​
​Bed and Breakfast by Mark Crawford
At Great-West Life, London Life and Canada Life, we are committed to enriching communities
through our support of the arts. We focus on accessibility and audience development, and
encourage the participation and education of youth. We’re proud to support Theatre of
Tomorrow through the Centaur Theatre Company as they engage minds, entertain
audiences and encourage new ideas.
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​
​Bed and Breakfast by Mark Crawford
TABLE OF CONTENTS
Synopsis………………………………….3
About the playwright…………………….3
About the script….….…………………...4
Characters………………………………..5
Pre-Show Discussion…………………...6
Acting exercises…………………………9
Writing & performance exercises…….15
Post-Show Discussion………………...21
Excerpts………………………………...23
Glossary………………………………...32
References……………………………..33
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​Bed and Breakfast by Mark Crawford
SYNOPSIS
In a bold move from urban Toronto to a tiny tourist town, two gay men decide to convert
an inherited family residence into a B&B. Playing dozens of male and female
characters - from narrow-minded rednecks to awkward high school boys - the real
estate rat race, renovation hell, and small town prejudice test the couple’s resolve, with
more than a few unexpected and hilarious plot twists. A heartwarming comedy about
living ‘out’ in the country, skeletons in the closet, and finding a place to call home.
ABOUT THE PLAYWRIGHT
Mark Crawford’s second play, ​Bed and Breakfast,
premiered at the Thousand Islands Playhouse in
2015. The script was developed through the
Thousand Islands Playhouse Playwrights' Unit. ​Bed
and Breakfast plays at Centaur Theatre in Montreal
in April-May, 2017.
His first play, ​Stag and Doe, premiered at the Blyth
Festival in the summer of 2014. The play has gone
on to receive seven other professional productions
in the past two years at: Neptune Theatre, Port
Stanley Festival Theatre, Lighthouse Festival
Theatre (and tour to Showboat Festival), Upper
Canada Playhouse, Festival Players of Prince
Edward County, and Theatre Orangeville (and tour
to Theatre Collingwood).
Stag and Doe and ​Bed and Breakfast are published
as a two-play edition by Scirocco Drama.
Mark's newest play, ​The Birds and the Bees, premiered at the Blyth Festival in June,
2016. Subsequent productions are lined up at Port Stanley Festival Theatre in
August-September, 2016 and Prairie Theatre Exchange in March-April, 2017.
As an actor, Mark has performed at theatres across the country including: Canadian
Stage, Royal Manitoba Theatre Centre, Theatre New Brunswick, Young People's
Theatre, Theatre Aquarius, Blyth Festival, Studio 180 Theatre, Magnus Theatre,
Carousel Players, Manitoba Theatre for Young People, Sudbury Theatre Centre,
Thousand Islands Playhouse.
Mark grew up on his family's beef farm near Glencoe, Ontario. A graduate of the
University of Toronto and Sheridan College, he lives in Toronto.
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​Bed and Breakfast by Mark Crawford
ABOUT THE SCRIPT ​by Mark Crawford
Setting
The play is set in various locations in Toronto and a small town a few hours’ drive from
the city. Because of the speed at which things move, one set should represent all of the
locations in the play. Whatever scenic elements there are might suggest the
architecture of the house or give us a glimpse into the modern elegance Brett creates
for the B & B.
Props and Costumes
There is likely no time for real
props, but everything can appear
out of--and disappear into--thin air
through the use of mime. There is
also no time for costumes pieces
to differentiate characters; that’s
all done through the power of
acting. There are opportunities,
however, for Brett and Drew to
change their clothes, showing us
how they transform over the
course of the play.
​Andrew Kushnir and Paul Dunn in rehearsal for Bed and Breakfast at the Thousand
Islands Playhouse.
Shifts
The changes between locations, times, and characters should be seamless,
instantaneous, and most of all, crystal clear. I’ve used the word Shift to signal a new
scene, likely with the help of lights and sound. Think of Shift as driving standard: you
change gears, but you keep moving forward...
Themes
Change
Coming out
Home
Community
Identity
Family
Homophobia
Quality of life
Urban vs. small town life
Meet the playwright:​ Mark Crawford - Talks about ​Bed and Breakfast
Video Clip:​ ​https://www.youtube.com/watch?v=XGFIgG2wdtE
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​Bed and Breakfast by Mark Crawford
CHARACTERS
Bed and Breakfast is performed by two actors. This is Brett and Drew’s story and in
order to tell it, they take on all the other roles.
To keep things straight (so to speak) the playwright has indicated the first initial of the
person who’s speaking along with the character he’s taking on (ie. D/DOUG or
B/ALISON). Here’s the complete list of characters, listed under the one who plays
them.
BRETT’S ROLES
DREW’S ROLES
BRETT, an interior designer, thirties
DREW, a concierge at an upscale hotel, thirties
LYNDA, his mom, sixties
REVEREND, the voice of a Minister
STEVE, his older brother, about forty
MARTIN, Brett’s dad, sixties
JEFFREY, a barista with attitude
CODY, Brett’s nephew, Steve’s son, eighteen
RAY, a real estate agent and friend
CARRIE, a real estate agent and friend
ALISON, a cafe owner, thirties
DOUG, a contractor, late fifties
DUSTIN, Carrie’s son, sixteen
HAROLD, a neighbour, eighty-one
LITTLE GIRL, freaking out, six
CHRIS, married to Alison, Irish, about forty
SHARON, married to Chuck, British
CHUCK, married to Sharon, British
SYLVIA, right-wing, about seventy
TRAVIS, just married to Alexa
A VOICE, male, older
ALEXA, just married to Travis
The Actors
Mark Crawford
Paul Dunn
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​Bed and Breakfast by Mark Crawford
PRE-SHOW DISCUSSION
Pre-Viewing Questions:
The following questions can be used as pre-viewing oral discussion prompts or written
reflection questions to prepare students for the setting, topics and themes of the play.
