the Sacred Hills. In Minnesota, Wilson turned his efforts to playwriting, penning both Jitney Hills. In Minnesota, Wilson turned his efforts to playwriting, penning both Jitney (1979) and Ma Rainey’s Black Bottom (1982). The plays were the first in an epic (1979) and Ma Rainey’s Black Bottom (1982). The plays were the first in an epic

Carnegie Library where August Wilson read over three hundred books after dropping out of school at 15.

Foundation Foundation

5 QUESTIONS WITH 5 QUESTIONS WITH OUR DIRECTOR OUR DIRECTOR CAREY BRIANNA HART CAREY HART

How I Learned What I Learned is a one-person show. What unique challenges and opportunities does this format present for a director, and how did you approach directing a solo performer?

The primary challenge is to make certain that the story is told - just like with any other theatrical presentation. But since the one person show only has the single individual to tell the story, the challenge also becomes to not exhaust the performer. First the performer must know that everything becomes interesting in a solo performance, every gesture, sigh, glance, etc. The more specific we can be about the choices made within the story are what make the solo performance effective. In the rehearsal every moment is examined and recreated with so much specificity so that through the solo perform seeing and existing in the individual moments, they become real (and enjoyable) for the audience.

August Wilson is known for his distinctive characters. Can you describe the process of working with the actor to bring the character of August Wilson to life and make him relatable to the audience?

In bringing the "character" of August Wilson to life through the Actor, the storytelling is key. By exploring the passages in the play we hear and see August Wilson through the Actor.

Can you discuss how the set enhances the storytelling in "How I Learned What I Learned"?

This set enhances the storytelling of the play by providing the landscape August Wilson the poet-playwright-artist created. We are able to associate the people and places he has chronicled in so many of his plays with the actual places he frequented and the note-worthy/play-worthy experiences he had.

August Wilson's language and dialogue are rich and poetic. How did you work with the actor to ensure that the text was delivered authentically and effectively?

Reading, Repetition and Relating. Reading - because the words matter and there is always something to be found in the text that can enhance the performance. Repetition - because practice makes perfect. Relating - because the more personally the Actor can relate to the text, the better the understanding and the delivery of the text that communicates to the audience.

What do you hope audience members take away from their experience of watching "How I Learned What I Learned"?

I hope that audience members will have a greater understanding of August Wilson's works and of the people he wrote about. I hope that they take away some lessons about the humanity in each of us and our need for kindness and respect.

AUGUST WILSON'S PITTSBURGH: EXPLORING THE THEATRICAL LANDSCAPE

Nestled within the vibrant city of Pittsburgh, the Hill District stands as a testament Nestled within the vibrant city of Pittsburgh, the Hill District stands as a testament to resilience, creativity, and the rich tapestry of African American culture. Often to resilience, creativity, and the rich tapestry of African American culture. Often referred to as the "Crossroads of the World," this historic neighborhood has played a referred to as the "Crossroads of the World," this historic neighborhood has played a pivotal role in shaping the social, artistic, and economic fabric of the city. From its pivotal role in shaping the social, artistic, and economic fabric of the city. From its dynamic jazz scene to its place in the struggle for civil rights, the Hill District has left dynamic jazz scene to its place in the struggle for civil rights, the Hill District has left an indelible mark on American history. an indelible mark on American history.

"Community is the most valuable thing that you have in African-American culture. The individual good is always subverted to the good of the community.”.'"

August Wilson August Wilson

A Vibrant Culture and Community A Vibrant Culture and Community

The Hill District's nickname, the "Crossroads of the World," captures the essence of a

The Hill District's nickname, the "Crossroads of the World," captures the essence of a neighborhood that was not only a melting pot of cultures but also a hub of creativity neighborhood that was not only a melting pot of cultures but also a hub of creativity and innovation. During the early to mid-20th century, the Hill District was a bustling and innovation. During the early to mid-20th century, the Hill District was a bustling center of African American life, drawing in people from different backgrounds,

center of African American life, drawing in people from different backgrounds, experiences, and talents. experiences, and talents.

