17 Border Crossings

2019/20 SEASON 17 BORDER CROSSINGS

The Broad Stage presents

17 BORDER CROSSINGS

STUDENT MATINEE

FRI JAN 24, 2020 11 AM GRADES 9-12 THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON 17 BORDER CROSSINGS

Rob Bailis Director, Performing Arts Center EDUCATION & COMMUNITY PROGRAMS STAFF

Ilaan E. Mazzini, Director of Education & Community Programs Monica Sahagun, Education & Community Programs Manager Olivia Murray, Education & Community Programs Coordinator Mandy Matthews, Curriculum Consultant Madison Kalvert, Education Summer Intern

EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education@thebroadstage.org thebroadstage.org/education THE BROAD STAGE 1310 11th Street Santa Monica, CA 90401 Box Office 310.434.3200 Fax 310.434.3439 info@thebroadstage.org thebroadstage.org

Education and Community Programs at The Broad Stage is supported in part by The Herb Alpert Foundation Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Arts & Culture The Ralph M. Parsons Foundation Sidney Stern Memorial Trust Dwight Stuart Youth Fund The Plaza at Santa Monica

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON 17 BORDER CROSSINGS

GREETINGS FROM THE BROAD STAGE! Dear Educators,

We are very excited to be presenting 17 Border Crossings by Thaddeus Phillips at The Broad Stage. Utilizing the art of storytelling, this solo performance leads us on a journey around the world to discover the arbitrary and, at times, surreal, existence of imaginary lines called ‘borders.’ The juxtaposition of Phillips’ various experiences at international borders, prompts us to ask important and timely questions regarding the capricious nature of these imaginary lines and the impact of these on human lives. The humor and skillful set creation makes for an enjoyable trip as we are invited to consider these realities.

The 17 Border Crossings Study Guide provides lessons ranging from ‘What is theater?’ in Lesson 1 to ‘Be a Theater Critic’ in Lesson 3. In between, students are given the opportunity to create their own 1-minute solo performance and to explore the transformation of everyday objects into stage props. There is time for reflection and discussion about the exercises themselves, as well as the relevant topics and concepts addressed in the performance.

Please take some time to review and implement some or all of the lessons with your students prior to the Student Matinee performance. Additional resources have been included to expand the cultural relevance of the lessons and to support a greater understanding of the main topics in this performance.

As always, this guide is aligned with the California State and the VAPA Standards with arts integration as the focus. We have also included Social Emotional Competencies and Social Justice Standards. We hope that this guide proves to be helpful in preparing your students for the performance. Please do not hesitate to contact us with questions or ideas. We’ll see you at 17 Border Crossings!

Sincerely, Education & Community Programs at The Broad Stage

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON 17 BORDER CROSSINGS

CONTENTS LESSONS LESSON 1: The History of Solo Performance........................6 HANDOUT 1: Solo Performance Timeline.................................9 LESSON 2: Using Props Creatively..........................................10 HANDOUT 2: Objects in 17 Border Crossings...........................13 LESSON 3: Be a Theatre Critic................................................14 HANDOUT 3: ‘1941’ Review...........................................................17 HANDOUT 4: ‘Eight Nights’ Review............................................19 HANDOUT 5: Theatre Review Outline........................................21

ADDITIONAL RESOURCES Other Discussion Topics.................................................................22 Glossary...............................................................................................23 Supplemental Reading.................................................................24

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LESSON 1: THE HISTORY OF SOLO PERFORMANCE LESSON AT A GLANCE LESSON OBJECTIVE: Students will learn the history of solo performance through video, text, and audio clips. Students will write their own section of a solo performance centered around the idea of overcoming biases and obstacles and will discuss how art can be used to organize and make social change.

DURATION: 2 Class Periods MATERIALS: Handout 1: Solo Performance Timeline, Internet to show online videos and play audio clip STANDARDS: VAPA Theatre 9 Through 12 - Proficient: 3.3 Identify key figures, works, and trends in world theatrical history from various cultures and time periods.

HSS Standards 12.3.2: Explain how civil society makes it possible for people, individually or in association with others, to bring their influence to bear on government in ways other than voting and elections.

CCSS.ELA-LITERACY.W.11-12.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

CCSS.ELA-LITERACY.SL.11-12.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

SEL Competencies: Take on new challenges, Empathy Social Justice Standards AC.9-12.16: I express empathy when people are excluded or mistreated because of their identities and concern when I personally experience bias.

CONCEPTS/VOCABULARY: Aristotle’s Poetics: One of the first texts of dramatic theory written around 350 BCE that presented the idea of the six elements of theatre.

