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Matter and Its
Properties:
The Science of Stuff
A Musical Play for Kids
Script, teacher’s guide, and audio recording
with songs and instrumental accompaniment
Book by Lisa Adams
Lyrics by Lisa Adams and John Heath
Music by Mike Fishell
Illustrations by Cara Burns Design
Bad Wolf Press
Santa Cruz, California
Acknowledgements
Special thanks to the musicians and vocalists who added so much to the
recording! All of the instruments were played by Roy and Mike Fishell. Dana
Shaw sang on songs, 1, 3, 5, 8, and 9; Lisa Henson sang on songs 2, 6, and 7;
and Mike Fishell sang on song 4. Audio mastering by Roy Fishell. Big thanks
to Valerie Steele for making sure everyone sang the right words!
A Word About Copyright and Copying
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• The purchaser is given permission to reproduce ONE or TWO songs for
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Table of Contents
Matter and Its Properties Script 4-28
Teacher’s Guide29-42
Introduction29
Getting Started30-31
Music31-32
Casting33
Costumes34
The Set 35
Staging 36-37
Rehearsals and Assessment38
A Four-Week Timetable39
Emphasis: Making the Words Come Alive
40
Final Performance40-41
A Last Bit of Advice41
Curriculum Concepts and Vocabulary-Building
in Matter and Its Properties42
Ordering Sheet Music and Other Goodies43-44
Song List
1. “The Science of Stuff ”
2. “Times Are Pretty Crazy”
3. “The Properties of Matter”
4. “Solid, Liquid, Gas”
5. “The Particle Dance” 6. “Heat and Cold”
7. “Condensation, Evaporation”
8. “Can the Changes Be Undone?”
9. “The Science of Stuff ” (reprise) Class
pages
Guests, Physicists, Chorus Architects, Chorus
Superfans, Chorus
Dancers, Chorus
The Melting Points, Chorus
Striker, Aria, Chorus
Bakers, Chorus
Class
3
5
8-9
10-11
14-15
17-19
21-22
24-25
27
28
Matter and Its Properties:
The Science of Stuff
Book by Lisa Adams, Lyrics by Lisa Adams and John Heath
Music by Mike Fishell
The duration of the show is about 35 minutes
CHARACTERS:
FLEXIBLE CASTING:
From 11-40 students. Use as many
Superfans, Bakers, Architects,
etc. in each scene as desired. One
student can easily play several roles
if needed, and individual roles can
be doubled up. Note that all roles
can be played by either boys or
girls; see our comments on page 35
of the Teacher’s Guide.
Floor Director
Chad
Nina
Concerned Guests (3)
Physicists (2)
Audience Members (4)
Architects (3)
Bob, Bonnie, and Baby
Superfans (3)
Dancers (3)
Soap Opera Cast (3)
The Melting Points (3)
Striker Baldwin
Aria Marx
Bakers (3)
and a STUDIO AUDIENCE (CHORUS) composed of all actors who are not playing roles on stage at the time.
4
(CLASS enters and sings)
Song 1/10
Well hi, hello, how are you?
And welcome to the show
We just can’t wait to tell you
About the stuff we know.
’Cause we all love to chatter
’Bout the properties of matter
We just can’t get enough
Of the science of stuff.
NOTE: The numbers
above refer to the track
numbers on the audio
recording. The first is the
vocal version of the song;
the second is the karaoke
version.
We love observing liquids
When they evaporate.
Let’s crank the heat up higher
And watch the change of state.
Or what great satisfaction
From a chemical reaction
We’ve all become a buff
Of the science of stuff.
Instrumentation for
SONG 1: Drum kit,
synthesizer, bass synth,
sampler.
We’ll put on this show for you
And we won’t even sweat
But if we do
You can bet
It’ll be the best condensation yet.
Well hi, hello, how are you?
And welcome to the show
We just can’t wait to tell you
About the stuff we know.
’Cause we all love to chatter
’Bout the properties of matter
We just can’t get enough
Of the science of stuff.
(CLASS takes places. Everyone not in a particular scene/
song forms the live studio audience for the program. CHAD
and NINA should be on stage at all times, but positioned in
a way that they do not get in the way of other performers.
FLOOR DIRECTOR should be positioned to make eye
contact with CHAD and NINA. More about staging on page
36 of the Teacher’s Guide.)
5
FLOOR DIRECTOR: And we’re on in… (counts down with
fingers, 5-4-3-2-1, then points at CHAD and NINA to cue them)
(FLOOR DIRECTOR exits.)
CHAD: Hello and welcome to The Morning Mishmash with Chad
and Nina.
NINA: All this week on The Morning Mishmash we’re exploring a
topic near and dear to my heart…the science of stuff.
(CHAD makes a face)
NINA: Chad!! You agreed to stop making that face on the air!
CHAD (sighs): I know. Sorry. But I just want to get back to the
things we usually do, like talking to movie stars and making
brownies with retired racehorses.
NINA: And we will, Chad. But this one week is dedicated to
SCIENCE. And the audience can’t wait to get started, am I right?
(CLASS applauds wildly. You may wish to have someone
hold up an “APPLAUSE” sign during all these instances.)
NINA (to CHAD): See? Just give it a chance, will you?
CHAD: Fine.
NINA: Great. Well, now that we have that over with, let’s get on
with today’s show. We’re going to start by talking about a little thing
called MATTER.
CHAD (cheesily): Matter? Sounds important.
NINA: Oh, it is, Chad. And our first guests today are very
concerned that it’s also DANGEROUS. Let’s welcome them to hear
their story.
(CLASS applauds. CONCERNED GUESTS enter.)
6
GUEST #1: Thank you, it’s great to be here.
CHAD: And it’s great to have you. Tell us why
you’re so worried.
GUEST #2: Well, most people have no idea, but
this stuff called matter? It’s EVERYWHERE.
GUEST #3: Matter’s in our food, in our
drinking water, even in the air we breathe!
CHAD (aghast): Is that true?
GUEST #1: Absolutely, Chad. And we are prepared to do
something about it. That’s why we’re here today getting the word
out.
(CLASS applauds)
NINA: Can we back up just a minute? I’m not sure everyone in our
audience knows what matter even IS. Could you explain it?
GUEST #2: Well..it’s…you know…small particles of…you know…
(looks helplessly at other CONCERNED GUESTS)
GUEST #3: It’s kind of hard to explain.
NINA: Let’s bring on some physicists to help us out.
(CLASS applauds. PHYSICISTS enter.)
PHYSICIST #1: Thank you, Nina.
(to GUESTS)
And thank YOU for bringing up these concerns.
7
PHYSICIST #2: Yes, it’s important that we address scientific
misconceptions before they spread and make people panic.
GUEST #1: We’re good at panicking!
PHYSICIST #2: We know.
GUEST #2: What do you mean, misconceptions?
PHYSICIST #1: Well, you are right that matter IS in everything.
