PRE-SHOW PREPARATION
AND
ACTIVITIES
WITH ALIGNMENTS TO THE COMMON CORE CURRUICULUM STANDARDS
Created by McCarter Theatre Education and Engagement. 2015.
PRE-SHOW MATERIALS
ALIGNMENT TO THE COM
COMMON
MON CORE CURRICULUM AND CORE CURRICULUM
CONTENT STANDARDS
Our production of Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery and the activities outlined in this
guide are designed to enrich your students’ educational experience by addressing many Reading, Writing,
and Speaking and Listening Common Core anchor standards as well as specific New Jersey Core
Curriculum Content Standards for Visual and Performing Arts. (Click on the titles below to be linked to the
activities.)
BASKERVILLE: WEB SITE BASICS.
CCSS.ELA-LITERACY.CCRA.R.10. Read and comprehend complex literary and informational texts
independently and proficiently.
THAT’S MOOR LIKE IT: SETTING THE SCENE OF BASKERVILLE
CCSS.ELA-LITERACY.CCRA.R.1. Read closely to determine what the text says explicitly and to make
logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions
drawn from the text.
CCSS.ELA-LITERACY.CCRA.R.2. Determine central ideas or themes of a text and analyze their
development; summarize the key supporting details and ideas.
CCSS.ELA-LITERACY.CCRA.R.4. Interpret words and phrases as they are used in a text, including
determining technical, connotative, and figurative meanings, and analyze how specific word choices shape
meaning or tone.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of conversations
and collaborations with diverse partners, building on others' ideas and expressing their own clearly and
persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media and
formats, including visually, quantitatively, and orally.
Written Design Statement:
CCSS.ELA-LITERACY.CCRA.W.1. Write arguments to support claims in an analysis of substantive
topics or texts using valid reasoning and relevant and sufficient evidence.
National Core Arts Standards
Anchor Standard #1. Generate and conceptualize artistic ideas and work.
Anchor Standard #7. Perceive and analyze artistic work.
Anchor Standard #8. Interpret intent and meaning in artistic work.
ADAPTING SHERLOCK HOLMES.
CCSS.ELA-LITERACY.CCRA.R.1. Read closely to determine what the text says explicitly and to make
logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions
drawn from the text.
CCSS.ELA-LITERACY.CCRA.R.2. Determine central ideas or themes of a text and analyze their
development; summarize the key supporting details and ideas.
CCSS.ELA-LITERACY.CCRA.R.3. Analyze how and why individuals, events, or ideas develop and
interact over the course of a text.
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Created by McCarter Theatre. 2015.
PRE-SHOW MATERIALS
ADAPTING SHERLOCK HOLMES (CONT.).
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.9. Draw evidence from literary or informational texts to support
analysis, reflection, and research.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of
conversations and collaborations with diverse partners, building on others' ideas and expressing their
own clearly and persuasively.
National Core Arts Standards
Anchor Standard #1. Generate and conceptualize artistic ideas and work.
Anchor Standard #4. Analyze, interpret, and select artistic work for presentation.
Anchor Standard #5. Develop and refine artistic work for presentation.
Anchor Standard #7. Perceive and analyze artistic work.
SHERLOCK HOLMES: THEN AND NOW.
CCSS.ELA-LITERACY.CCRA.R.9. Analyze how two or more texts address similar themes or topics
in order to build knowledge or to compare the approaches the authors take.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of
conversations and collaborations with diverse partners, building on others' ideas and expressing their
own clearly and persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media
and formats, including visually, quantitatively, and orally.
National Core Arts Standards
Anchor Standard #11. Relate artistic ideas and works with societal, cultural and historical context to
deepen understanding.
ANONYMOUS AUTHOR.
CCSS.ELA-LITERACY.CCRA.SL.1. Prepare for and participate effectively in a range of
conversations and collaborations with diverse partners, building on others' ideas and expressing their
own clearly and persuasively.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media
and formats, including visually, quantitatively, and orally.
CCSS.ELA-LITERACY.CCRA.SL.4. Present information, findings, and supporting evidence such
that listeners can follow the line of reasoning and the organization, development, and style are
appropriate to task, purpose, and audience.
New Jersey Core Curriculum Science Standards
5.1.A. Students understand core concepts and principles of science and use measurement and
observation tools to assist in categorizing, representing, and interpreting the natural and designed world.
5.1.D. The growth of scientific knowledge involves critique and communication, which aresocial
practices that are governed by a core set of values and norms.
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Created by McCarter Theatre. 2015.
PRE-SHOW MATERIALS
STUDENT TEACHERS: BASKERVILLE IN CONTEXT.
CCSS.ELA-LITERACY.CCRA.W.2. Write informative/explanatory texts to examine and convey
complex ideas and information clearly and accurately through the effective selection, organization, and
analysis of content.
CCSS.ELA-LITERACY.CCRA.W.6. Use technology, including the Internet, to produce and publish
writing and to interact and collaborate with others.
CCSS.ELA-LITERACY.CCRA.W.7. Conduct short as well as more sustained research projects
based on focused questions, demonstrating understanding of the subject under investigation.
CCSS.ELA-LITERACY.CCRA.W.8. Gather relevant information from multiple print and digital
sources, assess the credibility and accuracy of each source, and integrate the information while
avoiding plagiarism.
CCSS.ELA-LITERACY.CCRA.W.9. Draw evidence from literary or informational texts to support
analysis, reflection, and research.
CCSS.ELA-LITERACY.CCRA.SL.2. Integrate and evaluate information presented in diverse media
and formats, including visually, quantitatively, and orally.
CCSS.ELA-LITERACY.CCRA.SL.4. Present information, findings, and supporting evidence such
that listeners can follow the line of reasoning and the organization, development, and style are
appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.SL.5. Make strategic use of digital media and visual displays of data
to express information and enhance understanding of presentations.
A THEATER REVIEWER PREPARES.
CCSS.ELA-LITERACY.CCRA.W.1. Write arguments to support claims in an analysis of substantive
topics or texts using valid reasoning and relevant and sufficient evidence.
CCSS.ELA-LITERACY.CCRA.W.2. Write informative/explanatory texts to examine and convey
complex ideas and information clearly and accurately through the effective selection, organization, and
analysis of content.
CCSS.ELA-LITERACY.CCRA.W.4. Produce clear and coherent writing in which the development,
organization, and style are appropriate to task, purpose, and audience.
CCSS.ELA-LITERACY.CCRA.W.10. Write routinely over extended time frames (time for research,
reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks,
purposes, and audiences.
4
Created by McCarter Theatre. 2015.
PRE-SHOW MATERIALS
PRE
PRE--SHOW PREPARATION, QUESTIONS FOR DISC
DISCUSSION,
USSION, AND ACTIVITIES
Pick and choose among the following assignments, discussion topics, and activities to introduce your students
to Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, its literary origins, story, themes, and production
information, as well as to engage their imaginations and creativity before they see the production.
BASKERVILLE : WEB SITE BASICS.
Explore the following informational offerings on McCarter’s Baskerville web site (www.mccarter.org/
baskerville) with your students:

A spoiler-free Synopsis of Baskerville and pictorial Character Profiles

Sir Arthur Conan Doyle Dossier, which provides information on the creator of Sherlock
Holmes

An article on The Moors—their geographical location and geological features—which are the
inspired setting for this Sherlock Holmes mystery

Artist Interviews with playwright Ken Ludwig, director Amanda Dehnert, and actors Gregory
Wooddell and Lucas Hall

A Spotlight on Costumes with designer Jess Goldstein, which includes many of his full-color
Baskerville costume sketches

Biographies of the Cast & Creative Team

You might also like to check out our Additional Resources page for web-site links to more
information on Arthur Conan Doyle, Dartmoor, Sherlock Holmes, and The Hound of the
Baskervilles; a direct link to the 1939 film version of the novel; and a list of exciting and interesting
books.
Investigating these various resources will not only pique student interest, but may also spark and fuel full-class and
small-group discussion before coming to the theater.
ADAPTING SHERLOCK HOLMES
Although not every educator and his or her class will be able to make curricular room for a complete reading of Sir
Arthur Conan Doyle’s The Hound of the Baskervilles, reading the classic Sherlock Holmes mystery before seeing
McCarter’s theatrical adaptation affords the greatest perspective from which to view the process of adapting a
literary work for the stage.
If incorporating a full reading of the book into curriculum is not possible, then perhaps the opportunity to read the
novel for extra credit could be offered as an option to interested students. A public domain version of the book is
available online here.
If you are unable to accommodate a reading of the book, please skip down to Step Two: A Social Experience with
The Hound of the Baskervilles.
Step One: A Personal Experience with Baskerville
Ask students doing a partial or full reading of The Hound of the Baskervilles to discuss or write their responses to
the following questions immediately after reading the chapter(s)/book:

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If you had to choose five words to describe The Hound of the Baskervilles and your experience of
reading it, what would those five words be and why?
Created by McCarter Theatre. 2015.
PRE-SHOW MATERIALS
ADAPTING SHERLOCK HOLMES (CONT.).

What most stood out to you about the book in terms of its story, setting, characters, or events?
Explain your response(s).

Is there anything that stood out to you about the writing itself in terms of style, language, mood,
imagery, etc.? Why did you find this aspect of authorship outstanding or conspicuous?

What features or aspects of the book and the story it tells seem most suitable to theatrical
adaptation? Explain your response(s).