1. What is a bed and breakfast? What thoughts/feelings/images come to mind when
you think of a bed and breakfast? What do you think every bed and breakfast ought
to have? Why do some people prefer them to hotels or other types of
accommodation? If you were going to run your own bed and breakfast, what do you
think are the most important factors to consider in running this type of business
successfully? Come up with a creative name for your future bed and breakfast.
The Hooper-Smith House/B&B
Photo credit: Larry D. Moore
Note to teacher: ​ The teacher could provide images of local bed and breakfasts or read
reviews of local B & Bs to give students a feel for the type of environments/homes that
are used for bed and breakfasts and how people feel about them, to kick start or round
off the discussion.
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​Bed and Breakfast by Mark Crawford
PRE-SHOW DISCUSSION
2. City life vs. small town life: let’s examine the pros and cons of each. For each of the
following, would you prefer to live in a small town or city? Justify your answers.
a. During your childhood
b. While raising a family
c. During your adulthood
d. In retirement
3. What does home mean to you? Is home a feeling or a place? What kinds of things
are important in creating a home for oneself or family? What does it take in order for
you to feel at home somewhere? Do you have more than one place where you feel
at home?
4. Consider some of the phrases we use around the concept of home: ​welcome home,
home sweet home, there’s no place like home, home is where the heart is, make
yourself at home, home away from home. What connotation do all of these well
known phrases make about home?
5. What role do community and family play in your definition of home? How can a
community or a family affect your sense of home? How are a sense of home and a
sense of belonging related?
6. What does quality of life of mean? How is your quality of life affected by the
following: where you live, your family’s household income, your health, your attitude,
your community, your school and your social life? What factors do you think would
improve your quality of life presently?
7. What is meant by the expression “coming out?” What do you think are some of the
challenges of coming out? How might friends, family or a community affect
someone’s choices and process of coming out?
8. How does theatre reflect and influence society? Can theatre change a viewer’s
perspective on any given social issue? Can theatre promote social change?
9. Why is comedy an effective medium for challenging intolerant thinking and
prejudice?
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​Bed and Breakfast by Mark Crawford
PRE-SHOW DISCUSSION
10. As an actor, you’ve just been cast in a lead role in a full-length play.
Discuss/brainstorm ways you would approach preparing for the role. Where would
you start? What might your process look like?
11. Now how would you prepare for a lead role in a play that involves playing eleven
different characters? What process would you suggest? Where would you start?
How might this process be different from the first one?
12. What might be the advantages of having two actors perform the roles of a cast of
twenty-two characters?
13. What might be the challenges or drawbacks of having two actors perform the roles
of a cast of twenty-two characters?
Discussion extension: For teachers interested in exploring LGBT issues and the
theme of coming out with your students, see the short film below. The video could be
a good discussion starter around a young person’s coming out journey and the ways
art can impact our social views and understanding about LGBT issues.
https://www.shortoftheweek.com/2015/08/15/alone-with-people/
Alone with People ​(25 minutes)
By Georg Csarmann
A dramedy about LGBT in live-action
Directed by Drew Van Steenbergen
Synopsis: Based on lead actress Quinn
Marcus’s one-woman show ​Chasing
Ballerinas, Drew Van Steenbergen’s ​Alone
With People tells the story of Andie, a
high-school girl growing up gay in Georgia
and her quest to come to terms with who she
is. With the help of an open-minded therapist
and their ensuing conversations—which
range from funny to revealingly
honest—Andie finds the strength to come out
to the members of her family, one by one, to varying degrees of understanding.
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​Bed and Breakfast by Mark Crawford
IMPROVISATIONAL ACTING EXERCISES
The following improv exercises are designed to prepare students for the challenging
performance work they will observe in the play. Students will hopefully develop a
deeper sense of appreciation for the actor’s craft, narrative storytelling, characterization,
and staging after participating in some or all of the following exercises. These exercises
can be easily adapted by grade level and can also be completed after viewing the play.
1. ​Storytelling ​(recommended as a pre-viewing acting exercise)
Have students recount a story about themselves and at least one other person to the
class or to a small group. The story can be short and simple but it must include
dialogue. The teacher can start the class by re-telling a childhood story whereby they
take on a child’s voice and a parental voice.
Debriefing questions:
● How many characters were in my/his/her story?
● Describe how I/she/he portrayed the different characters in the story?
● What information did you gather about the characters in my story?
● What physical or vocal choices were made to distinguish characters?
Extension: choose a student that is particularly good a retelling a story with strong
character voices, expression and movement. Now ask that same student to retell the
story without character voice, expression or movement. Discuss the differences.
Discuss the nature of storytelling and the relationship between storyteller and audience.
How does our engagement in the telling of a story impact how a story is received?
2. Perform a children’s story or fairytale using limited actors​ (recommended as a
pre-viewing acting exercise)
In pairs, have students choose a well known children’s story and retell it to the class as
if the story happened to one or both of them through narration, movement/pantomime
and dialogue. For example, how could two actors retell or perform the story of ​The
Three Little Pigs making sure to not only narrate what happened but also represent
each character through movement and dialogue.
Debriefing questions for the class:
● How many different characters were represented in this story?
● How were we able to distinguish the different characters?
● What did the actors do with their voices/bodies to distinguish the characters?
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​Bed and Breakfast by Mark Crawford
IMPROVISATIONAL ACTING EXERCISES
3. ​Physicalizing two contrasting characters ​(warm up character game)
Students will create two contrasting characters and experiment with transitions between
the two characters. Encourage students to work on developing and portraying their
characters through specific physical and body language cues.