Autobiographical: A life story about oneself.

Biographical: A life story about someone else, typically a historical figure.

Bard: In medieval Gaelic and British cultures, a solo performer from early human civilization that performed stories of heroes and history.

Lyric Poem: a rhyming poem usually with musical rhythm.

Minstrel: A solo performer from Medieval England that traditionally performs lyric poetry.

Monologue: A speech delivered by one character on stage in a play or a solo performance.

Multimedia: The use of technology including videos, music, slideshows, sound effects, projections.

Solo Performance: A performance by one actor on stage that can be biographical, autobiographical, have multiple characters, and involve multimedia. This can feature monologue or dialogue.

Troubadour: A solo performer from Medieval France that traditionally performs lyric poetry.

GUIDING QUESTIONS: How has solo performance been used throughout history?

How can we use art, specifically theatre and storytelling, to make social change?

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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LESSON PLAN DAY 1: LEARN ABOUT THE HISTORY OF SOLO PERFORMANCE, BEGIN WRITING PROCESS Mini Lesson: What is Theatre?

Start the unit by having a class discussion on your students experience with theatre. First, ask students to identify an experience that they had with theatre (seeing a live performance, watching a play online, watching a magic show as a kid, etc.).

Where were you?

Were you performing or watching someone else perform?

What type of theatre was it?

How did you feel when experiencing or watching the performance?

Have them share their theatre experience with a partner. After pair sharing, come back together as a class and ask for a few examples.

Next, have students brainstorm and share out things they believe are “elements of theatre” or in other words, what you need to have for live theatre to happen. Some examples include actors, an audience, props, costumes, etc. Write these down on the board as students share out.

Once all student suggestions are on the board, write down and review the six elements of theatre from Aristotle’s Poetics. Aristotle’s Poetics was one of the first texts on dramatic theory written around 350 BCE. The six elements of theatre from the Poetics include: 1. Plot: what happens in the play 2. Character: who it happens to 3. Thought: the themes of the play 4. Diction: the type of speech used in the play 5. Music: the sound (this can be what we know as music or sound effects) in the play 6. Spectacle: the visual aspects of a play (ex. Costumes, props, set, masks) Ask students how the suggestions they gave fit into the six elements of theatre. As a follow-up question, ask if they believe these elements have expanded today.

MAIN LESSON Part 1: Introduction to Solo Performance Pass out Handout 1: Timeline of Solo Performance to students. Tell students that they should annotate the handout and take notes on the document when they read through. Have a brief class discussion where students share out what stood out to them in the timeline.

Explain the difference between a solo performance and a monologue to students. A monologue is a speech given by a single character that can be in a play with multiple characters or a solo performance. A solo performance can have monologue where just one character is talking, but also can have dialogue between multiple characters played by the same person.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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Next, introduce students to modern solo performance by watching clips from American Theatre Wing’s episode, Working in the Theatre: Solo Performance. Start at 0:54-3:26 for an introduction to three artists and their work, and then 5:26-8:12 for a more in depth look at one piece. Make sure students continue their notes for further reflection and then share with a partner. https://www.youtube.com/watch?v=20ES8Se9hO0 Finally, play the audio clip of The Magic Stands Alone: The Importance of Women in Solo Performance starting at 0:44. Have students listen closely and take notes on the talk. http://stateraarts.org/blog/2018/12/3/the-magic-stands-alone-the-importance-of-solo-performancefor-women-in-theatre Have a brief class discussion on how, from using the three different sources of the video, handout, and audio, solo performance has influenced society. Some guiding questions include: • • • •

hrough the history of solo performance, how has the ever changing purpose of this type of T performance affected what we see in theatre today? Think back to examples from the mini-lesson.

How do you see the elements of theatre being important to solo performance?

How is solo performance an effective platform for social change, specifically in underrepresented groups and minority communities that don’t always have a place to speak?

For HSS Standard 12.3.2: How could solo performance and art as a whole make an impact on government and legislation?

Part 2: Student Solo Performance Explain to students that they will be writing their own one minute autobiographical solo performance. The prompt is to write about a time they overcame a bias or obstacle. A few examples to share include: •

•

I tried to get a job at a grocery store, but when I interviewed many questions included my age and lack of experience. They luckily gave me a chance for the job with some hesitation. Despite this and facing some distrust from my coworkers, I worked hard in all I did and proved that I could get the work done.

This lead to a more supportive work experience and I still have the job today!

Growing up, Spanish was my first language and I did not know English until I was in kindergarten. This was hard because many kids wouldn’t try to talk to me or would make fun of me. My kindergarten teacher though happened to be bilingual and have a similar experience, so we worked together to make sure I was able to learn to communicate with everyone in my class. This took a lot of extra work, but I am so glad that I had her support!

