Congratulations! You have been entrusted with
precious copyrighted material.
What that means is…
POSTING ANY PORTION OF THE SCRIPT OR AUDIO FILES
ONLINE IS STRICTLY PROHIBITED, unless the site is passwordprotected and only then to distribute materials to actors. Most classroom
websites are public—DO NOT post our files there. Our super-sleuths
will find them and ask you to take them down.
ONLY the individual or school/organization named in the footer below
is authorized to use this play, edit it as needed, and print/photocopy it for
the actors. This is a lifetime license (woohoo!). No performance
royalties are due as long as ticket prices do not exceed $5.
If this is an individual license (see footer), it may only be used by one
teacher/director at a time. Additional teachers/directors will need to
purchase their own licenses, or the school/organization can purchase a
site license.
To purchase licenses or ask any questions, please contact us any time at
badwolfpress.com.
If you’re still thinking of infringing on our copyright, please
click here to see a picture of how this makes us feel. We want to be in business
forever and continue writing great plays. If you like what we do, please
encourage your friends and colleagues to do the right thing and resist the lure of
illegal copying.
Thank you for your purchase, and we hope you have a
wonderful experience with this show!
Shakespeare
Unshackled
(Or everything you wanted to know about
Shakespeare but were afraid would show up on the quiz)
A Musical Play for Students
Script, teacher’s guide, and audio recording
with songs and instrumental accompaniment
Ron Fink and John Heath
Edited by Lisa Adams
Illustrations by Leslie Stahle
Bad Wolf Press
Santa Clara, California
Thanks to Dana Shaw, who sang songs #1, 4, 6, 8, and 9; Mike Fishell, who
played guitar on songs #1, 2, 5, 7, and 9; and Brenda Tzipori, who sang on
songs #2, 3, 5, and 7.
A Word About Copyright and Copying
The purchaser is given permission to reproduce pages for an individual
classroom, not to exceed one copy per student in a course. The purchaser
is also given permission to duplicate portions of the audio recording for
the rehearsal use of the performers, but no one performer is to be given a
recording of more than two songs. Unless a site license has been purchased
from Bad Wolf Press, the reproduction of any part of the script or
recording for more than one classroom in a school or school system is
strictly prohibited. These materials may not be acted, read, or performed
for commercial use of any sort without written permission from and royalty
agreement with Bad Wolf Press.
From the Authors
We’ve spent a tremendous amount of time writing this musical, so we hope
that you will do the honest thing and avoid illegal copying. Please encourage
your friends and colleagues to purchase their very own copies rather than
steal from friendly writers such as us.
Bad Wolf Press
P.O. Box 388
Santa Clara, CA 95052-0388
Toll free: 1-888-827-8661
www.badwolfpress.com
© 2007 by Bad Wolf Press, LLC
All rights reserved
ISBN 978-1-886588-39-4
BWP 0370
What Other Plays Does Bad Wolf Publish?
You can read the first third of any of these plays, listen to sample songs, read reviews,
and learn more about the curriculum, standards, and vocabulary at badwolfpress.com.
Click any title or category below to go directly to its web page.
Character Education & Life Skills
Bullies Anonymous (Grades 3-7)
Character Matters (1-5)
Character Matters II (1-5)
Good Manners (2-6)
Mother Goose’s Character Camp (K-2)
Munchkin Mediation: Conflict Resolution in Oz (3-7)
Social Skills: How to Interact with Human Beings (3-7)
Test-Taking Strategies (2-6)
Historyand Social Studies
13 Colonies (3-8)
The American Revolution: 1763-1789 (3-8)
American Symbols (K-4)
California Missions—and More! (2-6)
European Explorers in the New World (3-8)
Friendly Neighborhood Helpers (K-3)
Gold Dust or Bust (2-6)
Great Americans of the 20th Century (3-8)
Hatshepsut, Queen of Denial (3-8)
The Incredible Westward Movement (2-6)
Map of the World (Mini) (3-7)
Martin Luther King, Jr. (Mini) (3-7)
The Texans: Birth of the Lone Star State (2-6)
U.S. Constitution (3-8)
U.S. Presidents: Washington to Lincoln (3-8)
We Come From Everywhere (1-5)
Science and Math
Biomes: Animals & Plants in their Habitats (1-5)
Conservation (Mini) (3-7)
Earthworms Make America Great (K-3)
The Environmental Show (2-7)
Forces & Motion (2-7)
The Garden Show (1-5)
Geology ROCKS! (2-6)
Geometry (Mini) (3-6)
It’s Electrifying (2-6) Life Cycles (1-4)
Mastering Math (2-6)
Name that Internal Organ (3-7)
The Nutrition Show: Hansel and Gretel Eat Right (K-3)
The Oceanography Show: Tide Pool Condos (2-6)
The Rumpus in the Rainforest (1-5)
Vacation on Mars (1-5)
The Weather Show (1-4)
Language Arts
Aesop’s Fables Deluxe (K-3)
Alice’s Adventures with Idioms (2-7)
America’s Tallest Tales (2-6)
Anansi and the Moss-Covered Rock (1-4)
The Case of the Missing Paragraph (3-8)
Cinderella: A Modern Makeover (2-6)
Coyote Steals the Summer (1-4)
The Emperor’s New Clothes (1-5)
Goldilocks and the Three Bears (K-3)
Grammarosaurus (1-4)
Jack and the Beanstalk (1-5)
Little Red Riding Hood (2-6)
Macbeth, the Musical Comedy (4-9+)
Noun and Verb (Mini) (3-8)
Pirates from Grammar Island (2-6)
Shakespeare Unshackled (5-9+)
The Tale of the Chinese Zodiac (2-6)
Theseus and the Minotaur (2-6)
Holidays
Bad Wolf ’s Holiday Songs for the Classroom (K-2)
The Really Goofy Purim Play (2-6)
The Turkeys Go on Strike (2-6)
The Winter Holiday Show: A Multi-Species
Celebration (1-5)
Questions?