GUEST #3 (to ALL): SEE? Even the scientist says so!
PHYSICIST #2: But matter is not dangerous. It’s simply the “stuff ”
that’s makes up everything in the whole universe.
GUEST #1: Wait…are you saying that all of this matter is NOT
harming us?
PHYSICIST #1: Far from it. It’s making us what we are!
CONCERNED GUESTS:
Song 2/11
Times are pretty crazy
There’s matter everywhere
It’s in the food you eat
It’s in the clothes you wear
Take an evening bath and you’ll find matter on your toe
That sneaky matter follows you no matter where you go.
Times are pretty crazy
There’s matter everywhere
It’s in your uncle’s beard
(Though please try not to stare)
Matter’s in the air you breathe and in the kiss you blew
Don’t look now but there is matter standing next to you!
8
PHYSICISTS:
But it’s OK, it’s OK, it’s OK you know
Everything is made of matter
Matter’s in everything
Can’t get enough
Of that physical stuff
That gives the world its zing.
Instrumentation
for SONG 2:
Banjo, mandolin,
acoustic guitar, tuba,
harmonica, siren
whistle, 2 flutes, bass
drum, knee slaps,
tambourine, organ.
Times are not that crazy
Matter’s just the same
It’s always been around
The world’s claim to fame.
The universe is made of it; thank goodness this is true
Without it there would be no me and there would be no you!
Yeah it’s OK, it’s OK, it’s OK you know
GUESTS, PHYSICISTS, and CLASS:
Everything is made of matter
Matter’s in everything
Can’t get enough
Of that physical stuff
That gives the world its zing.
Yeah it’s OK, it’s OK, it’s OK you know
Yeah it’s OK, it’s OK, it’s OK you know!
(GUESTS and PHYSICISTS exit.)
CHAD: Phew! Well that’s good news. I
was definitely heading into panic mode.
NINA: Let’s take a question from the audience.
(AUDIENCE #1 stands)
AUDIENCE #1: If matter is in everything, why isn’t everything the
same? Are there different kinds of matter or something?
NINA: To explore that excellent question, let’s bring out our next
guests.
9
(CLASS applauds. ARCHITECTS enter.)
ARCHITECT #1: Thanks, Nina. I never thought small-town
architects like us would get to go on a famous talk show!
CHAD: Architects? I thought today’s show was about science?
ARCHITECT #2: It turns out that building houses has a lot to do
with science.
CHAD: Really? Are you sure?
ARCHITECT #3: It came as a surprise to us, too.
NINA: So tell us what happened.
ARCHITECT #1: Well, the crux of the matter—get it, the CRUX
of the MATTER? HA!—is that different kinds of matter have
different properties.
CHAD: I’ve always wanted to have a lot of different properties.
ARCHITECT #2: Actually, Chad, what she means is that matter
comes in different shapes and sizes and has different qualities.
ARCHITECT #3: Some things are soft; some are hard. Some
things are flexible; some are rigid.
ARCHITECT #2: And you have to consider the properties of an
object before you know how to use it.
ARCHITECT #1: We learned this the hard way.
ARCHITECTS:
Bridges made of metal
Buildings made of wood
What a lack of vision
In my neighborhood!
Song 3/12
No one’s trying gumdrops
No one’s using hats
No one’s stacking weasels
To use as roofing slats.
10
So I went to city council and I showed my blueprints there
Complete with liquid sidewalks and highways made of hair
They took a look and praised me for my creativity
And then they rolled my blueprints up and gave them back to me.
Properties of matter
Properties of matter
Help us figure out what an object can do
Properties of matter
Will it bend, absorb or shatter?
Properties will tell us what an object can do.
Now I’ve learned my lesson
Properties are key
Like hardness, strength and texture
And flexibility
Instrumentation for
SONG 3: Drum kit, bass
guitar, four-piece string
section (bass, cello,
viola, violin), electric
guitar, acoustic guitar,
Hammond B3 organ,
four-piece horn section
(tenor saxophone,
trombone, 2 trumpets)
So now I build more wisely
With bricks and boards and dirt.
I save the hats for wearing,
The gumdrops for dessert.
ARCHITECTS and CLASS:
Properties of matter
Properties of matter
Help us figure out what an object can do
Properties of matter
Will it bend, absorb or shatter?
Properties will tell us what an object can do.
Properties will tell us what an object can do.
(ARCHITECTS exit.)
CHAD: Wow. Whoever said “mind over matter” never tried
building a gumdrop house, am I right?
NINA: Words of wisdom, Chad. Now let’s move on to today’s
Power Question: What are the three states of matter?
CHAD: That answer and more…after this word from our sponsor.
11
(BOB, BONNIE, and BABY enter. BABY sits on the ground
playing with toys.)
BONNIE: Are your child’s toys driving you CRAZY?
BOB: All those fancy parts always breaking?
BONNIE: All those awful sirens and songs giving you a headache?
BOB: What you need is to get back to basics.
BONNIE: With Bob & Bonnie’s Building Blocks of the Universe.
(BONNIE holds up one or several small blocks. These can be
actual blocks, or dice, or any other cube-shaped objects. The
important thing is that they should appear to have nothing
on them.)
BOB: “Normal” blocks are covered with DISTRACTING letters
and pictures.
(HE holds up a normal block and gives it to BABY, who can’t
stop looking at all the sides.)
BONNIE: Studies show that “normal” blocks make babies feel bad
about themselves for not being able to read.
(BABY starts to cry.)
BOB: But Bob & Bonnie’s Building Blocks of the Universe are pure
creative fun!
BONNIE: Your baby can build a variety of objects, take them
apart, and build something else.
(SHE gives BABY the plain blocks; BABY
looks overjoyed and starts to build.)
BOB: In the same way that matter has been built
since the beginning of the universe.
12
BONNIE: With the same particles combining to make different
objects.
BOB: Think about it. Doesn’t your child deserve better than some
loud, flashing, fragile toy that destroys his or her self-esteem?
BONNIE: Get back to basics—
BOB: —and we mean BASICS—
BONNIE: —with Bob & Bonnie’s Building Blocks of the Universe!
(BOB, BONNIE, and BABY exit. FLOOR DIRECTOR
enters.)
FLOOR DIRECTOR: And we’re back in… (countdown and cue)
(FLOOR DIRECTOR exits.)
CHAD: Welcome back to The Morning Mishmash with Chad and
Nina. Now let’s see who wants to answer our Power Question.
(AUDIENCE #2 and #3 raise their hands. When called on,
THEY can stand.)
CHAD (calling on AUDIENCE #2): Thanks for playing. Here’s the
question: What are the three states of matter?
AUDIENCE #2 (nervously): Um, um, um…is it Illinois,
Tennessee, and Rhode Island?
NINA: No, I’m sorry, that’s not it.
AUDIENCE #3: How about calm, joyful, and angry?
NINA: I’m afraid not.
CHAD: Anyone else?