Remind students that while a solo performance can be a monologue, not all monologues are solo performances. The performance can have one or multiple characters and use multimedia (projection, music, sound effects - dependent on classroom resources). Make sure students address each of the six elements of drama in their writing and performance.

Note- remind students that just because the six elements of drama include music and spectacle, part of their performance choices could be to actively choose not to use these elements.

Have students either write in class or at home for homework. This can either be memorized or not depending on the experience of students.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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DAY 2: PERFORMANCES, REFLECTION AND DISCUSSION Warm Up Have students come in and read their script to a partner. Have the partner write down words and phrases that stood out to them and share this feedback with the presenter. Then, have the partner give them one encouraging piece of feedback using an “I” statement. Some examples include: • • •

I wonder what it felt like to be in that situation, and really saw the truth in the story in your facial expressions.

I saw that you were able to create two different characters very well using different voices and postures.

I noticed that you used music in your performance and this really helped me to empathise with your story.

Then, give students 10 minutes to circle words or phrases that their partner noticed and that they think stood out on their own scripts, as well as to practice their performances again. During this time, also have students get their design multimedia aspects ready if necessary (music cued up, props set, costumes put on, etc.)

Have students perform their solo performances to the class. Explain to the whole class that being a respectful audience member includes not interrupting, having empathy, actively listening, and clapping politely after each performance.

If time permits, after each performance have two to three comments from students providing feedback with “I” statements. Remind students that these comments should help the performer grow and also come from a place of understanding that some of these stories are hard to share.

Task: Students will use their knowledge of the elements of theatre and the history of solo performance to write their own solo piece.

Assessment Criteria: • Students tell a story of overcoming bias or obstacles in a one to two minute solo piece.

• Students understand the impact of their solo performances and the effects of art on society.

• Students are respectful audience members for all performances.

Purpose: To understand what work must go into creating a solo performance and empathize with bias and obstacles others have overcome.

BONUS: Reuse this lesson with a different topic to have students further understand a character, novel, or historical event!

Reflection Have students write a short journal entry on how it felt both to take on a new challenge by performing in front of a class and to be an audience member and empathize with other people’s stories.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 1: SOLO PERFORMANCE TIMELINE

Beginnings of Human History Early human tribes had oral storytelling; an educational and engaging way to pass information down through generations. Sometimes supernatural elements were integrated. After human civilizations organized, professional bards emerged and incorporated music and characters into their storytelling.

Creation of Written History Storytellers were tasked less with passing down history due to the creation of writing, so they could incorporate more creative elements and showmanship. The purpose was shifted to teaching morals and lessons.

Ancient Greece Dramatic monologues were created in the works of Aristotle, Sophocles, and Euripides and performed at the yearly competition to honor the god Dionysus.

Dark Ages With the end of the dark ages, Europe began to see more solo performances that were sometimes paired with music in a narrative style. These were also referred to as lyric poetry. In England performers were called minstrels and in France troubadours.

15th Century The creation of the printing press brought about a large wave of theatre because plays could now be recorded. Theatre also became primarily for entertainment because history could be printed and spread more widely through text.

19th Century Solo performance became more personal and even family oriented. The traditional family story or reading the Bible or Shakespeare in homes became common practice.

Charles Dickens and Mark Twain both read work aloud and gave both lectures and monologues to the public.

Early 20th Century Theatre was incredibly popular and accessible in this time. Audiences were wealthy enough to afford theatre and it was more appealing than early silent films. Spalding Gray emerged and helped to create the framework for modern day solo performance.

Modern Day Today, solo theatre can be autobiographical, biographical, based off of previous work, and more. Multimedia is now incorporated with the widespread use of technology.

Handout based on https://www.afo.nyc/history-of-solo-performance

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LESSON 2: USING PROPS CREATIVELY LESSON AT A GLANCE LESSON OBJECTIVE: Students will participate in theatre activities to understand the importance of props and story. Students will collaborate with one another to create short scenes and use objects in innovative ways.

DURATION: One Class Period, 70 mins MATERIALS: Household/classroom objects, Handout 2: Objects in 17 Border Crossings, Internet to View Video STANDARDS: CA VAPA, Theatre Grades Nine Through Twelve-Proficient: 2.2 Write dialogues and scenes, applying basic dramatic structure: exposition, complication, conflict, crisis, climax, and resolution.

CCSS.ELA-LITERACY.SL.11-12.3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used CCSS.ELA-LITERACY.SL.11-12.6: Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate.