Rationale: in the play, when actors shift between characters, the transitions must be
clear and seamless for the audience. The actors will rely on specific physical cues,
voice and dialogue to make the transition between characters. This warm up exercise
will help students be more observant and hopefully appreciative of these character
transitions when they are made by the actors.
Instructions:
a. Have students come up with two contrasting characters (character A & B). For
each character, they must create:
● three physical cues
● a distinct tone of voice
● one suitable line of dialogue.
For example:
Character A:
Physical cues: hands in pockets, head down, looks around a lot
Line of dialogue: “No thanks.”
Voice: small, insecure
Character B:
Physical cues: puffed out chest, wide legged walk, hand through hair
Line of dialogue: “I’m your man.”
Voice: strong, confident, low
b. Ask students to walk around the room for 20 seconds as character A, showing
the three physical cues, the voice and line of dialogue and then call a switch to
Character B for another 20 seconds. Consider using a sound cue to indicate
change of character. Coach students to make the characters even more distinct
and contrasting. Switch back and forth several more times with varying intervals.
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​Bed and Breakfast by Mark Crawford
IMPROVISATIONAL ACTING EXERCISES
c. Extension: Pair students up and have each of their Character As interact for 30
seconds and then have them interact for 30 seconds using their Character Bs.
This can be repeated with new partners.
4. Survivor Improv Game​ (recommended as a pre-viewing acting exercise)
Rationale: students will play this game without over thinking how to play all the roles of
the scene. This game is easy to adapt in the classroom and provides a good opening to
the multiple character performance seen in ​Bed and Breakfast.
Instructions: In groups of six, have each group create and perform a short one-minute
scene that has six distinct characters, a problem and a resolution. It is important that
each character is distinct in voice and action. Scenes can be created using a timed
huddle or a prompt like a “location” and students have to build their scene around the
suggestion.
The group performs the scene for the class. At the end of the scene, the teacher or
audience or a volunteer selects one person from the group to leave the scene. Without
discussion the group must now replay the scene making up for the missing character.
How they do this is up to them in the moment but the important actions, traits and
dialogue of that character must be performed in order to keep the story intact.
At the end of the scene, a volunteer can select yet another character to leave the scene.
Now it is up to the remaining four actors to play the parts of the six characters. The
game continues this way until there is one or two final performer(s) standing who must
play all of the roles. The result is often a fast-paced, frenetic and hilarious scene. This
game is a favourite of my drama students.
Tip: walk students through the game by doing a slow demo with a small group, during
each group’s performance remind students: to show actions, stage positioning and
maintain important lines of dialogue. The audience should still be able to understand
the story by the final performance.
Variations: a 4-person survivor scene to be played by two actors or a six person scene
to be played by three actors or a two person scene to be played by one actor.
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​Bed and Breakfast by Mark Crawford
IMPROVISATIONAL ACTING EXERCISES
4. Split Screen Improv Game​ (Beat by Beat press)
Rational: This is a fun improv game that shows students how split stage scenes can be
creatively combined to tell a story. This split stage technique is well demonstrated in
the play. See example: Excerpt 1 on page 23.
Instructions:
● Split the stage into two halves (a split screen). Ask two players to take the stage
on the left half, and two players to take the stage on the right half.
● Ask the audience for a suggestion for a setting for each half.
○ Example:
Stage Left
Stage Right
at a circus
at a dentist’s office.
● The players on the stage right half begin a scene while the other half remains
frozen. When there is a word or phrase that the players on the stage left half
could use as a beginning to their scene, they repeat it and begin their scene
from that point. When this happens the stage right players freeze.
● The two halves continue their scenes this way, each freezing when the other is
performing.
● The goal for each half is to somehow find a way to bring the scenes together
(i.e. A circus performer chips a tooth juggling and must be rushed to the dentist!
Or the dentist becomes completely bored with his job and decides to join the
circus!)
● When the two halves come together, the “divider” disappears and all four
players briefly continue their scene until the instructor ends the game.
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​Bed and Breakfast by Mark Crawford
CHARACTER ANALYSIS EXERCISE
Unlike prose where a narrator can provide a great deal of descriptive information about
characters, plays must develop characters indirectly through dialogue and action. As an
actor/drama student, you must take time to carefully analyze the text so you can
develop a strong interpretation and understanding of the characters and stay true to the
playwright’s intention.
For example, what can you infer about these characters from the play from their
dialogue, language usage, tone and speaking style?
B/RAY:
Girl, we need to talk.
CODY:
I dunno...I thought I might go live with my mom, but she--I dunno.
DUSTIN:
I’m like not sure. Oh I like almost forgot, I like made you this pie.
In order for two actors to successfully perform a play with twenty-two different
characters, it is important for the actors to know and understand the characters they are
playing very well. The actors must carefully develop and bring to life each of the distinct
roles so the portrayal of each character is clear to them and the audience. The
characters must be well defined, distinct, convincing and supportive to the main
characters and the plot.
Character analysis exercise:​ As you read (or after you view) the play, complete the
chart below by recording additional ideas, details and descriptions about each
character. Consider: personality, physicality, gestures, voice, motivation, language
usage, dialogue, etc. Many clues about a character can be inferred from the text
through careful reading and analysis and other traits must be fleshed out and developed
by the actor/reader him/herself.
