what lies at the top of the beanstalk for brave jack?! · welcome to actors’ playhouse theatre...

Welcome to Actors’ Playhouse Theatre for Young Audiences. We hope that you enjoy the show and that attendance at live theatre will become a regular part of your entertainment activities.

We have prepared this Student Enrichment Guide to help in your understanding and appreciation of the show. We encourage teachers to make full use of this guide and to download, or print as many copies for your students as you wish. If you have further questions about this, or any future productions at Actors’ Playhouse, please do not hesitate to call us at 305-444-9293 X606.

CONTENTSHistory of the Show..................................p. 2-3Author, Composer & Lyricist Bios...........p. 4Joseph Jacobs............................................p. 5-6Audience Wanted..........................................p. 7Typical Field Trip Day...................................p. 8Poetry Corner & Prop Search....................p. 9Puzzles & Mazes....................................p. 10-12Further Reading...........................................p.13Individual & Group Projects.....................p.14Sunshine Standard Activities............p.15-16

WHAT?Jack and the Beanstalk

WHEN?January 28th - March 27th, 2010

WHERE?Actors’ Playhouse at the

Miracle Theatre

Actors’ Playhouse at the Miracle Theatre

280 Miracle MileCoral Gables, Fl. 33134

www.actorsplayhouse.org 305-444-9293

With support of the City of Coral Gables

What lies at the top of the Beanstalk for brave Jack?!

A S y n o p s i s o f t h e S h o w

Jack is outside just finishing his chores. He has just milked his cow, Betsy, as his mother calls for him. Jack and his mother are both joyful and happy. They sing and dance as they go about their daily tasks. Then, the Baron enters. He assumes that since Jack and his mother are so happy they must have the tax money they owe him for living on his property. Jack’s father disappeared ten years ago, though his mother insists that he is not dead. The Baron has offered to marry her but she has refused. He offers once again, and again she refuses. He tells them that if they do not have his money by the next day he will have them arrested and sent to jail. They try and figure out what to do in order to get out of this predicament. They have nothing of value to sell except for their cow, Betsy. Jack does not wish to part with her, but his mother insists. The Baron, who has the power of darkness on his side, has been watching from a distance. He does not wish for them to solve their problem so easily. He isgoing to disguise himself and get Jack to trade his cow for some magic beans.

The Baron, disguised as an old peddler, approaches Jack with his magic beans. He explains that if you plant and water the beans, there will be a beanstalk stretching all the way up to the sky when you wake up in the morn-ing. He tells Jack that there is a kingdom of treasure and fortune up there waiting for him. He speaks of a castle where there is a hen that lays golden eggs. If Jack can bring back this hen, he will have enough gold to make him richer than any king. Jack is hooked and trades Betsy for the beans. Jack runs off to tell his mother and the Baron throws off his disguise. He will come back and steal the hen that lays golden eggs and have Jack and his mother thrown into jail! Jack’s mother is furious with him. She is sure that they will end up in prison now. When Jack and his mother wake in the morning, a giant beanstalk has grown where Jack had planted the beans. Jack is going to climb the beanstalk but his mother pleads with him not to go. She is scared that she may never see him again, just like his father. However, Jack arrives at the top of the beanstalk. Everything around him is huge. Some natives greet him at the top and warn him that he is now in the land of the Giant and must go for he is in danger. Jack insists that he must find the hen. The Giant comes out of the castle and smells a stranger. He hunts around and finds Jack. Jack tells him why he is there, which angers the giant.

The Giant has brought Jack into his laboratory. He straps Jack to his experimental chair and is keeping him as a prisoner. The Giant is a great scientific inventor. People are scared of him for his size but he says he is gentle. He injects Jack with his Giant Truth Serum. Jack tells his story about being poor, the Baron, the peddler, the magic beans and needing the golden eggs. He is under the truth serum, so his story must be true. The Giant has heard this story before from others he has captured. He feels bad for Jack and sends his housekeeper to get them some food. He also calls for the golden harp, another invention of his. This harp plays all by itself. He then has the goose brought in. Every day the goose lays two-dozen 14-carat eggs. She also talks and sings. Jack marvels at all of the Giant’s inventions. The Giant tells him that once you get caught, you must stay forever. He will not harm him; he will just have to work. Jack will be one of the Giant’s assistants. His last assistant showed up ten years ago, was injected with the Forget Who You Are Formula and has been working here ever since. The assistant whispers to Jack to pretend that he takes the formula and when the Giant goes to sleep the two of them will escape together. For ten years the assistant has wondered about whom he is and where he came from. If he helps Jack escape, Jack can help him find his identity. But, if anyone touches the goose, she honks which makes the harp play which awakes the housekeeper. The Giant is sure his fortunes are safe. When he goes to sleep, the assistant and Jack get up and begin to make their way out. Jack accidentally bumps into the goose, setting off the whole string of alarms. When the housekeeper comes investigating, Jack and the assistant hide and make wind noises fooling the housekeeper into thinking it was just the wind that awoke the goose. When all is quiet, they try to escape again. This time, Jack insists that he needs just one golden egg. He grabs one setting the whole alarm off again. He and the assistant make a run for it as the housekeeper wakes the Giant.