SEL Competencies: Three C’s: collaborate, create, and choose, innovation GUIDING QUESTIONS: How can we use items creatively to set a scene?

What does a border crossing mean to you?

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LESSON PLAN PRE-LESSON PREP Have students bring an object from home that represents a time they have crossed a border. This could be a border to a different city, state, country, etc. Let them know that they will need to bring the item to class and briefly explain the story.

MAIN LESSON Part 1: Traveling Objects Ask students to get out the object they brought and to pair up. Give students 3 minutes to share their story and object to their partner.

After pair sharing, have a class discussion on the impact of storytelling and the use of their prop. Questions may include: Did any objects help you better visualize the story?

What are some similarities and differences between your stories?

What did you notice about the way your partner was sharing their story? What did you notice about the way you were sharing your story?

Part 2: Theatre Exercises Have students watch the preview for 17 Border Crossings. Using Handout 2, have students write down all the props and set pieces that they see in the trailer and their uses. After, give students 2-3 minutes to write down any other uses of these props they can think of. https://www.youtube.com/watch?v=vOWrHnHPx74 Share as a class what they observed and how Thaddeus Phillips used each item effectively/ineffectively.

Discuss how students can use objects in place of others creatively if they give them the same amount of care and background as the objects they brought in from home.

Have the class stand in a circle and place 5-7 random items in the center. Items can be anything you can find in a classroom or something simple from home: ex. Book, jacket, bottle, backpack. Have as many students go into the circle one at a time and highlight one thing an object can do. Example: A student enters the circle and chooses a jacket. The student does one of the following - pulls down the zipper, turns it inside out, folds it neatly, ties the sleeves up, etc.

Continue until all students have had a chance and each item’s many different uses have been demonstrated. This will start the students on the path of understanding the versatility of each object without assigning it a specific purpose Once every student has gone in the circle, choose one item (preferably the one that had the most uses or students picked up the most) and play a variation of the theater game “What Are You Doing”: • • • • •

Student A holds the object, for example a binder.

Student B asks Student A “What is that?”

Student A says what the object is, for example a butterfly.

Student A passes the object to Student B. Student B then must use the binder as a butterfly.

Student C asks Student B “What is that?” and the cycle continues with Student B improvising a different use for the binder. Go around the circle until all students have participated. Option to change the object half way through.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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Part 3: Scene Creation Task: Students will create short scenes in a group where they use an object in multiple ways.

Put the students in pairs or small groups. Give students 10-15 minutes for this activity and either read or write these instructions on the board: • Find an item in the room for your group to use as a prop. This can be a classroom object or an object from home.

• Brainstorm 3-4 different things the object can be.

• Write a 1-2 minute scene where the object is used these different ways including basic dramatic structure: exposition, complication, conflict, crisis, climax, and resolution.

• Rehearse to perform this scene to the class.

Have each group present their scenes.

Assessment Criteria: • Students participate in working with props and making creative choices.

• Students work collaboratively with a partner or group to create a short scene.

• Students are able to identify unique design choices in theatre pieces.

Purpose: To understand the use of innovative design choices, create and perform in a scene, and practice thinking outside the box.

Take it Further!

Have students create a monologue about an object and what it means to them like the first exercise, but this time using an object as something else.

Part 4: Discussion and Reflection Have a quick debrief with students on what uses of objects stood out to them throughout the entire lesson.

Then, ask what was effective in making the props believable and why.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 2: OBJECTS IN 17 BORDER CROSSINGS

Object

Uses in Video

Other Uses

Microphone Stand

Microphone Stand, Motorcycle

Crane, Sword

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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LESSON 3: BE A THEATRE CRITIC LESSON AT A GLANCE LESSON OBJECTIVE: Students will read and analyze theatre reviews in order to better understand the language used and structure in a theatre review. After seeing 17 Border Crossings, students will write a theatre review.

DURATION: One Class Period, 70 mins MATERIALS: Handout 3: ‘1984’ Review, Handout 4: ‘Eight Nights’ Review, Handout 5: Theatre Review Outline STANDARDS: CCSS.ELA-LITERACY.SL.11-12.3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used.

CA VAPA Standards, Theatre Grades Nine Through Twelve-Proficient: 1.1 Use the vocabulary of theatre, such as genre, style, acting values, theme, and design, to describe theatrical experiences.

CA VAPA Standards, newly adopted, Acc.Th:re.9: a. Analyze and assess a drama/theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.

GUIDING QUESTIONS: How can an actor, storyline, and production elements clearly communicate the themes in a production?

What are the key elements in a theatre review?

