The Three Musketeers - Teachers Resource Pack for Key Stage 2/3

The Three Musketeers A

Teachers Resource Pack for Key Stage 2 /3

Contents The Three Musketeers Introduction Page 1

Page 2 Scenario Pages 3 to 5 Background and History Page 6 Characters Pages 7 to 8 Music Page 9 Set Designs Page 10 Costume Page 11 Fighting Pages 12 to 13 Creative Tasks Pages 14 to 19 Photographs Pages 20 to 26 Bibliography Page 27

Creative Team Choreography: David Nixon Set Design by: Charles Cusick-Smith Costume Design by: David Nixon Fight Direction by: Renny Krupinski Lighting Design by: David Grill Scenario by: David Drew MBE Music by: Sir Malcolm Arnold Arranged by: John Longstaff Production photos by Merlin Hendy Rehearsal photos by Brian Slater

Introduction

Prologue. Porthos, Aramis and Athos

This resource pack aims to give teachers a rich, stimulating set of materials to teach dance and other related subjects at Keystage 3 (with adaptations for Keystage 2). You can use this pack to build your own lesson plans and schemes of work with information and creative ideas drawn from Northern Ballet The Three Musketeers. As well as dance performance, composition and appreciation, the pack signposts subject material for Design, Music, English, Drama, History and PSHE. Northern Ballet The Three Musketeers which premiered in 2006, is based on the book written in 1844 by Alexander Dumas, the father of Alexander Dumas fils who wrote The Lady of the Camellias staged by Northern Ballet as La Traviata (2005). The bibliography includes aims to signpost you to further background information.

For more information about the company, its history and repertoire please see our website: www.northernballet.com

Interpretation The Three Musketeers is an adventure story with the central themes being intrigue, good versus evil and loyalty which Nixon views as still being relevant today. think as men we are always trying to think of ourselves as the best warrior of The Three Musketeers they never seem to be defeated. We still have an inner desire to do the right thing but always able to do it, so we still want to watch stories and see people is largely true to the book, but the female characters have more prominent roles and can be seen to represent three ways men might view women. temptress who is totally evil and self-centred. Queen Anne represents the virgin queen who is mistreated and suffering in a loveless marriage. Constance is the real woman in many ways, she has real steel fibre. She is willing to fight for what she feels is right and she is very loyal. Parallels can be found between the male roles in the production and those in our present society. However, it is often more difficult for men to assert their masculinity in

Act 2. Aramis, Athos and Porthos

Although based on the novel, the ballet is different in its structure and concentrates on the first half of the story; dance has to deal with things in a simpler way, you have to create a clear focus. The production is based around three masques, which do not appear in the book or the films but are ppropriate for a ballet. At first I was daunted by this, but I did some research and masques, which were early ballets, were very

Act 2, scene 6. Lady de Winter and Buckingham

The scenario was created by David Drew over 20 years ago and was originally intended for the Royal Ballet. worked with other the scenario for The Three Musketeers as a ballet with original music by Sir Malcolm Arnold. I started to think how The Three Musketeers would be really good to do with NBT as our male dancers have a real boyishness a playful quality that is so crucial to the Musketeers. The biggest process has been trying to bring his ideas down in size from a very

Scenario Prologue Paris early 17th Century, a political minefield where few are safe.

We meet the main characters of the ballet and are introduced to their political ties. The unhappy marriage of Louis XIII to Anne of Austria; the powerful Cardinal Richelieu who detests the queen; the affair between the lonely Queen and the Duke of Buckingham.

Act 1 Scene 1. Gascony mily and home to embark on a voyage to Paris to become a Musketeer.

Scene 2. The Forest en route to Paris

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servant just as Rochefort is about to kill beautiful Lady de Winter. on to Paris.

Scene 3. The Streets of Paris A day of excitement as a huge and arrives and is dazzled by what he to insult all three Musketeers and in doing so ends up with three duels ahead of him the next day.

