The Purists: Curriculum Guide

HUNTINGTON THEATRE COMPANY EDUCATION DEPARTMENT

THE

PURISTS CURRICULUM GUIDE

BY DAN MCCABE | DIRECTED BY BILLY PORTER

TABLE OF CONTENTS Common Core Standards 3 Massachusetts Standards in Theatre 4 Artists 5 Themes for Writing and Assessment 8 Mastery Assessment 11 Further Exploration 12

THE PURISTS

by Dan McCabe Directed by Billy Porter Aug. 30 – Sept. 29 Calderwood Pavilion at the BCA

© Huntington Theatre Company Boston, MA 02115 August 2019 No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Education Department Inquiries should be directed to: Meg O’Brien Director of Education mobrien@huntingtontheatre.org This curriculum guide was prepared for the Huntington Theatre Company by: Marisa Jones | Education Associate Alexandra Smith | Manager of Curriculum and Instruction

Suggested Activities 16 Suggested Reading 17 Notes 19

COMMON CORE STANDARDS IN ENGLISH LANGUAGE ARTS

STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter.

Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter.

Reading Literature: Key Ideas and Details 1

Reading Literature: Craft and Structure 5

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Grades 9-10: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

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Grades 11-12: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

Grades 9-10: Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks), create such effects as mystery, tension, or surprise.

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Grades 11-12: Analyze how an author’s choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact.

Reading Literature: Key Ideas and Details 2 •

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Grades 9-10: Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

Grades 11-12: Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.

Reading Literature: Craft and Structure 6 •

Grades 9-10: Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

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Grades 11-12: Analyze a case in which grasping point of view required distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement).

Reading Literature: Key Ideas and Details 3

Reading Literature: Integration of Knowledge and Ideas 7

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Grades 9-10: Analyze how complex characters (e.g. those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the themes.

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Grades 11-12: Analyze the impact of the author’s choices regarding how to develop related elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).

Grades 9-12: Analyze multiple interpretations of a story, drama, or poem (e.g. recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text (Include at least one play by Shakespeare and one play by an American dramatist).

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MASSACHUSETTS STANDARDS IN THEATRE ACTING •

1.7: Create and sustain a believable character throughout a scripted or improvised scene (By the end of Grade 8).

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1.12: Describe and analyze, in written and oral form, characters’ wants, needs, objectives, and personality characteristics (By the end of Grade 8).

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1.13: In rehearsal and performance situations, perform as a productive and responsible member of an acting ensemble (i.e., demonstrate personal responsibility and commitment to a collaborative process) (By the end of Grade 8).

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1.14: Create complex and believable characters through the integration of physical, vocal, and emotional choices (Grades 9-12).

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1.15: Demonstrate an understanding of a dramatic work by developing a character analysis (Grades 9-12).

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1.17: Demonstrate increased ability to work effectively alone and collaboratively with a partner or in an ensemble (Grades 9-12).

AUDIENCE ETIQUETTE Attending live theatre is a unique experience with many valuable educational and social benefits. To ensure that all audience members are able to enjoy the performance, please take a few minutes to discuss the following audience etiquette topics with your students before you come to the Huntington Theatre Company.

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How is attending the theatre similar to and different from going to the movies? What behaviors are and are not appropriate when seeing a play? Why?

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Remind students that because the performance is live, the audience’s behavior and reactions will affect the actors’ performances. No two audiences are exactly the same, and therefore no two performances are exactly the same—this is part of what makes theatre so special! Students’ behavior should reflect the level of performance they wish to see.

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Theatre should be an enjoyable experience for the audience. It is absolutely all right to applaud when appropriate and laugh at the funny moments.

Side conversations with your friends during the performance, however, are not allowed. Why might this be? Be sure to mention that not only would the people seated around them be able to hear their conversation, but the actors on stage could hear them, too. Theatres are constructed to carry sound efficiently!

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Any noise or light can be a distraction, so please remind students to make sure their cell phones are turned off (or better yet, left at home or at school!). Texting, photography, and video recording are prohibited.

READING AND WRITING SCRIPTS •

2.7: Read plays and stories from a variety of cultures and historical periods and identify the characters, setting, plot, theme, and conflict (By the end of Grade 8).

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2.8: Improvise characters, dialogue, and actions that focus on the development and resolution of dramatic conflicts (By the end of Grade 8).

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2.11: Read plays from a variety of genres and styles; compare and contrast the structure of plays to the structures of other forms of literature (Grades 9-12).

TECHNICAL THEATRE •

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4.6: Draw renderings, floor plans, and/or build models of sets for a dramatic work and explain choices in using visual elements (line, shape/ form, texture, color, space) and visual principals (unity, variety, harmony, balance, rhythm) (By the end of Grade 8).

4.13: Conduct research to inform the design of sets, costumes, sound, and lighting for a dramatic production (Grades 9-12).

CONNECTIONS •

Strand 6: Purposes and Meanings in the Arts — Students will describe the purposes for which works of dance, music, theatre, visual arts, and architecture were and are created, and, when appropriate, interpret their meanings (Grades PreK-12).

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Food, gum, and drinks are not permitted in the theatre or lobby. This includes our lobby spaces before, during, and after the performance.

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Strand 10: Interdisciplinary Connections — Students will apply their knowledge of the arts to the study of English language arts, foreign languages, health, history and social science, mathematics, and science and technology/engineering (Grades PreK-12).

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Students should sit with their group as seated by the Front of House staff and should not leave their seats once the performance has begun.

FIND US ONLINE! Did you know the Huntington Theatre Company’s website provides students and teachers opportunities to more deeply explore the season’s offerings and learn about upcoming events in the Education department?

Utilizing the website at huntingtontheatre.org find the answers to the following questions: 1.

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In addition to the Huntington Theatre Company, what theatres have produced playwright Dan McCabe’s work?

THE PURISTS CURRICULUM GUIDE

2.

Who is the Artistic Director of the Huntington Theatre Company?

Who is the Managing Director? How long have they each been in their respective positions? What are the primary responsibilities of each of these jobs?

3.

Your friend broke her foot and needs to use a wheelchair. What accessibility services does the Huntington provide for patrons like her?

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Did you know the Huntington Theatre Company is on Facebook?

Like us at facebook.com/HuntingtonTheatre and facebook.com/EducationAtHuntington.

ARTISTS piece was ‘The Gospel According to Miss Roj.’ I was 15 or 16 [years old], coming out, and she was an empowered and defiant gay cross-dresser.

There was no apology for her and that changed my life.” A Pittsburgh native, Porter studied musical theatre at Carnegie Mellon University and graduated in 1991. He returned to the city of his birth, Pittsburgh, to star in the City Theatre’s production of Topdog/Underdog by Suzan-Lori Parks, alongside actor Ray Anthony Thomas in 2004.

