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PERFORMANCE GUIDE TO

WITH KAREN PEAKES

KEVIN LOREQUE

BETH HYLTON

EBONY BLAKE

DAN BUTLER

BECCA BALLENGER

JOAN FRANCES TWISS

LEA DIMARCHI

Scenic Designer

Costume Designer

Lighting Designer

KRISTEN MARTINO

TRACY DORMAN

DALTON HAMILTON

Sound Designer

Assistant Stage Manager

Production Stage Manager

DANIEL BAKER

MOLLY CONKLIN

DANNY KUENZEL

COO & Managing Director JOEL MARKUS

Director of Production RAY INKEL

CEO & Producing Artistic Director KRISTEN COURY

Directed by JACKSON GAY

TABLE OF CONTENTS WOMEN IN THE WORKFORCE................................................................................................................................................................................1 CIVIL RIGHTS...................................................................................................................................................................................................................................2-3 WOMEN ON STAGE............................................................................................................................................................................................................4-5 THE HENRIAD...................................................................................................................................................................................................................................6-8 FURTHER READING.........................................................................................................................................................................................................................9 FURTHER VIEWING...................................................................................................................................................................................................................10

Study Guide Materials Assembled by AUDREY ZIELENBACH, Literary Manager MEREDITH SINGLETON & JOHN PERINE, Education Associates

WOMEN IN THE WORKFORCE Nearly 19 million women held jobs during WWII, many of whom were already working. Most of these women held lower-paying jobs. Only three million new women workers entered the force during the time of the war. Six million women took war jobs. In 1944, when victory seemed assured, there was a government-sponsored propaganda campaign that urged women to leave the workforce. Some women were let go from their new positions entirely. Male coworkers felt that women were encroaching on “their” work. Women faced harsh resistance and harassment from their male colleagues. Employers responded by separating male and female workers and paying women less. Women in the workforce threatened traditional gender roles that saw men as breadwinners and women as homemakers.

ROSIE THE RIVETER The term “Rosie the Riveter” was first used in 1942 in a song written by Redd Evans and John Jacob Loeb. “All the day long, whether rain or shine She’s a part of the assembly line She’s making history, working for victory

Naomi Parker, working in a factory during the war.

Rosie, brrrrrrrrrrr, the riveter” Historian Leila J. Rupp, in her study of World War II, wrote, "For the first time, the working woman dominated the public image. Women were riveting housewives in slacks, not mothers, domestic beings, or civilizers." The popular “We Can Do It!” image was not referred to as Rosie the Riveter until after the war years. The image was created by artist J. Howard Miller as promotional material for the Westinghouse Company’s War Production Coordinating Committee. Rosie’s real identity is debated. Recent evidence suggests the photo was of Naomi Parker, a worker at Alameda Naval Air Station.

Miller’s famous “We Can Do It!” image.

CIVIL RIGHTS AFRICAN AMERICAN EXPERIENCE IN WWII In 1941, the majority of the nation’s African American population still lived in the rural south. During the war, more than one million people migrated to the north and more than two million found jobs in the defense industry. In the spring of 1941, months before the US entered the war, president of the Brotherhood of Sleeping Car Porters, A. Philip Randolph, backed by the NAACP, called for a march on Washington to protest discrimination. This led to Roosevelt creating the Fair Employment Practices Commission. In urban areas that swelled with population increases, housing and transportation exacerbated racial tensions. These tensions boiled over into violent, sometimes deadly conflicts, which exposed the hypocrisy of the American war effort. While the U.S. fought for equality abroad, they denied it to their own citizens. During the war, the NAACPs membership numbers grew from 50k to 500k. In the military ranks, Marines excluded African Americans and the Navy used them as servants. The Army created separate black regiments commanded mostly by white officers. The Red Cross segregated blood plasma. More than one million African American men served in the war.