Ahead of the Ball Queen Anne meets secretly with the Duke of Buckingham, as Constance prepares her for the Ball.

Scene 5. The Throne Room Much social dancing ahead of the anticipated ballet about to be performed. The King and passes information to Milady, who in turn passes it to the Cardinal. The King dances with his men before the showcase performance the Diamond Dance where a magnificent diamond necklace is presented to the Queen.

Queen Anne finds Buckingham back in her chambers and they again express their feelings for each other.

Scene 7. In The Early Hours Hautebois leads Buckingham through the halls of the court and onto the streets of Paris.They are followed by a mysterious shadow. Buckingham meets his servant and is informed of the loss of the political letters. He quickly writes a note to Anne and gives it to Hautebois before fleeing into the shadows. Milady appears and Hautebois allows her to read the note.

Scene 8. The Streets of Paris Athos arri

him the duel guards interrupt. The Three Musketeers prepare to fight outnumbered but are soon joined by the or incapacitated.

Scene 9. Home of Mme Bonacieux reenact the final moments, Constance arrives and thinking her friend in trouble, attacks the young man and Constance gaze upon each other for the first time.

Suddenly there is a loud pounding on the door and the Duke of Buckingham steps in and explains his plight to the Musketeers and Constance. Soon, there is another knock and to The Queen and the Duke are left alone and she gives him her necklace as a farewell love token. Left alone in and romance is born.

Act 2 Scene 1. A Room in the Palace The King and Queen prepare a new ballet under the watchful eyes of Cardinal Richelieu.

Milady enters with news for the Cardinal Buckingham has fled, with necklace. Inspired by the situation, the Cardinal interrupts the King and Queen and offers to hold a ball, suggesting that it might be an opportune moment new necklace. In complete panic, the Queen is at a loss at what to do, Constance gets her to write a letter and takes it with her as she leaves.

Scene 2. The Dark Streets of Paris Running through the streets Constance fears that she is being chased by the guards. She is suddenly grabbed by three men and hauled away.

th hoods to and the four agree an intimate parting with Constance. Wanting to give him a token, she gives him the only thing handy her and jumps out the window.

Suddenly the door opens and Constance is confronted by Milady.

Scene 4. The Road to Calais The Musketeers ride towards Calais, but along the way are attacked and to continue the quest alone.

Scene 5. Port of Calais when Milady step before boarding the ship.

Scene 6. A Room In England Milady seduces the Duke of Buckingham, not only proving his infidelity but also takes the necklace for the Cardinal.

Scene 7. A Cell In Calais Milady in his present position. Unable to restrain herself, Constance leaps at Milady and the two begin to fight.

In a panic Milady flees the room just minutes before the Musketeers arrive. United again, one for all, head for Paris.

Scene 8. Paris Queen Anne is waiting, hoping that at the last moment Constance will return with the necklace. Finally she can wait no longer and departs for the ball and her imminent disgrace. The Cardinal awaits the arrival of Milady and gleefully receives the necklace.

Scene 9. The Ballroom The Masquerade Ball is in full swing. The King and Queen perform the rehearsed ballet, the large feather fan concealing her throat. Richelieu waits and watches for the arrival of Milady and Rochefort. Feeling surrounded by enemies the queen begins to lose all confidence. The Musketeers make it back in the nick of time and deftly return the necklace to the Queen in the confusion and chaos of the Masquerade Ball. A defeat for the Cardinal and Milady. The Queen proudly presents the necklace and becoming a real Musketeer: One for all and all for one.

History and Background The Three Musketeers is a historical novel, which means that while much of the action, and some of the characters real. King Louis XIII, Queen Anne, the Duke of Buckingham and Cardinal Richelieu were key figures in European history. Underlying the action and adventure of the novel is the serious historical conflict between the church and the Protestant Huguenots.