CHARACTER
DESCRIPTION:
BRETT
an interior designer, thirties,
LYNDA
his mom, sixties,
STEVE
his older brother, about forty,
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​Bed and Breakfast by Mark Crawford
JEFFREY
a barista with attitude,
RAY
a real estate agent and friend,
ALISON
a cafe owner, thirties,
DUSTIN
Carrie’s son, sixteen,
LITTLE GIRL
freaking out, six,
SHARON
married to Chuck, British,
SYLVIA
right-wing, about seventy,
A VOICE
male, older,
DREW
a concierge at an upscale hotel, thirties,
REVEREND
the voice of a Minister,
MARTIN
Brett’s dad, sixties,
CODY
Brett’s nephew, Steve’s son, eighteen,
CARRIE
a real estate agent and friend,
DOUG
a contractor, late fifties,
HAROLD
a neighbour, eighty-one,
CHRIS
married to Alison, Irish, about forty,
CHUCK
married to Sharon, British,
TRAVIS
just married to Alexa,
ALEXA
just married to Travis,
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​Bed and Breakfast by Mark Crawford
SCENE WRITING & PERFORMANCE EXERCISES
The following scriptwriting exercises can be adapted for the grade level and completed
prior to or after viewing the play.
1. Scene Writing Exercise #1​ - Write a four character scene for two actors.
a. ​Brainstorming: ​ Divide the class into pairs. Have each pair brainstorm ideas for a
four-character scene, to be performed by only two actors. The content of the scene can
be decided by the teacher or students, or students can be given some topics from the
play to work with: a couple starts a big project together, moving to a new
neighbourhood, making new revelations about your family, running a business, etc.
b. ​Character analysis: ​Prior to writing the script, have students create a character
analysis chart for each character. Characters must be clear and distinct in the script
and in performance. Students should pay close attention to distinguishing character
through language, dialogue, accent, tone and physicality. Have each student complete
a similar chart for the two characters they will play.
Character
Personality &
Motivation
Body language &
physical gestures
Line of dialogue from
the student’s script
Character 1
Character 2
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​Bed and Breakfast by Mark Crawford
SCENE WRITING & PERFORMANCE EXERCISES
c. ​Scene writing:​ Have students write the script of their scene. They should be sure
to demonstrate a clear relationship between the characters, a setting and a conflict.
Use the script of ​Bed and Breakfast or the excerpts provided in this workbook (pages
23-28) as a reference for how to write a script for one character who plays two roles.
Follow Mark Crawford’s example for script writing this type of scene by indicating the
first initial of the person who’s speaking along with the character he’s/she’s taking on
(ie. D/DOUG or B/ALISON).
d. ​Rehearsal​: Have each pair rehearse their four character scenes in preparation for
performance in front of the class. Students should experiment with voice, timing, body
language and movement. All four characters must be distinct and clear to the audience.
Transitions must be smooth and clear for the audience. (The physicalizing two
contrasting characters exercises above can be used again here to help prepare
students for this performance).
e​. Performance​: Have each pair perform their four character scenes for the class.
Option: depending on your classroom resources, students could also use lighting,
sound or costume to support transitions and character changes.
f. ​Reflection on writing and performance​. Have students verbally or orally discuss
the process and challenges of writing and preparing a scene like this.
● What challenges did you face in developing your characters? In portraying
distinct characters?
● In what ways did written stage directions aid the process of staging this scene?
● How did the rehearsal process affect your performance?
g. ​Reflection on the performance work of others​: Have students verbally or orally
discuss the performance work of their peers.
● How well did the performers portray four distinct characters? (personality,
physical gestures, voice, dialogue, language, etc.)
● What techniques did the performers use to communicate the story and shifts
between characters and scenes (staging, shifts, transitions, sound, lighting
effects, etc.)
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SCENE WRITING & PERFORMANCE EXERCISES
2. Scene Writing Exercise #2 - ​Write and perform a montage scene
The application of montage is well demonstrated several times in the play ​Bed and
Breakfast (see excerpt #3). It is a unique storytelling technique for the theatre and one
students can apply in their own scriptwriting and performance work.
Montage definition​: originally used in film, a montage in theatre uses a well selected
assembly of fast paced, short scenes juxtaposed together in a unified way to show story
development over a specific time period. For example, two characters could perform
a series of short scenes one after the other documenting their courtship. A well crafted
montage can effectively develop characters, travel quickly in time and distance,
establish patterns, thicken the plot, add to character motivation and an audience’s
empathy for a given character.
Montage in film: ​Consider showing the following examples of how montage is used in
film. While montage is more challenging to write and show on stage, the following film
montages are a good visual cue for students and a good place to start the discussion.
● Rocky IV: Comparative Training ​https://www.youtube.com/watch?v=Q-8hOKNbtxg
● Up: Carl and Ellie’s married life ​https://www.youtube.com/watch?v=9yjAFMNkCDo
● Hot Fuzz: Opening work experience (narrated)
https://www.youtube.com/watch?v=rBNnHlqO4cs
Debriefing questions following the film clips:
❖ What impact did the montage have on you as a viewer?
❖ What did the montage achieve? What purpose did the montage serve?
❖ Could the same story have been communicated to us differently?
❖ How could you see yourself applying this technique in a piece of theatre?
Instructions to students: ​Write and perform a short 2-4 character scene that tells a
story through the use of montage. You must show 4-5 distinct short scenes that convey
a pattern and passage of time. Pay close attention to the application of stage directions
to achieve the transitions between scenes. Technical elements like sound and lighting
can also be used to effectively transition between montage scenes. A music score
could also establish the mood and tone of the montage.
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​Bed and Breakfast by Mark Crawford
SCENE WRITING & PERFORMANCE EXERCISES
Montage Scene Suggestions:
● Preparing for a sports competition
● A burgeoning romance
● The devolution of a relationship
● Growing up / Kindergarten to high school graduation
● Wedding day
● A party gone wrong
● Getting a job
● A series of dates gone wrong
● A building project
● A rescue
3. Read and perform scenes from the play
Instructions: Break students into pairs and have students perform scenes from the play
on their own. Select a few students to perform their assigned or chosen scene for the
class. Discuss the scene, the script writing techniques used, the acting challenges and
the overall performance.