Email us at
[email protected]
or call us toll-free at
(888) 827-8661
1
Table of Contents
Shakespeare Unshackled: Script
pages 4-33
Teacher’s Guide34-47
Introduction for the Teacher34
Getting Started35-36
Music36-37
Casting38
Costumes39
The Set 40
Staging 41-42
Rehearsals and Assessment43
A Four-Week Timetable44
Emphasis: Making the Words Come Alive
45
Final Performance45-46
A Last Bit of Advice46
Language Arts Concepts and Vocabulary-Building 47
Ordering Information48-49
Song List
1. “Shakespeare Unshackled”
Class, Professor
page
2. “Wacky World of England”
Agnes, Lionel, Chorus
3. “No Women”
Anne, Sara, Manager, Chorus
4. “Phrasemaker’”
Poets, Chorus
5. “At the Globe”
Groundlings, Chorus
6. “Words Are All You Need”
Spectators, Chorus
7. “No One Cares ’Bout History”
Media Consultants, Chorus 8. “Too-rah-loo-rah-ay”
King James, Attendant, Chorus
9. “Shakespeare Unshackled” Class, Otto
(reprise)
3
5-6
8-9
12-13
16-17
20-21
23-24
27-28
31-32
32-33
Shakespeare Unshackled
By Ron Fink and John Heath
The duration of the show is about 35 minutes
CHARACTERS
Professor
Otto (teaching assistant)
Agnes (resident of Stratford-upon-Avon)
Lionel (friend of Agnes)
Mrs. Smith (teacher of Shakespeare—not)
Manager of The King’s Men
Anne (frustrated actor)
Sara (Anne’s friend)
Student in audience
Ben Jonson (poet & friend of Shakespeare)
William Shakespeare
Poets (jealous rivals of Shakespeare)
Hailey (teaching assistant)
Richard Burbage (actor in King’s Men)
Groundlings (lower-class theater-goers)
Spectators (higher-class theater-goers)
Media Consultants (marketing gurus)
King James I (King of England)
Attendant (servant of King James)
Flexible casting:
From 11-40 students.
Use as many Poets,
Attendants, etc. 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 40 of
the Teacher’s Guide.
and a CHORUS composed of all students who are not playing roles on stage at the time.
4
ENTIRE CLASS (faces audience and sings):
Shakespeare Unshackled
Shakespeare 101
Gonna study hard about the bard
We’re gonna learn a ton.
Song 1/10
Shakespeare Unshackled
Gotta be a whiz
(pointing to audience at the word “you”)
This applies to you ’cause when we’re through
There’s gonna be a quiz.
Let’s go back to merry England
In the sixteenth century
What a thrill to chat with Will
And share share share share a cup of tea.
Instrumentation
for SONG 1: Two
electric guitars, bass,
drums
PROFESSOR (steps forward out and addresses audience): Actually,
tea wasn’t introduced to Britain until the seventeenth century.
MEMBER of CLASS: That’s the Professor. She knows
EVERYTHING.
NOTE: After the dialogue, there are
four clave hits before the singing begins.
Use these four beats to determine where
to start singing again.
CLASS:
Shakespeare Unshackled
Background to the plays
Grab the ink and quill and just ask Will
We’re gonna all get A’s!
Shakespeare Unshackled
All you need to know
Get your booster shots and set the clocks to
Four hundred years ago.
Let’s go back to merry England
When Will Shakespeare was about
Oh how keen to meet the Queen
And get get get get a little gout.
5
PROFESSOR (spoken): Gout is no laughing matter. King Henry
VIIIth suffered terribly.
STUDENT: Our professor even knows stuff about royal toes!
CLASS:
Shakespeare Unshackled
Shakespeare 101
Gonna study hard about the bard
We’re gonna learn a ton.
(CLASS exits or sits down. PROFESSOR and OTTO step
forward to audience.)
PROFESSOR (to audience): Welcome. I’m Professor Hammitup,
your guide to Shakespeare’s life and times. And this is my teaching
assistant, Otto.
OTTO (very dramatically):
O perjured woman! Thou dost stone my heart,
And mak’st me call what I intend to do
A murder, which I thought a sacrifice.
PROFESSOR (to audience): Otto takes Shakespeare very seriously.
OTTO: I SAW the handkerchief.
PROFESSOR (to OTTO): So, it’s Othello today?
OTTO: Out, strumpet! Weep’st thou for him to my face?
PROFESSOR: That’s enough now.
OTTO: Down, strumpet!
PROFESSOR: Otto!
OTTO: Oh, sorry, professor. I’m a method actor.
6
PROFESSOR: Not now. Come along. We’ve got a class to teach.
OTTO: Where are we going this time?
PROFESSOR: Sixteenth-century England. Stratford-upon-Avon, a
little village 100 miles from London, to be exact. April, 1564.
OTTO: Shakespeare’s birthplace!
PROFESSOR (to audience): I’ve always found it much more
exciting to VISIT history rather than just read about it.
OTTO: Me too! Let’s get going!
(back to dramatic speech)
I have but an hour
Of love, of worldly matters and direction,
To spend with thee. We must obey the time.
PROFESSOR: We only have 20 minutes, Othello.
OTTO (happy): I’m down with that.
(TWO sixteenth-century Englanders, AGNES and LIONEL,
come on stage.)
PROFESSOR: Ah, here are two villagers from Stratford-uponAvon.
OTTO: Whew! What’s that smell?
AGNES: Oh, you must’ve caught a whiff of Lionel here.
LIONEL: It ain’t my fault. I took a bath just last month.