Louis XIII (1601 43) ascended to the French throne in 1610 at the age of eight. His mother acted as Regent until he came of age at thirteen, but unofficially remained in power until he was fifteen. At fourteen he was married to Anne of Austria (1601 66), daughter of King Phillip of Spain. Their marriage was not considered happy and they were often kept apart intense emotional ties were with men and it was not until 1638, after 23 years of marriage and four miscarriages that Anne finally gave birth to a son.

Cardinal Richelieu played a major part in

one as an officer of the church, he also had an allegiance to the Catholic Pope in Rome. There was no separation of church and state and some historians argue that Richelieu was more powerful than the King. Catholic France was trying to drive the Protestant Huguenots out of the country. The Duke of Buckingham was from Protestant England and his liaison with Anne was seen by the Cardinal as not only disloyal to the King, but as a political threat to the security of the country.

Buckingham first met in Paris where he was to escort Madame Henrietta Maria, who was to marry Charles, Prince of Wales, back to England. Following French custom, Anne accompanied her female kin to the Paris had been overly friendly so the King gave strict orders that on no account should the two of them be left alone. When they parted, Buckingham tried to declare his feelings and from this point on the French rulers viewed him with great suspicion. He made little attempt to hide the affection he held for Anne. Continually refused entry to the country, Buckingham had ample reason to adopt an increasingly hostile attitude towards France and contribute to plots that were hatching against Richelieu and the King.

Act 2, scene 6. Lady de Winter and Buckingham

Characters The central character of the novel. A young impoverished, Gascon nobleman he comes to make his fortune in Paris with virtually nothing but his good looks, honesty, integrity, loyalty to the King and Cardinal and expert swordsmanship. He is brave, noble, ambitious, crafty and intelligent. Despite initial blunders and difficulties, he quickly becomes friends with the Musketeers. Like any romantic hero he is driven by love and ruled by chivalry.

Athos way appearance, intellect, bravery, and swordsmanship yet he is tortured by a deep melancholy. During his youth he married the evil Lady de Winter whom he now presumes is dead.

Aramis A quiet, handsome, slightly foppish young man. Brought up in a monastery he is passing his time as a Musketeer until the Queen provides France with an heir, at which time he will enter the priesthood. He is secretly having an affair with Madame de Chevreuse, a close friend of the Queen.

Porthos The worldliest of the Musketeers, he enjoys good food and comfortable surroundings.

Loud, brash, self important and extremely vain, he dresses to impress the women of society who seem to appreciate his good looks and courteous attentions. Nonetheless, he is a valiant fighter and courageous friend.

Cardinal Richelieu The in France. Furiously self absorbed, he is an extremely effective leader of the state and adapt at controlling individuals and nations with his clever and astute machinations. He is presented as the antagonist to the Queen and has spies throughout the country constantly monitoring the Musketeers activities.

King Louis XIII A weak and incapable ruler, he is dominated by his advisors, most notably Cardinal Richelieu. Petulant and petty, he does not trust his wife the Queen, or particularly like her.

Cinq Mars

Queen Anne Anne is Spanish and her loyalties are divided between her Spanish heritage, her position as Queen of France and her love for the Duke of Buckingham. Her romantic involvement despite this she remains faithful and loyal to the King. She leads an unhappy life in court and is hated by the Cardinal.

Constance Bonacieux On -in-waiting and dress maker, she is fiercely loyal to the Queen.

Constance is a strong, loyal woman who fights for what she believes is falls madly in love with her and as a result becomes involved in cret affairs.

Characters Lady de Winter (Milady) Represents the quintessence of evil in the story. Mysterious, beautiful and dangerous she of numerous characters in deeply attracted to her, even though she plans to have him murdered, and will kill anyone who discovers her secret her left shoulder is branded with a Fleur-de-Lis, a mark put on the worst criminals.