Porter spent much of the early part of his career working in both New York and Los Angeles but was not immune to the challenges many young artists face. In 2003, Porter had reluctantly accepted the role of the man-eating plant Audrey II in a Broadway-bound revival of the musical Little Shop of Horrors, but unfortunately, the engagement was cancelled. Unemployed and frustrated, Porter reached out to Wolfe for guidance and soon accepted an offer from Wolfe to come work at the Public Theater in New York City. Wolfe was the company’s artistic director and was working directly on the development of groundbreaking plays such as Topdog/Underdog. A mentor and fierce advocate of Porter’s work, Wolfe told him, “You’re far too hostile and smart to be an actor, for the rest of your life to be in a room where people are telling you what to do.” Wolfe gave Porter the opportunity to write and develop his craft while also working with other rising talents in the theatre industry, including Peter DuBois, who would later become the Huntington’s artistic director. One of Porter’s many achievements at The Public was a one-man cabaret act, At the Corner of Broadway + Soul, which he also performed at Lincoln Center.

Director Billy Porter

BILLY PORTER: MULTI-HYPHENATE ARTIST AND VISIONARY At the 2019 Met Gala (a fundraising event for the benefit of the Metropolitan Museum of Art’s Costume Institute in New York City), there was one red carpet entrance in particular that made national headlines: Billy Porter was carried in on a velvet bed, clad in a golden winged costume fit for a king . . . or goddess. Porter has never hesitated to use his wardrobe to make political statements and regularly uses fashion to challenge gender norms and traditional views of masculinity. Only a few weeks after the Met Gala appearance, Porter arrived at the Tony Awards in a uterus-inspired costume made from a curtain from the Broadway production of Kinky Boots, making a clear statement about his views about recent changes in laws governing reproductive rights around the country. Porter, following his great success on Broadway starring in Kinky Boots and his leading role in the television series “Pose,” was selected in June 2019 to receive a star on Hollywood’s Walk of Fame.

Rema Webb and Nathan Lee Graham in The Colored Museum directed by Billy Porter

THE PURISTS CURRICULUM GUIDE

T. CHARLES ERICKSON

During the Huntington’s 2014-2015 season, Porter directed George C. Wolfe’s The Colored Museum. He was attracted to the project in part because of the positive impact Wolfe’s art made on him both personally and professionally. Porter was preparing to audition for college theatre programs when a teacher suggested he read Wolfe’s landmark play.

This moment would be pivotal in Porter’s journey as an artist. Porter reflected, “It was intelligent and new, and at the same time, it was a comment on all of the things my friends and I would talk about in terms of being black in America and being black in general. The most striking

But Porter’s career would take a circuitous route, even after being cast in three Broadway musicals early on (Miss Saigon, Five Guys Named Moe, and Grease); his fate was not sealed. Porter, initially unsatisfied by his relative Broadway success, pursued a singing career, releasing the album “Untitled” in 1997, only to be confronted by the unique challenges of breaking into the pop music industry. Porter then decided it was time pursue yet another artistic endeavor and headed off to the University of California, Los Angeles to attend its screen writing program. Yet he did not leave performing behind, and in 2013, Porter won the Tony Award for Best Actor in a Musical, the Drama Desk Award for Outstanding Actor in a Musical, and the Outer Critics Circle Award for Outstanding Actor in a Musical, all for his performance in the role of Lola in Kinky Boots. He was also featured in the Broadway production of Shuffle Along, or, The Making of the Musical Sensation of 1921 and All That Followed in 2016, directed by Wolfe.

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Porter has wrestled personally with issues of race, identity, religion and sexuality and has felt the pain of love coming to an end — all moments and struggles informing his multi-disciplinary artistic work. But he has also enjoyed opportunities for lighter moments, such as appearing as a guest judge on the television series “So You Think You Can Dance” and a performer at the 2011 Miss America Pageant. He has appeared on “The Oprah Winfrey Show” and “Law & Order,” and is a Grammy Award winner. Porter is unapologetic about his unusual career path or the many twists and turns of his personal journey: “If you’re true to who you are, you do resonate, you do matter,” he says. “Now, I’m in a very different place in my life. I had to mourn the loss of the life I thought I wanted in order to get the better life.”

Porter will return to the Huntington Theatre Company to direct Dan McCabe’s The Purists in fall 2019.

QUESTIONS: 1.

Billy Porter is a multi-hyphenate artist, meaning he is not only a singer or writer or actor or director, but plays different creative roles on various projects. Which other artists have pursued multifaceted career paths? Do you think Porter crossing from recording artist to film actor to screenwriter is a necessity of adapting in the entertainment field or a benefit of past success?

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What are the benefits and challenges of pursuing multiple professional interests? How might focusing on a single talent or discipline increase or limit one’s chances for success?

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Is there an opportunity or specific project that stands out as Billy Porter’s “big break?” Was it a role on Broadway? An acceptance into a school or training program? Or something else? What does it mean to have success in a career?

DAN McCABE: PLAYWRIGHT Dan McCabe graduated from the Lila Acheson Wallace Playwriting Fellowship at The Julliard School in New York City in 2017. He has developed and produced work at The New Group, LAByrinth Theatre Company, Ensemble Studio Theatre, The Flea Theater, The Juilliard School, Stella Adler Studio of Acting, Laguardia College, Twilight Theater Company and now the Huntington during the 2019-2020 season.

McCabe also wrote eight episodes of the hit serial Me, My Girl, and My Grandpa Shmulee for #serials at The Flea Theater and seven short plays for Rule of 7x7 at The Tank.

Playwright Dan McCabe’s work as an actor has been seen on stage, film, and television. Now, he makes his Huntington debut as a playwright.

Before rehearsals began, McCabe spoke with Director of New Work Charles Haugland about his writing process and why this play has been a perfect collaboration.

Charles Haugland: You appeared at the Huntington as an actor in Sons of the Prophet. Were you always writing as well? How did you decide to make playwriting a major part of your artistic work?

Dan McCabe: I was always writing, and I wanted to be a writer since I was young. When I was in high school, I wrote one act plays and then I went to undergrad for dramatic writing. But I also fell into acting young.

So I felt like I was writing in this bubble, while I was getting work as an actor. Then I started writing for Serials at the Flea Theatre in New York.

Serials is this late night program where they would have five short plays each weekend, and the audience votes for their favorites, and the three writers with the most votes come back the next week with a new play.

It’s like episodic theatre. That was the first time where I would write something, and it would get put on right away. One of my short plays took off, so I got a lot of confidence there and started really focusing on writing. Then I applied to Juilliard’s graduate playwriting program, and got in. So that was the real game shifter for me.