AGNES: That wasn’t a bath. You fell in the river.
LIONEL: Same thing.
PROFESSOR: Could you tell us where the Shakespeares live?
7
AGNES: John Shakespeare, the glove-maker?
(pointing)
Over there, on Henley Street. His wife Mary just had their third
child. William.
LIONEL: That kid will never amount to anything.
AGNES: You think he’ll be a thief?
LIONEL: Or a pickpocket.
AGNES: Or a lawyer!
LIONEL: Or worst of all…
AGNES and LIONEL: A POET!
AGNES: Life in England is tough these days—it’s no place for
poets.
(sings)
Things are topsy and they’re turvy
We’ve got plague and we’ve got scurvy
Song 2/11
LIONEL:
There are chickens in the kitchen and my bed is one big flea
AGNES:
It is noisy and it’s smelly
And there’s nothin’ on the telly
Instrumentation for
SONG 2: Piano, bass,
drums, claps, electric
slide guitar, harp
LIONEL:
In the wacky world of England in the sixteenth century. AGNES:
We’ve got aches and we’ve got twitches
That were given us by witches
8
LIONEL:
We’ve got Catholics versus Protestants and there’s no referee
AGNES:
We’ve got plots and we’ve got treason
Looks like it’s beheadin’ season
LIONEL:
In the wacky world of England in the sixteenth century.
AGNES and LIONEL:
Oh in the wacky world of England in the sixteenth century.
AGNES, LIONEL, and CHORUS:
In the wacky world of England
The stars control our fate
Though my life is a disaster
My horoscope is great!
AGNES:
Queen Elizabeth’s our ruler
And there ain’t nobody cooler
LIONEL:
She sent Francis Drake around the world to see what he could see
AGNES:
Spain’s Armada was a baddy
But she said “Now who’s your daddy?”
LIONEL:
In the wacky world of England in the sixteenth century.
AGNES, LIONEL, CHORUS:
Oh in the wacky world of England in the sixteenth century.
(THEY exit.)
9
PROFESSOR: We don’t know much about Shakespeare’s childhood
or youth.
OTTO: We do NOW, Professor! I found Shakespeare’s third grade
teacher, Mrs. Smith.
(OTTO steps over and escorts the elderly MRS. SMITH to
center stage)
MRS. SMITH: I remember young Will very well. That boy could
certainly twirl a baton. His tap dancing routines were marvelous.
And the way he could juggle poodles—three at a time! Such a fine
young man.
PROFESSOR: Are you sure you’re talking about William
Shakespeare?
MRS. SMITH: WILLIAM Shakespeare? Oh, sorry. No. I don’t
remember him at all. I was talking about his cousin Buster.
(SHE EXITS)
PROFESSOR (gives OTTO a glare, then speaks again to audience):
In 1582, when he was just 18 years old, he married Anne Hathaway,
an older woman.
OTTO: By 1592 Shakespeare was in London earning a living as an
actor and playwright, without his wife and children.
PROFESSOR: London in the 1590s. Professional theater is
flourishing. Between outbreaks of the plague, of course, and the
censorship of the Master of the Revels.
(MANAGER appears)
Here’s a manager of one of the theater troupes. He’s looking for a
new actor.
MANAGER (to audience): The trouble with actors is that they all
want to get paid. It’s an incredible nuisance.
10
(ANNE and SARA enter; SARA is holding a piece of paper)
ANNE (to SARA): There he is!
MANAGER: Oh no. Not them again.
ANNE (to MANAGER): Aren’t you the manager of The Lord
Chamberlain’s Men?
MANAGER: And what if I am?
SARA (waving the piece of paper): Well, we’ve seen your ad for an
actor. And we’ve come to apply. We want to work with Shakespeare.
MANAGER: Look, I told you last time. And the time before that.
You two can’t be actors.
ANNE: Just because we’re women?
MANAGER: Acting is no job for a lady. It’s constant
performances—5-6 afternoons a week, maybe 200 a year. Traveling
out of town when there’s an outburst of plague.
SARA: Don’t give us any of this “weaker sex” stuff. You let teenage
BOYS be actors.
MANAGER: It’s not my
decision. It’s ILLEGAL for
women to act on stage.
(Takes the ad in his hand
from SARA, points to it)
Didn’t you read the fine print?
11
MANAGER:
Song 3/12
No women
It says right here
No women
The law is clear
No women can take up the acting art.
No women
Upon the stage
No women
Of any age
A teenage boy will play the woman’s part.
A teenage boy will play the woman’s part.
Instrumentation
for SONG 3: Piano,
baritone sax, electric
guitar, drums
SARA and ANNE:
A boy plays Cleopatra now?
I’m telling you that’s weird
And Juliet will wake one day and have to shave her beard?!
No women?
That really stinks.
No women?
That’s wrong, methinks
The dumbest thing I think I’ve ever seen.
No women!
Now hold the phone
A woman
Is on the throne
We can’t come act but we can be queen?
We can’t come act but we can be queen.
MANAGER:
In Shakespeare’s As You Like It
It all gets out of hand
A boy will play a woman who pretends to be a man!
12
MANAGER and HALF of CHORUS:
No women
ANNE, SARA, and OTHER HALF of CHORUS:
No women
MANAGER and HALF CHORUS:
It says right here
No women
ANNE, SARA, and HALF CHORUS:
No women
MANAGER and CHORUS:
The law is clear
No women can take up the acting art
A teenage boy will play the woman’s part.
MANAGER:ANNE and SARA:
A teenage boy will We can’t come act but
play the woman’s part.
we can be queen.
(THEY exit. BEN JONSON walks on stage. HE notices the
audience, stops and addresses them.)
JONSON: Oh, hello. You here for the Shakespeare thing? I thought
so. I’m Ben Jonson.
