Transcription
A FIELD GUIDE FOR TEACHERSStageNOTESTMA tool for using the theateracross the curriculum to meetNational Standards for Education HAIRSPRAY Production OverviewLesson GuidesStudent ActivitiesAt-Home ProjectsReproducibles1
Printed in the United States of AmericaFirst printing, April 2003ISBN: 1-930504-09-8Look for the Original Broadway Cast Recording on Sony ClassicalFor more information on StageNOTES and other theater arts related programs for students,contact:Camp Broadway LLC145 West 45th Street, 7th FloorNew York, NY 10036Telephone: (212) 575-2929Facsimile: (212) 575-3125Email: info@campbroadway.comwww.campbroadway.comA FIELD GUIDE FOR TEACHERSThis publication is based on the work of Hairspray with book by Mark O’Donnell and ThomasMeehan, music by Marc Shaiman and lyrics by Scott Whittman and Marc Shaiman. Thecontent of the Hairspray edition of StageNOTES : A Field Guide for Teachers is fullyprotected under the copyright laws of the United States of America and all other countries withwhich the United States has reciprocal copyright relations. All rights regarding publishing,reprint permissions, public readings, and mechanical or electronic reproduction, including butnot limited to, CD-ROM, information storage and retrieval systems and photocopying, and therights of translation into foreign languages are strictly reserved.StageNOTESTM 2003, Camp Broadway LLCAll rights reservedC A M PB R O A D W A YN E W2Y O R KL L C
Overture to HISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16History to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Overture to LANGUAGE ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22Language Arts to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23Overture to BEHAVIORAL STUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27Behavioral Studies to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28Overture to LIFE SKILLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33Life Skills to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34Overture to THE ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38The Arts to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39Hairspray Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40Using theStageNOTES Table ofUsing the Field Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3Opening Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Producer’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Musical Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Good Morning, Baltimore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8About John Waters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Using the Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10Field GuideCamp Broadway is pleased to bring you the Hairspray editionof StageNOTES , the tenth in our series. We are proud to be affiliated with thisjoyous musical celebrating individuality, tolerance, and the spirit of youth.This guide has been developed as a teaching tool to assist educators in theclassroom who are introducing their students to the story in conjunction withthe Broadway production.By using StageNOTES , you will understand how Hairspray exposes the past(History), expands our visual and verbal vocabulary (Language Arts), illuminatesthe human condition (Behavioral Studies), aids in our own self-exploration (LifeSkills), and encourages creative thinking and expression (The Arts).The Camp Broadway creative team, consisting of theater educators, scholars,researchers, and theater professionals, has developed a series of lesson plansthat, although inspired by and themed around the musical Hairspray, can alsoaccompany class study of the period and other related literary works. Toassist you in preparing your presentation of each lesson, we have included: anobjective; an excerpt from the script of Hairspray; a discussion topic; a writingassignment; and an interactive class activity. A reproducible handout accompanieseach lesson unit, which contains: an essay question; a creative exercise; and an“after hours activity” that encourages students to interact with family, friends, orthe community at large.The curriculum categories offered in the Hairspray study guide have beeninformed by the basic standards of education detailed in Content Knowledge:A Compendium of Standards and Benchmarks for K–12 Education, 2ndEdition, written by John S. Kendall and Robert J. Marzano (1997). Thisdefinitive compilation was published by Mid-Continent Regional EducationLaboratory, Inc. (McREL) and the Association for Supervision and CurricularDevelopment (ASCD) after a systematic collection, review, and analysis ofnoteworthy national and state curricular documents in all subjects.The Hairspray study guide is for you, the educator, in response to your needfor standards-compliant curriculum. We hope this study guide will help youincorporate Hairspray into your classroom activities.Jodi Simon StewartDirector of EducationCamp Broadway45StageNOTES Contents
Producer’s NoteStageNOTES Pres entH A IR S P R A YMusi c ByLyric s ByScott WittmanMarc ShaimanMarc ShaimanMark O’DonnellThomas Meehanupon the New Line Cinema film written and directed by John WatersBook ByBasedStarr ingMarissa Jaret WinokurHarvey FiersteinWAlong with the financing and managementof a production, commissioning producerschoose the creative team: book writer,composer, lyricist, choreographer,designers, and director. The Hairspraywriters began working in the winter of2000. Between that date and December2001 (by which time our complete artisticteam was assembled), we held fourreadings where the actors performed withscripts in hand and sang to theaccompaniment of three musicians. InMay 2002, two months before coming toNew York, the production had a successfulthree-week tryout run in Seattle. On August15th, Hairspray opened on Broadway.My partners and I are thrilled to be part ofan event that brings so much joy toaudiences eight times a week. Along withthe satisfaction of having a hit show, wefeel