(NO ONE volunteers.)
13
SUPERFAN #1 (jumping up): Can we give
it a try?
SUPERFAN #2 (jumping up too): We
know the answer!
CHAD: For those who don’t know, these
Superfans are here for the taping of every
episode, and they know a little about just
about everything.
SUPERFAN #3 (jumping up): Actually we
know a LOT about just about everything.
NINA: Okay, Superfans. If no one else wants to try, the question is
yours to answer. What are the three states of matter?
SUPERFAN #1: Solid!
SUPERFAN #2: Liquid!
SUPERFAN #3: Gas!
SUPERFANS:
Solid, liquid, gas
These are states you can’t bypass
They take up space
And all have mass
Solid, liquid, gas.
Solid, liquid, gas
Yeah these states are all first class
You want a state
You can’t surpass
Solid, liquid, gas.
A solid, well, it’s solid
It likes to keep its shape
You won’t find solids flowing
Or trying to escape.
14
Song 4/13
Instrumentation for
SONG 4: Acoustic
guitar, mandolin, string
bass, finger snaps
A liquid though is tricky
It changes shapes and flows
It fits in its container
No matter where it goes.
Solid, liquid, gas
They’re states you can’t bypass
They take up space
And all have mass
Solid, liquid, gas.
Solid, liquid, gas
Yeah these states are all first class
You want a state
You can’t surpass
Solid, liquid, gas.
A gas is mighty mellow
With no shape of its own
It flows and fills containers
Wherever it is blown.
But gases are free spirits
Their sails are unfurled
Let them out of their container
And they’re off to see the world.
Solid, liquid, gas
They’re states you can’t bypass
They take up space
And all have mass
Solid, liquid, gas.
Solid, liquid, gas
Yeah these states are all first class
You want a state
You can’t surpass
Solid, liquid, gas.
(SUPERFANS sit.)
15
CHAD (brightly): Solid, liquid, gas. Great! Well that’s the end of
that. Let’s get back to celebrity llama gossip…who’s got the season’s
cutest alpaca?
NINA: We’re only halfway through the show, Chad! Aren’t you
dying to get INSIDE all this matter and understand what makes a
solid a solid…a liquid a liquid?
CHAD: And a gas a gas?
NINA: YES! Exactly!
CHAD: Nope. I know everything I need to know. I’ve got a SOLID
reputation, LIQUID assets, and a truly GASSY…uh, personality.
NINA (icily): Indeed.
CHAD: Come on, Nina! I don’t want to talk about stuff that’s too
small to see. I can’t picture it.
NINA (triumphant): Well Chad, our next guests are going to
change all that. I’m thrilled to welcome the Atomic Dancers to the
show.
(CLASS applauds; DANCERS enter.)
CHAD: So tell us where we might have seen you dance. Films,
mostly? Music videos?
DANCER #1: Well, no.
CHAD: Flash mobs? Hey, were you the ones waltzing with the raw
turkeys last Thanksgiving? I loved that video.
DANCER #1: No, I’m afraid that wasn’t us. Our dancing tends to
be a little more…educational.
CHAD (perplexed): More educational than waltzing turkeys?
DANCER #2 (tenderly): You know, Chad, we heard what you said
just now. And we want you to know you’re not alone.
16
CHAD: What do you mean?
DANCER #3: Many people suffer from Particle Visualization
Syndrome.
CHAD: They DO?
DANCER #2: Sure. Rashes, fainting, heart palpitations…just at the
mention of a molecule. It’s all quite common.
DANCER #1: But tragic. And that’s why we formed the Atomic
Dancers.
DANCER #2: We demonstrate microscopic concepts at a size
comfortable for the average PVS sufferer.
CHAD: How…thoughtful.
DANCER #3: It really is. And now, using the magic of dance, we
will show you how the particles move in solids, liquids, and gases.
NINA: Let’s give them a hand!
(CLASS applauds and DANCERS take the floor.)
DANCERS:
We’ll do the particle dance
We’ll put your mind in a trance
You can applaud in advance
For this here particle dance
Song 5/14
Instrumentation for
SONG 5: Sampler, bass
guitar, Wurlitzer electric
piano, Hammond B3
organ, three-piece horn
section (tenor saxophone,
trombone, trumpet),
harmonica, Technics 1200
turntable.
We’ll show how particles move
Yes we’ll get into their groove
There’s just no way to improve
The way these particles move
Particles in solids
Strongest bonds
Particles in solids
Strongest bonds
17
We huddle close together
We vibrate in place
In every kind of weather
We always embrace.
We’ll do the particle dance
We’ll put your mind in a trance
You can applaud in advance
For this here particle dance
We’ll show how particles move
Yes we’ll get into their groove
There’s just no way to improve
The way these particles move
Particles in liquids
Weaker bonds
Particles in liquids
Weaker bonds
We step apart a little
It’s space that we need
We slide around each other
And increase our speed.
We’ll do the particle dance
We’ll put your mind in a trance
You can applaud in advance
For this here particle dance
We’ll show how particles move
Yes we’ll get into their groove
There’s just no way to improve
The way these particles move
Particles in gases
Weakest bonds
Particles in gases
Weakest bonds
18
We separate completely
We fly around free
We’re glad to do our own thing
We’re fast as can be
We’ll do the particle dance
We’ll put your mind in a trance
You can applaud in advance
For this here particle dance
We’ll show how particles move
Yes we’ll get into their groove
There’s just no way to improve
The way these particles move.
(DANCERS exit.)
NINA: We’ll be back with today’s musical guest and more of your
questions…after this short break.
(SOAP OPERA CAST enters.)
NARRATOR: Today on All My Atoms…heat has once again come
between Angelina and Rufus…
RUFUS: I need some space, Angelina.
ANGELINA: No, Rufus! I want to be close again. I want to be
solid!
RUFUS (darkly): We’ll never be solid again. Not in this burning
heat.
ANGELINA: Oh Rufus, don’t give up! It will pass. We’ll be cool
again!
RUFUS: I don’t know.
ANGELINA: Believe it! Even if we move apart for a while, we’re
still the same particles deep down.
RUFUS: I hope so, Angelina. I hope so.
19
NARRATOR: Will Rufus and Angelina stay together…or will the
heat continue to drive these desperate particles apart? Find out this
afternoon on All My Atoms.
(SOAP OPERA CAST exits.)
CHAD (to NINA): I can’t believe All My Atoms is still on.
NINA: I know! It seems like the same drama has been going on for
billions of years.
(FLOOR DIRECTOR enters.)
FLOOR DIRECTOR: And we’re back in… (countdown and cue)
(FLOOR DIRECTOR exits.)
CHAD: Welcome back. Let’s give a big hand to a band who needs
no introduction…The Melting Points!
(CLASS applauds; THE MELTING POINTS enter.)
MP #1: Thanks so much. [City name] truly has the best fans in the
world! And it’s great to see you again, Chad and Nina.