STUDENT in AUDIENCE (shouts out): How do you spell that?
JONSON: Jonson. J-O-N-S-O-N.
(to audience)
I love it when they take notes.
STUDENT: How come there’s no H in Jonson?
JONSON: No H? Umm, I don’t know.
STUDENT: It looks weird without an H. I’m gonna write it with
an H.
13
JONSON (to audience): It’s my fate. I’m a famous playwright too.
A good friend of Will’s. But most of us other Elizabethan authors
seem to get forgotten in the sands of time.
SHAKESPEARE (entering, holding a quill and piece of paper):
Ben! Ben, I need your help.
JONSON (to audience): Ah, here’s Shakespeare now!
(to SHAKESPEARE)
Will! Tell me, friend, what can I do for you? An honest tale speeds
best, being plainly told.
SHAKESPEARE: Hey, that’s good. “An honest tale speeds best,
being plainly told.” Let me write that down.
JONSON: What’s the problem?
SHAKESPEARE: It’s my new comedy—I can’t come up with a title.
I have not slept one wink in nearly two weeks. This was the twelfth
night.
JONSON: I’m sure you’re making much ado about nothing.
SHAKESPEARE: The whole production has been a comedy of
errors.
JONSON: Sounds like a tempest.
SHAKESPEARE: I’m afraid all my love’s labor’s lost.
JONSON: Stop worrying so much. You’ll figure it out. Just title it
any way you like it.
SHAKESPEARE: As I like it, eh?
JONSON: As you like it. As long as it has a happy ending it’ll be
fine.
14
SHAKESPEARE: You’re right—all’s well that ends well. Sometimes
I feel this huge burden, like every word has to be great.
JONSON: Be not afraid of greatness: some are born great, some
achieve greatness and some have greatness thrust upon them.
SHAKESPEARE: That’s another good one! Mind if I use it?
JONSON: What are friends for? My nature is full o’ the milk of
human kindness.
SHAKESPEARE: Hey, you want to come see the rehearsal?
JONSON: I’d love to, Will, but I’m meeting two gentlemen of
Verona over at the merchant of Venice—we’re going dancing
with the merry wives of Windsor. I’ll catch the first performance,
though.
(exits)
SHAKESPEARE: Thanks, Ben!
(to audience)
Great guy, Ben. Spells his last name a bit funny, though.
(from offstage, shouts are heard)
POET #1: There he is! There’s Shakespeare!
POET #2: Get him!
SHAKESPEARE: Oh no! It sounds like poets! They’re always after
me.
(to audience)
Parting is such sweet sorrow. But I gotta fly!
(SHAKESPEARE races off in opposite direction as POETS
run on from other side of stage)
POET #1: He got away again!
15
POET #2: I HATE that guy!
POET #1: You know how hard it is for us poets to come up with
any new expressions with Shakespeare around?
POET #2: Every time we think we’ve coined some clever new
phrase, it turns out Shakespeare got there first. It’s so annoying.
POETS:
Song 4/13
“Elbow room” and “catch a cold”
“All that glitters isn’t gold”
How many phrases can just one guy make?
“Heartsick” “leap frog” “fancy free”
“One fell swoop” “it’s Greek to me”
He made up “goodness’ sake,” for goodness’ sake!
CHORUS:
Ooo ooo ooo ooo ooo ooo ooo ooo
POETS:
He’s a phrasemaker
Instrumentation for
SONG 4: Piano, bass,
synthesizer, drums
CHORUS:
Ooo ooo ooo ooo ooo ooo ooo ooo
POETS:
He’s a phrasemaker
Got that golden touch
Got that golden touch
CHORUS:
The lady doth protest too much!
She doth protest too much!
ONE of POETS (male): Hey, who you calling a “lady”?!
16
POETS:
“Love is blind” “the game is up”
“Laughingstock” “ay, there’s the rub”
That “green-eyed monster” has me, you can tell.
“In a pickle” “flaming youth”
“Break the ice” and “naked truth”
They’re “household words”—but that’s his phrase as well!
POETS and CHORUS:
Ooo ooo ooo ooo ooo ooo ooo ooo
He’s a phrasemaker
Ooo ooo ooo ooo ooo ooo ooo ooo
He’s a phrasemaker
Got that golden touch
Got that golden touch
CHORUS:
The lady doth protest too much!
She doth protest too much!
(POETS exit. PROFESSOR and HAILEY enter.)
PROFESSOR (to audience): Hello, class. I hope you enjoyed
meeting Shakespeare. Oh, and this is my other teaching assistant,
Hailey.
HAILEY (to audience, very properly): Hello.
PROFESSOR: I haven’t seen Otto. I shudder to think what he may
be doing, running around London in 1599.
OTTO (runs across stage, shouting dramatically): A horse! a
horse! my kingdom for a horse!
(exits)
17
HAILEY: Otto is a very silly boy. I don’t know how you put up
with his romantic notions. We are here to learn, not to become
emotionally involved with the plays or pretend we are one of the
characters.
PROFESSOR (to audience): Hailey is very practical.
HAILEY: I know all 37 plays by heart.
PROFESSOR (sees BURBAGE entering): Ah, here is Richard
Burbage, the leading actor and partner in The Lord Chamberlain’s
Men.
BURBAGE: Back again, Professor? It’s so nice to see you.
(notices HAILEY)
And who is this charming maiden?
HAILEY: Hello. I’m Hailey.
BURBAGE (in Shakespearean tones): She speaks!
O, speak again, bright angel! for thou art
As glorious to this night, being o’er my head,
As is a wingèd messenger of heaven…
HAILEY: Oh my!
PROFESSOR: Still playing Romeo, Richard?
BURBAGE: Who else? We’re celebrating the opening of the Globe
Theater with a revival of Will’s masterpiece. You must see the place.
