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When the poor miller boasted
so bold,
“My daughter will spin straw
into gold.”
She wept and she cried
“An impossible chore,”
When a strange little
man appeared at
the door.
“I’ll do it for you,” he
fiendishly smiled,
“If you will give me
your first-born child.
And even then I’ll relinquish
my claim,
If on that day you can guess
my name!”
Mon
Janu day,
ary
200 9,
6
10:4
5 A.M
.
and
12:1
5 P.M
T he .
Coli
seum
Who is this mysterious man? Why, it’s
RUMPELSTILTSKIN of course. Join
the Queen, the Prince, the Miller and
his daughter as they match wits with
the original man of mystery in this
new musical based on the classic
tale by the Brothers Grimm.
In this Issue
Before/After the Show Activity Ideas
Goals of the Study Guide
Class Acts Program
Evaluations
How to Get to the Performance
How to Contact Us
© Copyright Stages Productions, All Rights Reserved
Rumplestiltskin
Theatre Is A Special Treat
Matinee Manners
by Peggy Simon Traktman
The Expert
Sheldon Cashdan. Ph.D.
Emeritus professor of Psychology,
University of Massachussetts
The Message
from Sheldon Cashdan’s critically
acclaimed book: “The Witch Must Die:
How Fairy Tales Shape Our Lives”
The Value of Spinning
The Activities
L.A.A.1.1.3
LA.A.2.2.7
TH.E.1.2.2
LA.E.2.1.1
LA.E.2.2.3
MA.D.1.1.1
MA.D.1.2.1
LA.E.2.2.4
LA.C.3.2.2
LA.C.3.2.2
LA.E.2.2.4
The Producer
Resources
TH.E.1.2.3
LA.A.1.1.3
LA.A.1.2.3
LA.B.1.1.2
LA.B.1.2.3
LA.A.2.2.7
LA.E.2.1.1
LA.C.1.1.3
LA.C.3.1.2
LA.C.3.2.5
YOUR ROLE IN THE
PRODUCTION
ARRIVAL Please plan to arrive at least 20
minutes before show time. Proceed to the entrance with your group and look for the sign-in
table. A designated representative must stop
and sign in for the entire group.
Class Acts Teacher Resource Guides are sponsored by the Mahaffey Theater/City of St. Petersburg, FL and their partner the Mahaffey Theater
Foundation for the Performing Arts.
Supervising Editor …….......Elizabeth Brincklow,
Education Program Coordinator
Coordinating Editor ……..........Fremont Sheldon,
Education Associate
Writing and Artistic Design........Missy Schlesman
EVALUATIONS can be completed on the form
provided. Your input is very important and useful
to the theater’s education program. Plus, your
evaluations will be placed in drawings for class
appropriate prizes!
Upon entrance, ushers will seat groups on a
first come, first served basis and will seat your
group as quickly and as efficiently as possible.
After your group is seated, the restroom may be
visited. Young students should be escorted.
EXITING Ushers will help your group move
out of the theater in a quick and orderly fashion. You will be directed to the parking area
using various routes. Exit routes may be different from your entrance path due to the ingress
of students entering for the next performance.
Please follow the ushers’ directions.
DIRECTIONS TO THE COLISEUM
Take I-275 to Exit 23A then Exit 2
which becomes 4th Avenue North.
The Coliseum is on the left and
north side.
Class Acts is presented by the Mahaffey Theater for the Performing Arts and the Mahaffey Theater Foundation with the support
from the Division of Cultural Affairs, Florida Arts Council, Florida Department of State, Pinellas County Arts Council, and the City
of St. Petersburg.
Follow the directions of our
parking staff.
QUESTIONS AND
CORRESPONDENCE
Class Acts, The Coliseum
535 4th Ave. N., St. Petersburg, FL 33701-4346
ATTN: Class Acts/ Perkins Elementary School
Pony Route #5
Phone 727-892-5800
Fax 727-892-5770
www.stpete.org/classacts.htm
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T hroughout the study guide, this symbol means that specific
Sunshine State Standards are being addressed that directly correlate activities to FCAT testing.