At the heart of this vibrant At the heart of this vibrant community was a bustling community was a bustling cultural scene that helped cultural scene that helped define the African define the African American experience. The American experience. The sounds of saxophones and sounds of saxophones and piano riffs filled the piano riffs filled the streets, as the Hill streets, as the Hill District's groundbreaking District's groundbreaking jazz musicians captivated jazz musicians captivated audiences with their audiences with their soulful melodies. Iconic soulful melodies. Iconic venues like the Crawford venues like the Crawford Grill and the Hill District Grill and the Hill District Playhouse became focal Playhouse became focal points for artistic points for artistic expression, hosting expression, hosting legendary performers and legendary performers and nurturing a rich artistic nurturing a rich artistic atmosphere. atmosphere.

The Fight for Justice The Fight for Justice

In the face of adversity, the Hill District community rallied together to advocate for

In the face of adversity, the Hill District community rallied together to advocate for justice and equality. Residents and community leaders, joined by organizations like justice and equality. Residents and community leaders, joined by organizations like the NAACP, stood up against further urban renewal efforts. They demanded the NAACP, stood up against further urban renewal efforts. They demanded affordable housing and an end to destructive development that threatened the affordable housing and an end to destructive development that threatened the fabric of their neighborhood. These efforts highlighted the power of grassroots fabric of their neighborhood. These efforts highlighted the power of grassroots activism and the determination of the Hill District community to protect its heritage activism and the determination of the Hill District community to protect its heritage. .

ABOVE: A Literary Map of the Hill District, Pittsburgh, PA.

“I left Pittsburgh but Pittsburgh never left me. I have a fierce affection for the Hill District and the people who raised me, who have sanctioned my life and ultimately provided it with meaning.”

TOP: Wilson’s childhood home on Bedford Avenue

MIDDLE: Wilson outside the iconic Pat’s Place (photo by Terry Clark)

BOTTOM: The Oyster House

August Wilson August Wilson

AUGUST AUGUST

WILSON’S

WILSON’S Groove Groove Groove THEATRICAL THEATRICAL

"I put the blues on, and it was unlike anything I'd ever heard before. Somehow, all that other music was different from that. And I go, 'Wait a minute. This is mine… there's a history here."

Fences

Jesus Be A Fence Around Me

Old Dog Blue

Seven Guitars

Anybody Here Wanna Try My

Cabbage

Death Don't Have No Mercy

Buddy Bolden Blues

Ain't No Grave

The Lord's Prayer

The Piano Lesson

Berta, Berta Old Ship of Zion

How I Learned What I Learned Run, Old Jeremiah Nobody Knows the Trouble I've Seen After You've Gone

August’s Funeral (2005)

When the Saints Go Marching In Danny Boy

August Wilson August Wilson

ABOVE: Viola Davis as Ma Rainey in the 2020 film adaotation of ‘Ma Rainey‘s Black Bottom ‘ (dir. George C. Wolfe)

AUGUST AUGUST

WILSON’S WILSON’S OEUVRE OEUVRE

August Wilson embarked on a monumental August Wilson embarked on a monumental storytelling journey known as the "American storytelling journey known as the "American Century Cycle." Each play in August Wilson's Century Cycle." Each play in August Wilson's "American Century Cycle" provides a "American Century Cycle" provides a unique window into the joys, struggles, unique window into the joys, struggles, and aspirations of African Americans during different periods of and aspirations of African Americans during different periods of history. Through rich characters and profound dialogue, Wilson's history. Through rich characters and profound dialogue, Wilson's cycle plays offer a powerful narrative tapestry that resonates cycle plays offer a powerful narrative tapestry that resonates with audiences, honoring the legacy and resilience of a with audiences, honoring the legacy and resilience of a community over the span of a century. community over the span of a century.

of

Written: 2003

Written: 2003

Set in: 1904 Set in: 1904

Summary: Set in 1904, Aunt Ester guides a troubled

Summary: Set in 1904, Aunt Ester guides a troubled soul on a spiritual journey to cleanse the past. soul on a spiritual journey to cleanse the past.