See excerpts #1 - 4 on pages 23-28 of this workbook.
Excerpt 1: example of a split scene
Excerpt 2: example of scene with two actors playing multiple characters
Excerpt 3: example of a montage
Excerpt 4: example of narration and breaking the fourth wall to engage the audience.
4.​ ​Split-stage script performance
Rationale: the play makes effective use of the split-stage technique to develop the story
creatively and efficiently. This type of scene is engaging to watch and challenging to
write and/or perform.
Instructions: Give each student a copy of the excerpt (see page 21) from the
split-scene script “Joanne,” from the play ​Among Friends and Clutter by Lindsay Price
(1991). In pairs have students practice “Joanne” and experiment character choices,
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​Bed and Breakfast by Mark Crawford
delivery, pacing and staging for the most effective performance. Ask two sets of pairs to
perform their version of the split-scene script to the class.
Debriefing questions:
● What does a split-stage scene achieve?
● Could the same effect be achieved if the scenes occurred one after the other?
● How might you use the split-stage technique in a future dramatic work?
5. Scene Writing Exercise #3 -​ Write a split-stage scene for two or more actors.
A split-stage scene that shows two stories simultaneously can be used for a variety of
purposes: to achieve comedy, to evoke empathy from the audience, to show the
common experience of the characters, to create dramatic irony, to speed up the plot
and more.​ ​See excerpt #1 as an example.
Instructions: now that students have completed some split-scene exercises, have them
write their own split-stage scene.
Specific challenges could be provided. For example, write a split-stage scene
specifically:
● to show a turn of events over time (passage of time)
● to create dramatic irony
● to juxtapose two contrasting scenes or two characters’ contrasting experiences
● to juxtapose two similar scenes or two characters’ similar experiences
If time is an issue, scenes can be planned collaboratively and performed without a
script. Scripts can be shared and performances can be debriefed to extend learning.
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​Bed and Breakfast by Mark Crawford
Joanne
JOANNE and DARREN are on opposite sides of the stage facing the
audience. They are practicing for their blind date with each other.
JOANNE: Hi.
DARREN: Hi.
JOANNE: (​bouncy) Hi.
DARREN: (​indifferent) Hi.
JOANNE: Maybe more casual.
DARREN: Maybe more masculine.
BOTH:
Hi!
JOANNE: This is silly.
DARREN: My palms are sweating.
JOANNE: I’m not a teenager anymore.
DARREN: This is definitely sweat.
JOANNE: Why am I nervous over a silly little date?
DARREN: What if she tries to shake my hand?
JOANNE: I’m not supposed to get nervous.
DARREN: What are we going to talk about?
JOANNE: What if he’s a talker?
DARREN: The weather?
JOANNE: May he likes the movies.
DARREN: Did you get stuck in that rainstorm yesterday?
JOANNE: Have you seen that new movie at Cineplex?
DARREN: Do you like sports?
JOANNE: Food!
DARREN: Music!
JOANNE: Do you go dancing?
DARREN: Ever been skydiving?
JOANNE: Did you know some spiders eat their young?
DARREN: Did you know it’s legal to take home your roadkill?
...
This excerpt from ​Among Friends and Clutter by Lindsay Price is printed with permission from Theatrefolk.
For more of this play or scripts like this one, please visit Theatrefolk.com.
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​Bed and Breakfast by Mark Crawford
POST-SHOW DISCUSSION
Discussion / Written Reflection questions:
1. What attracts our two main characters to the small tourist town of their new B & B?
What puts them off about their life in Toronto?
2. When Brett tells Ray that he has decided to move to a small town, Ray asks, ​“And
what kind of quality of life do gay people have in this town?” (pg. 134) What do you
think Ray meant by this? In what ways are Brett and Drew’s quality of life better or
worse in the small town of their B&B, compared to their quality of life in Toronto?
3. What purpose do you think Ray’s question, ​“And what kind of quality of life do gay
people have in this town?” serves in the play?
4. Are smaller towns less open-minded? Conversely are cities more open-minded?
Do marginalized individuals or minorities fare better in smaller towns or larger cities?
Why?
5. How does your school community and the culture of your school community impact
the quality of life of its students? Do you think you have a positive or negative
impact on the quality of life of others in your community?
6. In what ways did Brett and Drew impact their new community? In what ways did
their new community impact them? Can you think of a modern day example of how
one’s sense of home has been positively or negatively affected by a community or
vice versa?
7. At times Drew and Brett struggle with feeling at home in their new house and
community. Reflect on some of the challenges they face. Discuss the main conflict
of the play. How did this conflict and the characters’ different reactions to it, impact
you as reader/audience member?
8. The theme of family is very present throughout the play as we see Brett and Drew
build a new family and discover and reconnect with members of their own families.
How do families ground us and create a sense of belonging for us? In what ways do
our families shape our identities?
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​Bed and Breakfast by Mark Crawford
9. The play is certainly a light-hearted comedy, but at the same time it brings to light
the dark side of homophobia right here in our very own Canadian backyard. In what
ways might the playwright also be making a social commentary? What makes
comedy an effective medium for addressing a social problem and appealing to an
audience’s sense of justice?
10. How does theatre reflect and influence society? Can theatre affect social change?
Can a story like ​Bed and Breakfast challenge intolerant social views and/or influence
audience members to think differently about social injustice and civil rights?