DOUBLE V CAMPAIGN The Double V Campaign was initiated by the Pittsburgh Courier, a Black newspaper, in February 1942. The campaign aimed to promote democracy in overseas campaigns as well as for African Americans during the war. “DEMOCRACY - DOUBLE VICTORY, AT HOME – ABROAD” It highlighted the risks black soldiers and civilians took during WWII while being denied their rights as full American citizens. A pamphlet promoting the Double Victory Campaign

CIVIL RIGHTS LGBT EXPERIENCE WWII Until 1973, homosexuality was classified as a mental illness in the Diagnostic and Statistical Manual of Mental Disorders (DSM), the American classification list of mental disorders. During WWII, military recruiters asked all potential recruits questions about their sexuality as part of the military’s screening process. If an LGBT person answered these questions honestly, they would be sent home. LGBT individuals who managed to lie or avoid answering questions about their sexuality may have been enlisted in the war, but the military continued to target and remove them from the war. Suspected homosexuals were labeled as psychopaths and were swiftly discharged. These veterans were given a “Blue” discharge, which made them ineligible for veteran services for the rest of their lives. Despite the animosity they faced from their supervisors and their fellow soldiers, many LGBT people thrived in the military. The war offered many LGBT soldiers a sense of community, as the soldiers created their own underground newspapers and performed in drag shows for their community.

Photos from a WWII photobooth showing two soldiers

A WWII drag show performed by soldiers

WOMEN ON STAGE 1600S In Shakespeare’s time, all parts were played by either men or boys. In Elizabethan England, women were not allowed to appear on stage in plays. The women’s parts in adult plays were typically performed by prepubescent boys whose voices had not changed. These actors were referred to as “boy players”. A portrait of Nathan Field, a famous boy player in Elizabethan England

In the 1660s, women started appearing on stage in London. During the Restoration period, women could perform professionally, which initially caused a stir amongst audience members who were greatly intrigued by the idea. Women typically performed in what are called “breeches roles,” meaning that they performed in men’s clothing. One of the first actresses from this time was Nell Gwyn, a woman who started out as a courtesan before taking to the stage. Her first job was selling oranges to patrons as an “Orange Girl,” though she quickly became a performer herself. Gwyn was incredibly popular during her time and became something of a celebrity, playing both female and male parts on stage. She became known as “pretty, witty Nell,” and eventually entered an affair with King Charles II, with whom she had two children.

A portrait of Nell Gwyn, one of England’s first actresses

WOMEN ON STAGE 1800S - TODAY As society progressed, women on stage became more and more common. By the mid-1800s and early 1900s, women were not only acting on stage but writing, directing, and working more publicly in the theatre. One of the most impactful actresses from this time in terms of performing Shakespeare was French actress Sarah Bernhardt. Bernhardt became famous for her mesmerizing performances and her strong stage presence. In 1880, she formed her own travelling theatre troupe and travelled the world performing across four continents. She also famous for frequently performing in male roles, which caused quite a stir in the theatre world. Bernhardt not only played male roles, but male leads. Most famously in 1899, Bernhardt performed as Hamlet, which was very popular in Paris, but received mixed reviews in London. Bernhardt continued to manage her own theatre company, which was named after her, until she died in 1923. When the Nazis occupied Paris during WWII, they renamed the theatre because of Bernhardt’s Jewish heritage.

Sarah Bernhardt as Hamlet in 1809

In today’s world, women have performed in virtually all of Shakespeare’s roles, both male and female. Some productions still perform all-male versions of Shakespeare’s works, but these days, “genderswapped” productions are increasingly commonplace. Women have played King Lear and Romeo, while men have taken on Cordelia and Juliet. But all-female productions still face some criticism. When comparing the two productions shown below, it is interesting to note that the all-male production of Twelfth Night starring Mark Rylance received much more positive reviews than the all-female production of Julius Caesar that was done a year later in the same city.