Quote: "Aunt Ester says it's time to get rid of the things

Quote: "Aunt Ester says it's time to get rid of the things that clutter up your house and your life." that clutter up your house and your life."

Written: 1984 Written: 1984

Set in: 1911 Set in: 1911

Summary: In 1911, residents at a boarding house search for identity and Summary: In 1911, residents at a boarding house search for identity and connection in the aftermath of slavery. connection in the aftermath of slavery.

Quote: "You have to learn to let it go." Quote: "You have to learn to let it go."

Written: 1982

Written: 1982

Set in: 1927 Set in: 1927

Summary: A play that explores the tension and

Summary: A play that explores the tension and struggles within a recording session of a Black blues struggles within a recording session of a Black blues band in 1920s Chicago, touching on themes of racial band in 1920s Chicago, touching on themes of racial exploitation, artistic expression, and power dynamics. exploitation, artistic expression, and power dynamics.

Quote: "White folks don't understand about the blues. Quote: "White folks don't understand about the blues. They hear it come out, but they don't know how it got They hear it come out, but they don't know how it got tthere." here."

"Gem of the Ocean" "Gem

the Ocean"

1 1. .

2. 2. "Joe Turner's Come and Gone" "Joe Turner's Come and Gone"

3. 3. "Ma Rainey's Black Bottom" "Ma Rainey's Black Bottom"

Written: 1987 Written: 1987

Set in: 1936 Set in: 1936

Summary: A family grapples with the legacy of Summary: A family grapples with the legacy of slavery as they debate the future of a valuable slavery as they debate the future of a valuable piano. piano.

Quote: "You ain't nothing in this world but the piece Quote: "You ain't nothing in this world but the piece of [piano] wood you left here to rot." of [piano] wood you left here to rot."

Written: 1995 Written: 1995

Set in: 1948 Set in: 1948

Summary: The story follows a small group of friends who gather following the

Summary: The story follows a small group of friends who gather following the untimely death of Floyd "Schoolboy" Barton, a local blues guitarist on the untimely death of Floyd "Schoolboy" Barton, a local blues guitarist on the edge of stardom. edge of stardom.

Quote: "Sometimes all you need is a song in your heart to keep you going."

Quote: "Sometimes all you need is a song in your heart to keep you going."

Written: 1985 Written: 1985

Set in: 1957 Set in: 1957

Summary: Summary: In 1957, a former Negro League baseball In 1957, a former Negro League baseball player confronts his past and grapples with player confronts his past and grapples with generational conflicts. generational conflicts.

Quote: "Some people build fences to keep people Quote: "Some people build fences to keep people out, and other people build fences to keep people in." out, and other people build fences to keep people in."

Written: 1990 Written: 1990

Set in: 1969 Set in: 1969

Summary: In 1969, patrons of a diner in a changing neighborhood confront

Summary: In 1969, patrons of a diner in a changing neighborhood confront social upheaval and the erosion of their community. social upheaval and the erosion of their community.

Quote: "You got to find a way of making money come to you."

Quote: "You got to find a way of making money come to you."

5. 5. "Seven Guitars” "Seven Guitars”

4. 4. "The Piano Lesson" "The Piano Lesson"

6. "Fences"

6. "Fences"

7. "Two Trains Running"

7. "Two Trains Running"

Written: 1982 Written: 1982

Set in: 1977 Set in: 1977

Summary: Against the backdrop of urban renewal in Summary: Against the backdrop of urban renewal in 1977, the lives of Pittsburgh taxi drivers intersect in a 1977, the lives of Pittsburgh taxi drivers intersect in a story of resilience. story of resilience.