CH: Do you feel like your career as an actor influenced your playwriting?

DM: In terms of dialogue, my acting career helped my work as a writer, because I knew what would come easily out of an actor’s mouth. They never overlapped — I never wrote for myself, and I always kept the two separate. But they’ve helped each other just in terms of knowing how an actor interprets something, what comes out naturally and what doesn’t.

CH: What was the spark of this play? When did you start writing it?

DM: I started writing this around the summer of 2015. It started with two characters: Gerry and Lamont. I saw them as interesting people to be together on stage — very different, but also similar in their ideals and what they believed in. Then once I discovered the setting it all came together. I’ve always been a huge hip-hop person, but I also like theatre and musical theatre. So I thought it was interesting to have these people on stage that are super passionate about different things and hate the other thing.

CH: Why was that duality interesting to you?

Playwright Dan McCabe

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THE PURISTS CURRICULUM GUIDE

DM: In a lot of the plays that I write, a common theme is two very different people coming together — which has a lot to do with the way I was raised. I grew up in the city, but I went to this private high school in Jersey where my dad is a teacher. That was a very affluent school, whereas I grew up in these middle-class buildings in Manhattan. And down the block from me were lower income projects. I felt I had a lot of different types of people around me growing up in terms of class and race and things like that. A lot of plays I write have that sort of combination. I especially like writing characters who are different than

PAUL MAROTTA

Dan McCabe and Joanna Gleason in Sons of the Prophet (2011)

me on the outside, and then as I write, I try to connect the people that might seem different from myself while finding the similarities between them.

CH: You’ve been developing this play with Billy Porter for some time.

Why are you a good match as collaborators, and what has the process of developing the play been like with him?

DM: Billy is amazing. I sent him the play, and I didn’t really know him until we met to talk about this play. The truth is when we first met, he said what he thought the play was about, and I was like “Oh yeah you’re right.” I didn’t realize it. For me, going into writing this play, the impetus was not to say something big, but to explore these characters honestly.

But then listening to Billy’s understanding of the themes, I immediately recognized that he was right. Billy and I are opposites in a way. He knows exactly what he wants to say all the time, and in a way, he thinks ‘bigger’ than I do. I prefer to start from the characters because I feel like it’s more dramatically interesting, and I discover the play more unconsciously as I’m writing it. It’s been serendipitous that we came together.

QUESTIONS: Playwright Dan McCabe also works as an actor and appeared in the Huntington’s production of Sons of the Prophet in 2011. The Purists director Billy Porter also has extensive performance experience on both stage and screen. How might this commonality help them in their collaboration?

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What does McCabe mean when he says early in his writing career he felt as though he was “writing in this bubble?” Why might that experience be challenging for a writer?

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McCabe says that working with Porter helped him see what The Purists is actually about. How is it possible for McCabe to not really know what his own play was about? How can collaborating with another artist help you to make your work stronger?

NILE HAWVER

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The cast of The Purists

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THEMES FOR WRITING AND ASSESSMENT and steer hip hop into something that it’s not” (Act I). He is particularly frustrated by his nephew’s inability to break into the music scene, which he believes is dominated by record labels intentionally shutting down talented black artists with positive messages, in favor of promoting white artists because of their novelty. Lamont argues, “My nephew talking about black pride, he talking about consciousness, he lyrical, he got word play . . . But . . . Epic Records … don’t know how to market him . . . but I’ll tell you this . . . If Nancy were walk up into an office at Epic Records . . . I’ll bet you one million dollars that if she were to spit one of her cute little raps, an executive would offer her a contract right then and there.

My nephew? Oh they don’t wanna hear that . . . uplift black people. Nah. They don’t want that. They want this pretty little white girl who . . . they can market to white America” (Act II).

Rapper Eminem performs at the MTV Video Music Awards in 2000

CULTURAL APPROPRIATION AND COMMERCIALISM A central conflict in The Purists is the concept of cultural appropriation, when members of a majority group take customs, traditions, or artifacts from a minority group for their own personal benefit, often without acknowledgment of the sources or sharing commercial profits. Cultural appropriation claims might be recognized in the court of public opinion, but legal challenges face complicated questions: Who owns a culture?

How does a court craft a remedy for these claims? In June 2019, fashion designer Carolina Herrera was criticized by the Mexican government for appropriating elements from traditional garments for her 2020 Resort line, such as the traditional embroidery taken directly from indigenous communities of two different Mexican states. In response to the criticism, Carolina Herrera’s representative issued a formal statement stating that the fashion house recognizes “the wonderful and diverse craft and textile work of Mexican artisans” and its collection is inspired “by the culture’s rich colors and artisanal techniques.” But what is the difference between being “inspired” by another culture and appropriating that culture’s traditions and techniques? Does the type of acknowledgment provided

by Herrera sufficiently address the concerns associated with cultural appropriation?

In The Purists, Lamont is the key figure arguing for the preservation of his hip hop culture and against anything even resembling appropriation.

He views the music of white rapper Eminem, Nancy’s hip hop theatre piece about Amelia Earhart, and even Bugz’s sexuality as threats to the culture and community. Lamont says, “A man could walk around in a tutu if he wants I’m just sayin, don’t bring that . . . into my culture, don’t try 8

THE PURISTS CURRICULUM GUIDE

Lamont argues that record labels demand that the content of hip hop be focused on violence, misogyny, and drugs because it produces a financial gain. He recalls that an artist named “Young Buck had a song on his album that talks about police terrorism . . . well, when the label heard that record they said ‘absolutely not.’ You cannot put that record on the album because it might create an atmosphere that could put police officers’ lives in danger” (Act II). He goes on to note that the label chose to remove that particular song, “but kept the other 14 songs on that album that talked about killing black youth. That they were fine with” (Act II). Lamont is frustrated by this hypocrisy. The violence content that record producers push forward “is not what this hip hop . . . is about,” Lamont explains. Hip hop “started as an alternative to gang violence” (Act II). From Lamont’s perspective, commercial packaging has too much say over the messages that are spotlighted in the music. As a result, authentic artists’ work is then exploited by people from outside of hip hop culture who appropriate hip hop’s forms for their own uses.

But what qualifies as authentic is also up for debate. The play opens with an argument between Bugz and Lamont about who should be crowned the “King of Hip Hop,” which Bugz contends should be the white rapper Eminem. Bugz cites Eminem’s sales of “100 million albums, world-wide,” his work ethic, and tremendous “dedication to the craft” (Act I). But Lamont rejects the notion of a white rapper holding that title because for him, “rap is a black genre” (Act I). This debate between Bugz and Lamont represents an ongoing discussion about the ways in which art forms originated in black communities have become part of popular culture for decades. Long before the debate centered on hip hop, poet Langston Hughes was mourning the loss of his favorite music, the blues.