THE THEATRE IS A SPECIAL TREAT
Let us concentrate for a moment on a vital part of youth theatre: the young people. Millions of youngsters attend plays every season, and for some the experience is not particularly
memorable or entertaining. The fault may lie with the production - but often the fault lies in
the fact that these youngsters have not been properly briefed on appropriate theatre manners.
Going to the theatre is not a casual event such as flipping on the TV set, attending a movie or
a sports event. Going to the theatre is a SPECIAL OCCASION, and should be attended as
such. In presenting theatre manners to young people we take the liberty of putting the do’s
and don’ts in verse, and hope that concerned adults will find this a more palatable way of introducing these concepts to youngsters.
MATINEE MANNERS
By Peggy Simon Traktman
The theatre is no place for lunch,
Who can hear when you go “crunch?”
We may wear our nicest clothes
When we go to theatre shows.
Do not talk to one another
(That means friends or even mother)
When you go to see a show,
Otherwise you’ll never know
What the play is all about
And you’ll make the actors shout
Just to make themselves be heard.
So, be still - don’t say a word
Unless an actor asks you to…
A thing they rarely ever do.
A program has a special use
So do not treat it with abuse!
Its purpose is to let us know
Exactly who is in the show
It also tells us other facts
Of coming shows and future acts.
Programs make great souvenirs
Of fun we’ve had in bygone years
Keep your hands upon your lap
But if you like something you clap
Actors like to hear applause.
If there is cause for this applause.
If a scene is bright and sunny,
And you think something is funny
Laugh- performers love this laughter
But be quiet from thereafter.
Don’t kick chairs or pound your feet
And do not stand up in your seat,
Never wander to and fro Just sit back and watch the show.
And when the final curtain falls
The actors take their “curtain calls”
That means they curtsy or they bow
And you applaud, which tells them how
You liked their work and liked the show
Then, when the lights come on, you go
Back up the aisle and walk - don’t run
Out to the lobby, everyone.
The theatre is a special treat
And not a place to talk or eat.
If you behave the proper way
You really will enjoy the play.
3
THE EXPERT
Sheldon Cashdan. Ph.D. Emeritus professor of Psychology,
University of Massachussetts
What accounts for the enduring charm of fairy tales? Where in the horror story of Hansel and Gretel’s
abandonment, and their subsequent committing of murder, does its archetypal power lie? Why do generations of parents continue to read this tale and others to their young children?
In The Witch Must Die: How Fairy Tales Shape Our Lives, Sheldon Cashdan explores how fairy tales
help children deal with psychological conflicts by projecting their own internal struggles between good
and evil onto the battles enacted by the characters in the stories. Rumpelstiltskin, Pinocchio and Rapunzel vividly dramatize deceit, envy, avarice and sloth on a safe stage, allowing children to confront
their own “deadly sins.”
THE MESSAGE
From Sheldon Cashdan’s critically acclaimed book:
“The Witch Must Die: How Fairy Tales Shape Our Lives”
Lying, fraud, and other forms of deceit are frequent visitors in fairy tales. In Rumpelstiltskin, practically everyone lies, including the heroine and the little man after whom the story is named. Rumpelstiltskin makes the queen a proposition, offering to relinquish his claim to the child if she guesses his
name. But his seemingly gracious offer is steeped in duplicity.
For one, dwarfs and gnomes do not have names in fairy tales. The seven dwarfs in the Grimm brother’s Snow White are simply referred to as “the dwarfs.” Sneezy, Grumpy, Bashful and the rest were
names invented by Walt Disney. The term “Rumpelstiltskin” is a combination of the Middle German
word Rumpel, meaning creased or wrinkled, and steln, to obtain by illegal means. Adding the suffix
kin, signifying small, results in a description of a little man who is a “wrinkled dwarf that acquires
things illicitly.”