Duke of Buckingham Next to the King, he is the most powerful man in England, fulfilling a similar role to the Cardinal. Handsome, witty, brave and wealthy he is desperately in love with Anne and is willing to use all his wealth, influence and power simply to be near her.

Count de Rochefort sis, he is the Cardinals private spy. He continually appears at various places at unexpected times and is a dangerous man.

Madame Bonacieux

Madame Hautebois the Queen.

Music

The music for The Three Musketeers was composed by Sir Malcolm Arnold. Created from existing music, the score has a cinematic feel as much of it is taken from film soundtracks. Nixon explains, I like about it is the size of it it is heroic and because some of it is also film music it provides that interesting background and choreographic freedom. It is very accessible and in dance we cannot underestimate vast and varied. His orchestral experience in the London Philharmonic sowed the seeds for brilliant orchestral textures that became a key feature in his enormous output. He was caught directly between the folksong and English hymnal music of Vaughn Williams and the mysticism of Holst and Britten whose music was often informed by social change.

Act 1, scene 6. Buckingham and Queen Anne

Arnold was a notorious teller of funny stories but his music also reveals a deeply troubled state of mind, concealing darker secrets. There is a very disturbing and often uncomfortable counterpart to the ever cheerful and heroic Arnold associated with famous film scores such as Bridge Over the River Kwai, Inn of the Sixth Happiness, and The Bells of St Trinians.

Sweeping romantic melodic lines are punctuated by skilful orchestral effects, he was not afraid to flirt openly with jazz, cabaret and even occasionally rock overtones. To create dramatic effect he uses a great deal of brass and unusual percussion instruments such as whips and bongos, harp and celeste, which features heavily in his work. He also uses glissandi to create a sweeping sound in the strings.

Only one piece of music was actually composed specifically for the ballet and Constance Act 2, scene 1. King Louis and Queen Anne

in Act 1, scene 9. When David Drew first wrote the scenario, Arnold was going to write an original score, but as the production was never actually commissioned a full score was never produced.

Set Designs The set for The Three Musketeers was designed by award-winning designer Charles CusickSmith. Charles has had an extensive career in theatre with previous work including set designs for a number of West End musicals and international Ballet and Opera companies.

He has also exhibited his paintings in the Dragooi Galeri, Estonia, The Royal Academy, London and in many galleries in the UK.

Act 2, scene 9. Set design of the Ballroom

Below Charles talks briefly about his thought process and the challenges he faced whilst creating the set for The Three Musketeers he period and the lavishness had to move smoothly and evoke interior and exterior scenes. Maximum space for dancing was also of high importance!

Before I could start, we had to decide on the specific year in which the production would be set we settled on 1626. As the story takes place in many locations, I decided on a setting that is stylised. It all takes place within the structure of a beautifully panelled room. There are painted backdrops and structural settings that fly within this space. Within the sidewalls are secret pivot walls, which have functional doors and windows. This was considered necessary, as there is a lot of physical action involved with doors and windows.

Although the main stage box (room) is stylised (by exaggerating certain period features

and settings are painted in a highly realistic manner.

The most challenging part of creating the set was the journey to Calais. It was necessary to create the effect that the Musketeers are travelling on horseback. This has become a stylised scene with backlight to silhouette the Musketeers. The backdrop behind them is painted as if in motion. This was a very Act 2, scene 5. The Port of Calais difficult painting effect, however it looks extremely impressive. Once a production starts to take shape alterations sometimes need to be made to accommodate the action on stage, however the only real change that was made was that the fountain in Act 1 would become a physical part of the setting and it would be stood and jumped on. I am most pleased with the Calais backdrop in motion

Act 2, scene 5. Painting a sky backdrop

Costumes Nixon designed the costumes for the production, which were then realised by the wardrobe department. He researched the style of dress for the period and then introduced the idea of fantasy, elaborating on the basic silhouette. In the production there are over 100 costumes. ere are lots of characters. The King and Queen, for example, have many different costumes because between fulfilling expectations and revealing something new. There is also a tight budget for the number of costumes and so we have had to be creative where possible, like making whole scenes out of a cheap material, and

The costume design also had an impact on the choreography. to the masquerade as birds which meant I had to make a conscious decision not to Act 1, scene 5. Silver costumes during the have much partnering in the scene as the Diamond Dance partner work.