11. How do playwrights evoke empathy? What role do you think empathy plays in one’s
experience of theatre? Were you rooting for Drew and Brett to succeed in their goal
of owning a home and running a successful B&B together? Why? In what ways did
the characterization, plot development and/or other script elements influence you?
12. Why do you suppose Mark Crawford didn’t just write a play for twenty-two actors?
How did this duet performance affect Drew and Brett’s story? Was the use of of
only two actors to tell one couple’s story effective? Explain.
13. Were the two actors successful in clearly conveying the story to you through the
many shifts and changes of settings and characters? Discuss/Evaluate.
14. Evaluate the technical theatre elements used in this production. How did the
lighting and sound design impact the delivery of the story and your experience of the
play?
IDEAS for WRITING or FURTHER RESEARCH
1. What is homophobia? What are the causes of homophobia? What constitutes
homophobic behaviour? How does it affect society and the wellbeing of
heterosexuals and homosexuals?
2. What constitutes a hate crime? How has society’s perception and tolerance of hate
crimes changed over time? What do you attribute to this change? What further
steps are needed to raise awareness about what constitutes a hate crime? What
Canadian laws are in place to protect LGBT rights and to counter homophobic acts?
3. The process of coming out is a unique and potentially complicated process for each
person. Discuss what some of the challenges of coming out might be for a young
person today. What can families, schools, communities and governments do to
make this process smoother, safer and less stigmatizing for individuals?
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​Bed and Breakfast by Mark Crawford
EXCERPTS
FROM THE PLAY
The following are short excerpts from ​Bed and Breakfast, shown here to demonstrate
the unique script writing techniques employed by author Mark Crawford. Each
example lends itself well to acting exercises with students.
The excerpts from the play that follow can be used in multiple ways:
● Read them in class prior to viewing the play to get a feel for the characters and
script writing style.
● In pairs, have students experiment with the script excerpts themselves and
perform in small groups or in front of the class.
● You can use them as examples for the script writing exercises like montage,
split scene and writing a multiple character scene for two actors.
● Excerpt #2 offers a great acting challenge for students as the scene requires
six characters but only two actors. You could begin this acting exercise with
six actors on stage so students can understand that all six characters must
later be conveyed very clearly and distinctly and seamlessly to an audience by
only two actors.
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​Bed and Breakfast by Mark Crawford
EXCERPT 1: ​Example of a split scene: two different scenes playing out on stage
simultaneously (page 120).
Shift. A split scene. BRETT is on TV. DREW is at work.
BRETT:
And our next question comes from Wanda in Sudbury. Wanda is asking
about painting some of the wood in her living room. Let’s take a look.
DREW:
(​Answering a ringing phone.) Good morning, front desk, this is Drew.
BRETT:
Wow, Wanda, that’s a lot of wood.
DREW:
Oh hey Wesley, yes, I sorted out the situation in 1610. I gave them a gift
certificate to the spa and that seemed to calm them down.
BRETT:
I can’t really tell from these photos, they’re all pretty dark.
DREW:
(​Answering a ringing phone.) Front Desk, Drew speaking.
BRETT:
The room would look a lot brighter if you painted out some of that
panelling.
DREW:
I’m so sorry for this confusion, ma’am, I left a note about your late
check-out for my colleague Britney, but I guess she didn’t see it.
BRETT:
I think a nice off-white. Maybe Benjamin Moore White Dove OC-17.
DREW:
(​To hotel guests.) Hello, welcome! Mr. Pitt, Ms. Jolie, let me show you to
your room.
BRETT:
That should brighten things up for you Wanda and really allow that
collection of taxidermy to pop off the walls.
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​Bed and Breakfast by Mark Crawford
EXCERPT 2 ​- Example of a short scene with two actors playing multiple roles
simultaneously in one scene (pages 114-116).
BRETT plays himself, LYNDA & STEVE.
DREW plays himself, CODY & MARTIN.
Shift. To us:
DREW:
After the burial, hundreds to people pack into the church basement.
BRETT:
So many familiar faces from my summers here.
DREW:
Ladies serve little sandwiches, squares, coffee, tea.
BRETT:
I can’t stop thinking: I never told her how much that time meant to me.
DREW:
And I can’t stop thinking: if I died tomorrow, would anyone care enough to
make Nanaimo bars? Among the crowd is Brett’s Mom, Lynda…
B/LYNDA:
So, Drew, how are things going in the hotel/hospitality industry?
DREW:
The same. Busy. Thanks, Lynda.
B/LYNDA:
Did you get something to eat?
DREW:
Yes, thanks. All of this reminds me so much of home.
B/LYNDA:
Do you get back there much? (​Spotting the REVEREND, unseen by us.)
Oh, Reverend! Lovely service. I don’t suppose you met Drew. This is
Drew. Our son Brett’s....friend.
DREW:
(​To us.) Brett’s Brother, Steve…
B/STEVE:
Nice speech, ya friggin’ cry-baby.
DREW:
And Steve’s son, Cody…(​He becomes CODY, filling a plate with
sandwiches.)
B/STEVE:
So how’s life downtown, boys? How’s the condo? I swear to God, I don’t
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​Bed and Breakfast by Mark Crawford
know how you two don’t kill each other living in that shoebox. I’d go
friggin’ nuts. Cody, for Christ’s sake! How many of those sandwiches are
you going to eat?
D/CODY:
I dunno.
B/STEVE:
You’d think I don’t feed this kid. Jesus H. Christ! S**t, sorry Reverend.
(​STEVE goes. BRETT is back to himself.)
BRETT:
So, Cody, how’s Grade Twelve going?
D/CODY:
I dunno...it just started yesterday, Uncle Brett.
BRETT:
Right. Any thoughts on university?
D/CODY:
I dunno...I thought I might go live with mom, but she---I dunno.