The strange manner of Rumpeltstiltskin’s death—torn in two by his own hand—dramatically brings a
splitting dynamic to the fore. People often speak about being pulled in two directions when forced to
tell a lie, and Rumplestiltskin’s final act puts a concrete face on this conflict. Separation of the little
man in two parts mirrors the psychological split in children who struggle with competing tendencies
when it comes to telling the truth: the desire to be honest—to be good—versus the tendency to lie.
Such fairy tales that feature deceit help to combat tendencies in the self that undermine meaningful
relationships. Situations involving deceit crop up throughout life, and it sometimes is difficult to know
the right course of action when the options are cloudy and the consequences murky. Is it permissible
to lie and, if so, under what circumstances? What conditions must prevail to violate an agreement
made in good faith? Fairy tales do not pretend to have all the answers, but they teach readers there
are important issues to be considered when the truth is at stake.
4
THE VALUE OF SPINNING
Spinning is extremely tiresome work, but because it contributed to the economic viability of the
community, it is a common metaphor for industriousness in fairy tales. The fairy tale historian
Jack Zipes points out that before the Industrial Revolution, spinning was an essential occupation for women and considered a measure of a woman’s worth. Not only could a woman earn
a living as a spinner, but she could more easily attract a husband by dint of her ability to spin.
The term “spinster,” used today in a pejorative way, in early times had positive connotations: it
described a woman who earned her livelihood because of her spinning skills.
Since fairy tales often were spun, so to speak, by women working side by side in communal
spinning rooms, it is not surprising that spinning became a way of describing how young girls
might improve their lot in life. Though the miller’s daughter in Rumpelstiltskin gets into trouble because of her father’s ill-conceived boast, she nevertheless can become the queen if she is
able to spin—in her case, straw into gold.
Photo courtesy of The Library of Congress
5
THE ACTIVITIES
BEFORE THE PLAY:
1. Read to your students the tale of “Rumpelstiltskin.” Explain to them that there are
hundreds of versions or adaptations of this story and that the version they see will not be
exactly like the book or video.
L.A.1.1.3 - (PreK-2) The student knows the basic characteristics of fables, stories,
and legends.
LA.A.2.2.7 - (3-5) The student recognizes the use of comparison and contrast in
a text.
TH.E.1.2.2 - (3-5) The student understands the artistic characteristics of various
media and the advantages and disadvantages of telling stories through those artistic media.
2. Rumpelstiltskin explores the consequences of telling lies by recounting the story of a miller
who lies to the king about his daughter’s alleged ability to weave gold from straw.
In reading the story to your students, ask them to come up with a reason for the miller’s
preposterous claim. Help them to understand that he lies in order to puff himself up in the
king’s eyes. Encourage them to describe instances in which they themselves have told fibs
to exaggerate their accomplishments. They also should be made aware that the miller’s lie
has dire consequences in that it places his daughter’s life in jeopardy, and that their own
efforts at self-aggrandizement may also produce unpleasant results.
 LA.E.2.1.1 - (PreK-2) The student uses personal perspective in responding to a work
of literature, such as relating characters and simple events in a story or biography to
people or events in his or her own life.
LA.E.2.2.3 - (3-5) The student responds to a work of literature by explaining how the
motives of characters or the causes of events compare with those in his or her own life.
6
3. Have the students look and listen for patterns during the play. See how many patterns they
can recall and how they are used in the context of the play. Back in the classroom, discuss
their findings.
MA.D.1.1.1 - (PreK-2) The student describes a wide variety of classification
schemes and patterns related to physical characteristics and sensory attributes,
such as rhythm, sound, shapes, colors, numbers, similar objects, and similar
events.

MA.D.1.2.1 - (3-5) The student describes a wide variety of patterns and relationships through models, such as manipulatives, tables, graphs, and rules using algebraic symbols.
4. Ask your students to discuss the difference between television and live theatre. It is
important that they know about “theatre etiquette,” or manners. Refer to the poem
“Matinee Manners” listed above.
TH.E.1.2.3 - (3-5) The student understands theatre as a social function and theatre
etiquette as the responsibility of the audience.