The relevance of the birds is that the little ballet scene in the masquerade is about the blue jay, the bird that steals from the nest. There are three birds, representing Queen Anne, Buckingham and Louis and the English

designs and finding suitable material to give the required effect that is practical to use and within budget. An example of this is the rehearsal ball scene in Act 1 where calico, a cheap, lightweight fabric, was used. Whenever possible, NBT uses fabric that has some stretch, such as lycra, to allow the dancers freedom of movement. Bodices generally have lacing so that they can be adjusted to fit several dancers as many costumes have to be shared. If the costume cannot be washed, due to the fabric used, removable panels are inserted that can be taken out and washed. Vodka can also be sprayed on to the costume to prevent it smelling.

Gavin Render applying make-up to Patrick Howell

Fighting Swordsmanship is an important element in The Three Musketeers. During this period in history there was no democracy in France, the majority of people did not have the right to vote. Among the general population disputes were regularly settled by the sword. To create realistic fight sequences Renny Krupinski was brought in to work with the dancers.

Renny is among the foremost fight arrangers in the UK, working with major companies throughout the UK, Europe and in America and actors. He is particularly well known and respected for his gritty realism and the ability to achieve what some consider impossible in terms of punches and slaps. David Nixon explains.

fight because they are supposed to be trained fighters. A and this became important to me. It had to look as realistic as possible without being dangerous. Fighting fight that is important. It is not about force, but about Act 1, scene 8. Athos technique. In a certain way it is dancing. It is two men dancing with a weapon it It is because someone is exceptionally killed that they defeat the person, not because they are bigger and

In spite of his broad experience, this was the first time Renny had worked with dancers. d is that the muscle memory is quite extraordinary, I set something and I say do you want to see it again? then they show it to me and they have actually got it right! They The collaborative process was new to both artists. Renny explains, this with absolutely no idea because we have never worked with each other before. So we how we were going to collaborate, he actually came to me on the first morning of rehearsal and was really Act 2, scene 3. Constance and Lady de Winter

However, once they started they quickly found they worked in a similar way, having an idea of what they wanted to

create in mind, then thinking on their feet.

Theatre is quite different to film in creating fight scenes. In film, you have opportunity to get the overall picture, and then focus in on specific parts. absolutely have to work in detail all the time, you have to do your own focusing. You have to pull up moments exciting moves, leaps and jumps as we go back and look at it I will add things like: can anyone leap ov Impressed by their technical dance skill, he was also amazed by their dedication. the breaks you see them practising, dancers work at being dancers which is a revelation to me and terribly exciting. They all help ea pursue the difficult, so working with dancers was an eye opener as they were so keen and enthusiastic.

The dedication

Yi Song during fight rehearsals

Finding the right swords for the production proved difficult and led to a debate between style (the correct period) and weight. too heavy. I helped with design issues, for example what kind of guards would look good, what kind of blades would look good, weight shape, length and also worked with the dancers for their needs for what they need and what they can dance with. If it is too heavy, if is too long, it can get in the way of the feet

Act 2, scene 5.

Creative Tasks Washer Women Act 1 scene 3 Set 2 no.1. (2/2, slow march with a steady beat).

The washerwomen appear throughout the ballet and are an integral part of the street scenes. Their movement often involves using pieces of washing as a prop. Their pedestrian (everyday) movements such as wringing, shaking, scrubbing and folding are stylised to make them into dance movements. This can be done by exaggerating movements, doing them on different levels, and setting them to a very clear specific rhythm and beat.