Were there any aspects of the book and its story that seem as if they would be difficult or
impossible to stage in a theatrical adaptation? Explain your response(s).
The next day in class ask students to share their experience of reading the chapter/book in a full-class or smallgroups discussion.
Step Two: A Social Experience with The Hound of the Baskervilles
Have students turn their attention towards Chapter Two: “The Curse of the Baskervilles”, specifically Dr. Mortimer’s
narrative of the legend of the Hound, beginning with “Of the origin…” and ending with “…say nothing thereof to their
sister Elizabeth.” A handout version of this passage can be found here.
Encourage students to read this section aloud using a “popcorn” or choral reading style and most importantly to
have fun while reading it! This is a time for students to bring the characters to life with their voices – the sillier the
better!
After reading, ask students to reflect on the experience of reading the passage aloud. Questions might include:

What most stood out to you about this experience with the text?

Was reading/speaking and hearing the chapter aloud different from your experience of reading it to
yourself? How was your experience of the material different?

Did speaking or hearing the book aloud highlight any aspects of the story, characters, dialogue,
setting, tone, etc.? Explain.

What questions do you have about the legend? Did anything confuse you in terms of story,
dialogue, vocabulary, plot points, characters, character relationships, etc.? (Urge students to
answer one another’s questions about the text in true ensemble fashion, if possible.)

Were there any features or aspects of the text that you found would lend itself nicely to the stage?
Were you to put the text up on its feet what would you be most excited to see?

Are there any parts of the text that could or should be cut either because they are unnecessary to a
stage adaptation of the book or impossible to achieve theatrically? (Can the “classroom ensemble”
imagine any theatrical solutions to those things that seem impossible?)
Step Three: Getting “the Legend” Up On Its Theatrical Feet
Break your class up into mini-ensembles and task each working group with the project of staging or scripting this
section. Since all groups will be staging the same section, stress that although the text is the same each ensemble
will have a different approach to adapting.
If students need an added push of where to begin, share the following points with them:

Start with working from dialogue already present in the text

Stick with Sir Arthur Conan Doyle’s language

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
No rewriting

No invention of characters
Cut text to get to the emotional gist of scenes
Cr
PRE-SHOW MATERIALS
ADAPTING SHERLOCK HOLMES (CONT.).
Groups should work as an ensemble to adapt the legend of the hound. They can outline a script or get it right up on
its feet to stage it. They should prepare and rehearse their scenes for a script-in-hand performance for the class.
Following the performances, lead students in a discussion of their experience adapting, rehearsing, and performing
their section. Questions might include:

What were the pleasures and challenges of adapting your particular section?

What of Doyle’s original text did you cut, if any, and why?

What insights, if any, regarding the novel and its story, characters, language, style and tone did you
get from adapting your section and getting it up on its feet?

What similarities and differences did you notice between groups?

What themes, characters, or elements of the script did your group choose to focus on? Why?
SHERLOCK HOLMES: THEN AND NOW.
Having been depicted on screen over two hundred and fifty times, Sherlock Holmes currently holds the record for
the most portrayed human literary character in film and television. Since his first print appearance in 1887, Sherlock
Holmes’ popularity has spawned many adaptations and proves to be an evolving presence in pop culture. From
silent film star William Gillette to modern-day heartthrob Benedict Cumberbatch, your students likely have been
exposed to at least one incarnation of the master detective.
Whether your student is new to Holmes or happens to be a passionate Sherlockian, we encourage you to show the
below video clips for your students in preparation for a discussion about the effects of adaptation. Before watching
the videos, engage your students with the below two questions to get them thinking about their own experiences
with Sherlock Holmes:

What is the essence of Sherlock Holmes? What do you know about him?

When you think of Sherlock Holmes, what is the first thing that comes to mind?
The below videos are listed in chronological order from oldest portrayal to most recent.

John Barrymore (https://www.youtube.com/watch?v=wLKeWcC1xyc)

Basil Rathbone (https://www.youtube.com/watch?v=OjEUNLtXmyU)

Michael Caine (https://www.youtube.com/watch?v=-DXbE1XaBKo)

Robert Downey Jr. (https://www.youtube.com/watch?v=J7nJksXDBWc)

Benedict Cumberbatch (https://www.youtube.com/watch?v=fkkc59vFTbY)
After watching all or some of the videos, encourage students to talk about the similarities and differences between
the various portrayals. You may choose to have them compare and contrast in writing before orally discussing.
Lead your students in a discussion about the evolution of the character and what they found to be the similarities
and differences based on their prior knowledge and the video excerpts. Possible guiding questions may include:
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
Which version best portrayed the character in your mind? Why?

How has the character evolved over generations both in appearance and demeanor?

What do you find the different Holmes characters have in common? How are they different?