Mark Rylance and Stephen Fry in an Elizabethan production of Twelfth Night, The Globe Theatre, London, 2012

Director Phyllida Lloyd’s production of Julius Caesar, set in a women’s prison, Donmar Warehouse, London, 2013

THE HENRIAD In Into the Breeches, the Henriad refers to a group of three plays: Henry IV, Part I, Henry IV, Part II, and Henry V. In other instances, the term “Henriad” can refer to a group of four plays, or sometimes even a group of eight plays. In each definition, the plays in this category follow the rise of real English kings. Henry IV, Part I, Henry IV, Part II, and Henry V all follow the rise and reign of King Henry the Fifth of England. Below is a brief synopsis of the three plays performed in Into the Breeches.

HENRY IV, PART I In the previous play, Richard II, King Henry IV usurped the throne from the former king, King Richard II. The country is still a little tumultuous. There is fighting in Scotland and Wales, and there’s a growing rebellion against Henry IV led by the Percy family. The rebels, led by the house’s heir Hotspur, vow to kick Henry IV off of the throne. Meanwhile, Henry IV is incredibly disappointed in his son Prince Hal (soon to be King Henry V). Hal’s father dislikes how his son is spending his time in taverns with the drunks instead of learning how to be a good king. Prince Hal on the other hand thinks that if he slacks off now, it’ll be even more impressive when he’s actually a good king! Prince Hal’s closest friend is cowardly knight named Falstaff, who boasts about things that never happened to make himself look good. Hal vows to change his ways and kill Hotspur in combat. Henry IV is so impressed by his son’s change in behavior that he puts Hal in charge of an army. Falstaff is also put in charge of a small platoon and he gets some laughs from the audience for being incredibly bad at his job. Everyone goes to war. Except for Falstaff who pretends to be dead on the battlefield to avoid the battle. Prince Hal and Hotspur square off in a thrilling battle. Hal wins! Falstaff wakes up, stabs Hotspur’s leg with his dagger, and in one final boast, claims that he killed Hotspur. Hal lets Falstaff claim the honor. Falstaff promises to change his ways. The battle may be over with Hotspur dead, but the war against the rebels is still going on.

HENRY IV, PART II After vowing to change his ways in the previous play, Falstaff is back to his old ways. The show opens with Falstaff still drinking and being a petty criminal, despite promising to be a better man. With Hotspur dead, the rebels are getting angry. Hotspur’s father, the Earl of Northumberland, joins the rebellion against Henry IV. Henry IV is growing increasingly sick and is nearing the end of his life. He’s also worried that his son is returning to his old reprehensible ways. Everyone goes to war. Falstaff joins the fight against the rebels with a band of new recruits and the help of Prince Hal’s brother, Prince John. The group beats back the rebels after tricking them into a false truce.

On King Henry IV’s deathbed, he meets with Hal one final time. Hal sees his father’s eyes shut and believes he is dead, so he tries on his father’s crown. Henry IV awakens and is hurt by his son’s actions, but the two reconcile. Prince Hal becomes King Henry V. After being crowned King, Henry V turns his attention towards a growing conflict with France. He also kicks Falstaff out his company because of his poor influence over others.

HENRY V This play deals almost entirely with the battle between France and England, as the new king Henry V bolsters his soldiers towards a magnificent victory. The play opens with England being provoked into war, and follows the English troops for the next four acts as they are beaten down to the brink of defeat and then miraculously come back to defeat the French at the Battle of Agincourt. The night before the big battle, King Henry delivers the St. Crispin’s Day speech, one of the most famous speeches in the Shakespearean canon.

The poster to the right is from the theatrical release of Kenneth Branagh’s 1989 adaptation of Henry V, which he both directed and starred in. Click on the image to watch Branagh’s delivery of the St. Crispin’s Day speech.

