POST-SHOW
DISCUSSION QUESTIONS
AND ACTIVITIES
WITH ALIGHNMENTS TO THE COMMON CORE CURRUICULUM STANDARDS
Created by McCarter Theatre Education and Engagement. 2015.
POST-SHOW MATERIALS
ALIGNMENT TO THE COM
COMMON
MON CORE CURRICULUM AND CORE CURRICULUM
CONTENT STANDARDS
Our production of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery and the activities outlined in this
guide are designed to enrich your students’ post-show educational experience by addressing many Reading,
Writing, and Speaking and Listening Common Core anchor standards as well as specific New Jersey Core
Curriculum Content Standards for Visual and Performing Arts. (Click on the titles below to be linked to the
activities.)
BASKERVILLE BACK TO SCHOOL BUS BABBLE.
On bus:
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media and
formats, including visually, quantitatively, and orally.
For homework:
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.6. Use technology, including the Internet, to produce and publish writing and
to interact and collaborate with others.
National Core Arts Standards
Anchor Standard #7. Perceive and analyze artistic work.
Anchor Standard #8. Interpret intent and meaning in artistic work.
Anchor Standard #10. Synthesize and relate knowledge and personal experiences to make art.
BASKERVILLE : PERFORMANCE REFLECTION AND DISCUSSION.
Writing:
CCSS.ELA-LITERACY.CCRA.W.1. Write arguments to support claims in an analysis of substantive topics or
texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.2. Write informative/explanatory texts to examine and convey complex ideas
and information clearly and accurately through the effective selection, organization, and analysis of content.
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9. Draw evidence from literary or informational texts to support analysis,
reflection, and research.
Discussion:
CCSS.ELA-LITERACY.CCRA.W.1. Write arguments to support claims in an analysis of substantive topics or
texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.2. Write informative/explanatory texts to examine and convey complex ideas
and information clearly and accurately through the effective selection, organization, and analysis of content.
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9. Draw evidence from literary or informational texts to support analysis,
reflection, and research.
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Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
BASKERVILLE : PERFORMANCE REFLECTION AND DISCUSSION (CONT.).
National Core Arts Standards
Anchor Standard #7. Perceive and analyze artistic work.
Anchor Standard #8. Interpret intent and meaning in artistic work.
Anchor Standard #9. Apply criteria to evaluate artistic work.
Anchor Standard #11. Relate artistic ideas and works with societal, cultural and historical context to deepen
understanding.
ADDITIONAL POST-SHOW QUESTIONS AND DISCUSSION POINTS FOR BASKERVILLE.
CCSS.ELA-Literacy.CCRA.SL.1. Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.
CCSS.ELA-Literacy.CCRA.SL.2. Integrate and evaluate information presented in diverse media and formats,
including visually, quantitatively, and orally.
CCSS.ELA-Literacy.CCRA.SL.3. Evaluate a speaker's point of view, reasoning, and use of evidence and
rhetoric.
CCSS.ELA-Literacy.CCRA.SL.4. Present information, findings, and supporting evidence such that listeners
can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and
audience.
MISSING IN ACTION: TABLEAU WORK IN BASKERVILLE.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of conversations
and collaborations with diverse partners, building on others' ideas and expressing their own clearly and
persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media and
formats, including visually, quantitatively, and orally.
CCSS.ELA-LITERACY.CCRA.SL.3. Evaluate a speaker's point of view, reasoning, and use of evidence
and rhetoric.
National Core Arts Standards
Anchor
Anchor
Anchor
Anchor
Anchor
Standard
Standard
Standard
Standard
Standard
#1. Generate and conceptualize artistic ideas and work.
#2. Organize and develop artistic ideas and work.
#6. Convey meaning through the presentation of artistic work.
#7. Perceive and analyze artistic work.
#8. Interpret intent and meaning in artistic work.
THE SHOW MUST GO ON: THE SEQUEL TO BASKERVILLE.
CCSS.ELA-LITERACY.CCRA.W.3. Write narratives to develop real or imagined experiences or events
using effective technique, well-chosen details and well-structured event sequences.
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of conversations
and collaborations with diverse partners, building on others' ideas and expressing their own clearly and
persuasively.
3
Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
THE SHOW MUST GO ON: THE SEQUEL TO BASKERVILLE (CONT.).
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media and
formats, including visually, quantitatively, and orally.
CCSS.ELA-LITERACY.CCRA.SL.4. Present information, findings, and supporting evidence such that
listeners can follow the line of reasoning and the organization, development, and style are appropriate to task,
purpose, and audience.
BASKERVILLE : WRITING THE REVIEW.
CCSS.ELA-LITERACY.CCRA.W.1. Write arguments to support claims in an analysis of substantive topics or
texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9. Draw evidence from literary or informational texts to support analysis,
reflection, and research.
CCSS.ELA-LITERACY.CCRA.W.10. Write routinely over extended time frames (time for research, reflection,
and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and
audiences.
National Core Arts Standards
Anchor Standard #7. Perceive and analyze artistic work.
Anchor Standard #8. Interpret intent and meaning in artistic work.
Anchor Standard #9. Apply criteria to evaluate artistic work.
REVIEWING THE REVIEWS.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of conversations and
collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media and
formats, including visually, quantitatively, and orally.
National Core Arts Standards
Anchor Standard #7. Perceive and analyze artistic work.
Anchor Standard #8. Interpret intent and meaning in artistic work.
Anchor Standard #9. Apply criteria to evaluate artistic work.
4
Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
POST-SHOW DISCUSSION QUESTIONS AND ACTIVITIES
Use the following questions and activities as a means for students to evaluate their experience of the
performance of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery as well as to encourage their own
imaginative and artistic response. Consider also that some of the pre-show activities might enhance your
students’ appreciation of both the play and its playwright post-performance.
BASKERVILLE BACK TO SCHOOL BUS BABBLE.
On the bus returning from the theatre, have the students write down 5 words to describe
the feelings and thoughts they have about the production they just saw.
For homework, ask students to elaborate on two of their chosen words either as a
journaling assignment, a school-based online forum, or via social media, using
#Baskerville and @mccarter.
BASKERVILLE : PERFORMANCE REFLECTION AND DISCUSSION.
In the next class meeting following their attendance at the performance of Baskerville, ask your students to
consider the questions below. You might choose to have them first reflect on the questions in writing, and then
share their answers orally in either a full-class discussion or small-group breakout sessions.
Questions to Ask Your Students about the Play in Production