In his poem, “Note on Commercial Theater,” Hughes wrote:

You’ve taken my blues and gone — you sing ’em on Broadway And you sing ’em in Hollywood Bowl, And you mixed ’em up with symphonies And you fixed ’em So they don’t sound like me.

Yep, you done taken my blues and gone.

This poem was written in 1948, but Lamont believes still finds its sentiments relevant 70 years later. Historians believe that the “call and response” and traditional African slave songs served as the “roots” of the blues genre. Jazz, Funk, and Reggae (originating in Jamaica during the 1970s) followed the blues tradition. Rap and hip hop culture undeniably finds their origins in the musical forms of the past, but Lamont does not want to believe that the culture has any further room to evolve; to do so would diminish the value of the culture and erase it from existence.

QUESTIONS: 1.

Would Lamont agree that hip hop culture is an integral part of Black culture? Would he also agree that the blues and jazz preceded hip hop and perhaps inspired it into existence?

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List some examples of recent commercially successful theatrical works that included elements of hip hop music or culture. If you list the musical Hamilton, would Lamont consider Lin-Manuel Miranda to be part of the culture? Why or why not?

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Is Eminem the “King of Hip Hop?” Does Bugz accept and support Eminem because of his own Detroit upbringing or is he simply impressed by Eminem’s talent? Does Lamont respect Eminem’s artistic skills or does Lamont only see the rapper as someone who appropriated and profited from black culture? Provide evidence from the text to support your response.

4. Gerry weighs in to the debate about appropriation in Act II, remarking that he does not care for rap music in general, but that he “especially hate[s] it . . . when white people are doing it . . . Do white people really have to try and rap? Really? Really? Reallllllly?

I mean, black people have so little in this country, can’t we just let them have that?” Based on this statement, do Gerry and Lamont agree on the topic of cultural appropriation of hip hop culture?

Why or why not?

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Is Nancy’s idea for a hip hop theatre piece about Amelia Earhart an example of cultural appropriation? Why or why not?

6. Do people of Mexican heritage have a right to be angry with Venezuelan fashion designer Carolina Herrera? When, if ever, is it okay to borrow from other sources?

one, and that marketing and record labels are to blame for skewing the public’s perception. “You know that issues like . . . misogyny . . . hyper masculinity . . . violence, all that quote unquote ‘negative shit’ . . . you know that makes up a very small very marketed fraction of hip hop content . . . The record, labels, the corporations, they have an agenda that they are trying to push” (Act II).

Lamont is angry after meeting with Nancy because her love and interest in hip hop has led her to write a show about Amelia Earhart, which strikes him as ludicrous. Lamont laments, “Like [Nancy] knows anything about the struggle that hip hop came from . . . Amelia Earhart and hip hop? Gimme a god damn break” (Act II). Lamont’s concern with the “essence” and lack of “foundation” of those currently thriving in hip hop culture informs how he interprets anyone who expresses and affinity for the art, and he finds people who push the boundaries of the traditional form threatening. For Lamont, hip hop is an extension of the black aesthetic and the development into something higher, just like how Egypt was an extension of Ethiopia, Hip Hop is an extension of Blues and the Negro spiritual. And that’s how it is for me. I don’t see hip hop and some multi-cultural diverse melting pot. I see hip hop as a black genre” (Act II). Yet Lamont accepts the creative pursuits of Val, who is of Puerto Rican heritage, because although she is not black she grew up “in the projects” and can therefore more authentically relate to hip hop’s common themes. Meanwhile, Lamont does not believe that Nancy, a white woman, could have anything valid to say about hip hop because she has inadequate understanding of the roots of his culture.

The other characters seem more open to change. While deeply invested in her rap career, Val agrees with Nancy’s sentiments about hip hop’s issues around gender. Bugz also sides with Nancy when she and Val face off in a rap battle. Bugz is engaged in his own conflict with hip hop, which marginalizes and discounts him because of his sexuality. Bugz, Val, and Nancy can see the opportunities inherent in allowing the art

PURIST OR RELIC? Gerry, a director of theatre ticket sales living in New York City, has almost zero affinity for the current Broadway season and is nostalgic about the shows of the past. “You want to know what’s cool? 1959. That was cool,” he asserts in Act I. “When you had Gypsy and The Sound of Music opening in the same season. I mean, can you imagine?” (Act I).

Meanwhile Nancy, a member of Gerry’s staff, is passionate about both musical theatre and hip hop and believes she can combine the two into her own theatrical take on the story of trailblazing female pilot, Amelia Earhart. After attending the production in support of Nancy, Gerry admits that it took genuine “guts and insight” to put her work out there, and that it was clear that “everyone liked it. Standing ovation. They really, really liked it” (Act II). But when Lamont presses him for his own opinion about Nancy’s play, Gerry indicates his disgust with the whole thing. He cannot accept the Broadway of the modern era.

Lamont is equally as frustrated by the evolution of hip hop culture.

“Just look at the fashion so-called rappers are rockin these days,” he observes in Act I. “Skinny jeans. Diamonds. Skirts . . . [they] are actually rockin skirts . . . and that’s a Scottish thing, that’s not a hip hop thing.”

Val argues that there is no need to take issue with what people choose to wear but Lamont feels contemporary fashion is a direct assault on authentic hip hop culture. He is further insulted by Nancy’s view that hip hop culture should be open evolution, a notion with which Val also supports. “I just think it’d be really awesome to have a hip hop show with like a positive strong female lead, she explains. “To just like — counteract the majority of the misogyny that’s embedded in hip hop” (Act II). Lamont has difficulty listening to this assessment because he believes hip hop is fundamentally a positive movement, not a negative

Sandra Church and Ethel Merman in the original Broadway production of Gypsy in 1959

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Rapper Tupac

forms they love, hip hop and musical theatre, to evolve to embrace new forms and perspectives. But both Gerry and Lamont seem unwilling to accept that the art they love and the culture they live in are not static.

QUESTIONS: 1.

What does it mean to be a “purist?” Who are the “purists” in this play? How do the younger characters in the play perceive both the hip hop and Broadway cultures? By becoming a more inclusive place, does do movements necessarily transform into something else altogether?

2.

Is Gerry right that the best musicals are (and will likely always be) in the past? Why or why not?

3.

Is Lamont right that hip hop culture is changing for the worse?

Why or why not?

4. Is Nancy that there is room for change within hip hop culture?

Why or why not?