Task 1 Individually, experiment with a piece of clothing finding wringing, shaking, scrubbing and folding movements. Choose 2, exaggerating the movement to develop it into a motif. Pay close attention to the rhythm of the movement as this will change it from pedestrian actions into dance.

Act 1, scene 3. Washerwomen (on the streets of Paris)

Task 3 Create a phrase using the motifs, including transitions to link them. Consider pathways and direction of facing.

Task 2 In groups (of 4+), teach each other your motifs and practise deciding on dynamic and speed.

Task 4 Rehearse the sequence, concentrating on working in unison, ensuring that there are no variations in movement. This unison sequence then can be developed by adding canon and repetition.

Quartet Act 1 scene 9 Copperfield: the Micawbers (4/4 allegro, lively) mother, Madame Bonacieux. They pick her up, pass her between them, swing her round and kiss her in a playful, cheeky manner.

Task 1 (In pairs) Teach some simple supports, counterbalances and assisted lifts; Falling back onto a partner A stands directly behind B, A stretching arms forward with fingertips touchin falls backwards, keeping body straight and rigid, A supporting with palms of hands, bending arms.

Pushing B back to return to starting position. This can be developed by B lifting one leg, being caught under the arms, falling sideways, falling forwards.

Using partner as a support A acts as the support bent over with hands on thighs, elbows in, head down. B can use this base to push off during jumps, cartwheel over etc.

Assisted lift A jumps as B lifts. To develop this B can lift and place A to one side, can turn A in the air and let go, they can face each other (with Assisted spin A holds B under the arms and turns, spinning B round as they extend their legs like a sideways leap.

Assisted leap A and B face each other holding right hands. A leaps forward as B pulls, landing the other side facing each other again.

Quartet (continued) Task 2 Divide into groups of 4 and give each a character (Athos, Aramis, Porthos and Madame Bonacieux). Madame Bonacieux is the character that is passed between the Musketeers so each group must find 6 lifts, supports etc either as taught or their own adaptations.

Task 3 Order them and decide on how Madame Bonacieux is going to travel between them (falling as if pushed to next person, running etc) and the pathways she is going to make around them.

Act 1, scene 3. Washerwomen (on the streets of Paris)

Tied Duet Act 2 scene 7 Music for this section is No Love for Johnnie Moderato (3/4, andantino, lyrical, haunting, fluid) In this scen back to back in a cell in Calais. During the following duet they remain tied by one hand.

Act 2, scene 1. King Louis and Queen Anne

Task 1 Find different ways of standing up from sitting, keeping backs in contact eg. Pushing against each other, one person leaning forward and the other sliding back then on to feet etc.

Task 2 Find different ways of moving whilst holding on to twisting under an arm, rolling together leading each other. Think of something that could be motivating you to move, for instance that you are searching the room for a way to escape, are frightened, trying to break free etc. Also find shapes you can hold with your partner. These may involve counterbalances, being on different levels, balances.

Task 3 Using this material put together a phrase that starts on the floor and finishes in a held shape. Decide on where the sequence starts and finishes in the space and pathways for any parts that travel.

Fight Scene Act 2 scene 7 Music for this section is Flute Sonata Andante (3/4, dramatic, strong contrasts in volume, punctuated with brass and percussion) This follows the previous section directly. Milady enters the cell and takes the necklace. Constance leaps at Milady and the two begin to fight. The choreography in this duet involves the two characters circling each other, jumping and leaping, dodging and stabbing (as Milady has a knife).

Task 1 In pairs facing each other, play with the idea of shadowing each other one retreating as the other advances and travelling sideways keeping the same distance apart.

Create a travelling phrase that can be performed with one person retreating as the other advances, learning each role so that it can be repeated.

Create another phrase that travels sideways that can be repeated to each side.

Task 2 In the same pairs, experiment with travelling movements that circle each other. Create a phrase using this idea that includes a jump and a movement at a low level.