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LESSON PLAN MINI-LESSON Group Discussion on Impressions of 17 Border Crossings After going to The Broad Stage to see 17 Border Crossings, have a class discussion on first impressions and the students experience attending a solo performance. Make connections to topics explored in previous lessons such as, Aristotle’s Poetics and six elements of theatre, solo performance, and using props. Tell students that later in the lesson they will be writing a theatre critic on the performance and that they can take notes on their reflections during the discussion.

Below are some sample questions to start the conversation.

Was this anyone’s first time seeing a solo performance? How was it different than a play with a full ensemble?

Did certain monologues or scenes stand out more than others? Why?

How did Thaddeaus Phillips involve Aristotle’s six elements of theatre?

What are your views on the storyline? Did the story have an arch?

How were the props utilized?

MAIN LESSON Part 1: Learn the Elements of a Theatre Critic Tell students that they will be writing a review on the play, 17 Border Crossings. Ask students if they have prior experience with writing a review, and have them describe their experience.

As students share their prior experience, write down key points on the board resulting in a long list of elements that go into writing a review on a piece of theatre. Some items may include: • Critical analysis • Come prepared to the production (read the script if it is available to you, research about the director/ ensemble, etc.)

• Describe the production accurately • Develop a value judgement based upon the performance and what you expected • Focus attention on what you believe were the most significant points of the production • Create a stance that is both critical and objective Start a discussion about reviews and allow students to ask questions for further clarification.

After the discussion, read two theatre reviews as a class. There are two reviews below (Handout 3: ‘1984’ Review, Handout 4: ‘Eight Nights’ Review), but feel free to choose from your own library of theatre reviews.

“BWW Review: The Actor’s Gang Theater presents the Riveting Play ‘1984’ at the Actor’s Gang Theater” by Valerie-Jean Miller, October 30, 2019 https://www.broadwayworld.com/los-angeles/article/BWW-Review-THE-ACTORS-GANG-THEATERPRESENTS-THE-RIVETING-PLAY-1984-at-The-Actors-Gang-Theater-20191030 “Eight Nights” by Iris Mann, November 13, 2019 http://stageraw.com/2019/11/13/eight-nights-theater-review/ THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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After reading the two reviews, have students pair share about their perspectives on each. Ask them to highlight or write down some elements that they noticed in each review. Questions for discussion are below:

How are the reviews similar, or different?

What was the tone of the author?

Were the plays recommended, and why?

Part 2: Write a Theatre Review on 17 Border Crossings Task: Write a theatre critic after seeing the play, 17 Border Crossings at The Broad Stage.

After discussing and studying theatre reviews, give students 30 minutes to write a review on 17 Border Crossings. Pass out Handout 5: Theatre Review Outline as a guide.

After writing, ask students to share their review with a partner for feedback. Remind students that feedback is part of the writing process and to be considerate of each other’s opinions and perspectives of the play.

Assessment Criteria: • Students describe the production accurately.

• Students provide an opinion on the play.

• Students use proper theatre vocabulary learned in previous lessons or in class (plot, monologue, diction, spectacle, etc.)

Purpose: To better understand how to review art, specifically a play, and to develop writing skills as a theatre critic.

Reflection After pair sharing their review, bring the class together and reflect on the experience of students being a critic themselves.

Was it difficult to create a value judgement?

Did you remember all of the aspects from the play?

How did you feel sharing your writing and review with a peer?

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 3: ‘1984’ REVIEW BWW Review: THE ACTORS’ GANG THEATER PRESENTS THE RIVETING PLAY ‘1984’ at The Actor’s Gang Theater

by Valerie-Jean Miller Oct. 30, 2019 Written by George Orwell, Adapted by Michael Gene Sullivan, Directed by Tim Robbins Now through December 7th Based on the iconic novel by George Orwell, “1984” is the story of Winston Smith, who has come to the attention of the state of Oceania, the authoritarian state. Initially written in 1949, meaning that it was projecting 35 years into the future at that time, it is uncanny, that, 35 years later, it is being presented yet once again, and, terrifyingly, it is probably more relevant than ever before. With the brutal soulsearching, diary-exposing help of four Party Members of “The Ministry of Truth,” and a maiming stun gun, Winston is forced to confess his Thoughtcrimes before an unseen questioner, and the audience (surrounding the square stage on all four sides; it’s almost as if they are secretly witnesses and jury) is up close and personal witnessing the torture and depredation being dealt to Mr. Smith.

He has gone against the powers that be, secretly loathing his job, which is to rewrite history for the masses, falling in love with a woman, (not allowed) writing books anonymously and writing down his truths in his diary. And so he will pay the ultimate price, but not until The Party puts him through the wringer, and hangs him out to dry.