5. Have the students learn the following vocabulary words and listen for them during the
play. See how many words they can recall and how they were used in the context of
the play.
bachelor
coincidence
deceit
destitute
exquisite
luxurious
misery
precocious
burgomaster
contrary
demise
disgrace
fret
miller
mystic
relinquish
circumstance
damsel
destiny
dungeon
incantation
millstone
ordeal
surpassing
LA.A.1.1.3 - (PreK-2) The student uses knowledge of appropriate grade-, age-, and
developmental-level vocabulary in reading.
LA.A.1.2.3 - (3-5) The student uses simple strategies to determine meaning and
increase vocabulary for reading including the use of prefixes, suffixes, root words,
multiple meanings, antonyms, synonyms, and word relationships.
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AFTER THE PLAY:
Part I
1. Discuss the production with your students. What did they like or dislike about the play?
Who was their favorite character? Why? Have the students draw a picture or write a letter
to the cast of “Rumpelstiltskin” telling them what they have learned.
LA.B.1.1.2 - (PreK-2) The student drafts and revises simple sentences and passages,
stories, letters and simple explanations that: express ideas clearly; show an awareness
of topic and audience; have a beginning, middle and ending; effectively use common
words; have supporting detail; and are in legible printing.
LA.B.1.2.3 - (3-5) The student produces final documents that have been edited for:
correct spelling; correct use of punctuation, including commas in series, dates, and
addresses, and beginning and ending quotation marks; correct capitalization of proper
nouns; correct paragraph indentation; correct usage of subject/verb agreement, verb
and noun forms, and sentence structure; and correct formatting according
to instructions.
2. Have the student compare the different versions of Rumpelstiltskin (book, movie versions
and the play). What are the similarities? What are the differences? What limitations are
there for a live stage play (real actors, settings, no computer generated special effects, etc.)?
Which was their favorite and why?
LA.A.2.2.7 - (3-5) The student recognizes the use of comparison and contrast in
a text.
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Photo courtesy of The Library of Congress
Part II
RELEVANT THEMES:
1. Honesty is the best policy
2. Promises are made to be broken
3. Hard work vs. laziness
Refer to the themes listed above. Ask the following questions to relate the themes to everyday life:
1. In addition to exploring the consequences of deceitfulness, Rumpelstiltskin also considers
the circumstances under which it may be permissible to be less than truthful. Children
sometimes lie to spare the feelings of others—telling Grandma they love her birthday gift,
when they really don’t. Discuss the moral dilemmas involved in telling lies including the
concept of “little white lies.” When is it acceptable to be less than truthful? Is honesty
always the best policy?
LA.E.2.1.1 - (PreK-2) The student uses personal perspective in responding to a work
of literature, such as relating characters and simple events in a story or biography to
people or events in his or her own life.
LA.E.2.2.4 - (3-5) The student identifies the major theme in a story or
nonfiction text.
2. In the play Anne tries to go back on her word to Rumpelstiltskin and keep the baby. E
courage the students to speculate on how Rumpelstiltskin must have felt when she went
back on her word. Lead the students in a discussion on the old adage “promises are made
to be broken.” Ask the students to recall instances in their lives when someone broke a
promise to them. What happened? How did it make them feel?
LA.C.1.1.3 - (PreK-2) The student carries on a conversation with another person
seeking answers and further explanations of the other’s ideas through questioning and
answering.
LA.C.3.2.2 - (3-5) The student asks questions and makes comments and observations
to clarify understanding of content, processes and experiences.
9
3. In the play, the Queen was greedy for wealth and gold, yet she doesn’t seem to work for the
things she wants. Reference the historical facts about spinning listed above to help the
students, especially the girls, appreciate the role that spinning played in women’s lives in
years gone by. Ask the students to consider the work opportunities available to women
then and now. How is working with one’s hands different than working with ones head?
What rewards derive from each? This can lead into a discussion of what the students wish
to be when they grow up so as to explore the more general topic of sloth versus hard work
and self-esteem.