Actors’ Playhouse Student Enrichment Guide P 2

(Synopsis Continued)

Down on the farm, Jack’s mother comes running out of the house, chased by the Baron. He is going to throw her in prison since Jack has not returned yet. She argues, so he puts her under a spell and plans to take her for his wife. Just then, Jack and the assistant come running in. When they go to his mother’s side, the Baron casts a spell on them. He takes the egg from Jack. Above, he hears the Giant climbing down the beanstalk, and he has the goose with him. Now, the Baron must get this goose. He finds an axe and chops down the beanstalk, and the goose falls. As he does, the Giant runs in and grabs him. He injects the Baron with a formula and he passes out for a moment. Then he sprays Jack, his mother and the assistant with his Wake Up Formula. His mother looks at the assistant and realizes it is her husband. The assistant suddenly remembers, and the whole family is reunited. The Baron played the same trick on both Jack and his father. When the Giant hears that the Baron is evil, he decides to inject him with his Sweetness and Light Formula. The Baron wakes and is now an angel. The only problem now is that the Giant cannot go home, his beanstalk has been cut down. The Baron invites him to come live with him in his castle along with the housekeeper, the harp and most important, the goose.


JIM EILER Mr. Eiler began his career in the National Company of “Gentlemen Prefer Blondes,” then played Omar Khayyam in the National Company of “Kismet.” He has appeared in many major stock productions, playing comedy leads in “The Merry Widow,” “Peter Pan,” “Oklahoma” and as Og, the leprechaun, in “Finian’s Rainbow.” At the Fort Bragg Playhouse he staged the musical routines and performed in a “A Funny Thing Happened On The Way To The Forum,” starring Imogene Coca and the late King Donovan. In 1985 he played Lord Brockhurst in “The Boy Friend,” at the Royal Palm Dinner Theatre in Boca Raton, Florida. Then in 1987 he played the Viceroy (Cyril Richard’s role at the Met) in Offenbach’s “La Perichole” in the Berkshire Opera Company production. He is the Founder of the award winning Prince Street Players, for which he wrote, pro-duced, and directed a series of eleven children’s musicals, four of which were CBS-TV Specials for which the players won a Special Emmy Award. Mr. Eiler has also written and staged a new adaptation of John Gay’s “The Beggar’s Opera,” which was produced by the Michigan Opera Theatre in Detroit, as well as a children’s musical biography, “Let’s Play Bach.” Although retired Mr. Eiler is still available to consult with producers and directors who are mounting any of the Prince Street Shows leased from MTI.

Email him at the following address: [email protected] or [email protected]

Ms. Bargy’s career spanned several decades. Jeanne left us several years ago, but she is fondly remembered as a performer, composer, coach and accompanist – with her own TV Show “Blues By Bargy” which ran for two years on CBS, as a composer of the off-broadway musical hit “Greenwich Village U.S.A”., as an arranger and coach for a multitude of actors and singers, and as Co-composer and Musical Director for the Prince Street Players, Ltd.

Biography of Author, Composer &Lyricist Jim Eiler


Biography of Composer Jeanne Bargy

Joseph Jacobs: A Brief biographyMr. Jacobs is credited with compiling the original version of Jack and the Beanstalk that this prodution is based upon.

Jacobs was born in Australia, sixth surviving son of John Jacobs, a publican who had emi-grated from London c.1837, and his wife Sarah, née Myers.[1] Jacobs was educated at Sydney Grammar School and at the University of Sydney, where he won a scholarship for classics, mathematics and chemistry. He did not complete his studies in Sydney, but left for England at the age of 18 and entered St John’s College, Cambridge.[2] He graduated B.A. in 1876, and in 1877 studied at the University of Berlin. He was secretary of the Society of Hebrew Literature from 1878 to 1884, and in 1882 came into prominence as the writer of a series of articles in The Times on the persecution of Jews in Russia. This led to the formation of the mansion house fund and committee, of which Jacobs was secretary from 1882 to 1900. During these years he gave much time to anthropological studies in connection with the Jewish race, and became an authority on the question.