Quote: "You're supposed to go out and do what you

Quote: "You're supposed to go out and do what you can. You're supposed to try and make your life can. You're supposed to try and make your life better." better."

Written: 1999 Written: 1999

Set in: 1985 Set in: 1985

Summary: Summary: An ex-convict strives for redemption and financial success amidst An ex-convict strives for redemption and financial success amidst a backdrop of adversity. a backdrop of adversity.

Quote: "A man got to take some responsibility for his family. You can't go

Quote: "A man got to take some responsibility for his family. You can't go around blaming everything on the world. around blaming everything on the world.

Written: 2005 Written: 2005

Set in: 1997 Set in: 1997

Summary: Summary: Real estate ambitions clash with Real estate ambitions clash with historical significance as characters grapple with historical significance as characters grapple with progress and heritage progress and heritage

Quote: "I believe in progress. The world can't go Quote: "I believe in progress. The world can't go backward." backward."

*The cycle is in order of the year in which they are set*

*The cycle is in order of the year in which they are set*

8. "Jitney" 8. "Jitney"

9. "King Hedley II"

9. "King Hedley II"

10. "Radio Golf" 10. "Radio Golf"

FURTHER REFERENCES & READING

Films Films

Fences (2 Fences (2016) - 016) - Directed by Denzel Directed by Denzel Washington and based on August Wilson's Washington and based on August Wilson's play "Fences." play "Fences."

Ma Rainey's Black Bottom (2020) - Ma Rainey's Black Bottom (2020) - Directed by George C. Wolfe and based on Directed by George C. Wolfe and based on August Wilson's play "Ma Rainey's Black Bottom." August Wilson's play "Ma Rainey's Black Bottom."

The Piano Lesson (1995) - The Piano Lesson (1995) - Directed by Lloyd Richards and based on August Directed by Lloyd Richards and based on August Wilson's Pulitzer Prize-winning play "The Piano Lesson." Wilson's Pulitzer Prize-winning play "The Piano Lesson."

.

August Wilson: The Ground on Which I Stand (2015) - August Wilson: The Ground on Which I Stand (2015) - A documentary from the A documentary from the PBS "American Masters" series that delves into the life, work, and legacy of PBS "American Masters" series that delves into the life, work, and legacy of August Wilson. August Wilson.

August Wilso August Wilson: Pittsburgh Places in n: Pittsburgh Places in His Life and Plays His Life and Plays

- This guidebook guides

- This guidebook guides visitors to key sites in the pl visitors to key sites in the playwright’s life and work in the Hill District and aywright’s life and work in the Hill District and beyond. beyond. It enriches the understanding of those who have seen or read his plays, It enriches the understanding of those who have seen or read his plays, inspires others to do so, and educates all to the importance of respecting, caring inspires others to do so, and educates all to the importance of respecting, caring for, and preserving the Pittsburgh places that shaped, challenged, and nurtured for, and preserving the Pittsburgh places that shaped, challenged, and nurtured August Wilson’s rich, creative legacy. August Wilson’s rich, creative legacy.

Conversations with August Wilson

edited by Jackson

Conversations with August Wilson edited by Jackson R.

R. Bryer and Mary C. Hartig

Bryer and Mary C. Hartig

- A collection of interviews with August Wilson, offering a firsthand look into his - A collection of interviews with August Wilson, offering a firsthand look into his thoughts on theater, race, and storytelling. thoughts on theater, race, and storytelling.

August Wilson: A Life August Wilson: A Life by Patti Hartigan - Published in August 2013 This recent by Patti Hartigan - Published in August 2013 This recent biography of biography of August Wilson by a theater critic who knew him. Author and theater August Wilson by a theater critic who knew him. Author and theater critic Patti Hartigan interviewed Wilson many times before his death and traces critic Patti Hartigan interviewed Wilson many times before his death and traces his life from his childhood in Pittsburgh (where nine of the plays take place) to his life from his childhood in Pittsburgh (where nine of the plays take place) to Broadway. She also interviewed scores of friends, theater colleagues and family Broadway. She also interviewed scores of friends, theater colleagues and family members, and conducted extensive research to tell the story of a writer who left members, and conducted extensive research to tell the story of a writer who left an indelible imprint on American theater and opened the door for future an indelible imprint on American theater and opened the door for future playwrights of color. playwrights of color.