Task 3 Link the two phrases considering floor patterns and direction.

Task 4 Find 3 movements where one person is attacking and the other is dodging. Consider personal space and ways of invading and trying to retain it through lunging, ducking, weaving, slicing. Add these into the sequence and rehearse paying attention to maintaining eye contact and distance from each other.

Bird Masque Act 2 scene 8 Dance (3/4, steady beat, grand) The final ball is themed around birds, which is reflected in the costumes and the movement vocabulary. Spatial patterns and partner work are key elements in this large group dance.

Act 2, scene 9. The Masquerade Ball

Task 1 With a partner, find a beginning pose where one is on a low level and the other is behind on a high level. Use the imagery of birds as a stimulus, thinking of the shape and form of birds and flight.

Task 2 Experiment with stationary movements from this starting point, again using the imagery of birds. Use words such as unfolding, extending, ruffling, pecking and preening as a starting point, exaggerating size and speed. These may be mirroring each other, move towards or away, around each other etc. Decide on two and practise concentrating on working as a pair, co-ordinating the movement together.

Bird Masque (continued) Task 3 Join couples together to form groups (6+) and show each other stationary movements and decide on a few to learn as a group. Link together to create a sequence and practise on working in unison. Decide on a group formation (circle, lines, staggered, V shape etc) for this section.

Task 4 Introduce the idea of spatial pathways and patterns. This could include travelling in circles, crossing, peeling off in pairs, travelling in lines, weaving in and out of each other. As a group, find a travelling step that can be repeated. This may contain gallops, hops, leaps, turns etc. Using this step, find ways of changing the group formation, creating floor patterns and interesting pathways. Practise a set sequence, paying attention to spatial relationships between dancers and clarity of pathways used.

Task 5 Link the stationary section to the travelling section concentrating on working as a group.

Photographs This session is based on the following six photographs of the production. It may be useful to begin the session by asking the pupils to describe the images, drawing attention to: 1 2 3 4 5 6 7 8 9

Number of dancers in the picture Contact between the dancers Position of the dancers body Where the dancer is looking Areas of focus or interest in the photograph The emotion suggested by the photograph Sense of timing and speed captured in the photograph Why this moment/person was selected The different colours/how light is captured in the photograph

Task 1 Choose 4 positions from the photographs and practice performing them. Decide in which order you are going to perform each movement.

Task 3 Practice and link together to form one sequence.

Task 4 Share the work created and encourage the pupils to identify which photographs have been used and in which order.

Task 2 Find ways of linking each movement together. These transitions may include travelling phrases, turns, changes in level etc. Decide how many counts each movement will take (setting a time frame of 16 counts may assist this process).

Act 1, scene 8. Athos

Act 2, scene 3. Constance

Act 1, scene 8. Lady de Winter and Rochefort

Act 2. The Three Musketeers: Aramis, Athos and Porthos

Bibliography Books Dumas, A. (1998), The Three Musketeers: Oxford University Press Websites Negative Space Web Archive (consulted July 2006), URL, http://www.hoboes.com/html/FireBlade/Dumas/History Globalstage Productions (consulted July 2006),URL, http://www.globalstage.net/goback/three_discuss.html Wikimedia, The Free Encyclopedia (consulted July 2006), URL, http://en.wikipedia.org/wiki/Louis_XIII_of_France SparkNotes (consulted June 2006), URL, http://www.sparknotes.com/lit/3musk/summary.html Renny Krupinski website (consulted August 2006), URL, http://www.rennykrupinski.com/ Malcolm Arnold website (consulted August 2006), URL, http://malcolmarnold.co.uk/bio.html Northern Ballet Theatre (consulted July 2006), URL, http://www.northernballet.com Music A CD of music from the production is available to buy on the Quartz Music website: http://www.quartzmusic.com/cddetail.php?cat_number=QTZ2056

Produced by the Learning and Access Department Autumn 2006