Over 2000 spectators! Open to the sky. Only a penny to stand in
the yard; three pennies will get you a good seat with a cushion.
HAILEY (now much warmer): It sounds lovely.
18
BURBAGE (addressing HAILEY):
But soft! What light through yonder window breaks?
It is the East, and Juliet is the sun!
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief
That thou her maid are far more fair than she.
HAILEY (now caught up, cries out—this has to be over the top):
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
BURBAGE (to audience): Shall I hear more, or shall I speak at
this?
HAILEY (completely into her character):
’Tis but thy name that is my enemy.
Thou art thyself, though not a Montague.
What’s Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What’s in a name? That which we call a rose
By any other name would smell as sweet.
BURBAGE: Brilliant! Come, my dear, let me give you a tour of the
Globe.
(THEY start to exit; HE recites to her)
Shall I compare thee to summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date.
PROFESSOR (startled; to audience): What?! Did you hear that?
A Shakespearean sonnet. And not just ANY sonnet, but number
eighteen!
(running after them)
Hailey, wait for me! Juliet needs a chaperone.
(THEY exit. THREE GROUNDLINGS enter.)
19
GROUNDLING #1: Hey, did you see that? It was Richard Burbage
himself!
GROUNDLING #2: There’s a play at the Globe. You wanna go?
GROUNDLING #3: There’s nothing ELSE to do. And it happens I
found a penny on the ground this morning.
GROUNDLING #1: We can stand in the yard with the rest of the
groundlings and get good and rowdy.
GROUNDLING #2: Maybe we can toss some stuff at the actors.
GROUNDLING #3: I LOVE the theater!
GROUNDLINGS:
Song 5/14
There ain’t no scheduled hangings
It’s been so dull of late
I haven’t seen one dogfight
And not one bear to bait.
But I just found a penny
This is my lucky day
So run and get your tankards
We’re gonna see a play!
Instrumentation for
SONG 5: Two electric
guitars, bass, drums
At the Globe
CHORUS: Globe globe globe globe
At the Globe
CHORUS: Globe globe globe globe
Haven’t got a DVD or movie to download
GROUNDLINGS and CHORUS:
I guess we’ll catch some Shakespeare at the Globe.
20
I hear that our boy Willy
Has got a brand new show
And if we do not like it
We’ve got some fruit to throw.
I hope it’s something funny
No tragedy or tears
Last time I swear some Roman
Asked me to lend my ears!
CHORUS:
At the Globe
GROUNDLINGS: Globe globe globe globe
At the Globe
GROUNDLINGS: Globe globe globe globe
GROUNDLINGS and CHORUS:
Haven’t got a DVD or movie to download
I guess we’ll catch some Shakespeare at the Globe.
Haven’t got a DVD or movie to download
I guess we’ll catch some Shakespeare at the Globe.
(THEY exit. OTTO enters, wearing a really terrible disguise.)
OTTO (to audience): Hi. It’s me, Otto. Don’t tell the Professor. I’m
in disguise. I’ve just seen the most amazing performance at The
Globe.
(Two other SPECTATORS walk by; these are rather upper
class English who take the nicer seats in the theater)
Excuse me. Did you just see the play?
SPECTATOR #1: Yes, it was marvelous. Two hours just flew by.
OTTO: All the world’s a stage, my friend, and all the men and
women merely players.
21
SPECTATOR #2: What?
(to SPECTATOR #1)
I think this guy is bonkers.
OTTO (to SPECTATOR #1): And what about you?
SPECTATOR #1: Yes, I also think you’re bonkers.
SPECTATOR #2: How do the actors remember all that stuff?
SPECTATOR #1: I hear they put on 25 or 30 different plays each
year.
SPECTATOR #2: Yes, and half of them are new. Who can
memorize all that?
SPECTATOR #1: And they’re performing, what, 10 different plays
at a time?
OTTO: Life’s but a walking shadow, my friend, a poor player that
struts and frets his hour upon the stage and then is heard no more.
(SPECTATORS look at one another and step back from
OTTO)
SPECTATOR #2: Yep, he’s bonkers.
SPECTATOR #1 (looking offstage, pretending to see something):
Hey look, there goes Shakespeare with Marlowe!
OTTO: Where? I must go see.
(races off)
SPECTATOR #2 (to #1): I thought Christopher Marlowe was dead.
SPECTATOR #1: I didn’t say it was Christopher Marlowe the
playwright, now did I? It was Fred Marlowe, the barber. I just said
it to get rid of bonker-man.
22
SPECTATOR #2: Yeah. But he was right about the play. I love the
fancy costumes.
SPECTATOR #1: And the actors didn’t even need many props or
sets.
SPECTATOR #2: You just have to listen to the words and watch
the movements.
SPECTATOR #1: When Burbage spoke, it was like I could see
everything he was describing.
SPECTATOR #1:
Song 6/15
He said, “Lo, we’re in the woods”
I swear I saw the trees
He said, “I’ve spilled pepper, lads”
And I just had to sneeze.
Instrumentation for
SONG 6: Piano, bass,
drums
SPECTATOR #2:
He said, “Lo, there goes a bird”
And something hit my head
He said, “Now it’s midnight, lads”
And I ran home to bed.
SPECTATORS:
Don’t need fancy sets or props
To have the scene succeed
Words are all you need.
Words words words are all you need.
He said “Here’s Petruchio”
And I thought that was great
Many people come on stage
It’s hard to keep ’em straight.
23
He said “Oh, I have been slain”
I saw the blood, I vow
So imagine my surprise
When he stood up and took a bow.
SPECTATORS and CHORUS:
Don’t need fancy sets or props
To have the scene succeed
Words are all you need.
Words words words are all you need.
Words words words are all you need.