What was your overall reaction to Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery? Did
you find the production compelling? Stimulating? Intriguing? Challenging? Memorable?
Confusing? Evocative? Bizarre? Unique? Delightful? Meaningful? Explain your reactions.

What themes of the play especially stood out in production? [Themes might include: Good’s
triumph over evil; the significance of a friendship based on mutual appreciation and respect;
reason’s triumph over superstition; the power of close observation and deductive reasoning;
greed’s corrupting influence; and the nature and varieties of lies/deceit (for good or ill).] What
themes were made even more apparent or especially provocative in production/performance?
Explain your responses.

Is there a moment in the play that specifically resonated with you either intellectually or
emotionally? Which moment was it and why do you think it affected you?

Describe the pace and tempo of the production (e.g., slow, fast, varied). Did it feel like the
pace of the production matched the inherent tempo of the story and/or was suited to the style
of the play? Why or why not?
Questions to Ask Your Students about the Characters
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
Did you personally identify with any of the characters in Baskerville? Who? Why? If no, why
not?

What character did you find most interesting or engaging? Why were you intrigued or attracted
to this particular character?

What qualities were revealed by the actions/objectives, speech, and physicalization of the
characters?

In what ways did the actions of the characters and/or their motivations reveal the themes of
the play? Explain your responses.

Did any characters develop or undergo a transformation or make an emotional journey during
the course of the play? Who? How? Why?
Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
BASKERVILLE : PERFORMANCE REFLECTION AND DISCUSSION (CONT.)
.)..
.Questions to Ask Your Students about the Style and Design of the Production

Was there a moment in Baskerville that was so compelling, intriguing, entertaining, or
engaging that it remains with you in your mind’s eye? Write a vivid description of that moment.
As you write your description, pretend that you are writing about the moment for someone who
was unable to experience the performance.

How did the overall production style and design suit the story, inform the characters, and
reflect the central themes of Baskerville? Explain your response.

How did the style and design elements of the production (e.g., sets, costumes, lighting,
sound, original recorded and live music), unified under the directorial vision of Amanda
Dehnert, enhance the performance? Did anything about Dehnert’s production style and
aesthetics specifically stand out to you? Explain your reactions.

What did you notice about Daniel Ostling’s scenic design? Did it provide an appropriate,
effective, and/or evocative setting for the story of Baskerville? How and why, or why not?
What considerations do you think went into his design choices?

What did you notice about the costumes, designed by Jess Goldstein, worn by the actors?
What do you think were the artistic and practical decisions that went into the conception of
the costumes?

What mood, atmosphere, or impact did Philip Rosenberg’s lighting design establish and/or
achieve? Explain your experience of the lighting of the play.