As soon as you walk into the theatre, you are aware that you are being observed by many monitors in all the corners, an overhead camera that looks down over the top of the interrogation room, and projects it through the “telescreens” placed strategically all over the room.

The amazing, totally absorbed and in-the-moment Cast includes Will Thomas McFadden as Winston Smith, Tom Szymanski (playing Party Member No. 1 & Goldstein), Lee Margaret Hanson, (Party Member No. 2 /Mrs. Parsons & Julia), Bob Turton, (Party Member No. 3 /Parsons /Mr. Charrington), Ethan Corn, (Party Member No. 4 /Syme) and Tim Robbins, in the title role of O’Brien, the at first, unseen controller of the inquisition, running the show from behind the scenes. He (Big Brother) has the power, even just with his voice and the many monitors he preaches through, to end your life or let you live, and you’d better bet he’s adept at taking care of that.

Will Thomas McFadden, as Winston, brilliant, in the central role, plays the arc of his character from one extreme to the other, mentally, emotionally and physically, and gives a gripping performance from start to finish. Every emotion was felt through not only his dialogue, but his body language and movements.

Lee Margaret Hanson, as Julia, Winston’s love interest, is wonderful portraying the fowl-mouthed rebel but tender and loving with Winston, partner in crime, secretly marrying him and trying to escape the inevitable with him. The four Party Members, or thought police; Tom Szymanski, who also plays Goldstein, the antithesis of Big Brother; Lee Margaret Hanson; Bob Turton, playing party member # 3, Mr. Charrington and the dreaded tough guy Parsons, and Ethan Corn, playing both party member #4 and Syme, are each quirky yet menacing characters as they fulfill their duties of brow-beating and breaking down this traitor for Big Brother by any means possible, with a constant barrage of berating and humiliating, and finally, with O’Brien, playing on his weaknesses and fears, forcing him to be subjugated and broken.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 3: ‘1984’ REVIEW CONT’D When Tim Robbins finally appears in Act Two, you are already familiar with his character, that of the smooth-tongued, suave leader who knows all, knows how to destroy anyones’ spirit and all the most despicable ways to torture someone into madness and submission. The scene near the end is absolutely horrifying involving a cage filled with rats put over Winston’s head, that finally does him in, as he blurts out, screaming, “I love you Big Brother,” having given over his soul in defeat.

It is a masterful and chilling rendition, under the guidance of Tim Robbins, a founder and member of The Actor’s Gang through it’s 38 years of existence, here in Los Angeles. He has directed and is now also starring in this commentary on capitalizing on dominating through fear, lies and dependence.

This play is part of the Actors’ Gang’s current “Season of Justice.” Michael Gene Sullivan has concisely adapted George Orwell’s novel into the 21st century, tightening it up time-wise and sprinkling in Millennium touches such as iPhones, mini-cams everywhere, and constant “Breaking News” propaganda.

Precisely staged and directed to engross the audience in the feeling of being constantly watched, under a microscope, and punished for not going by”The Rules,” the audience flanks all sides of the center square as the lights suddenly come up and we find Winston Smith in the “hot seat,” being forced to listen to passages of his Diary (which is forbidden to keep) read aloud by the different party members, in mocking and accusatory tones, who are all rigid, intense, exact and exaggerated - becoming almost caricatures of their ilk. (I have to interject that the lighting design applied intensified the scenes perfectly, as well as the sound and projection designs.) They grill Winston relentlessly, breaking him down, laughing at his words. Little by little, we witness the different tactics used to dumb down and quash critical, positive thinking, and the belief in one’s self.

“1984” provokes the audience to look further and beyond the telescreens to contemplate how much we truly think for ourselves, how some are drawn in by an omnipresent mob-mentality, and how complicit we are by standing still as the world becomes this reality through Orwell’s imagination.

Seventy-one years ago, in writing his visionary novel, “Nineteen Eighty-Four,” George Orwell eerily predicted the world we are currently living in. Notes Director Tim Robbins: “Throughout the world for over a decade, every time The Actors’ Gang has performed this adaptation, we have found new relevance and importance in Orwell’s cautionary tale. Today, in this new, frighteningly cruel world of mass deportations, nativist violence, and a constant assault on the truth, 1984 has taken on a new gravity and urgency. For this reason we see the absolute necessity of presenting this staged adaptation this fall.”

Tim Robbin’s credits are beyond massive, including Academy, SAG and Golden Globe Awards, and with such immeasurable screen presence in “Shawshank Redemption,” “Bull Durham,” “Mystic River,” “Castle Rock,” and so many more, he brings a depth to his work on stage, as well, where he is also at home, constantly creating and seeking to showcase work with meaning. The Actor’s Gang is an esteemed Theater Company Ensemble that has toured World Wide, as well as educating youth of all ages and backgrounds in Los Angeles; and since 2006, The Actors’ Gang’s groundbreaking Prison Project provides theatrical workshops to incarcerated men and women in 13 California prisons.