CHAD: Likewise! You’ve put out a new album since you were here
last.
MP #2: Yes, and we’re really proud of it.
NINA: This might be just a crazy rumor, but is it true that your
album was inspired by the soap opera All My Atoms?
MP #3: Yes, ma’am. It’s so cheesy it’s COOL.
MP #1: Little-known fact: We stream every episode to our tour
bus.
MP #3: Yep! After a concert we just change into our jammy-jams
and snuggle up with our favorite show.
20
MP #2: We love how it looks at relationships from a really micro
level, you know?
(CHAD puts his head in his hands.)
NINA: You heard it here! Let’s give a big hand to The Melting
Points as they play their hit single, “Heat and Cold.”
(CLASS applauds. THE MELTING POINTS take their
positions on stage, starting close to each other and moving
apart as the song starts.)
THE MELTING POINTS:
It’s not you, it’s me
I’m just so hot, you see
It’s not that I don’t care
Just need to get some air
I’m boiling hot with lots of energy.
Song 6/15
Heat makes particles move apart;
Solids change to liquids and gases.
Cold makes particles move in close;
Gases change to liquids and solid masses…
Liquids and solid masses.
(MELTING POINTS start to move back together, shivering,
rubbing hands, etc.)
Can I come back in?
How chilly it has been!
Don’t mean to cramp your style
But can I stay awhile?
I’m freezing cold so sit by me again.
I’m the same, oh yes sirree
I’m only moving differently
Cool things down, I’m sluggardly
Warm things up, I’m wild and free!
21
Instrumentation for
SONG 6: Drum kit,
bass guitar, 3 electric
guitars, organ.
MELTING POINTS and CLASS:
Heat makes particles move apart;
Solids change to liquids and gases.
Cold makes particles move in close;
Gases change to liquids and solid masses…
Liquids and solid masses.
Liquids and solid masses.
(THE MELTING POINTS exit.)
NINA: That was just wonderful. Art inspired
by art inspired by science!
CHAD: Yeah. Wonderful. Are we going to have any other
celebrities on the show today?
NINA: Be patient, Chad.
CHAD: Are we going to make home decorations out of pine
needles or cereal?
NINA: BE PATIENT, CHAD! Right now we need to take an
audience question.
(AUDIENCE #4 stands.)
AUDIENCE #4: Yes, thank you. So the song said that a substance
can turn from a gas to a liquid to solid and back again. Can you
give me an example?
(SUPERFANS jump up.)
SUPERFAN #1: Sure can, my friend! When liquid water reaches its
freezing point, it turns to ice—a solid.
SUPERFAN #2: And you can turn ice back to water by heating it
up.
SUPERFAN #3: And if you boil the water, it evaporates and turns
into a gas—water vapor.
22
SUPERFAN #1: Solid!
SUPERFAN #2: Liquid!
SUPERFAN #3: Gas!
AUDIENCE #4: Ohhh! Now I get it—thanks!
SUPERFAN #1: You know there’s actually a fourth state of matter.
SUPERFAN #2: It’s called plasma.
SUPERFAN #3: But we’ll save that lesson for later in the week.
(SUPERFANS and AUDIENCE #4 sit.)
CHAD: Thanks, Superfans. I’m glad someone knows this stuff.
NINA: And now it’s the moment Chad’s been waiting for. Please
help me welcome Striker Baldwin and Aria Marx, here to talk
about their new superhero movie!
CHAD: All right! That’s more like it!
(CLASS applauds; STRIKER and ARIA enter, waving to fans.
STRIKER is serious and dramatic the whole time; ARIA is
bubbly.)
ARIA: Oh my gosh, thank you! We’re so excited to be here!
STRIKER (deadpan): Yes, we’re extremely excited.
23
ARIA: Our new movie is called H-2-WHOA. Get it? Get it? Get it?
Get it?
STRIKER: They get it. This movie has a bit of everything. Action.
Romance. Special effects.
ARIA: And—BONUS!—it’s scientifically accurate.
CHAD (slapping his leg): Ha ha, good one!
ARIA: Oh, I’m not joking, Chad. Scientists wrote the script…reallife ones.
STRIKER: Aria is right. I insisted upon it. I’m a very serious actor,
you know.
ARIA: Striker and I play teeny-weeny superheroes. We get to save
the world on, like, a microscopic level!
CHAD (slaps forehead): I quit. I quit!
NINA: Ignore him. Tell us more about the film!
(ARIA and STRIKER stand and sing.)
In this awesome movie
I play a water drop.
I’m on a secret mission
To make it to the top.
Song 7/16
I jump into a stockpot
I’m fighting frozen peas
The water starts to boil
I’m soaring with the breeze!
Condensation
Evaporation
Itty bitty matter on the big big screen.
Captivating
Illuminating
Scientific marvels in every scene!
24
Instrumentation
for SONG 7:
Drum kit, bass
guitar, 2 electric
guitars, acoustic
guitar, piano,
organ, handclaps,
tambourine.
You don’t mind a spoiler?
This part makes me proud.
The chilly air surrounds me
I’m caught up in a cloud.
I’m turned into a raindrop
Oooh, it’s so intense!
I’m tumbling down in freefall
This scene is all suspense.
Like any good character, mine transforms
The changes are profound
Boiling, freezing, melting points
Turn my life around.
STRIKER, ARIA, and CLASS:
Condensation
Evaporation
Itty bitty matter on the big big screen.
Captivating
Illuminating
Scientific marvels in every scene!
(THEY exit. CHAD is lying on the floor curled up into a
ball.)
NINA (pokes him): Chad. Chad! Get up! The show isn’t over!
CHAD (moans): Go on without me. I’m not cut out for this.
NINA: Sure you are. Science is a part of everyday life! Just embrace
it. If movie stars can do it, so can you.
CHAD (peeking out): You think so?
NINA: I know so. Be strong. Be like Striker and Aria. I know you
can do it.
(to CLASS)
Come on, guys, do we think he can do it?
(CLASS applauds and CHAD pulls himself up.)
25
CHAD: Thanks, everyone. I guess science is nothing to be afraid
of. It’s about time I got with the program.
NINA: I’m proud of you, Chad. Are you up for welcoming our last
guests for today?
CHAD: I think so. Are they going to show us how to make
shampoo out of leftover cupcake frosting?
NINA: No, Chad.
CHAD (sighs): Okay, fine. Science it is. Please give a hand to the
bakers of Sugar Bomb Bakery!
(CLASS applauds; BAKERS enter.)
NINA: Tell us your story.
BAKER #1: Well, it all started when we decided to sell our premade cake batter.
BAKER #2: We had to make sure the cakes would turn out right.
So we baked them and tasted them.
BAKER #3: They were delicious! But when we tried to turn them
back into batter, we ran into a huge problem.
CHAD: What happened?
BAKER #1: We couldn’t!
BAKER #2: We tried heating them, freezing them, crumbling them
up, adding water…nothing worked.