especially happy that Hairspraycelebrates the uniqueness of a country thatis inclusive and diverse and where oneperson really can make a difference. TracyTurnblad and her friends are determined tomake the world a better place; we hopethat message will be an inspiration to yourstudents as they think about theirexperience at Hairspray and work throughthese study guide materials.Also Starr ingler Linda HartBond Davis Kerry ButnoldyMardyBuns Clarke ThorellBellraLauReyeyCornrisoMorwtheJackie Hoffman MatDanson and Dick LatessaWileniaEugelleJoel VigingWithEric Dysart Adam Flem tinMarse J.P. DoughertyBennett Joshua BergasHollie Howard Katharine Leonard Kamilahoke TansleyoshDennBeanashayna Steele BroEric Anthony Sho Lee Greaves Katy Grenfell John HillTodd Michel Smith ShaGreg Graham Daniellelor Judine Richard Peter Matthew SmithLight ing Desig ned byNayhadCost umes Desig ned byKenneth PosnerAlli Mauzey RasScen ery Desi gned bybyWilliam Ivey LongWigs & Hair Desig nedDavid RockwellCast ing byPaul HuntleytingbyCasnedeySoun d DesigrBernard TelsAsso ciate Chor eogr apheSteve C. KennedyAsso ciate Direc torMichele LynchgerManazeLenStagtMusi c Coor dinat ornMatProd uctioArra ngem ents byJohn MillerFrank LombardibyntionimaDirecMusi cMarc ShaAsso ciate Prod ucer sOrch estra tions byLon HoytePres s Repr esen tativRhoda MayersonHarold WheelerTech nical Supe rviso rRichard KornbergThe Aspen GroupductionmaProSumGene ral Mana geme nthTecDonDaniel C. StatonstionducServices, Inc.Richard Frankel ProenGrerabyLauChor eogr aphyJerry MitchellDirec tion byJack O’Brien, Was hing tonThe atre in Sea ttlewit h the 5th Ave nue , Man agin g Dire cto rY” was pro duc edldonPRASheIRSn“HAilynofMarrec Dire cto r;n.The wor ld pre miePro duc ing Art istio f t h i s p ro d u c t i oDav id Arm stro ng,d fo r i t s s u p p o r tD eve l o p m e n t Fu ni a t i o n t o Th e a t recreppaLrieCAhtSSIssSONY CLAi s h t o ex p reCAST RECORDING ONTh e p ro d u c e r s wORIGINAL BROADWAY— Margo Lion67StageNOTES Routh Frankel Grouptein The Baruch ViertelMargo Lion Adam Eps L. Meyer Rick Steiner/Frederic H. MayersonglasJames D. Stern/Dou & GFO New Line CinemaSELIn Asso ciati on Withllisterent A. Gordon/E. McAnneClear Cha l Entertainm nsky J. & B. OsherD. Harris/M. Swihen I optioned the rights to JohnWaters’ movie Hairspray, I neverimagined what a thrilling journeylay ahead. I did believe that the film wouldmake a successful Broadway musicalbecause of its Cinderella storyline, itslarger-than-life heroine, and, of course, itsmany possibilities for rousing song anddance. But the show that arrived in NewYork in the summer of 2002 exceeded mywildest expectations.
StageNOTES SynopsisHairspray opens in June 1962, as plus-sizedteenager Tracy Turnblad wakes up ready foranother day (“Good Morning, Baltimore”).After school, she and her best friend, PennyPingleton, watch The Corny Collins Show, starring“The Nicest Kids in Town.” While Tracy and Pennysigh over handsome Link Larkin, Tracy’s mother,Edna, slaves away at her ironing board. Penny’smother, Prudy Pingleton, expresses her disapprovalof teenagers dancing to “colored music.” Ednapoints out that it “ain’t colored. The TV’s black andwhite.”In the studio, show producer, Velma Von Tussle,instructs her teen-queen daughter and Link’sgirlfriend, Amber, to hog the camera, while beratingCorny, the host, about including songs with “thatDetroit sound.” She reminds him that they have tosteer the kids “in the white direction.” On air, Cornyannounces auditions for an opening on the show, aswell as the national broadcast of the upcoming “MissTeenage Hairspray 1962” contest.Tracy wants to audition for the show. Edna isskeptical, fearing Tracy’s size will lead to rejection,but her father, Wilbur (owner of the Har-de-Har HutJoke Shop), tells Tracy to follow her dream.While Edna tells Tracy to forget about going tothe audition, Velma and Prudy argue with daughters,Amber and Penny. The girls stubbornly resist theirmothers, declaring “Mama, I’m a Big Girl Now.”Making their own decision, Tracy and Penny raceinto the WZZT studios just as the auditions areending. Tracy sees Link and swoons “I Can Hear theBells.” Velma rejects Tracy, sneering at her weightand lamenting that times certainly have changedsince she was crowned “Miss Baltimore Crabs.”At school, Tracy’s hairdo lands her in detention,where she befriends Seaweed J. Stubbs, the son ofMotormouth Maybelle (the host of once-a-month“Negro Day” on The Corny Collins Show.) At aschool dance, Tracy catches Corny’s eye while doingsteps she learned from Seaweed.The next day, an astonished Edna and Wilbursee Tracy on TV, the newest member of the CornyCollins Council. Link sings the latest hit, “It TakesTwo,” dedicating it to Tracy, now an overnightsensation. After her mother forgives her, Tracy takesEdna out on the town for a fashion makeover(“Welcome to the ’60s”).8During a rough scatter dodgeball game, Amberknocks out her rival, Tracy. To cheer her up, Seaweedinvites Tracy, Link, and Penny (who has animmediate crush on him) to his mother’s record shop(“Run and Tell That”). Motormouth Maybellewelcomes them warmly; Tracy wonders why theycan’t all dance together on the show and plans tolead a protest during “Mother-Daughter Day.” Linkrejects the idea, fearing it will hurt his chance to beon national TV. He leaves a heartbroken Tracy to goback to Amber. Edna is dubious about joining theprotest. She is self-conscious about her weight, butMotormouth persuades her to accept herself — afterall, they’re both “Big, Blonde & Beautiful.” Thedemonstration turns into a riot; the police arrive anddra
scripts in hand and sang to the accompaniment of three musicians. In May 2002, two months before coming to New York, the production had a successful three-week tryout run in Seattle. On August 15th, Hairspray opened on Broadway. My partners and I are thrilled to be part of an event that brings so much joy to audiences eight times a week. Along with the satisfaction of having a hit show, we .File Size: 1MBPage Count: 23