DEFINING MASCULINITY IN HIP HOP Bugz is caught between two competing interests: His career in hip hop and his sexual identity. The radio station where Bugz works requires him to make a difficult choice: Quit his job as a DJ or agree to an embarrassing on-air talk about his recent arrest with a transvestite prostitute. Bugz struggles to reconcile his secrets with the world’s expectations of him as an influential black man in hip hop, including the views of his friend, Lamont, who insists that for Bugz to admit he is anything other than a heterosexual is an attack on the “black alpha male” and an affront to hip hop culture. Bugz, nearing his breaking point, pushes back on Lamont:

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Yo, man, would you give a fuck about this if you were still relevant? Rappers that are actually making a living, you really think they care about my sexuality? Huh? If you weren’t living in your younger sister’s basement on 50th avenue right now I have a feeling your outlook might be a lot different. Cause I can think of plenty of Black Alpha Males that are killing the game right now but you ain’t one of them. (Act II) THE PURISTS CURRICULUM GUIDE

Rapper Notorious B.I.G.

Lamont has a very specific image in mind of what it means to be a man, especially one who is also a hip hop artist. Bugz, however, is more openminded and tries to subtly provide counterpoints to Lamont’s narrow views. Bugz does not care if rappers wear skirts or skinny jeans and thinks Nancy’s idea for a new rap musical is “tight.” Bugz can embrace interpretations of masculinity that defy expectations because he knows, through his own experience, that the masculine stereotype on which Lamont bases his view of men in hip hop culture simply is not a reality.

Bugz believes Lamont’s thinking is “backward,” yet feels compelled to define himself within other people’s parameters. Bugz must consider how he personally defines masculinity and how he, despite rejecting the label of homosexual or bisexual, fits into hip hop culture, asking himself: “What if my whole life has been a lie though?” (Act II).

QUESTIONS: 1.

What should Bugz do: Come clean on-air or quit the job? Why?

2.

Does Bugz truly not know if he is gay or bisexual? Does he simply take a more flexible view of sexuality in general? Or has he been afraid to be honest with himself about his identity?

3.

Lamont has a very inflexible opinion about the need for what he sees as strong men in hip hop culture. How would Lamont have come to this way of thinking? Is there a world in which he could change his perspective?

4. How do you define masculinity? Do people of different ages have different ways of defining this term?

MASTERY ASSESSMENT ACT I 1.

When and where is the play set? What does the audience see as the lights come up? What does the audience hear?

2. Who does Bugz refer to as the “King of Hip Hop?” Does Lamont agree? Why or why not?

3. List at least three artists whom Lamont believes are “better” than Eminem.

4. When Lamont invites Gerry to Lamont’s nephew’s concert, what does Gerry suggest they do instead?

5. Why does Gerry have tremendous respect for Queen Elizabeth?

6. What is wrong with Bugz’s mother?

7. Why do Bugz and Lamont say Gerry is lucky after he mentions his dream to them?

8. Why do Lamont and Bugz call Gerry a bigot?

9. How does Gerry defend himself against the claim that he is racist?

10. Who arrives to the stoop on a two-wheel Segway?

11. What does Val notice about the outfit Bugz is wearing?

12. What is the nature of Val and Gerry’s relationship?

13. What has Bugz learned about Gerry’s background?

14. What is Venmo and why is Val anxious for Gerry to get it?

15. What happened to Gerry in May 1977?

16. What honor is Bugz about to receive?

17. Why does Gerry think it is a bad idea for Val to use Venmo as part of her business?

18. What were the circumstances that led to Gerry calling a young person a “thug?”

19. One of Gerry’s employees brought in over $150,000 in one week. Why is he upset by this news?

20. What fashion trend is Lamont upset about? Why? 21. Do Lamont and Bugz consider Gerry a friend? Does Gerry consider them friends?

22. Lamont shares his nephew’s album with Val. What does she think of it? According to Bugz, why hasn’t he listened to it yet?

23. Does Lamont think Bugz is good with his finances? According to Lamont, is Bugz a generous person?

24. How does Nancy, Gerry’s employee, feel about Lamont?

25. What reward did Gerry promise Nancy and how did she earn it?

26. What is a custee?

27. Bugz asks Val to rap for him. What is her verse about?

28. Val and Bugz were once in a romantic relationship. Why does Val question their level of intimacy?

29. Why does Bugz go up to Gerry’s apartment?

30. What is Bugz’s opinion about the musical he saw with Gerry?

31. Who abused Gerry when he was 12 years old? Why does Bugz take issue with this story?

32. Does Gerry consider himself gay?

33. Why does Gerry believe ancient Rome had a freer society than the contemporary United States?

34. Why did the radio station ask Bugz to take a leave of absence?

35. What dream did Gerry have about Bugz?

36. Bugz and Gerry have an intimate moment at the end of Act I. What interrupts it? Why does Bugz feel terrible and why does he race out of Gerry’s apartment?

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ACT II 1.

What game does Nancy try to get Gerry to play with her?

2. What are Bugz and Lamont arguing about as they wait for Gerry?

3. Who do Nancy and Gerry finally agree is the lesser of the four great musical theatre artists they have been discussing?

4. What item does Gerry try to return to Bugz?

5. How is it that Nancy has spoken to Bugz before?

6. How does Nancy feel about Bugz professionally?

7. Why is Nancy curious about Lamont’s personal finances?

8. Which song was Nancy’s favorite from Lamont’s album “Out Tha Gate?”

9. Describe the show Nancy has written.

10. Why does Nancy take issue with rap as an entire genre?

11. What is Lamont’s counterpoint to Nancy’s concern about hip hop culture?

12. According to Lamont, why did Young Buck’s music about police terrorism get shut down?

13. Who does Bugz think should face off in a rap battle?

14. How does Gerry decide who wins the rap battle?

15. Why is Bugz angry at Lamont?

16. Does Val agree with the outcome of the rap battle?

17. What is Nancy’s last name? How does she want Val to find her so they can battle again?

18. Why does Lamont think the executive from Epic Records canceled on him?

19. What is the rumor Val heard about Bugz?

20. What made Val a legend at the station?

21. Lamont confronts Bugz about the rumors circulating about him. According to Bugz, what is the truth?

22. What does Lamont think Bugz should do about his radio interview?

23. According to Bugz, who is trying to silence him now?

24. Why does Bugz dump a bucket of Kool Aid on Lamont?

25. What recommendation does Lamont make to Gerry about his neck injury?

26. According to Gerry, how and why did he lose his fortune?

27. Who made a surprise appearance at Nancy’s show?

28. From Gerry’s viewpoint, how and why did Bob Ross reinvent himself?

29. What does Gerry think about Nancy’s show?

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Morocco Omari (Lamont) and J. Bernard Calloway (Mr. Bugz)

FURTHER EXPLORATION could be “chilling,” severely limiting opportunities for young artists to build upon and be inspired by the work of other artists.