Articles Articles

1 1. .

Been Here and Gone Been Here and Gone: How August Wilson brought a century of black : How August Wilson brought a century of black American culture to the stage. - An in-depth profile on August Wilson American culture to the stage. - An in-depth profile on August Wilson from the New Yorker's John Lahr. from the New Yorker's John Lahr.

2 2. . 3 3. .

August Wilson's Pittsburgh August Wilson's Pittsburgh - An article exploring the world Wilson - An article exploring the world Wilson wrote about. wrote about.

The Man Who Transformed American Theater The Man Who Transformed American Theater - An article from - An article from The The Atlantic Atlantic recounting August Wilson's life and referencing Patti recounting August Wilson's life and referencing Patti Hartigan's recent biography about him. Hartigan's recent biography about him.

Video Clips Video Clips

1 1. .

Playwright August Wilson on Writing About Black America

Playwright August Wilson on Writing About Black America

August Wilson on Beginning with Dialogue

August Wilson on Beginning with Dialogue

August Wilson’s Youth August Wilson’s Youth

August Wilson Interview on 60 Minutes with Ed Bradley

EXERCISES

Tune in to Character

In this activity, students will have the chance to delve into how a character's choice of language and vocal expressions can provide insights into that character's personality. Background Information: August Wilson possessed a deep fascination with the nuances of human speech. During his youth, he frequented barbershops and restaurants in the Hill District of Pittsburgh, where he keenly observed people's voices – their intonation, word choices, and speech rhythms. As he matured, Wilson's artistic sensibilities were increasingly influenced by music, particularly the Blues. When he ventured into theater writing, Wilson drew inspiration from both the voices he encountered in the Hill District and the Blues genre to craft the unique ways in which his characters communicated.

Instruct each student to conduct a brief, 5-minute interview with a family member or friend on a topic of their choice. Advise students to either record the interview audio or transcribe the interviewee's responses.

Once the interviews are complete, organize students into pairs and have them exchange the audio recordings or written transcripts of their interviews.

Task students with listening to or reading the provided interview material and creating a profile for a fictional character. This character profile should encompass the following aspects: a. The character's upbringing b. Current place of residence c. Occupation d. Leisure activities e. Greatest fears f. Greatest hopes

Encourage students to pay close attention to the interviewee's language usage, speech rhythm, vocal tone, and any personal details disclosed during the interview while constructing their character profiles. Allow students to share their character profiles and the original interview materials that inspired them.

Foster a class-wide discussion on how speech and language can unveil character traits. Pose questions such as: How did the activity go? What linguistic patterns or speech characteristics did you observe while listening to or reading the interviews? How did you infer character traits from the interviews?

1. 2. 3. 4. 5. 6. 7.

EXERCISES

Landmark Monologues

Wilson’s locations not only evoked a powerful connection with his hometown of Pittsburgh but often served as unnamed characters within his plays, such was the effect that they had on his characters:

Have each student choose an iconic Miami location, or a place that holds sentimental value to you or your family. Questions to consider: What kinds of characters would frequent this particular location, or not - maybe the character happens to be in the wrong place at the wrong time!

Using a timer give students 3-4 minutes to write a monologue using the location as a driving force for the action of your writing; focus on what’s happening (try your best to not spend too long on description) And make

"You think you supposed to know everything. Life is a mystery. Don‘t you know life is a mystery? I see you still trying to figure it out. It ain‘t all for you to know. It‘s all an adventure. That‘s all life is. But you got to trust that adventure. I‘m on an adventure."

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2. 3.

Aunt Ester; Aunt Ester; Gem of the Ocean Gem of the Ocean