What did you notice about Joshua Horvath’s and Raymond Nardelli’s sound design? Can
you remember what you heard (and saw!) and describe it in words? How did Horvath’s and
Nardelli’s work serve in creating or enhancing the world of the play?
ADDITIONAL POST-SHOW QUESTIONS AND DISCUSSION POINTS FOR BASKERVILLE.
Contrasting Settings: London v. The Moors
Engage your students in a discussion about Baskerville’s depiction of the play’s two main settings: The city of
London and Dartmoor. Questions for discussion may include:

What terms would you use to describe Dartmoor, home of the hound of the Baskervilles and
Baskerville Hall? What design elements were used to portray the moor in this production and how
were they used?

What were the multiple facets of the moor?

If you were to personify the moor or describe it as a human character, what would that person be
like? Is there a character in the story that most resembles this description? Explain.

What terms would you use to describe this production’s depiction of London? What design
elements were used to portray London in this production and how were they used?

Ask your students to compare and contrast London and the moors. What effect does the contrast of
the two locations have on the plot?
To Lie or Not to Lie?
Oh, can’t you tell when a warning is for your own good?! Start tonight! Get away from this
place at all costs! Shh! Jack is coming. Not a word of what I’ve just – Hahahaha! Would
you mind getting that orchid for me among the moor-tails yonder? And oh, just look at
that rabbit, isn’t he adorable!
- Miss Stapleton, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery
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Created by McCarter Theatre . 2015.
POST-SHOW MATERIALS
ADDITIONAL POST-SHOW QUESTIONS AND DISCUSSION POINTS FOR BASKERVILLE
(CONT.).
Share the above quotation from Baskerville with your students, then lead them in a discussion of their own
personal experience with lying and deceit in context of the play in performance. Questions for discussion may
include:

In the above quote, Miss Stapleton wants to protect Sir Henry Baskerville while attempting to hide
her brother’s involvement in the murder of Sir Charles. By the end of the book, how does that
change? What incites this change in Miss Stapleton?

Can you recall other moments in Baskerville when characters lie for the benefit of someone else
Aside from Stapleton’s ultimate deception, what other characters lie? What are their motives?
Which lies are excusable? Which are not?

Overall, how truthful are the characters in Holmes world?

Can you recall other moments from other narrative works (books, plays, films) in which a character
lies for the benefit of someone else? Has there been a time you have lied to protect someone?

Is there a difference between dishonesty and lying?

Is lying or dishonesty an innate human trait? Use examples from your own personal experiences.
Sherlock Holmes: The Man and The Myth

How does the Sherlock Holmes in Baskerville (performed by Gregory Wooddell) compare to other
portrayals of Sherlock Holmes? For reference, share with your students select video clips of other
famous Sherlockian actors found here in our Pre-Show Curricular Guide.

What scenes or moments do you think illustrated his character well?

Does the character match your vision of Sherlock Holmes?\

Is Sherlock Holmes a likeable character? Why or why not? Use evidence for the play to support
your answer. What are his vices and virtues?

How would you describe the relationship between Dr. Watson and Sherlock?
MISSING IN ACTION: TABLEAU WORK IN BASKERVILLE.
In adapting one of literature’s most famous novels, playwright Ken Ludwig decided to forego most of the
narration in favor of dialogue, though he did choose to preserve a few passages of narration so that Watson’s
perspective was still a stand-in for the audience. The lesson below is about character perspective and filling in
missing scenes through tableau and improv work.
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
Introduce the concept of perspective with your students. From whose perspective is the story mostly
told?

Divide students into groups of three to five.

Distribute copies of the Baskerville plot synopsis found here to re-familiarize students with the plot.

As a group, have students brainstorm a list of the five most important plot points from the show.

Give the groups two minutes to pick one of the plot points and ask them to devise a tableau of that
moment (a tableau is a frozen picture you make with your body). Everyone in each group must be
involved in creating the tableaux, so encourage your students to get creative (who says a student can’t
be a window in Baskerville Hall or a butterfly)! Share with your students the tips below to making a
successful tableau:

The focus of the picture (where is everyone is looking)

Levels (e.g. low, middle, high)
Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
MISSING IN ACTION: TABLEAU WORK IN BASKERVILLE (CONT.).

Facial expression

Three-dimensionality (foreground, mid-ground, background)

Encourage students to share their tableaux with the rest of the class. It may be fun to see if other
groups are able to pick out which moment of the show is being depicted.

After the sharing, ask individual groups to reconnect and charge them with brainstorming moments
from the overall story that we as the audience did not see (e.g. Stapleton threatening Miss Stapleton,
Sir Henry’s dinner with the Stapleton’s, Milker and Cartwright searching in dust bins for scraps of The
London Times).

Again challenge students to create tableaux based on their undepicted plot points.