BAKER #3: We learned that some things can’t go back to their
earlier state once you’ve changed them.
26
BAKERS:
Song 8/17
If you give an egg a crack
It’s not ever going back
Once you’ve baked or boiled it on your range.
Now that egg is cooked inside
Instrumentation for
There’s no way it can be UNfried
SONG 8: Drum kit,
upright bass, 3 acoustic
And that’s called irreversible change.
Take a lump of candle wax
Heat it and watch it relax
Soon it’s just a puddle, ain’t that strange?
Let it sit and cool and then
Look, it’s candle wax again!
And that is called reversible change.
guitars, Mellotron,
marimba, Hammond
M3 organ, piano.
Can the changes be undone?
That’s the thing to learn
Once the changes have begun
Is there no return?
Can the changes be undone?
Or once you spin them are they spun?
Changes can be fun
But can they be undone?
Some things you can melt or freeze
Change them up just as you please
Then turn them back to how they were before.
Other things like burning wood
Once they’ve changed they’ve changed for good
And they’ll be something new evermore.
BAKERS and CLASS:
Can the changes be undone?
That’s the thing to learn
Once the changes have begun
Is there no return?
Can the changes be undone?
Or once you spin them are they spun?
Changes can be fun
But can they be undone?
(BAKERS exit.)
27
CHAD: Well that’s it for today on The Morning Mismash with
Chad and Nina.
NINA: We’ll be back tomorrow and all this week with more about
the Science of Stuff!
CHAD: And this time I’m actually looking forward to it.
(FLOOR DIRECTOR enters.)
FLOOR DIRECTOR: That’s a rap!
(NINA and CHAD high-five.)
(CLASS stands and sings:)
Well hi, we’re done, how are you?
We hope you liked the show!
It was so fun to tell you
About the stuff we know.
’Cause we all love to chatter
’Bout the properties of matter
We just can’t get enough
Of the science of stuff.
We put on this show for you
We didn’t even sweat
But if we had
You can bet
Woulda been the best condensation yet.
Well hi, we’re done, how are you?
We hope you liked the show
It was so fun to tell you
About the stuff we know.
’Cause we all love to chatter
’Bout the properties of matter
We just can’t get enough
Of the science of stuff.
THE END
28
Song 9/18
Instrumentation for
SONG 9: Drum kit,
synthesizer, bass synth,
sampler.
Teacher’s Guide
Introduction
Matter and Its Properties: The Science of Stuff
is a musical play designed to be performed
by elementary school classes, particularly by
students in the second through sixth grades. The
older students will of course do a more polished job, but please don’t be afraid
of having your younger students perform this show. They’ll have a great time
(this is not your regular school play) and their parents will have a ball.
In fact, one of the really nice things about this musical play is the response
you’ll get from parents. You’ll find them grateful for the opportunity to see
their child perform in a truly fun show full of melody and wit. Indeed, rumor
has it that some parents have so thoroughly enjoyed the performance that they
have had to have the smiles surgically removed from their faces in order to be
taken seriously at work.
If you’re an experienced producer of classroom shows, then Matter and Its
Properties will be a snap. If you’re new to this sort of thing, relax! Putting on a
play is a wonderful experience for your kids, and it’s a heck of a lot easier than
you probably think. This introduction is designed to provide you with all the
necessary tips for a smooth and joyous production. We consulted teachers
whose classes have performed our shows and asked them what they wished
they had known before they started. We listened carefully, and now it’s all here
for you.
Doing a little script-tease
We strongly suggest that you do not send
home copies of the script with each student.
The problem is that the parents will read the
script and when they come to watch the play,
well, they’ll already know what to expect. We
think your best bet is to copy only the lyrics
and dialogue for your actors. Let Mom and
Dad help their child learn their parts, but
give your parents the gift of being pleasantly
surprised when they see the performance.
29
Even if you can’t sing or play an
instrument! Honest! We know
a teacher who has successfully
produced a number of
musicals in her classes
without singing or playing
a note (she’s very shy). All
you have to do is move your
lips! Remember, the audio
recording demonstrates all the
songs.
Getting Started
Figure on about a month from first introduction to
final performance. This may sound like a lot of time,
but most of the days you won’t work for very long,
perhaps just singing a few songs together. We have
an example of one reasonable timetable on page 39.
We suggest that you play the recording of the show
for several days before you start singing songs. Then
after the kids get the hang of the songs, you can sing
them whenever the class has a few extra minutes.
When you get around to casting and staging the
show you’ll need more time again. You’ll also want
to schedule additional time for the creation of sets, props, and costumes (if you
decide to use them—see our advice below).
Lately educators have been talking about teaching “across the curriculum,”
that is, using large projects and themes to connect the various skills and
subjects to be studied. Matter and Its Properties is ideal for this since you can
easily connect your study of interpersonal skills and character education with
art, music, theater, and reading under the guise of a fun show.
Now, relax and have some fun. We’ve
written this show so you can get out of it
what you want. If you choose to work very
hard, managing every detail—go ahead!
Really! You’ll probably have a high quality
performance. But make sure that’s the level
of activity and stress you’re comfortable
with. Don’t let the parents turn this into a
Broadway production. You can also choose
to be low-key about it all. Tell yourself
that these are just kids, your audience
isn’t paying fifty dollars a ticket, and you
won’t have a perfect show. You’ll stay more
relaxed and enjoy the experience. It just
depends upon your own personality and
the students themselves. No matter how
you approach this show, remember it’s the
process that is important for the students’
education: the reading, creating, singing,
thinking, and developing self-esteem that
go into learning the show are the real point
to the final performance anyway. There’s
no reason you shouldn’t have as much fun
doing all this as your students!
Is Matter and Its
Properties an opera or
a musical?
And what’s the difference,
anyway? According to our
dictionary, in an opera most or
all of the story is sung, but in a
musical the dialogue plays the
more important role. Beyond
that, musicals tend to be written
in a popular style while operas
are supposed to be “artistic.”
In truth, there’s no meaningful
distinction and you can call
this show whatever you like
without offending us. (Our own
expression for this show is “a
stunning piece of contemporary
American theater.” Go figure.)
30
Here’s a bit of time-tested advice if you’re new to this type of musical
production: get another teacher at your school to put on Matter and Its
Properties at the same time. You can share sets and costumes and bounce ideas
off one another. Your classes can watch each other rehearse and the students
can give feedback to their peers. This process has proven to be a great aid to
novice directors, and students learn a lot by participating in the assessment
and development of the show (more on this later). (Note: Under the Bad
Wolf Copyright arrangement, you can copy this script all you want for your
students. Your fellow teachers, however, will need to purchase their own copy
—hey, who wouldn’t want their own copy?—if they are putting on the show at
the same time.)