In 1888 he prepared with Lucien Wolf Bibliotheca Anglo-Judaica: A Bibliographical Guide to Anglo-Jewish History, and in 1890 he edited English Fairy Tales, the first of his long series of books of fairy tales published during the next 10 years. He wrote many literary articles for the Athenaeum, a collection of which, George Eliot, Matthew Arnold, Browning, Newman, Essays and Reviews from the Athenaeum was published in 1891. In the same year appeared his Studies in Jewish Statistics, in 1892, Tennyson and “In Memoriam”, and in 1893 his important book on The Jews of Angevin England. In 1894 were published his Studies in Biblical archae-ology, and An Inquiry into the Sources of the History of the Jews in Spain, in connection with which he was made a corresponding member of the Royal Academy of History of Madrid. His As Others Saw Him, a historical novel dealing with the life of Christ, was published anony-mously in 1895, and in the following year his Jewish Ideals and other Essays came out. In this year he was invited to the United States of America to give a course of lectures on the “Philosophy of Jewish History”. The Story of Geographical Discovery was published towards the end of 1898 and ran into several editions. He had been compiling and editing the Jewish Year Book since 1896, and was president of the Jewish Historical Society of England in 1898-9. In 1900 he accepted an invitation to become revising editor of the Jewish Encyclopaedia which was then being prepared at New York.

From 1899-1900 he edited the journal Folklore, and from 1890 to 1912 he edited five collec-tions of fairy tales: English Fairy Tales, More English Fairy Tales, Celtic Fairy Tales, More Celtic Fairy Tales, and European Folk and Fairy Tales, which were published with distin-guished illustrations by John Dickson Batten. He was inspired in this by the Brothers Grimm and the romantic nationalism common in folklorists of his age; he wished English children to have access to English fairy tales, whereas they were chiefly reading French and German tales[3]; in his own words, “What Perrault began, the Grimms completed.”


(Joseph Jacobs continued.)

Although he collected many tales under the name of fairy tales, many of them are unusual sorts of tales. Binnorie and Tamlane are prose versions of ballads, The Old Woman and Her Pig is a nursery rhyme, Henny-Penny is a fable, and The Buried Moon has mythic overtones to an extent unusual in fairy tales. According to his own analysis of English Fairy Tales, “Of the eighty-seven tales contained in my two volumes, thirty-eight are Märchen proper, ten sagas or legends, nineteen drolls, four cumulative stories, six beast tales, and ten nonsense stories.”

Jacobs settled permanently in the United States. He wrote many articles for the Jewish Encyclopaedia, and was generally responsible for the style of the whole publication. It was completed in 1906, and he then became registrar and professor of English at the Jewish Theological Seminary of America at New York. In 1908 he was appointed a member of the board of seven, which made a new English translation of the Bible for the Jewish Publication Society of America. In 1913 he resigned his positions at the seminary to become editor of the American Hebrew. He died on 30 January 1916. He married Georgina Horne and fathered two sons and a daughter. In 1920, Book I of his Jewish Contributions to Civilization, which was practically finished at the time of his death, was published at Philadelphia.

In addition to the books already mentioned, Jacobs edited The Fables of Aesop as First Printed by Caxton (1889), Painter’s Palace of Pleasure (1890), Baltaser Gracian’s Art of Worldly Wisdom (1892), Howell’s Letters (1892), Barlaam and Josaphat (1896), The Thousand and One Nights (6 vols, 1896), and others. Jacobs was also a contributor to the Encyclopaedia Britannica, and James Hastings’ Encyclopaedia of Religion and Ethics.


Want AdsAUDIENCE MEMBERS WANTED!

The Director has requested that you, the audience, play the following important part in the show!

1) Respect the actors and other audience members by listening quietly during the performance.

2) Laugh (like crazy) when something funny happens--it's okay to respond to the show!

3) Show your appreciation to the actors and crew by applauding at the end of songs, scenes and espe-cially at the end of the show, they will appreciate it.

4) Remember any questions you might have during the show so you can ask the actors and the director at the end of the play.

5) Stay in your seat until the play is over and the actors have taken their bows. Then, wait for your teachers to tell you where to go.

6) Food, drinks and candy are for the intermission or for after the show. We don't allow eating or drinking in the theatre, only in the lobby.