LA.C.3.1.2 - (PreK-2) The student asks questions to seek answers and further explanation of other people’s ideas.
LA.C.3.2.2 - (3-5) The student asks questions and makes comments and observations
to clarify understanding of content, processes and experiences.
LA.C.3.2.5 - (3-5) The student participates as a contributor and occasionally acts as a
leader in group discussions.
LA.E.2.2.4 - (3-5) The student identifies the major theme in a story or nonfiction text.
The Art of FCAT
Contributed by Patricia Linder:
Visual and Performing Arts Field Trips provide an excellent source of support for the
development of skills necessary for success on the FCAT. We invite you to use these
instructional strategies to enhance FCAT preparation through your theatre field trip.
Theatre Activities
FCAT Cognitive Level 1
Read the story (or play) your field trip performance is based on.
Name the main character.
List all the characters.
Identify the setting.
List the story events in the order they happened.
Describe a character (or setting).
Explain the problem (or conflict) in the story.
Explain how the actors used stage props to tell the story (or develop characterization).
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* Discuss how the blocking, or positioning of the actors on stage affected the performance.
* Discuss how unusual technical elements (light, shadow, sound, etc.) were used in
the performance.
* Draw a picture of a character.
* Illustrate or make a diorama of a scene from the performance.
* Draw a poster to advertise the performance.
* Work with other students to act out a scene.
* Demonstrate how an actor used facial expression to show emotion.
* Write a narrative story to summarize the plot of the performance story.
* Use a map and/or timeline to locate the setting of the story.
* Make a mobile showing events in the story.
FCAT Cognitive Level II
* Would the main character make a good friend? Write an expository essay explaining why or
why not.
* Create a graph that records performance data such as: female characters, male characters,
animal characters or number of characters in each scene, etc.
* Compare/Contrast a character to someone you know or compare/contrast the setting to a
different location or time.
* Solve a special effects mystery. Use words or pictures to explain how “special effects”
(Lighting, smoke, sound effects) were created.
* Imagine the story in a different time or place. Design sets or costumes for the new setting.
You’re the director. Plan the performance of a scene in your classroom. Include the cast
of characters, staging area, and ideas for costumes, scenery, and props in your plan. Create a
new ending to the story.
* Did you enjoy the performance? Write a persuasive essay convincing a friend to go see this
production.
* Write a letter to the production company nominating a performer for a “Best Actor Award.”
* Explain why your nominee should win the award.
* Create a rubric to rate the performance. Decide on criteria for judging: Sets, Costumes,
Acting, Lighting, Special Effects, Overall Performance, etc.
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THE PRODUCER
Stages Productions is a professional theatre ensemble that specializes in bringing
classic fairy tales to over 150,000 young people each year.
STAGES’ show credits include critically acclaimed performances of: The Water
Pigs, Hansel and Gretel, Pinocchio and The Frog Prince. Be sure to join us for
our 18th Season featuring a new musical production of The Ugly Duckling, Santa’s
Holiday Revue, Mother Goose, Rumpelstiltskin and Snow White.
Stages is dedicated to making drama an integral part of education. Thank you for
supporting our mission by choosing a Stages Productions play!
THE REFERENCES
Sunshine State Standards [Online] Available: http://www.firn.edu/doe/menu/
sss.htm
Bettelheim, B.,(1975). The Uses of Enchantment: The Meaning and Importance of
Fairy Tales. (Vintage Books Edition, 1989). Random House.
Grimm, Jacob & Wilhelm. Grimm’s Fairy Tales. (1987). Longmeadow Press.
Microsoft Encarta ‘98 Encyclopedia . (1998)
Traktman, P., Matinee Manners.
Cashdan, Sheldon, (1999). The Witch
Must Die: How Fairy Tales Shape
Our Lives. (First Edition, 1999),
Basic Books
Zipes, Jack, (1997). Happily Ever
After (Routledge, 1997)
Routledge Press
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Photo courtesy of The Library of Congress