Some teachers like to have as much parental help in the classroom as possible;
others prefer to work with the kids without interference. Wherever you fall
on this continuum, you’ll probably find it useful to ask for a certain amount
of help. Be sure you send a parents’ letter at the onset of the project. Include
performance dates and tell exactly what sort of assistance you’ll be looking for.
If putting on plays is new to your school, you may want to outline some of the
educational advantages as well. (See our web site for a template you can use!)
Music (and the enclosed audio recording)
The audio recording is a teaching tool for helping your children learn all the
songs. The first recorded version features some talented musicians singing the
songs with dazzling musical accompaniment. The second version of the show
has just the accompaniments to all the songs. We strongly encourage you to
make a backup CD or computer file of the audio recording in case it gets lost
or damaged. You can also purchase replacements from Bad Wolf Press.
We suggest you introduce the music to your class by playing the recording
during a class work session. You might do this several times, starting well in
advance of your actual rehearsal of the show. The music will seem easy and
familiar when your students finally begin to sing the songs. Have all your
students learn all the songs. This is much more fun for the class, and it will
give you great flexibility in casting and substituting for absent performers.
31
Ready for some controversy? The easiest way of getting older students to learn
the show is probably to copy the script and give it to them. Some teachers,
however, like to write all the lyrics to the songs on large poster-size sheets.
This is a lot of work. If you choose to do this, we have two suggestions: get
some parents to divide the work between them, or photocopy the lyrics onto
transparencies and use an overhead projector. Other teachers like the students
to learn the songs by ear without looking at the script—this works especially
well with younger students. They play the songs for a week or so during
class, and then play the version of the recording without the words. You’ll be
surprised how well students respond to the challenge of singing along.
You can perform the show to great applause by simply using the accompanying
recording. If you choose to use the CD for the performance, get a volunteer
to be in charge of boombox. It’s very important that this be the same person
throughout the rehearsals and the final performance. The volunteer needs a
script and lots of practice with the class. If you can’t find a parent, then try
to snag an older student. Don’t try to handle this yourself—you need to keep
your eyes on the students and be free to solve problems as they occur.
Using a musician
If you know of a parent or other
community member who might be willing
to play piano or guitar, contact them
early. Play them the audio recording
and show them the samples of music on
page 43 of this book to be certain they
are comfortable with it (to order the
sheet music for Matter and Its Properties,
contact the publisher—flip to the back
of this book). Another option is to hire
a professional. You may find someone
to work for less than you’d think—even
starving musicians like to help the
schools. Maybe you can get some money
from your school PTA. Regardless of who
your musician is, paid or not, be sure to
schedule at least one rehearsal with them
before the performance. Your students
will need to get used to the sound of a
live player, and the musician needs to
learn the cues and get a sense of what the
children sound like.
32
If you have access to the right
equipment you can manufacture
copies of the entire recording.
Please don’t! It’s strictly illegal,
absolutely immoral, and
government tests indicate it
is probably fattening. Really,
we expect better things from
someone as nice as you. (Did
you see our Official Policy on
fair use, photocopying and audio
duplication on the second page?
It’s a masterful blend of tact,
threat, and blatant begging, so
maybe this would be a good time
to review it.) What you can do
is provide one or two songs to
each student to help them learn
solos or small group parts. They
can sing along with the recording
daily. This kind of repetition
really helps!
Casting
Matter and Its Properties was originally
written to be performed by a class of from
eleven to thirty kids, but the show is very
flexible. How many Concerned Guests? How
many Bakers? Three? Five? Experiment a
bit, keeping at least one strong singer in each
group. We recommend that you don’t create
groups with more than seven students, or the
stage begins to look and sound like a rugby
scrum. And kids can play more than one part too!
We suggest waiting until the last week or two before you pick specific
children for each part. We don’t recommend a formal audition. Instead,
let various children experiment with different roles and try out different
combinations. Perhaps a few friends will discover they enjoy singing
“Properties of Matter” together. Or perhaps several children will express
interest in being in a band (doesn’t everyone at some point?). Our one
recommendation is that if you choose to have soloists, be sure to pick actors
who can sing loudly enough to be heard over a possibly noisy audience.
As you know, some children are
a little shy about performing
and especially about singing in
public. (The lyricist intentionally
swallowed his history book in
the third grade in order to be
excused from singing “I’ve Got A
Hammer” in front of the class.)
You might want to ask if there are
any children who would prefer a
speaking part instead of a singing
one. Respect their fears, but if
you provide regular opportunities
for performance you’ll be
pleased to see your students gain
confidence.
Learning About Musical
Instruments
You will notice that at the beginning of
each song in the script we’ve included a
little box that lists the instruments used
in the recording of that song. This is a
great chance for your students to start to
learn to recognize the sounds of different
musical instruments. You can play the
audio recording and have the students
pick out the different sounds. Your
students may want to do some research:
what’s a bass synth, for example?
Eventually, of course, you’ll need to make a choice and probably a student
or two will feel hurt by the selection. We have attempted to write in as many
parts as possible and to spread the singing roles evenly throughout the cast,
but somebody is still bound to be disappointed. Try to help them understand
that the selection in no way reflects poorly on them. If you put on more than
one performance each year you will be able to give different children the
opportunity to have a “starring” role.
33
If you’re not an experienced director,
keep costumes, sets and staging as
simple as possible.
Costumes
You don’t really need any costumes, but most kids (and certainly most
audiences) like them. However there is a very real danger that some parents
will start competing with each other to provide the fanciest costumes. We
suggest that when you first tell parents about the play, explain that the
costumes will be designed by you and the class, and so please don’t send in any
costume without asking you first. Try to be firm on this.
In general, the fancier the costumes, the more self-conscious the performers—
and the quieter they will sing. Make sure what they wear is comfortable,
especially the hats (which, unless they fit perfectly, tend to be very distracting).
Keep hats, wigs, and beards to a minimum. When in doubt, simplify!
The easiest way for an actor to “become” a character is to wear a simple sign
around his/her neck with the appropriate label (e.g. “Architect”) and/or a
decorated baseball cap or t-shirt. An easy way to unify the cast visually is to
have everyone wear a black t-shirt, or assign a different color to each scene/
group. If you want to go the t-shirt route, check out our online shop at
badwolfshirts.com. You can use our
illustrations plus standard clip art to
design custom shirts for your actors.
Few props are required for this show.
Bob, Bonnie, and Baby need some
regular toy blocks as well as simple
cubes that have nothing on them (you
could use regular blocks or dice for this
part, and paint them so that nothing
shows). Other than that, you can use a
prop or two to identify characters
(clipboards for the Physicists, a headset
for the Floor Director).
The good news is that the audience
will accept whatever you do, as long
as it doesn’t distract them from what’s
going on in the play. It’s all up to you,
of course, but again, we think your life
will be happier, and the show just as
good, if you keep this as simple and easy as possible.
34
The Set
You don’t really need a set to put on a successful performance, so don’t
worry. We think the show can best be performed on a bare stage or in your
classroom. (If you have access to an auditorium or stage, you will have a bit
more flexibility.) If you want to make a “stage” so the audience can see better,
you can put students’ tables together.