7) Now that you know your part, ENJOY THE SHOW!

Thanks,

Earl Maulding, Director

P.S. The classroom is a great place to rehearse all of the above.


YourvisittoActors’Playhouse!

1. Prior to the performance date, teachers can go to our website; www.actorsplayhouse .org and print an Enrichment Guide which contains Show Synopsis. Author & Composer biographies. Theatre Etiquette Guide. Puzzles and Games Reading List. Questions & Ideas for Pre & Post Activities.

2. Students enter the beautifully restored Miracle Theatre at 280 Miracle Mile.

3. They are escorted to their seats and each child receives a program with a cast list and actor photos to help them identify the performers while they listen to pre-show music.

4. In a funny and zany Good Theatre Etiquette speech, Earl Maulding, Director of Theatre for Young Audiences, reminds the audience to respect the actors by sitting quietly, laughing, and applauding at the appropriate times.

5. Students view a fully staged professional production of a musical directed, written and designed specifically with young audience members in mind.

6. The actors and director introduce themselves after the show and a lively question & answer session ensues where the students can ask any questions at all that they might have. 7. Students return to school and utilizing the Student Enrichment Guide they further dis-cuss and critique the morning's performance.

TRAVEL SECTIONActors’ Playhouse Student Enrichment Guide P 8

POETRY CORNERFee Fi Fo Fum I smell the blood of an Englishman!

Fum Fo Fi Fee oh where, oh where can he be?Is he over here? Is he over there?

Something tells me he is very near!

Fee Fi Fo Fum I smell the blood of an Englishman!Fum Fo Fi Fee oh where, oh where can that Englishman be?

The Giant sings these lyrics in a song when he is searching for Jack. Write a short song or poem about something you sometimes search for in your life!


Look For These Props

The tools an Actor gets to use on stage to help them tell their character’s story are called PROPS. A PROP is anything an actor carries or uses onstage. During the course of JACK AND THE BEANSTALK

look for these PROPS and try to remember who uses them!

An axe, beans, rope, bucket, sprinkle can, sprayer, glitter, golden egg!

.

Search and Find

Find the following words in the puzzle below and circle them. The words can go up, down, across, diagonally or backwards. Good Luck!

JACK BARON GOOSE HARP BEANSTALK BETSY CLIMB CLOUDS EGG GIANT FARM TRICK COW BEANS GOLDEN TALL FORGET INVENTOR

E N T R I C K C A J

T E G R O F L I T M O D P R A H A N A B C L O U D S T V L E

L O P W T B S E L A I G O O S E N N M N M C G G E T E T R S B A R O N S A O A C

T N A I G Y B R F B

NOTE: For even more fun, time everyone, compete head to head with your best friend or compete in groups and give the definitions of each word as it is found!


Can you get JACK back home?!


ENTER

HOME

CAN YOU HELP JACK FIND THE GOLDEN GOOSE?


ENTER ------->

Other Shows by JIM EILER AladdinAlice In WonderlandCinderellaEmperor’s New ClothesJack And The BeanstalkPinocchioPocketful of Rhymes, ASleeping BeautySnow White Goes WestTreasure IslandWizard Of Oz, The (Prince Street Players’ Version)

Other Shows by JEANNE BARGY

AladdinAlice In WonderlandCinderellaEmperor’s New ClothesJack And The BeanstalkPinocchioPocketful of Rhymes, ASleeping BeautySnow White Goes WestTreasure IslandWizard Of Oz, The (Prince Street Players’ Version)

Please visit the Music Theatre Interntional website for more information on these shows:

http://www.mtishows.com/find_a_show.asp

Read all about it!


1. This show is an adaptation of a previously written story. Divide up into groups of four or five peo-ple, choose an old, familiar story and create your own adaptation. It can be set in olden times, now or in the future. Try to remember the main themes and lessons of the original story and make sure they are still clear. Once you are ready your group can perform it for the rest of class.

2. An exercise to celebrate diversity. Have the students bring in music from their families cultural background. Prepare by asking the students to write their name, a description of their family back-ground and how it is their cultural heritage is celebrated by their family. Place 6-8 chairs in a semi-circle facing the "audience." Play their music, softly, as each student reads or ad-libs what they have written. Costumes may also be worn to enhance the experience. They might also dance to the differ-ent styles of music presented.

3. Using the above idea have each student select another country or culture and also create a char-acter when they read. This will encourage research and imagination. If costumes and props are not available, make them from paper or materials on hand. Repeat presentation to "audience."