What other characters or literary works have gone on to generate multiple adaptations or derived
works and characters? (i.e. Cinderella or A Christmas Carol)

How does Sherlock Holmes compare to other sleuths you may have read or watched on screen?
Created by McCarter Theatre . 2015.
PRE-SHOW MATERIALS
ANONYMOUS WRITER.
What good is a mystery without an anonymous letter? The below activity is a fun way to engage your students’ skill
of observation, reasoning, and analysis by having them identify the writer of an anonymous note based on context
clues.
“As you value your life or your reason keep away from the moor”

Before students arrive, discreetly ask three to five teachers to write out the above mysterious message.
Since these messages will be at the center of your students’ investigation encourage teachers to write on a
paper source (i.e. letterhead, back of a math worksheet, etc) or style that may hint at their identity or throw
off students entirely. Have the teachers also include their signature on a separate piece of plain paper to be
used later in the activity.

At the start of the activity, display the handwritten notes on a table or overhead projector. To help
distinguish between writing samples, it may be helpful to label the notes with numbered Post-Its.

Tell your students that they must use their skills of observation and reasoning to observe every element of
the letter to correctly match the message to its writer. As the teacher, feel free to share as much or as little
information with your students as possible such as when each note was written, where each note was
found, and/or that each note was written by a teacher.

Ask your students to write down at least three observations on their own about each note before opening
the investigation up to a larger class discussion. Below are some guiding questions to help your students
narrow down your pool of suspects:

Does the style of the handwriting suggest a certain gender? Is that sort of generalization always
accurate?

Does the style of the handwriting suggest a certain personality type? What insights can be gained
from this writing sample?

What does the paper source reveal about the writer?

Can you tell whether the person is right or left-handed?

When conjecturing about the letter, be sure that your students are supporting their claims with factual
information derived from the letter. This is a great time to talk about the difference between fact-based
inferences and assumptions.

As students begin to narrow down the possible suspects, introduce each teacher’s signature into pool of
evidence. Have students draw comparisons between the handwritten notes and signatures that would lead
to them matching the correct signature and identity to each message.
STUDENT TEACHERS: BASKERVILLE IN CONTEXT.
To prepare your students for Baskerville and to deepen their level of understanding of and appreciation for it’s
literary origins, heroic protagonist and his timeless popularity, and for the creative comical genius behind this
production, have your students research, either in groups or individually, the following topics:










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Sir Arthur Conan Doyle
Sidney Paget, illustrator of Sherlock Holmes
Sherlock Holmes
Dr. John H. Watson
Deductive reasoning
Forensic science
A Study in Scarlet
The Hound of the Baskervilles
The Sign of Four
Dr. Joseph Bell









The Valley of Fear
The moors
Ken Ludwig
Lend Me a Tenor
The Game’s Afoot
Sherlock Holmes and The Strand Magazine
“Elementary, my dear Watson”
Dartmoor National Park
Sherlock Holmes’ London
Created by McCarter Theatre. 2015.
PRE-SHOW MATERIALS
STUDENT TEACHERS: BASKERVILLE IN CONTEXT (CONT.).
Have your students teach one another about their individual or group topics via oral and illustrated (i.e., posters,
PowerPoint, or Prezi) reports. Following the presentations, ask your students to reflect upon their research process
and discoveries.
A THEATER REVIEWER PREPARES.
A theater critic or reviewer is essentially a “professional audience member,” whose job is to report the news, in
detail, of a play’s production and performance through active and descriptive language for a target audience of
readers (e.g., their peers, their community, or those interested in the Arts). To prepare your students to write an
accurate, insightful and compelling theater review following their attendance at the performance of Ken Ludwig’s
Baskerville: A Sherlock Holmes Story prime them for the task by discussing in advance the three basic elements of
a theatrical review: reportage, analysis and judgment.

Reportage is concerned with the basic information of the production, or the journalist’s “four
w’s” (i.e., who, what, where, when), as well as the elements of production, which include the text,
setting, costumes, lighting, sound, acting and directing (see the Theater Reviewer’s
Checklist). When reporting upon these observable phenomena of production, the reviewer’s
approach should be factual, descriptive and objective; any reference to quality or effectiveness
should be reserved for the analysis section of the review.

With analysis the theater reviewer segues into the realm of the subjective and attempts to
interpret the artistic choices made by the director and designers and the effectiveness not of
these choices; specific moments, ideas and images from the production are considered in the
analysis.

Judgment involves the reviewer’s opinion as to whether the director’s and designers’ intentions
were realized, and if their collaborative, artistic endeavor was ultimately a worthwhile
one. Theater reviewers always back up their opinions with reasons, evidence and details.
Remind your students that the goal of a theater reviewer is “to see accurately, describe fully, think clearly, and
then (and only then) to judge fairly the merits of the work” (Thaiss and Davis, Writing for the Theatre,
1999). Proper analytical preparation before the show and active listening and viewing during will result in the
effective writing and crafting of their reviews.
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Created by McCarter Theatre. 2015.