BRETT:
How’s your girlfriend?
D/CODY:
I dunno...OK I guess.
BRETT:
Great. And when does hockey start up again?
D/CODY:
really
I dunno...I’m not playing this year. Dad’s pissed, but I dunno, I’m not
a hockey guy any more, you know what I mean?
BRETT:
Yes Cody, yes I do. (​To us.) And my Dad, Martin…
D/MARTIN: What do you mean you haven’t found a house yet?
BRETT:
We keep making offers at the very top of our budget and we keep getting
out-bid.
D/MARTIN: How many houses have you offered on?
BRETT:
Seven. We really thought we had a chance with this last one, but--
D/MARTIN: You know what your problem is?
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​Bed and Breakfast by Mark Crawford
EXCERPT 3​ -- Example of a montage: in this scene, we see how a series of short
scenes in rapid succession can demonstrate many things: routine, patterns, character
and plot development and the passage of time. It’s a creative way to show a
character’s journey in a play. Students will likely be familiar with the use of montage in
film which can be a jumping off point for examining shifts and montage in dramatic
works (pages 169 - 170).
Shift. A montage.
BRETT &
DREW:
Aunt Maggie’s House Bed and Breakfast!
DREW:
(​Answering the ringing landline.) Aunt Maggie’s House Bed and
Breakfast, this is Drew.
BRETT:
(​To a Salesperson.) Excuse me, hi, do you have these sheets in Queen
Size?
DREW:
What are the nights you’d like to book?
BRETT:
(​At a door, to a little kid.) Oh! Hello there. I’m the guy who called about
the harvest table. Is your Mom home?
DREW:
For the opening weekend? Great. I have a few options for you--
BRETT:
(​At home.) Whoa whoa whoa, Sean, that wallpaper goes the other way!
DREW:
OK, you’re all booked in. We’ll see you in a couple weeks.
BRETT:
(​Cell phone.) Hi Doug? Do you think you could swing by this auction sale
with the truck? I went a bit nuts.
DREW:
(​Phone.) Aunt Maggie’s House B and B, Drew speaking. Hello?...Hello?
(​Hangs up.)
BRETT:
(​With a puppy.) No I know, Chris, and if it were up to me, I would’ve
brought him home a month ago, but can you please just keep him for one
more week?
DREW:
(​Phone.) Aunt Maggie’s House, this is Drew.
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​Bed and Breakfast by Mark Crawford
BRETT:
(​Continued.) Drew just wants to get through this weekend.
DREW:
This weekend? Uhhh...yeah, it’s actually our opening and we already
have two bookings, but...the more the merrier.
BRETT:
(​Another cell phone call, while baking.) No Mom, I don’t understand your
recipe. Do I need baking powder or baking soda? Is there a difference?
(​Doorbell.) Mom, I gotta go I think the first guests are here. Thanks Bye.
DREW:
(​Meeting him at the front door.) Ready?
BRETT:
As I’ll ever be.
They open the door. Shift.
D/CHUCK:
Hello hello hello, I’m Charles, call me Chuck.
B/ SHARON: And I’m Sharon, call me Sharon. Oh! This is so exciting, isn’t it, darling?!
A little springtime anniversary getaway.
D/CHUCK:
Twenty-five years, three kids, and one move across the pond later.
B/SHARON: Oh, this is charming! Did you say this is your first weekend? Are we…?
D/CHUCK:
Popping your cherry?
B/SHARON: Chuck.
D/CHUCK:
Wait a sec--Brett Brooks? Aren’t you on telly? Yeah, I’d never forget that
face.
Doorbell
BRETT:
Hello. Welcome. Are you Travis?
D/TRAVIS:
Yo, sweet place, man. My girl Alexa thinks we’re going back to our crib,
but I was like, no man, we should stay someplace sweet, know what I’m
sayin’, for our wedding night?
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​Bed and Breakfast by Mark Crawford
EXCERPT 4 ​- Example of narrative, breaking the fourth wall and short, quick-paced
lines to establish a chemistry between characters (page 134). Note: when you come
across a “​Shift. To us:” in the script, this indicates the main characters and narrators
of the story, BRETT and DREW, are speaking directly to the audience, thus breaking
the fourth wall.
Shift. To us:
DREW:
Thursday: the listing goes up.
BRETT:
Saturday: a full-blown bidding war.
DREW:
We have become the people we hate.
BRETT:
Monday: the winning bid is quickly closing.
DREW:
Extremely quick. Thursday:
BRETT:
We hit the road.
DREW:
One cube van.
BRETT:
One car load. Our little two vehicle convoy head out of town.
DREW:
We’re like pioneers!
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​Bed and Breakfast by Mark Crawford
DRAMA TERMS
Reading and viewing the play offers a great opportunity to review and/or develop
students’ understanding of many of the drama terms and techniques that are
demonstrated in the play.
Beat​: used in parenthesis within a script to indicate a quick shift in the direction or
mood of the scene. A beat can be used when there’s a change in the action of the play
(a character turns to a new subject or problem, there is a conflict, someone enters or
exits).
Characterization​: how an actor uses body, voice, action, dialogue, costuming and
thought to develop and portray a character; how a playwright develops character
indirectly through language, action and interaction with other characters.
Conflict:​ A struggle between opposing forces, ideas or interests, that creates dramatic
tension in a play. The conflict may occur within a character as well as between
characters and is usually resolved by the end of the story or play.
Duet​: in acting, when two people perform on stage.
Empathy:​ the capacity to relate to the feelings of another; in this case, the characters
of the play.
Fourth Wall​: the invisible wall that separates the audience from the actors and through
which the audience sees the action of the play. ​Breaking the fourth wall: ​when a
character breaks the fourth wall, they speak directly to the audience as a way of
connecting with them and involving them in the play. In the case of ​Bed and Breakfast,
only the main characters break the fourth wall for the purpose of narration.