Share the tableaux. If your students feel comfortable to go a step or two beyond a creating a tableau,
encourage an audience member to tap one of the frozen actors on the shoulder and ask what he/she is
thinking and feeling in this moment. You may even encourage students to do an improv of the scene!
Follow up this sharing with a whole-class discussion. Questions might include:

What did your tableau depict?

What choices could have clarified the tableau and its story?

If this scene was included in the production, would you have felt differently about a character(s)?
Why?

How do you think the inclusion of any of these “scenes” would have changed the play?
THE SHOW MUST GO ON: THE SEQUEL TO BASKERVILLE.
Ask your students to recall the cliffhanger in the final moments of Baskerville. Have them consider what might
happen next if they were to continue the play where Ken Ludwig left off! How would Act Three, Scene One of
Baskerville begin? Or maybe Act One, Scene One of an entirely new Sherlock Holmes sequel? As a free write
or creative writing exercise, ask your students to write their version of the next scene in our story.

8
Before they put pencil to paper or hand to keyboard, have students brainstorm the following:

Where does this scene take place?

How much time has passed since the previous scene?

Which characters does the scene reunite?

What might the characters want in the immediate moment for themselves or from the others? What
obstacles exist?

Is there anything present in the scene with the characters? Any significant object(s)?

What are the facts of the case so far?

For reference, you may want to share with your students the title of the opera, Falstaff, and imagine the
name of the victim, the actor playing the title character, Falstaff.

With all this in mind, encourage your students to begin their scenes. Ask them to format their scene
with dialogue and stage directions. Students can also choose to write their scene as a narrative from
the perspective of Dr. John Watson.
Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
THE SHOW MUST GO ON: THE SEQUEL TO BASKERVILLE (CONT.).

Once completed these scenes can be shared as simple readings or they can be put up on their feet,
rehearsed, and performed as script in hand presentations.

After all scenes are read or presented, ask the class to consider share what scenes or dramatic content
stood out most to them and why.

After all scenes are read or presented, ask the class to consider share what scenes or dramatic content
stood out most to them and why. If a student chooses to write a sequel, encourage them to title their
piece!
BASKERVILLE : WRITING THE REVIEW.
Have your students take on the role of theater critic by writing a review of the McCarter Theatre/Arena Stage
co-production of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery. A theater critic or reviewer is
essentially a “professional audience member,” whose job is to provide reportage of a play’s production and
performance through active and descriptive language for a target audience of readers (e.g., their peers, their
community, or those interested in the arts). Critics/reviewers analyze the theatrical event to provide a clearer
understanding of the artistic ambitions and intentions of a play and its production; reviewers often ask
themselves, “What is the playwright and this production attempting to do?” Finally, the critic offers personal
judgment as to whether the artistic intentions of a production were achieved, effective and worthwhile. Things
to consider before writing:

Student reviewers may want to use words generated from the “Initial Reactions” exercise.

Theater critics/reviewers always back up their opinions with reasons, evidence and details.

The elements of production that can be discussed in a theatrical review are the play text or script (and
its themes, plot, characters, etc.), scenic elements, costumes, lighting, sound, music, acting and
direction (i.e., how all of these elements are put together). [See Theater Reviewer’s Checklist.]

Educators may want to provide their students with sample theater reviews—of productions other than
Baskerville—from a variety of newspapers.

Encourage your students to submit their reviews to the school newspaper for publication. And ask
them to email them to us at [email protected].
REVIEWING THE REVIEWS.
Have your students research online for theatrical reviews of Baskerville performances at both Washington
DC’s Arena Stage and McCarter. Once a number of reviews have been culled from online, break students
up in to pairs and ask them to analyze and critique the review both for their critical perspective and for
their quality of writing.
In addition to asking students to consider whether they agree or disagree with the reviewers opinions, ask
them to consider:
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
Did the reviewer use active and descriptive language? What words or phrases
particularly stood out in the review?

Did the reviewer consider/discuss all of the elements of production (i.e., scenic elements,
costumes, lighting, sound, music, acting and direction)? If the reviewer didn’t, why do
you think they decided not to critique that aspect of the production?
Created by McCarter Theatre. 2015.
POST-SHOW MATERIALS
REVIEWING THE REVIEWS (CONT.).

Did the reviewer seem to understand and articulate the artistic ambitions and intentions
of the play in production and provide a personal judgment as to whether or not the
production succeeded, was effective, and/or worthwhile?

Do the nature and content of the reviews and the reviewers’ responses to the play in
performance differ between the South African and American venues? If so, in what ways
to they differ and what might be the reasons for the difference?
Then discuss the reviews as a class and ask teams to offer up examples of both effective and not so
effective review writing.
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Created by McCarter Theatre. 2015.