QUESTIONS: 1.

A.) Listen to Jay-Z’s song “Hard-Knock Life” and the song of the same name from Annie from which Jay-Z drew inspiration.

Similarly, listen to Robin Thicke’s “Blurred Lines” and Marvin Gaye’s “Got to Give It Up.” Compare and contrast these song pairings in terms of melodies, instrumentation, themes, and structure. In what ways do the songs by Jay-Z and Robin Thicke reference the earlier songs?

B.) Research the legal case in which Marvin Gaye’s estate was awarded damages for use of his work in “Blurred Lines.” What were the arguments put forth by attorneys on both sides of the dispute?

Why did the jury rule in favor of Marvin Gaye’s estate? What steps did Jay-Z take to ensure he was legally able to sample from “Hard-Knock Life?”

2.

Does treating sonic similarities as legal violations, even when the two works are separated by decades, limit the space for artistic expression to thrive and for new musical styles to emerge? Is it possible to determine whether one artist has stolen from another?

Is it possible for an artist to “own” musical notes, chords, or chord progressions? Are there better ways to balance the rights of artists past and future? What is an appropriate penalty one artist has “ripped off” another?

3.

What are the difference between sampling and covering another song? List some popular songs by contemporary artists that are actually covers of a different artist’s earlier work. Which version do you think is better: The original or the cover?

Rapper Jay-Z’s “Hard Knock Life” was released in 1998

STANDING ON THE SHOULDERS OF GIANTS: ART MAKES MORE ART? In 1998, rapper Jay-Z watched his third album, Vol. 2…Hard Knock Life, climb the charts, making it his most commercially successful album to date. The album marked a major musical evolution for Jay-Z, as it framed the rapper as a voice for his generation and drew sonic inspiration from classical composers and, most notably, the American musical theatre. The album’s title and its second single sample the musical Annie (1977) in which the title character sings about life growing up in an orphanage. In his song of the same name, Jay-Z raps about his journey from growing up in the inner city to finding career success. He later explained that he “knew how people in the ghetto would relate to words [from the Broadway song] like, ‘Instead of treated we get tricked’ and ‘Instead of kisses we get kicked’ . . . It’s like when we watch movies we’re always rooting for the villain or the underdog because that’s who we feel we are. It’s us against society. And, to me, the way the kids in the chorus are singing ‘It’s a hard-knock life’ is more like they’re rejoicing about it. Like they’re too strong to let it bring them down.”

In recent years, multiple lawsuits have been filed by notable parties in the music industry, accusing other artists of copying their work. In 2014, lawyers for rock musician Tom Petty’s lawyers asserted that pop singer Sam Smith’s 2014 song “Stay with Me” included melodies bearing an undeniable resemblance to Petty’s 1989 hit “I Won’t Back Down.” Smith did in fact back down: the case was settled out of court and a 12.5% writing credit was given to Petty and his songwriting team. Yet Smith maintained that the similarities were entirely coincidental as he was not at all familiar with Petty’s song before penning his own. In 2015, a jury awarded $7.5 million to the estate of R&B icon Marvin Gaye after it determined that pop singer Robin Thicke and producer and songwriter Pharrell Williams stole from Gaye’s song “Got to Give It Up” to create Thicke’s “Blurred Lines,” which became one of the most popular songs of 2013. Opponents of the verdict argued that the effect of this verdict

4. Why might it be viewed as progress (rather than copying or stealing) to reinvent or riff on famous or popular works of art?

Consider other artists who have benefitted from works of the past (for example, Lady Gaga inspired by Madonna, West Side Story inspired by Romeo & Juliet, etc.). Is this action progress or pilfering?

A BRIEF HISTORY OF MUSICAL THEATRE In The Purists, Gerry is passionate about musical theatre — and in his view, nothing recently produced on Broadway can match what he considers to be the greatness of the past Golden Age of musical theatre.

Armed with his deep knowledge of theatre history, Gerry imagines that he could write an epic new musical that would hearken back to those landmark productions of decades ago in its form and the theatre’s ancient origins in its content.

In fact, musical theatre may have started as early as the 5th Century BCE in Greece. Greek theatre typically involved three actors and a chorus which would respond to the action of the play. All members of the production would sing and sometimes even dance to move the action of the story forward. During the 18th century, French playwright Moliere added song and dance to his work at the behest of King Louis XV, a move which would inspire various forms of opera, including ballad, comic, and the operettas.

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The early American musical, sometimes referred to as follies or musical reviews, were not plot-driven (such as George and Ira Gershwin’s Lady Be Good, for example, written in 1924) but rather relied on the power of one song after another to entertain audiences. However, Jerome Kern and Oscar Hammerstein elevated musical theatre with their masterpiece, Show Boat. Written in 1927 and utilizing features of operetta and elements of the blues, Kern and Hammerstein tackled the important topic of racism, setting the stage for the more socially conscious and story-driven work seen in the 1940s and beyond. Rodgers and Hammerstein dominated the musical theatre scene throughout the 1940s and 50s, producing classics such as South Pacific, Carousel, The Sound of Music, and Oklahoma!.

The 1960s saw the rise of the musical theatre giant Stephen Sondheim whose prolific works include Into the Woods, Company, and Sweeney Todd. Rock music had a powerful influence over Broadway during the 1970s which saw both Hair and Jesus Christ Superstar take on iconic status. Later, the 1980s were known for “mega-musicals” with overthe-top designs, huge casts, and cutting-edge special effects such as Phantom of the Opera and Miss Saigon, which resulted in steeper ticket prices and a narrowed audience reach. In 1996, Jonathon Larson’s Rent refocused the field on character-driven storytelling.

QUESTIONS: 1.

What is a “Golden Age?” What musicals does Gerry believe represent the Gold Age of American musical theatre? How are those works different from contemporary musical theatre productions?

2.

Musical theatre’s key elements include the book (or libretto), the score, and the lyrics. Research and define these terms. Do different writers tend to contribute each element or are there artists who work on more than one?

3.

In the late 19th century, the team of dramatist W.S. Gilbert and composer Arthur Sullivan wrote a number of operettas which inspired today’s musical theatre form. Which of this duo’s shows provide references and structure for today’s theatre?

4. List at least two musicals that were made into films. Who did it better: Broadway or Hollywood?

In the last three decades, Broadway’s breakout successes have included a string of family-friendly productions that bring classic Disney films to life, but also works with sharp social critiques such as Avenue Q, Hairspray, and Lin-Manuel Miranda’s ground-breaking Hamilton.