(EXIT. SHAKESPEARE enters with three MEDIA
CONSULTANTS)
MEDIA CONSULTANT #1: So, Mr. Shakespeare—can I call you
Will?—we’ve been brought in as consultants.
SHAKESPEARE: Consultants?
MC #2: Sure. The Lord Chamberlain has asked us to take a look at
your plays and give him some advice.
SHAKESPEARE: About what? I’m the most popular playwright in
England.
MC #3: That’s true, Will, baby, but that doesn’t mean we can’t push
profits up a bit.
MC #1: For example, we’ve been crunching the numbers, and it
looks like your comedies could use a little punching up.
SHAKESPEARE: Punching up? These words are razors to my
wounded heart.
MC #2: Take it easy, poet boy. It’s just that some of these plots are
confusing.
24
MC #3: Take A Midsummer Night’s Dream.
SHAKESPEARE: It’s one of my most popular.
MC #1: It USED to be. But it’s slipping. And we think we can get it
right back on track with a little creative snipping.
MC #2: Tell us if we have this straight. You’ve got King Theseus
about to marry Hippolyta. Then there’s this Demetrius guy, who’s
in love with Hermia.
MC #3: But Hermia is in love with Lysander.
MC #1: And someone named Helena is in love with Demetrius.
SHAKESPEARE: I know it sounds confusing, but in the end it
all…
MC #2 (interrupting): But that’s just the first scene! You’ve also
got a fairy king and a fairy queen. Is that right? A fairy king and
queen?
SHAKESPEARE: It’s a romantic fantasy!
MC #3: Now these royal fairies—and we’re assuming you’re not
trying to say anything about Queen Elizabeth here, Will, because
that’s just the kind of thing that’s going to get us all into a lot of
trouble—anyhow, these fairies have a servant fairy named Puck.
MC #1: That’s a good name, by the way. Puck. We think it will
bring in the hockey fans.
MC #2: Anyhow, Puck makes the fairy queen fall in love with
someone named Bottom.
MC #3: And this Bottom has a donkey’s head. Am I reading this
right? A Bottom with a donkey’s head?
SHAKESPEARE: I guess I hadn’t really thought about…
25
MC #1 (interrupting): Of course you haven’t. That’s why we’re
here. But there’s more.
MC #2: This Puck—the servant fairy—makes Lysander AND
Demetrius fall in love with Helena.
MC #3: Honestly, Will, by this point not a soul in theater could
possibly remember who any of these people are.
SHAKESPEARE: But it all ends happily! All the right people get
married to each other.
MC #1: But how does this happen?
SHAKESPEARE: With just a little more, umm, fairy magic.
MC #2 (exasperated): Fairy magic.
(shaking his head)
Will, Will, Will.
MC #3: And that’s not the end. There’s another play to watch.
SHAKESPEARE: It’s a play within a play.
MC #1: And this little play is about two star-crossed lovers. Do I
have this correct? The guy mistakenly thinks his girlfriend is dead
so he kills himself, and when she finds out, she kills herself.
MC #2: You’ve DONE this already, Will. You can’t go rehashing
your tragedies and plastering them on to the end of a comedy.
Somebody’s going to notice.
SHAKESPEARE: Stop it! You don’t understand anything I’m
doing. Besides, I’m not writing a comedy right now.
MC #3: That’s great to hear. We think the market is a bit saturated.
SHAKESPEARE: I’m going back to my roots—I’m working on a
history play.
26
MC #1, #2, #3 (together): NO, not history!
MEDIA CONSULTANTS:
Song 7/16
The guys upstairs in marketing
All feel you’ve made things worse
By taking British history
And putting it in verse.
Pentameter is so last year
Iambic is passé
And frankly all this Tudor stuff
Just reeks of yesterday.
Instrumentation for
SONG 7: Two trumpets,
two electric guitars, bass,
drums.
No one cares ’bout history
History won’t do
History’s a mystery
Let’s give ’em something new.
MEDIA CONSULTANTS and CHORUS:
No one cares ’bout history
History won’t do
History’s a mystery
Let’s give ’em something new
Something new
Something new
Something new.
There’s Henry 4, 5, 6, and 8
There’s Richard 2 and 3
Your titles all need major work
The focus groups agree.
The PR folks want action scenes
An ox-cart chase or two
Let’s give the crowd an English king
Who really knows kung fu!
27
MEDIA CONSULTANTS and CHORUS:
No one cares ’bout history
History won’t do
History’s a mystery
Let’s give ’em something new.
No one cares ’bout history
History won’t do
History’s a mystery
Let’s give ’em something new
Something new
Something new
Something new.
MEDIA CONSULTANTS:
Exit interviews suggest
A couple things might sell
Prince Hall has got potential, Will
And Falstaff tested well.
The tragedies and comedies
Are fresh and good as gold
But dump the rest—the Romans too
’Cause history is old!
MEDIA CONSULTANTS and CHORUS:
No one cares ’bout history
History won’t do
History’s a mystery
Let’s give ’em something new.
No one cares ’bout history
History won’t do
History’s a mystery
Let’s give ’em something new
Something new
Something new
Something new.
(THEY exit. The PROFESSOR enters.)
28
PROFESSOR (to audience): Actually, those consultants were
wrong. Some of Shakespeare’s history plays have always been crowd
favorites. Like Richard III.
OTTO (jumping out): Now is the winter of our discontent.
(jumps back; this happens each time)
PROFESSOR: King Henry IV, Part II.
OTTO: Uneasy lies the head that wears the crown.
PROFESSOR: Julius Caesar.
OTTO: Et tu, Brute!
(pretends to be stabbed, dies dramatically, stumbles offstage)
PROFESSOR: But our time is almost up, and there’s one more
person I want you to meet: King James. Queen Elizabeth died in
1603, and James VI of Scotland became King James I of England.