Matter and Its Properties does not need to have a “realistic” setting. That is,
the action occurs in the mysterious place of theatrical convention, so there’s
no need for distinct backgrounds for each scene. The action takes place in a
television studio. You can have the students paint a backdrop with the title of
the show on it and some images of the scentific concepts in the show. However
you set it up, remember that all songs must be sung to, and dialog directed
at, the audience with the actors in the front, middle part of the stage. See our
sample stage setup on page 37.
By all means have the kids do most of the set-planning and building—it’s a
great art project. If you can get some grown-up assistance the whole thing will
flow smoothly and your kids will have a wonderful time. Once everything is
ready they’ll feel a real sense of pride and ownership.
Blending Genders
Do not feel bound by gender in your casting of these or any parts. All the parts
in this show can be played by boys or girls or any combination; you will simply
need to change some pronouns. And don’t hesitate to add actors or double up
roles if that works best for the size of your class. Nina and Chad have a lot of
lines; you can add more hosts and split up the parts that way. If you’re concerned
about soloists, then have two or three kids play a part. This is theater, and no one
in the audience will mind once they understand the convention.
35
Staging
Whether you have access to a “real” stage or are performing in a classroom
with a constricted space, we recommend that you keep all the actors on the
“stage” at all times. You can have the students sit down on the floor or on
chairs until it is their turn to perform. These actors form the chorus for the
show—the studio audience for The Morning Mishmash with Chad and Nina—
and sing on every song, so they need to be present and facing the audience at
all times.
On the next page there is an aerial
view of this kind of setup in a
classroom. You’ll notice that the kids’
chairs are being used by the audience
(which is also probably sitting in front
of the chairs as well as standing in
back).
The Joys of Tape
You will want to mark the spots on the
stage where students are to stand and/
or sit throughout the performance.
These “marks” can easily be set out
with painter’s (removable) tape on
the floor. Mark where soloists, small
groups, and the chorus will stand
during each scene. This will keep
everyone in place and make your job of
managing thirty energetic actors much
easier.
We’ve also positioned the students in
groups on the stage, with Nina and
Chad off to one side. This is just one
possibility. You’ll need to experiment
with this. The challenge is to place
the students so they are not in the
way when they are not performing,
so they can get where they need to
be easily during the show, so they can move about during their “numbers”
as they need to, and so they can be heard when they sing. Here are a few
ideas we’ve gathered from teachers who have performed our shows:
❖
Most of the action of the play—the singing, narration, and
movement—should take place at the front of the stage. The audience
cannot see or hear clearly what’s going on in the back.
❖
Make certain that when the students sing and speak they are facing
the audience. They can move around, look at each other, do whatever you
want before and after their song, but they must move to the front of the
stage and face the audience when it is their turn to talk or sing. They can
stand side by side, or the taller ones can be behind the shorter ones, or
those in front can sit down—whatever you like—but their mouths should
be turned towards the front.
❖
Don’t put all the actors and groups of actors in straight lines. This is
not very exciting and too regimented—the stage begins to look like a face
off between the British and the colonists in the Revolutionary War. Bunch
them together in different formations as they wait for their moment to
“star” at the front of the stage.
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❖
Don’t have the students “dance” while they are singing. Making music
of any kind while moving is extremely difficult for anyone of any age to do.
Moreover, the students are likely to turn away from the audience during
their dance, and that, you will remember, is a no-no.
❖
And you’ll notice we keep writing “dance” instead of dance. Isn’t
that annoying? The point here is that you don’t have to choreograph
a Broadway number and the students don’t have to know anything
about formal dance. We want you to think of this as an opportunity for
MOVEMENT. What we’re after, and the audience is craving, is some visual
excitement to match the musical fun. No need to get fancy. When in doubt,
think silly and simple.
Painted Backdrop
Students (seated on floor or chairs
as studio audience/Chorus)
Performers for each scene
Chad and Nina
Audience
Teacher (on a chair or desk)
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Rehearsals and Assessment
After the students have learned the songs and the show has been cast, you will
need to start teaching them where to stand and how and when to move. You
will also need to work on individual songs, and especially on their behavior
when they are NOT on center stage. Don’t worry about the quality of the
performance when you begin. Remember, this is all part of the learning
process, so take advantage of the opportunities for teaching and assessment.
Again, teachers have come up with a wonderful variety of ways to make
rehearsals a central part of their students’ learning. Here are some of their tips:
❖
Don’t panic. Rehearsals early on, and even up to the day of the
performance, can be quite rough. The kids will pull through when it counts.
❖
Each day ask the students to give suggestions on improvement: What can
everyone do to make the show better?
❖
Ask the students to self-evaluate as well: How did I do my job? How can I
do better next time? (This can be done verbally or in writing.)
❖
It is best to have a couple dress rehearsals so students can get used to them.
Do these in front of an audience so students learn to project.
❖
Video-record a rehearsal and have the students analyze it. What was good?
What could have been done better? This is a very valuable tool. When the
students see themselves fidgeting and fooling around, when they can’t hear
themselves sing, they will discover for themselves what they need to work on.
❖
Ask a student audience to think like a director and then write anonymous
comments. It’s surprising how helpful these comments can be.
Third-Grade Kids Recommend the Following:
* Everyone has to work together as a team.
* Cast members don’t need to give directions to
others while on stage. It’s distracting. Let the
person have some “wait” time and the teacher
will help get them back on track.
* Don’t worry about making a mistake. The
audience probably won’t pick it up.
* Use expression.
* Don’t talk or play while on stage.
* Background needs to sit still and be quiet so
as not to be distracting.
* Pay attention.
* Wait for the audience to stop clapping before
speaking again.
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A Four-Week Timetable
Week One
1. 20 minutes a day listening to songs
Week Two
1. 20 minutes a day listening to and singing the songs
2. Review curriculum connections with class.
3. Maybe move to the songs a bit
Week Three
1. 30 minutes a day singing songs, moving around
2. Read script together, taking turns with different parts.
3. Plan physical production: costumes (if using), props, staging.
4. Halfway through the week, ask students to write down or tell you the parts they most want (in order) and make your selections by the end of the week.
Week Four
1. One hour daily
2. Get the play on its feet where you will be performing.
3. Use masking tape to mark where students will be (you can
color code).
4. Perform for another class and invite that class to write reviews.
5. Video-record the rehearsals/performances so your students can see and hear what they’re really doing.
6. Do more performances for other classes. Aim for at least three
performances in front of kids before performing for
families.
7. Perform for families. Don’t worry, it doesn’t have to be perfect.
8. Don’t worry, it doesn’t have to be perfect.
9. Don’t worry, it doesn’t have to be perfect.
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Emphasis: Making the Words Come Alive
One of the challenges in putting on children’s plays is to get your students to
treat the lyrics and dialogue as language, to speak and sing in natural rhythms.