4. Compare and contrast the difference between seeing a “live” play and a movie. How are they dif-ferent and how are they the same. In your opinion does one medium do a better job of making the story realistic? Which one is more personal and gets you involved?

5. In a movie the designers can use real houses, boats and trees but in a play we use scenery to represent these things. Using a shoebox and items from around your house create a scenic design for one of your favorite stories. What colors, textures and line help to communicate the emotions and location of the story?

6. How do costumes and props help you to know something about the characters you see on stage? First, pick a character from JACK AND THE BEANSTALK and describe in writing, or draw a picture of their costume. Then explain how the colors and patterns used make you feel and think about a person that would wear that type of clothing. Finally describe and list the props, that’s anything the actor might carry onstage, and describe what clues these things give about the characters.

7. This version of JACK AND THE BEANSTALK uses music to help tell the story. It allows the char-acters to express their inner emotions in a fun entertaining way. Break into groups and write your own song about a story or idea that you think is important. Try writing the words or lyrics first then say them in a certain rhythm. Finally try choosing a melody that will help communicate whether this is a sad, happy, confused or thoughtful song. You can also start with a tune and then write words that fit that rhythm. Perform your masterpiece for your classmates. Remember there is no wrong or bad answer to this project. What your group creates is yours and you should be proud of it!


THINKTHINKTHINK

INDIVIDUAL & GROUP PROJECTS AND ACTIVITIES

Learning Styles

Arts and cultural programs reach students who learn through a wide array of learning styles.

* Visual: The students observing the play will experience silent reflections, emotional processing, concentrations skills, and higher order reasoning during the Actors' Playhouse performance.* Aural: The students will listen to live performances of musical productions providing the students with an opportunity to experience professional theatre.

Career SkillsArts and cultural programs can teach students invaluable career skills and expose them to different career opportunities.

* Career Development: After the performance, actors and the production staff discuss with the students the various career paths in theatre as well as the main concepts in the production.* Problem Solving: Actors' Playhouse productions present conflicts and resolutions and how the students may relate these to practical life issues.

Pre-show Activities

WITHOUT A WORDGr: K-5………Subjects: Language Arts, TheatrePre - Read a story such as JACK AND THE BEANSTALK. Have students perform a scene from the story without words while it is being read aloud by other students or the teacher. Then have students perform the story using improvised dialogue based on the story's plot. Discuss how dialogue and movement can tell a story. (Fl. Standards - LA.C.2[1,2], LA.C.3[1,2], TH.A.3.[1,2])

THE CHANGING PLAYGr: PreK - 5 …….Subject: Theatre, Language ArtsPre - Using a sentence or nursery rhyme, place emphasis on different words to change the meaning. How many different ways can you say: Yes, No, maybe? Read a short poem or story out loud changing your expressions each time. (try softly, creepily, comically etc) Ask the children to react to the story as though they were watching it in a theatre and observe how a performer and an audience change as the style of play transforms from one to the other. TH.D.1.1.3, LA.E.1.1.1, LA.A.2.2.7, LA.E.2.2.1, LA.E.2.2.3

FEELINGSGr: 3-5……Subjects: Language Arts, Foreign Languages, Theater, Health EducationPre- Have students stand in a circle. Each student must say their name, how they are feeling at the time, and then add one ges-ture that describes that feeling. The next person in line must introduce the person before them, state their feeling, do their gesture, and them introduce themselves with a feeling and gesture. Continue around the circle until the last person is reached. That person will have to name and imitate all the members of the circle. (Fl. State Standards: LA.C.1.3, LA.C.2.3, LA.C.3.3, FL.A.1.3, FL.A.2.3, FL.A.3.3, FL.D.1.3, TH.A.3.3, TH.D.1.3, HE.B.3.[3,4], HE.C.2.[3,4])

OVERCOMING OBSTACLESGr: 4-10……..Subjects: Language Arts, Health EducationPre - Have students write a story of a time when they overcame difficulties. Use a guiding question format to elicit details and descrip-tions. (Fl. State Standards - LA.B.1.[2,3,4], LA.B.2.[2,3,4] HE.B.3.[3,4], HE.C.2.[3,4])

MOOD MUSICGr: 4-12 Subjects: Music, Visual ArtPre or Post - Select a musical piece from the program to play for the students. Ask students to close their eyes, listen, and try to feel the music. Use probing questions to provoke students' thinking: e.g., What colors do you see or think of when you hear this? Do you see smooth, flowing lines or erratic, choppy lines? Ask students to create a line drawing while listening to the music. (Remind them to move their drawing arm while feeling the music.) Have students create a final drawing which represents what they see while listening to the chosen musical piece. (Fl. Standards - MU.D.1.[3,4],VA.A.1.[3,4])