In the final act of the play, King Henry V has married a French princess named Katherine, and has been adopted by the French King. Henry and Katherine do not speak each other’s languages well, but the two manage to fall in love. There have been many different adaptations of this play. Notably, Laurence Olivier’s film adaptation, which premiered in 1944, was created under the watchful eye of Prime Minister Winston Churchill, who instructed Olivier to turn the film into morale boosting propaganda for the English troops during WWII.

FURTHER READING Station Eleven by Emily St. John Mandel Set in the days of civilization's collapse, Station Eleven tells the story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the scattered outposts of the Great Lakes region, risking everything for art and humanity. Moving back and forth in time —from the actor's early days as a film star to fifteen years in the future, when a theater troupe known as the Traveling Symphony roams the wasteland of what remains—this novel charts the strange twists of fate that connect five people at the story’s center. Bonus points: Station Eleven has been adapted as a miniseries for MAX.

Hidden Figures by Margot Lee Shetterly Hidden Figures: The American Dream and the Untold Story of the Black Women Who Helped Win the Space Race is a non-fiction novel following the careers of three black women who worked at NASA as mathematicians. The real-life stories of Katherine Johnson, Dorothy Vaughn, and Mary Jackson span from the 1930s to the 1960s, as they overcame discrimination and prejudice, both as women and as African Americans, and as they opened doors for Black women in STEM fields. Bonus points: Hidden Figures was adapted into a film in 2016, and is currently on Disney+

Henry Henry by Allen Bratton Henry Henry is a reimagining of Shakespeare's Henriad, shifting the legend of Henry V's wayward youth into 21st-century Britain in the years leading up to the Brexit referendum. Hal Lancaster—22, gay, Catholic—spends his first years out of Oxford floating between internships, drinking with his actor friends, and occasionally going to confession to be absolved of his sins. When a shooting accident occurs, Hal finds that he wants, for the first time, to be himself. But his father Henry is an Englishman: he will not let his son escape tradition. To save himself, Hal must reckon not only with grief and shame but with the wounds of his family's past.

The Secret History of Wonder Woman by Jill Lepore The Secret History of Wonder Woman follows the real-life story of William Moulton Marston, an American psychologist, inventor, and creator of the one and only Wonder Woman. Set during the early and pivotal days of the modern feminist movement, historian Jill Lepore explores Moulton’s unorthodox lifestyle, his views on feminism, and the two women in his life who became his inspiration.

FURTHER VIEWING A League of Their Own (1992) After all of the young men leave to fight in WWII, Major League Baseball is at risk of shutting down completely. Thankfully, the new professional women’s teams are here to save the day. A League of Their Own follows the teammates of Rockford Peaches, as they fight, bond, and play ball. This film is rated PG. Bonus points: in 2022, Amazon premiered 8 episodes of a rebooted TV show.

My Own Private Idaho (1991) My Own Private Idaho, directed by Gus Van Sant, is a loose retelling of the Henriad. The story follows a road trip between two friends, played by Keanu Reeves and River Phoenix. Phoenix plays Mike Waters, a street hustler who is on a search for his absent mother with his friend Scott, played by Reeves. My Own Private Idaho is widely regarded as a cult classic, and a groundbreaking piece of queer cinema.

This film is rated R.

The Hollow Crown (2012-2016) The Hollow Crown is one of the most recent film adaptations of the Henriad. This collection includes four plays: Richard II, Henry IV, Part I, Henry IV, Part II, and Henry V. This adaptation features an all-star cast, including Ben Wishaw, Tom Hiddleston, Jeremy Irons, and Patrick Stewart, among others, and has won numerous prestigious awards.

This collection is unrated, but is generally considered to be PG/PG-13.

The King (2019) This retelling of Henry V stars Timothée Chalamet as the young king. Though not a fully accurate adaptation of Shakespeare’s work, this film explores the character of Henry V in the early days of his kingship, as he navigates war, court politics, and familial disputes. The King is interesting fresh take on Shakespeare’s work, with a stellar cast, score, and design.

This film is rated R.