The key is to have the students emphasize the right words and syllables. Kids
often sound great when they’re singing but terrible during dialogue. You need
to model speaking with expression. Have them analyze their lines for action
words—exciting words that make the lines come alive. Then show them how
to stress these words to bring out the meaning. Scenes always work best when
the actors know which words need to be stressed. Again, we suggest videorecording a rehearsal so students can discover what they really sound like.
Final Performance
Your most important performance will probably be for the students’ parents
and families. There is a trade-off in setting the time. More people can come
if you do it in the evening, but the problem is that you’ll have to go back to
school and all your kids will have to remember (and be able) to return. Many
teachers perform only during regular school hours.
If Something Goes Wrong: Ignore it!
Tell your students that if something goes wrong, they should
continue with the play as though nothing was amiss. It
won’t help to stop and tell fellow actors what to do.
If you’re new to this you might be a bit nervous. Remember that the parents
are there to watch their children and they’ll be pleased with almost anything.
When it comes out well, you’ll be a star. If it comes out wonderfully, you’ll be
nominated for Teacher of the Century. As we suggested above, we strongly
urge you to do a number of informal performances (dress rehearsals) for
other classes. You might start with younger kids, since they tend to be
easily impressed. Then move up to the students’ peers and older kids. Since
the shows are informal it’s okay to stop the action if the kids are having
some problems. The main thing is to let them get
used to performing. Don’t worry if your musician (if
you have chosen to use one) isn’t available for every
performance—just use the audio recording.
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During the show you should be in clear view of the students. You’re there to
help the kids remember what they need to do and encourage them when they
do well. You can cue all group singing and mouth the lyrics to help keep the
class together. If some of the lyrics seem difficult to memorize, you may want
to hold up signs with key words or pictures to remind the kids what comes
next. Some teachers just go ahead and sing along on the group songs.
Print up a program, and don’t forget the invitations to the parents. A cast party
is traditional after the last performance of a play. The kids will really enjoy it
and it will provide a great chance for the parents to talk with one another and
congratulate themselves for managing to arrange such a wonderful teacher
for their kids. (This may sound flippant but we’ve heard people say things like
this at every post-performance party we’ve attended. There’s nothing like a
genuinely good school play to fill parents with joy and gratitude.)
Turning on the Applause Sign
The audience wants to applaud, but it needs to be told when it’s the right
time to clap. Since you have no applause sign, the actions themselves of
the student actors must say loudly and clearly, “Okay, we’re done with the
scene, you can applaud now.” To convey this message to the audience, the
performing students need to do two things: they must stop all movement,
and they must face the audience. If they start moving the second they finish
the song, the audience will not know the scene is completed. Finally, don’t
be afraid to clap yourself at the right moment. The students deserve it, and
the audience will follow your lead. This is especially important after the
very first song. If those watching the show understand at the beginning
that they are allowed and expected to show their appreciation, they will
continue to do so throughout the show.
Last Bit of Advice
When you’re learning to cook, you follow the cookbook to the letter. If the
recipe calls for 1 1/2 cups of fresh smelt, you put in 1 1/2 cups of fresh smelt.
Later, after you gain some confidence, you loosen up and take some chances.
The same thing happens with putting on a play—after a few tries, you’ll be
spicing up the show at every turn. We’ve tried to give you an accurate and
workable recipe for a really fun show, but feel free to do anything that seems
best for you and your class. And if you have any great ideas, or even good
ones, please contact us so we can include them in the next version of this
show.
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Curriculum and Vocabulary-Building
in Matter and Its Properties
Key Concepts
Matter and Its Properties refers to and reinforces students’ familiarity with the
following:
❖ What matter is
❖ Properties of matter and why they are important
❖ Composition of objects from particles, which can be combined in
different ways to make new objects with potentially different properties
❖ States of matter (solid, liquid, gas)
❖ Arrangement of particles in each state
❖ Changes in state
❖ Boiling, melting, freezing points
❖ Evaporation and condensation
❖ Reversible and irreversible change
Scientific Terms, Concepts, and References
evaporation
condensation
observe
matter particlephysicistpropertiesirreversible change
molecule
bonds atom / atomic micro / microscopic
vibrations
melting point
boiling point
freezing point
solidliquidgaschemical reaction
plasmasubstancewater vapor
reversible change
mass
space
General Vocabulary-Building
mishmash
misconception
flexible
“crux of the matter”
unfurlblueprintsbypass“mind over matter”
surpass
liquid assets
flash mob
heart palpitations
stockpot sluggardly stream (v.)
“it’s not you, it’s me”
captivating
illuminating
marvels
“cramp your style”
suspense
intense
transform
“get with the program”
evermore
profound zing
slat
rigidtrancespoilerfreefall
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The Complete Vocal Score for
Matter and Its Properties: The Science of Stuff
The written music for this show is available from Bad Wolf Press in lead sheet
format: the melody, words, and chord symbols.
This compilation includes all the songs for Matter and Its Properties and is
highly suitable for musicians on the go. It is absolutely necessary if you plan
live musical accompaniment of the show.
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But Wait...There’s More!
Complete Your Collection
Can’t get enough of this play? We don’t blame you. You can also purchase
sheet music (printed or downloadable) and extra/replacement audio
recordings (CD or digital download). Just visit our web site, send in a
purchase order, or use the order form in our catalog.
Costumes
Many teachers use custom t-shirts as costumes for our plays, and now you
can design and buy them directly from us! Our t-shirt shop features tons of
illustrations from our shows, as well as standard clip art, that you can use to
create inexpensive costumes for your actors. We also have pre-existing designs
for each play to save you time. Visit the shop at badwolfshirts.com.
Discounts
We offer money-saving site licenses and school packs for entire grade levels or
schools. See our web site or catalog for more details.
Though you are not required to buy scripts or audio recordings for students,
they are available at half-price as long as at least ten books or CDs are
purchased in one transaction. We will ship all the materials to the same
address. It’s the perfect and inexpensive way for a teacher to put high-quality
literature and music into young impressionable minds. Contact us to order!
The fine print: this offer is for student use only. Teachers/directors may
purchase copies at regular retail price only. We are cheerfully making
this show available to students at a price barely above cost. Please don’t
take unauthorized advantage of our simple-mindedness and turn us
into just another crestfallen and cynical team of songwriters squeezing
the last nickel out of the innocent children of America.
To order from Bad Wolf Press
If you have any questions about ordering from Bad Wolf Press, please contact
us at any of the addresses or numbers listed below. Be sure to check out our
web site for tips on producing plays, as well as partial scripts and songs from
all our shows.
Have you any ideas or suggestions regarding musicals? Let us know so we can
alert the rest of the civilized world!
Please contact us at: Bad Wolf Press
216 Mt. Hermon Rd Ste E372
Scotts Valley, CA 95066
Toll Free: 1-888-827-8661
badwolfpress.com
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