And he really likes Shakespeare.
(SHE exits as JAMES enters with an ATTENDANT)
JAMES: That has to be the WORST carriage ride I’ve ever been on.
ATTENDANT: Terrible, Your Highness.
JAMES: Next time I want one of those stretch carriages. And
something to eat on the way. I’m King of England—I want
SNACKS!
ATTENDANT: Some treats from the New World, perhaps?
JAMES: Yes! Exactly! What do you think the French king has to eat
in HIS carriage?
ATTENDANT: I don’t know, Your Highness.
29
JAMES: Well find out! Those French are always coming up with
new and disgustingly rich things to eat, and I want TWICE AS
MUCH as THEIR king gets.
ATTENDANT: I’ll ask the French prince—he’s visiting London.
JAMES: He is? Why wasn’t I told? Where’s he staying?
ATTENDANT: In the royal visitors’ quarters. Apartment 2B. I
think.
JAMES: Well, is it 2B or not 2B?
ATTENDANT: That is the question. I’ll find out. Anything else,
Your Highness?
JAMES: Yes. Summon the King’s Men. I want to see a play.
ATTENDANT: Right now?
JAMES: Yes, right now! That’s why I changed the name of
Shakespeare’s troupe to the King’s Men—so I could boss them
around.
ATTENDANT: But they were here just last month.
JAMES: I love these guys!
30
KING JAMES:
Song 8/17
I’ve got a dozen castles and a pile of meat
And twenty-seven servants to massage my feet
But all I’m really wanting is a front row seat
Too-rah-loo-rah-ay
The King’s Men are my troupe so I just send a note
“Now come perform the latest thing that Shakespeare wrote,
And if you’re late I’ll have you all thrown in the moat!”
Too-rah-loo-rah-ay.
CHORUS:
Too-rah-loo-rah-loo-rah-ay
Too-rah-loo-rah-loo-rah-loo-rah-ay
JAMES: Who da king?
ATTENDANT: You da king!
JAMES: Who da man?
ATTENDANT: You da man
JAMES: Start the play
ATTENDANT: Start the play
Instrumentation for
SONG 8: Piano, tuba,
clarinet, xylophone,
drums
JAMES, ATTENDANT, CHORUS:
Too-rah-loo-rah-loo-rah-loo-rah-ay
JAMES and ATTENDANT:
Since I’ve been king we’ve seen the best of Will Shakespeare
He finished his Othello and that old King Lear
I wonder why so many crazy kings appear
Too-rah-loo-rah-ay.
They say he’s got a new one that will steal your breath
About my home of Scotland and it’s called Macbeth
And if I know my Shakespeare it is filled with death!
Too-rah-loo-rah-ay.
31
CHORUS:
Too-rah-loo-rah-loo-rah-ay
Too-rah-loo-rah-loo-rah-loo-rah-ay
JAMES: Who da king?
ATTENDANT: You da king!
JAMES: Who da man?
ATTENDANT: You da man
JAMES: Start the play
ATTENDANT: Start the play
JAMES, ATTENDANT, CHORUS:
Too-rah-loo-rah-loo-rah-loo-rah-ay
Too-rah-loo-rah-ay.
(THEY exit. PROFESSOR and HAILEY enter.)
HAILEY (to PROFESSOR): Do we have to go back?
PROFESSOR: I’m afraid we’ve reached the end of our class, Hailey.
Shakespeare died in 1616, a rich and successful actor, playwright,
and poet.
HAILEY: What about Otto? We can’t just leave him in the
seventeenth century, can we?
PROFESSOR: Oh, I’m sure he’ll show up eventually.
(to audience)
So, are you ready for the exam? Take out a blue book and a pen.
I hope you paid close attention. As the bard says, “What’s done is
done.”
CLASS:
Song 9/18
Shakespeare Unshackled
Shakespeare 101
Gonna study hard about the bard
We’re gonna learn a ton.
32
Shakespeare Unshackled
Gotta be a whiz
(to audience)
This applies to you ’cause when we’re through
There’s gonna be a quiz.
Let’s go back to merry England
In the sixteenth century
What a thrill to chat with Will
And share share share share a cup of tea.
(OTTO races on stage, shouting:)
OTTO: And now for my favorite: Strawberry Fields Forever.
CLASS (shouts): That’s not Shakespeare—that’s the Beatles!
OTTO: Next class trip—Liverpool!
CLASS:
Shakespeare Unshackled
Shakespeare 101
Gonna study hard about the bard
We’re gonna learn a ton.
THE END
33
Teacher’s Guide
Introduction
Shakespeare Unshackled is a musical play
designed to be performed by students studying
and/or performing Shakespeare’s plays. Older
students will of course do a more polished job,
but please don’t be afraid of having fifth- or
sixth-grade students perform this show. They’ll
have a great time (this is not your regular school
play) and the audience 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 Shakespeare
Unshackled 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. Mom or
Dad can help the student learn the part, but
give your parents the gift of being pleasantly
surprised when they see the performance.
34
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 44. 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).
For some time now 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. Shakespeare Unshackled is ideal for this since
you can easily connect music, theater, and language arts under the guise of a
fun show.
Is Shakespeare 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
the show is “a stunning piece
of contemporary American
theater.” Go figure.)
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 if they are,
we want some that cash!), 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
Shakespeare Unshackled, 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!
35
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 Shakespeare
Unshackled 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 show 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 this kind of production
as possible; others prefer to work with their students 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 CD)
The audio recording is a teaching tool for helping your students learn all the
songs. The first recorded version features the composer and some talented
friends brilliantly 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.
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.
36
Ready for some controversy? The easiest way of getting students to learn the
show is probably to copy the script and give it to them. Other teachers like
the students to learn the songs by ear without looking at the script. 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.