Foreshadowing: ​a hint or warning of things to come, making specific events in the plot
seem more probable as they unfold.
Flashback: ​an interruption of a work's chronology to describe or present an incident
that occurred prior to the main time frame of a work's action.
Minimalist set​: a set for a staged play that is simple and functional allowing for the
most movement and transitions and the least amount of technical scene changes or use
of props. The actor relies more on his/her craft to establish setting and the audience
must rely more on their imagination.
Monologue:​ a long speech made by one actor; a monologue may be delivered alone or
in the presence of others.
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​Bed and Breakfast by Mark Crawford
Montage: ​ originally used in film, a montage in theatre uses a well selected assembly of
fast paced, short scenes juxtaposed together in a unified way to show different scenes
over a specific time period. For example, two characters could perform a series of short
scenes one after the other documenting their courtship. A well crafted montage can
effectively develop characters, travel quickly in time and distance, establish patterns,
thicken the plot, add to character motivation and an audience’s empathy for a given
character.
Motivation:​ the reason or reasons for a character’s behavior; an incentive for further
action for a character.
Narration​: Narration is a technique whereby one or more performers speak directly to
the audience to tell a story, give information or comment on the action of the scene or
the motivations of characters. Characters may narrate, or a performer who is not
involved in the action can carry out the role of ‘narrator’.
Shift: ​According to the playwright, the word Shift is used in the script to signal a new
scene, likely with the help of lights and sound. A shift will denotes the change between
locations, times, and characters. Shifts should be seamless, instantaneous, and most
of all, crystal clear.
Split scene​: when two or more scenes are performed onstage at the same time. This
makes it possible to juxtapose scenes or snippets of scenes that happen at different
times or in different places, using separate areas of the performance space. The
technique is used to highlight or contrast a particular theme or aspect of the story. Using
different groupings, both scenes could happen at the same time, or one could be frozen
while the other comes alive (also known as cross cutting or split-screen).
Tension:​ the atmosphere created by unresolved or disquieting situations that human
beings feel compelled to address; the state of anxiety the audience feels because of a
threat to a character in a play.
Timing:​ includes setting cues for effects and lighting, synchronizing two or more things
that must happen simultaneously, and establishing the pace at which lines will be
delivered or the play performed.
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​Bed and Breakfast by Mark Crawford
CONTEXTUAL REFERENCES
Anne Murray:​ a successful Canadian pop and country singer who reached
international success with her music, credited for paving the way for other female
Canadian artists.
Bed and Breakfast: ​ A bed and breakfast (typically shortened to B&B) is a small
lodging establishment that offers overnight accommodation and breakfast. Bed and
breakfasts are often private family homes, but can also be inns or small hotels and
typically have between four and eleven rooms, with six being the average.
Kathleen Wynne:​ a Canadian politician and the 25th Premier of Ontario. She is the
first female premier of Ontario and the first openly gay head of government in Canada.
K.D. Lang:​ A Canadian pop and country singer and songwriter. She is openly gay and
is known for her gay rights and animal rights activism.
Land line:​ a fixed telephone line that is connected by wire or fibre optic cable to a
network. Communication transmission is wired rather than wireless as with cell phones.
LCBO​: an acronym that stands for the Liquor Control Board of Ontario, the equivalent
to Quebec’s SAQ.
Main Street:​ is a generic phrase used to denote a primary retail street of a ​village​, ​town
or small city like the one in the play. A town’s main street is usually a central point for
the town with many local businesses and amenities such as a grocery store, bank,
hardware store, restaurant, hotel, post office, hair dresser, pharmacy, etc.
NDPs, Liberals & Conservatives: ​political parties of Canada
Rick Mercer:​ A Canadian political comedian and satirist who is known for his work on
the CBC show ​The Mercer Report and ​This Hour has 22 Minutes. He is also openly
gay, which is a contextual detail that comes up in the play.
Rum running: ​ the illegal transportation of alcohol across a border (aka bootlegging).
This type of smuggling is usually done to circumvent taxation or prohibition laws within a
particular jurisdiction.
Santa Idol:​ a local parody twist on the popular American reality TV show called
American Idol
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​Bed and Breakfast by Mark Crawford
REFERENCES
1000IslandsPlayhouse. "BED AND BREAKFAST - A World Premiere Comedy!" YouTube.
YouTube, 25 Sept. 2014. Web. 31 Aug. 2016.
@shortoftheweek. "Alone with People by Drew Van Steenbergen | Short Film." Short of the
Week. Web. 18 Sept. 2016.
Arts tool kit. "Arts Toolkit: Drama." KET. Web. 18 Sept. 2016.
By | Published: June 21, 2016. "New, Notable and Forthcoming." JG Shillingford. Web. 11 Sept.
2016.
Crawford, Mark. Stag and Doe and Bed and Breakfast. Winnipeg: J. Gordon Publishing, 2015.
Print.
"Cross-Cutting." Drama Resource. 23 Dec. 2014. Web. 18 Sept. 2016.
Dominationttntn, By PopUp. "Drama Game: Split Screen." Beat by Beat Press. 03 Aug. 2015.
Web. 18 Sept. 2016.
Moore, Larry D. "Hoopes Smith House 2006.jpg." - Wikimedia Commons. Web. 04 Sept. 2016.
Price, Lindsay. Among Friends and Clutter: A Play in One Act. Toronto: Theatrefolk,1991. Print.
"Thousand Islands Playhouse Welcomes You In for." A Fresh News Start. 13 Aug. 2015. Web.
11 Sept. 2016.
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