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T. CHARLES ERICKSON

The Huntington’s production of the Stephen Sondheim musical Merrily We Roll Along

Jennifer Purdon for Psychology Today found that “black students reported experiencing significantly more racial microaggressions than white students [and] also scored significantly higher than white students on trauma symptoms of discrimination and stress due to general ethnic discrimination.”

QUESTIONS: 1.

Read “The New Intolerance of Student Activism at Yale” from The Atlantic (theatlantic.com/politics/archive/2015/11/the-newintolerance-of-student-activism-at-yale/414810/ ). Why does the debate over Halloween costumes matter? Is wearing a sombrero or attending a party dressed as the Disney character Moana a microaggression against marginalized groups? Why or why not?

2.

Read Buzzfeed’s article “21 Racial Microaggressions You Hear On A Daily Basis” (buzzfeed.com/hnigatu/racial-microagressionsyou-hear-on-a-daily-basis?utm_term=.xeNkkwjRk#.nyxYY423Y).

How many of these examples have you heard? Think of 2 or more examples of microaggressions not addressed in the article.

3.

Jim Burklo, an Associate Dean at the University of Southern California argues that microaggressions should be combated with “the cultivation of microaffection: Priming ourselves for moments when, spontaneously, we go out of our way to make others feel like they are dignified, respectable, truly beloved members of society.”

What would be an example of a microaffection? How might Gerry be perceived differently by Bugz and Lamont if he made an active display of microaffection?

Chester M. Pierce

CALLING OUT RACISM: IDENTIFYING MICROAGGRESSIONS A microaggression is “a comment or action that subtly and often unconsciously or unintentionally expresses a prejudiced attitude toward a member of a marginalized group.” The term is popularly attributed to African American psychiatrist and Harvard University professor Chester M. Pierce, who first used the term in a collection of essays in 1970, has gained popularity in recent years as a way of challenging racial stereotypes and casual degradation. In The Purists, Gerry does not see himself as racist and does not intend to make racist statements, but he regularly says things that Bugz and Lamont find offensive and they are quick to point out when Gerry has crossed the line. Early in the play, Gerry describes a situation from the previous day during which he was on a train and had a negative encounter with two young people, and refers to them as “thugs” and “animals.” Bugz and Lamont explain that Gerry’s language contains racist “code words” and while Gerry points out that he never identified the young people as black, Bugz and Lamont make this assumption based on Gerry’s use of language commonly used to make derogatory comments about people of color.

4. Gerry sees Bugz and Lamont as his friends, but the feeling doesn’t seem to be mutual. Why might this be? How do Gerry’s microaggressions factor into his relationship with Bugz and Lamont?

Studies have shown that microaggressions can cause psychological harm. For example, a study completed by Monica Williams, Ph.D. and

Morocco Omari (Lamont), John Scurti (Gerry), and J. Bernard Calloway (Mr. Bugz)

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NILE HAWVER

Bugz and Lamont are not alone in their willingness to call out on microaggressions when they see them, as social values become more focused on inclusivity and mutual respect. But critics argue that society has grown overly sensitive, causing a shift they labeled “victimhood culture.” In a September 2015 article in The Atlantic, “The Rise of Victimhood Culture,” writer Conor Friedersdorf asserts that people who operate in a victimhood mentality believe that the microaggression or “small slight that they’d seized upon was actually evidence of a larger, significant injustice to a whole class of people.” In other words, those who scorn the term “microaggression” believe that individuals assume that their personal offense is experienced by an entire demographic population. But dismissiveness and defensiveness are considered a trademark response from those who commit microaggressions, and in The Purists, Gerry defends his actions by saying, “everyone is so god damn sensitive nowadays. What, because I called one black kid a thug, that means I think they all are? Because I referred to one kid . . . who was dancing in the middle of the . . . . subway, who almost kicked a little old lady in the head, who had absolutely no regard for anyone else . . .

Because I happened to — in a fit of rage — describe this one particular child in a way that didn’t sit well with Bugz that means there’s something wrong with me? That I’m a bigot?”

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SUGGESTED ACTIVITIES

NILE HAWVER

The cast of The Purists

CAST THIS SHOW! Casting the right actor for each role is a vitally important step in any theatre production’s process. The script of The Purists presents some specific baseline requirements for the ethnicity, gender, and age of the actors who will play each part, but from there, the casting process incorporates more subjective criteria such as personal qualities, range, and actor chemistry.

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Eminem

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Snoop Dogg

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Vanilla Ice

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Jerome Kern

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Jay-Z

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Richard Rogers

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The Notorious B.I.G.

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RUN-DMC

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Stephen Sondheim

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Public Enemy

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George Gershwin

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NWA

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John Williams

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Andrew Lloyd Webber

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Nas

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Talib Kweli

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Cole Porter

QUESTIONS: 1.

Did you balance music from hip hop culture with that of musical theatre or did you lean more heavily in one direction? Please describe the philosophy behind your artistic choices.

2.

Is music, even when the show isn’t a musical or about making music, is an important part of your experience in the theatre?

Why or why not?

Imagine you are casting a production of The Purists using actors you have seen on stage, in film, and on television. Which role is the most difficult to fill and why? Which character is the easiest to find someone to play? Fill in the cast list and then answer the questions below.

CAST LIST

ACTOR NAME

GERRY BRLINSLER (male, 60s, white) ….................................

LAMONT BORN CIPHER (male, late 40s, black) .................

MR. BUGZ (male, late 40s, black) …...........................................

VAL KANO (female, 20s, Puerto Rican) …...............................

NANCY REINSTEIN (female, 20s, white) ….............................

1.

Share your cast list with the class and explain why you chose each actor. What makes them a good fit to play the role? Did anyone else choose the same actors you did?

2.

Did you follow the playwright Dan McCabe’s notes in your casting process?

3.

In real life, if these actors were offered the role do you think they would accept it?

Rapper Nas

CREATING THE SOUNDTRACK: BROADWAY OR HIP HOP The Purists is a play about music and its significance in people’s personal stories. For the Huntington’s production, the Sound Designer will work with the Director to choose music to play in between scenes and underscore moments of dialogue with the aim of establishing setting, enhancing mood, and advancing the plot. Using only artists/musicians mentioned in the play, create a sound plan for a production of The Purists and then share your work with your class. Please select music from the following artists: Andrew Lloyd Webber

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WOULD YOU RATHER…? A GAME OF DIFFICULT QUESTIONS In The Purists, playwright Dan McCabe creates a theatrical moment in which two separate debates occur simultaneously to highlight the idea that choosing the “best” or “most important” in any given area is a daunting task. Lamont and Bugz argue over how to rank the top 5 greatest rappers of all time and Nancy pushes Gerry to painfully choose which could be the lesser of the great musical theatre composers. As Nancy says: “It’s supposed to be a difficult choice, that’s what’s fun about it.”