If you have access to the right
equipment you can manufacture
copies of the entire recording
for your class. 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 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!
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 CD and show them
the samples of music on page 48 of this
book to be certain they are comfortable
with it (to order the sheet music for
Shakespeare, 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.
37
Casting
Shakespeare Unshackled was originally written to
be performed by a class of from eighteen to thirty
kids, but the show is very flexible. How many Media
Consultants are there? How many Spectators?
Three? Five? (One teacher we know insists that
odd numbers work best, and who are we to argue?)
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.
We suggest waiting until the last week or two
before you pick specific students 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 “At The Globe” together. Or perhaps several students will express
interest in being a Teacher’s Assistant (wouldn’t it be nice if more of them
did?). 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.
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
CD and have the students pick out the
different sounds. Your students may want
to do some research: what’s a xylophone,
for example?
As you know, some kids 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 students 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.
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 actors the opportunity
to have a “starring” role.
38
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.
The fancier the costumes, the more self-conscious the performers and the
quieter they will sing. (As you may have guessed by now, getting some of your
students to project their voices to the audience will be one of your challenges.)
Make sure what they wear is comfortable, especially the hats (which, unless
they fit perfectly, tend to be very distracting). Keep hats—and wigs—to a
minimum. In general, beards are a bad idea. When in doubt, simplify. (We
think decorated T-shirts and baseball caps can cover just about any costuming
needs. Of course, we are biased—our own wardrobe still consists mostly of
T-shirts and baseball caps.) To unify the cast visually, have all actors wear
simple black T-shirts.
For Shakespeare Unshackled the simplest
thing would be to hang a cardboard sign
around the actors’ necks that say “King
James” or “Ben Jonson” etc. The audience
will accept whatever you do, as long as it
doesn’t distract them from what’s going
on in the play. Some of the characters can
have props: we suggest, for example, that
the women applying for an acting job
have a copy of the ad. If you want, some
characters can have funny costumes—the
villagers from Stratford-upon-Avon can
look a bit worn and torn, for example. It’s
all up to you and your students, but again,
we strongly advise that you keep this as
simple and easy as possible.
39
39
The Set
You don’t really need a set to put on a successful performance, so don’t worry.
Here’s one idea for set and staging in the classroom that has worked very
well. (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.
Shakespeare Unshackled 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. You can make a backdrop with
the title of the show running across a giant drawing of Shakespeare. Or you
might paint the background with lots of different titles of Shakespeare’s plays.
However you set it up, remember
that all songs must be sung to the
audience with the actors in the
front, middle part of the stage. See
our sample stage setup on page 42.
By all means have the kids do
most of the set-planning and
building—it’s a great project.
If you can get some adult
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.
40
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. And don’t hesitate to
add actors or double up roles if that works
best for the size of your class. 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.
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 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).
We’ve also positioned the
students in groups on the stage.
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:
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.
❖
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 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 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.
41
41
❖
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.
42
42
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 several full dress rehearsals so students can get used to
them. Do these in front of an audience so students learn to project.
❖
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.
43
43
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 removable tape to mark where students will be (you can
color code).
4. Perform for another class and invite that class to write reviews.
5. Record the rehearsal/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.
44
Emphasis: Making the Words Come Alive
One of the challenges in putting on student plays is to get your actors 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.
45
45
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.
46
Language Arts Curriculum and VocabularyBuilding in Shakespeare Unshackled
Key Terms and Concepts
Shakespeare Unshackled covers the following background elements for
the study of the plays: Shakespeare’s life, Elizabethan England, actors,
theater troupes, The Globe and the nature of Elizabethan/Jacobean theater,
performing for royalty, and Shakespeare’s contributions to the English
language. Most of the titles of the plays are mentioned (often in humorous
contexts), and there are dozens of quotations from Shakespeare, including
extended passages from Othello and Romeo and Juliet (and a fractured
description of A Midsummer Night’s Dream). Additional related terms and
names are:
Stratford-upon Avon Francis Drake
Queen Elizabeth
King James
Christopher Marlowe
Ben Jonson
Richard Bourbage
Lord Chamberlain’s Men
The King’s Men
armadagroundlingsAnne Hathaway
General Vocabulary-Building (words and phrases)
bardgouttroupeplaywrightrehash
bonkers
booster shots method actor “weaker sex”
fine print
nuisance
plague
coined
“Who’s your daddy?”*
“hold the phone”
NOTE: We have some fun with a few anachronistic phrases and references in
our musical. (Elizabethan characters complain, for example, that they don’t
have anything to watch on the “telly” and no “DVDs” to listen to.) In this, we
follow the model of Shakespeare himself, famous for his many creative “errors”
(e.g. Cleopatra playing billiards!). See if your students can spot them!
47
47
The Complete Vocal Score for Shakespeare
Unshackled
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 Shakespeare Unshackled and is
highly suitable for musicians on the go. It is absolutely necessary if you plan
live musical accompaniment of the show.
48
Complete Your Collection
Can’t get enough? You can also purchase sheet music and extra/replacement
CDs for this play.
We also offer money-saving site licenses and school packs for entire grade
levels or schools. See our web site or catalog for more details!
Want to order copies of this play or CD for students? Good news! Through
our Musicals for Munchkins program, your students can buy them for halfprice as long as at least seven books or CDs are purchased at the same time.
One check only is to be sent and 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. No one who buys through the
Musicals for Munchkins program is authorized to produce this show. Teachers
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 the world.
And if you liked this play, you have to try our other equally flavorful
musicalizations! See the next page or our web site for the full list.
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 teacher 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
P.O. Box 388
Santa Clara, CA 95052-0388
Toll Free: 1-888-827-8661
badwolfpress.com
1