SUNSHINE STANDARD RELATED ACTIVITIESActors’ Playhouse Student Enrichment Guide P 15

Post-show Activities

WHO? WHAT? WHERE? WHEN? HOW?Gr: PreK – 5…….. Subject: Language ArtsPost - After watching JACK AND THE BEANSTALK talk or write, draw or act the stories that were performed on stage. Then answer the following questions…- Who were the main characters in the story? What was the problem? Where did the story take place? When in history or in the characte’sr life did the story take place? How did the characters resolve the problem? Now, write the answers to each question on separate slips of paper placing them together in a hat (or caldron). Draw the sentences one at a time and have fun guessing the story it describes. (Fl. Standards - LA.E.1.1.2, LA.B.2.2.1, LA.C.2.2 & 3 - (3-5) LA.E.1.2.(1,2,3 & 4)

THINGS ARE NOT WHAT THEY SEEM!Gr:PreK-8……Subject: TheatreAfter watching JACK AND THE BEANSTALK, gather together five everyday objects, create a short play or scene that includes all five things. Make sure that each scene has a clear beginning, problem and resolution. After students have performed their stories, give each student a found object (something really accessible like a comb or shoe). Tell them they are a sales person and they must sell this item to the class. It does not have to be what it appears. For example a shoe could be a "neat spaghetti bowl"(Fl. Standards - TH.A.1.1.1 - (PreK -2) TH.B.1.3.1 -(6-8) TH.B.1.2.1 - (3-5) TH.B.1.2.1 - (3-5)

TELL THE STORY Gr: PreK-5 …..Subjects: Language ArtsPost - After watching JACK AND THE BEANSTALK have a student stand and deliver a narrative describing all of the story's charac-ters and details. Encourage the class to corroborate this version of the story by communicating their individual memories of the story keeping a list of the common details. Have the students identify the characters that help the lead character when they need them most (Fairy Godmother etc) - ask students to identify the real people that help them when they are in need.(Fl. Standards - LA.E.1.1.1, LA.A.2.2.7, LA.E. 2.1. [1,2] LA.E 2.2.3)

WALK IN MY SHOESGr:K-5………Subjects: Language Arts, TheatrePost - After seeing the musical, have students retell the story (in first person) from a particular character's perspective. Assign different characters to different students. Note as a class how the story differs depending on whose perspective is taken. Have students create a visual to represent their character and write a character biography. (Fl. Standards - LA.B.2.[1,2], LA.C.2[1,2], TH.A.3.[1,2])

ANOTHER ENDINGGr:K-5……..Subjects: Language Arts, TheatrePost - After seeing JACK AND THE BEANSTALK, guide a discussion about the conflicts in each story and their social or personal sig-nificance to today’s society. Then have students form small groups and write a different ending to the story. Have the groups present their "new endings" to the class. (Fl. Standards - LA.B.1.[1,2], LA.B.2.[1,2], LA.C.3.[1,2], TH.B.1.[1,2])

WHAT'S MY NAME?Gr:3-5……..Subjects: Music, Language ArtsPost - Have students independently devise clues or riddles for the various characters from the musical and turn them in to the teach-er. Then play as a TV game show or divide students into teams; read the clues or riddles and have students guess the characters. (Fl. Standards - LA.C.2.2, MU.D.1.2)

SPIRIT DRAWINGGr: 4-12……..Subjects: Visual ArtsPost - Guide class in a discussion about the difficulties that one of the characters faced and how they were able to deal with them. Discuss the character and the quality of their spirit. Then direct students to make a drawing that represents that character’s spirit. (Fl. Standards - VA.B.1.[3,4], LA.C.2.[3,4])

RETELL THE STORYGr:5-9……..Subjects: Music, History, Language ArtsPost - In small groups, have students use the following structure: Somebody…Wanted…But…So… to reconstruct the musical's plot. Students will then create drawings to accompany their reconstruction and will orally share their summaries with the class. (Fl. Standards - LA.C.3.[3,4], LA.C.2.[3,4], MU.D.1.[3,4], VA.A.1[3,4])

Actors’ Playhouse Student Enrichment Times P 16

what lies at the top of the beanstalk for brave jack?! · welcome to actors’ playhouse theatre...

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