CRITICAL REVIEW Imagine you are a theatre critic for the local paper or blog and have been assigned to write a review of The Purists. Introduce the play (when/where/who are the artists) and discuss the details of the production (acting, direction, lights, sound, costumes, etc) and whether or not you feel they effectively conveyed the story. Be sure to recommend to your readers as to whether this is a production worth seeing! Don’t forget to send the Huntington a copy!

Consider:

Create a table below inspired by the debates between characters in The Purists. You do not need to stick to the topics presented in this play but identify other tough categories to narrow. Examples below!

1.

Do you like to read reviews of films and books before you see or read them? Do you value the opinion of others when making decisions about what media to consume?

Topic/Issue Topic/Issue Topic/Issue Which would Item 1 Item 2 Item 3 you give up or consider least important in today’s culture?

2.

Who do you think is best equipped to write a critical review of a piece of theatre? What experience and knowledge should critics have about the art form they are writing about?

Taylor Swift

Jonas Brothers

Game of Thrones Stranger Things

Ed Sheeran The Walking Dead

Celtics Patriots Red Sox

SUGGESTED READING •

Everything You Need to Know about Cultural Appropriation.

Crayton, Lisa A. Rosen Young Adult, 2018.

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Still Alice. Genova, Lisa. Gallery Books, 2009.

Continue the table to allow for as many topics as possible.

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Musical Theatre: A History. Kenrick, John. Methuen Drama; 2 edition, 2017.

POETRY/RAP BATTLE

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Val and Nancy are both talented artists and while Val has more of foothold in the hip hop community, Nancy is confidently forging her own path. Determining a winner in their rap battle in The Purists is a difficult choice!

Not Straight, Not White; Black Gay Men from the March on Washington to the AIDS Crisis. Mumford, Kevin.

The University of North Carolina Press, 2019.

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The Life of Langston Hughes: volume 1: 1902-1941: I, Too, Sing America. Rampersad, Arnold.

Oxford University Press, 1986.

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Happy Little Accidents: The Wit & Wisdom of Bob Ross.

Ross, Bob. Running Press Adult, 2017.

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The Rap Year Book: The Most Important Rap Song From Every Year Since 1979, Discussed, Debated and Deconstructed. Serrano, Shea. Abrams Image, 2015.

Texting Netflix Snap Chat

Complete this activity with a partner: 1.

Start with improvisation. Choose a topic on which to create rhymes and challenge each person to try making up lines without advance preparation.

2.

Get writing! If rapping is not an art form you are familiar or comfortable with, try writing some poetry. Choose a topic and then Partner A should write an opening line about it. Partner B should read it and then write a response. Repeat for several lines until the piece feels complete.

3.

Perform the “battle” in front of your classmates. Then take a vote.

Who do your peers choose as the winner?

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QUOTABLE MOMENTS Choose one of the following quotes from The Purists. Write an essay analyzing the quote’s meaning. Consider the following: 1.

Who said the line?

2. Does the character mean it literally or is there unspoken subtext?

3. What does this statement reveal about the character’s view of the world?

4. How do the character’s actions support or contradict the quote?

5. How does the quote contribute to the forward progression of the scene and of the plot as a whole?

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“I say whatever I want to whoever I want, okay? No one intimidates me.”

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“Poor black people, you have a genuine dislike in your heart for poor black people. Just admit it, yo, there are a lot racist[s] … who feel like you feel, you ain’t alone.”

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“If anything I don’t respect rich black people. I don’t respect rich people period. When I was millionaire I did everything I could to lose all my money.”

• •

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“But this just the world we live in. A world where Eminem is a genius. Lemme tell you, Eminem is nice, okay? He got talent. I can name 50 – yes 50! - other rappers that are just as good if not better.

But as soon as Eminem dropped his first album he on the cover of Rolling Stone Magazine...”

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“[They] don’t care about talent, they care about getting money … and getting money does not equal talent. So believe me there’s gonna be a lotta people that are richer than you, that are more successful...”

“God, I couldn’t wait for my mother to die. I could not wait. Then of course I felt all the guilt for feeling that way.”

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“What you do in your personal life is your own god damn business and don’t need to be broadcast on the radio...”

“I’m just saying, if you write that shit, it’s prolly gonna be a big hit cause it sounds genius, and you gonna be a famous Broadway writer or whatever, and you know, with fame comes...what’s the word I’m looking – scrutiny. Trust me, you. With fame comes scrutiny.”

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“I can’t keep this secret anymore, man. I feel like I been in a cage, man, and I...don’t know...I gotta live my truth, dawg..”

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“I’m trying to preserve what’s pure. Your whole life, everything you’ve represent, everything you stand for everything I stand for …”

“That’s what used to happen in the old days, artists would influence each other while still maintaining what the art form was meant to be. Instead of, you know...just bringing in some electric guitars and playing loudly.”

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“What if my whole life has been a lie though?”

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“Man...just do what you gotta do. Go on the air. Say what you gotta say … And be grateful your mom won’t be able to understand it.”

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“You already are god, my brother. You are the original man; the Asiatic Black man; the Maker, the Owner, the Cream of the planet Earth – Father of Civilization, God of the Universe. That’s you. Can’t nobody change that.”

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“We believe 85 percent of the population are deaf, dumb and blind.

That they lack Knowledge of Self. 10 percent of the population have this knowledge but hide it from the rest. That leaves 5 percent.

The poor righteous teachers who try and liberate the mind of the 85 percent.”

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“I love rap so so so so so so so so much. But it’s just hard to justify some of it? You know?”

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“So, you don’t hate white people, you don’t think that the white man is the devil?”

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“I don’t see hip hop as some multi cultural diverse melting pot. I see hip hop as a black genre. But that’s just me.”

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“I think fear is a good thing.”

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“Half the rappers these days...they don’t actually live what they talking about.”

“The white man of mind, the white mind, the one that goes against nature, the one that murders and rapes and steals, the unrighteous mind, is the devil. And that can be within all different skin colors of people.”

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NOTES

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4 BO HU ST N T I O NG N , M TO A NA 02 V 11 EN 546 UE 06

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2019-2020 STUDENT MATINEES THE PURISTS — SEPT. 27 ROSENCRANTZ & GUILDENSTERN ARE DEAD — OCT. 3 QUIXOTE NUEVO — NOV. 22 SWEAT — FEB. 14 OUR DAUGHTERS, LIKE PILLARS — APR. 16 THE BLUEST EYE — MAY 7 20

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