Excellent Lighting by Bosco Flanagan, Sound by David Robbins and Projection Design by Cihan Sahin.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 4: ‘EIGHT NIGHTS’ REVIEW Eight Nights Reviewed by Iris Mann Antaeus Theatre Company Through December 16 This heartfelt odyssey, covering eight decades (1949–2016) in the life of a Holocaust survivor struggling to move her soul beyond the horrors she has undergone, is lyrically rendered in Jennifer Maisel’s beautiful scenario. Maisel explores the way in which the legacy of the persecuted echoes down the ages to affect future generations.

Yet, the full potential of Maisel’s masterfully crafted script, which is suffused with an element of magical realism, is only intermittently realized in this world premiere production by Antaeus Theatre Company.

Director Emily Chase stages the work smoothly, but under her direction some of the actors, several of whom play multiple roles, fail to explore the depths of trauma implicit in the theme. As a result, the production falls short of eliciting the deep emotional response the subject matter warrants.

The play consists of eight scenes, which take place a decade apart in the same New York apartment, each falling on one of the eight nights of Chanukah. The story begins with the arrival of 19-year-old Rebecca (played by Zoe Yale for the years 1949-1978) at the home of her father, Erich (Arye Gross).

Mentally and emotionally, she is still back at Auschwitz and Dachau, the concentration camps where she was imprisoned and where her mother and two sisters died. She is terrified by every sound, every knock at the door, and every stranger. She had been a passenger on the historically famous ship, the St. Louis, which, loaded with Jews fleeing the impending Nazi regime, had sailed the world seeking refuge after one country after another closed its ports. As a consequence, the passengers were forced to return to Germany, and many were subsequently slaughtered.

Yale has the physical delicacy and birdlike quality suitable to the role, but she needs to reach for deeper layers of a damaged psyche. In addition, her accent is not consistent. She is more effective when playing Amy and Nina, Rebecca’s daughter and granddaughter.

Conversely, veteran actor Gross gives a finely tuned, multilayered performance as the father who escaped Germany in 1939, expecting that his family would soon follow. Gross projects a visceral sense of guilt beneath an essential decency and genuine fatherly love. But he fails to establish a contrast between this character and that of a current day Muslim refugee from Syria, which he also portrays.

As time passes, Rebecca (played by Tessa Auberjonois for the period 1988-2016) begins to engage in the world. She marries, has a family, and builds a successful business selling maternity clothes. Yet, she continues to be haunted by the horrors of her past and by the ghosts of those who have gone before her — apparitions which appear onstage to move in and out of her life. Like many other survivors, she refuses to discuss the Holocaust — believing that she is shielding her family, particularly her daughter and granddaughter, from knowing about the atrocities. But her choice only serves to erect a wedge between herself and those she loves. The play ignites in a confrontational scene when Arlene (Karen Malina White) the wife of the African-American soldier that liberated Rebecca, upbraids her for not sharing her past with her daughter.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 4: ‘EIGHT NIGHTS’ REVIEW CONT’D But Rebecca refuses. Auberjonois is enormously potent in this role — palpably in touch with the passions whirling around in her character. She also helps the evening come alive during the sequence in which Rebecca, in a Shoah-like taped interview, finally testifies about the Holocaust And Malina establishes a strong presence as Arlene, skillfully differentiating that character from her later role as Lacey, the lesbian lover of Rebecca’s granddaughter.

Other cast members acquit themselves reasonably well. Christopher Watson has an effective moment as Ben, Rebecca’s liberator, who can’t get the horrors he witnessed out of his mind, while Josh Zuckerman imbues Aaron, Rebecca’s husband, with a tender quality and the anguish of one who is shut out from his wife’s inner life.

Devin Kawaoka plays Steve, the half-Japanese lover of Rebecca’s pregnant daughter. It is he who gives voice to one of the playwright’s stated aims, to draw parallels between the Jewish experience under the Nazis and the experiences of other victimized groups: African-American descendants of slaves, Middle Eastern refugees, and — in Steve’s case — the Japanese, including his grandparents, who were interned during World War II. (Rebecca rejects this comparison, insisting that while it must have been terrible for his grandparents, it’s not the same.) At one point, Steve relates how his grandfather was mistakenly shot and killed by a guard. It’s a potentially powerful moment, but Kawaoka needs to reach further to embody the pain such a tragedy must engender.

Despite this and other shortcomings in the production, the finely conceived, sensitively written story is one the public needs to hear.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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HANDOUT 5: THEATRE REVIEW OUTLINE 1. Title of Review 2. Your Name 3. Production Information

a. Title of the show

b. Name of the Director

c. Is the play typical of one specific genre?

d. What is the style of the performance?

4. Summary of Plot

a. Provide a brief description of the story 5. Themes and Issues

a. Outline the important themes of the play

b. Discuss the Director’s interpretation of the play

c. Is the play typical of one specific genre?

d. What was your interpretation of what the performing group was communicating?

6. Analyse Characters

a. Describe and analyse the characters (often the main two)

b. What were the characters motives or objectives?

7. The Performers

a. Did the company members deliver a strong performance?

b. Were there any remarkable performances/monologues worth noting?

c. Was there a performance that distracted from the show?

d. How convincing were the actors in the portrayal of their characters?

e. How well did they use their voice, movement, or gestures to portray their character?

8. Production Values

a. Describe the set and lighting

b. Costumes

c. Sound

d. Props

e. Does it all work together?

f. How effective were the production elements for the performance?

9. Recommendation

a. What effect did the performance have on you?

b. What’s missing, what’s worth seeing?

c. What do you value most from the production?

d. Use evidence from the performance to backup your judgement Based on “How to Write a Theatre Review” by State Theatre Company http://statetheatrecompany.com.au/content/uploads/2017/02/How-To-Write-a-Theatre-Review.pdf THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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OTHER DISCUSSION TOPICS Passports and Citizenship In 17 Border Crossings, Thaddeus Phillips discusses the idea of a passport and provides a brief history of the development of passports. This becomes a thread throughout the play. Open a safe discussion on passports and citizenship. Read primary and secondary sources about the creation of American Immigration policy and list key findings on the policies. Option to lead a Socratic seminar on citizenship and passports to share ideas.

Creation of Borders (Geography, Mapping, and Politics) Throughout the storyline, Thaddeus Phillips crosses over 17 borders of countries. Review all of the borders he crossed in the play and make a large map to track his travel. Ask students to research how borders are created and who determines the lines. Option to have students split into groups and research specific borders from the play and its current immigration issues and policies.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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GLOSSARY Aristotle’s Poetics: One of the first texts of dramatic theory written around 350 BCE that presented the idea of the six elements of theatre.

Autobiographical: A life story about oneself.

Bard: In medieval Gaelic and British cultures, a solo performer from early human civilization that performed stories of heroes and history.

Biographical: A life story about someone else, typically a historical figure.

Griot: Travelling storytellers who maintain a tradition of oral history in parts of West Africa.

Lyric Poem: A rhyming poem usually with musical rhythm.

Minstrel: A solo performer from Medieval England that traditionally performs lyric poetry.

Monologue: A speech delivered by one character on stage in a play or a solo performance.

Multimedia: The use of technology including videos, music, slideshows, sound effects, projections.

Rakugo: Japanese tradition of monologues by a single storyteller known as Hanashika.

Solo Performance: A performance by one actor on stage that can be biographical, autobiographical, have multiple characters, and involve multimedia. This can feature monologue or dialogue.

Tlatlaquetzqui: In the Nahuatl (Aztec) culture, a narrator of myths and legends.

Troubadour: A solo performer from Medieval France that traditionally performs lyric poetry.

Ya’oowey: Storyteller in the Tongva language.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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SUPPLEMENTAL READING U.S.-Canadian border established (updated 2019) https://www.history.com/this-day-in-history/u-s-canadian-border-established The Lawless Border With Canada Was Once America’s Main Security Concern https://www.history.com/news/canada-border-threat-smuggling-spy-ring Everything You Need to Know About the Mexico-United States Border (2018) https://www.history.com/news/everything-you-need-to-know-about-the-mexico-united-states-border Why Mexican Americans Say ‘The Border Crossed Us’ – (2018) https://www.history.com/news/texas-mexico-border-history-laws The Violent History of the U.S.-Mexico Border (updated 2019) https://www.history.com/news/mexico-border-wall-military-facts How U.S. immigration laws and rules have changed through history. - Pew Research Center (2015) https://www.pewresearch.org/fact-tank/2015/09/30/how-u-s-immigration-laws-and-rules-havechanged-through-history/ What if…people could migrate freely? – New Internationalist (2018) https://newint.org/features/2018/10/16/what-if-people-could-migrate-freely This new year, let’s stop using the word ‘alien’ https://thehill.com/opinion/immigration/423570-this-new-year-lets-stop-using-the-word-alien

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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