EDUCATOR RESOURCE GUIDE
Presents
CRASH
Table of Contents
Synopsis ............................................................................................................................................................................. 3-4
Curriculum Connections & EALRs ....................................................................................................................... 5
Jerry Spinelli Talks About Jerry Spinelli ............................................................................................................ 6-7
From Book to Play – Playwright Y York on Writing, Adaptation & Jerry Spinelli’s Crash .......... 8-9
A Chat with Geoff Korf, Lighting Designer ....................................................................................................... 10-11
What Do You See? .......................................................................................................................................................... 11
About the Set ....................................................................................................................................................................12-13
About the Costumes ..................................................................................................................................................... 14
Bullies and Bullying, and What You Can Do .................................................................................................... 15-16
Environmentalism and Economic Growth ...................................................................................................... 17-18
Who are the Quakers? .................................................................................................................................................19
Finding Your Team ........................................................................................................................................................ 20
Thomas the Turtle ........................................................................................................................................................ 21
Words & Phrases That Might Be New to You ..................................................................................................22-23
Activity Pages ...................................................................................................................................................................24-25
Booklist ............................................................................................................................................................................... 26
Evaluation Form ............................................................................................................................................................. 27
2
SYNOPSIS
John “Crash” Coogan plays football on his school’s team, gets all A’s in
school and seems to ooze self-confidence. One spring day, Crash meets
his new classmate Mike Deluca outside the Coogan house. The two
boys bond immediately over their love of hard-hitting football and
video games.
However, neither videogames nor football interest Crash’s unconventional
neighbor, Penn Webb. Penn arrives with his pet turtle, Thomas, looking for Crash’s
younger sister, Abby. Thomas is not his usual self and Penn has come for Abby’s help. He
wants to heal Thomas by administering some mud to his shell—mud that Penn’s greatgrandfather retrieved 65 years ago from a tributary of the Missouri River. Penn and Abby
share a lot, including a passion for the environment, but the only
things Penn seems to have in common with Crash and Mike are
gender and age. The boys ridicule Penn’s Quaker religion, secondhand clothes, environmental beliefs and his tendency to take all
statements literally.
But the next day it is Penn who befriends the good-looking new girl at school, Jane. They meet on
the school track where Penn explains that he is training for the Penn Relay trials—a track event
he wants to run in honor of his great-grandfather who named him after the famous race. Jane has
recently gone through a growth spurt that has left her feeling too tall and uncoordinated. Boys
in school look at her and treat her differently, which makes her uncomfortable. Penn’s honest
and welcoming demeanor draws her to him immediately. Crash and Mike approach and begin
teasing Penn, who doesn’t always understand their insults. Jane, however, clearly recognizes the
boys’ cruel intent and stands up for Penn. When Crash hears that Penn intends to try out for the
relay team, he challenges him to a race then and there. Despite Penn’s awkward form, he is fast
and nearly outruns Crash. Crash decides to enter the Relay trials himself to prove his physical
superiority and win Jane’s attention away from Penn.
Back at the Coogan house, Abby tries to convince her mom and dad to turn the backyard into
a natural habitat. Crash comes home and is surprised to see the whole family together—a rare
event. His dad is busy starting a new business that keeps him at work for long hours every day of
the week. The family time doesn’t last long. Dad has to head off to work, but Crash and Abby are
thrilled by the surprise arrival of their beloved Grandpa Scooter. They are doubly excited to learn
that he is not just here for a visit—he has come to stay.
Continued on the next page...
3
That evening Crash, Mike, Penn and Jane are all at a rec hall dance. Crash gets aggressive when
Jane refuses to dance with him. Grandpa Scooter, who has come to pick Crash up, sees the
behavior and reprimands him. Crash opens up to Scooter about this frustration with his father’s
lack of interest in his accomplishments—he didn’t make it to any football games all season.
Scooter tries to reassure Crash that his parents are proud of him, but Crash continues to nurse
his grudge.
The next day, Abby, Penn, Jane and Scooter prepare to protest the new mall
development—despite dad’s reminder that Abby’s mom stands to make
money from the project. Crash takes advantage of everyone’s presence to
suggest a quick game of touch football. It’s his chance to show off for his
dad and for Jane. It’s him against Scooter and Penn. But Crash gets carried
away and tackles Scooter too hard. Scooter collapses and ends up in the
hospital where he remains comatose from a stroke. Over the next few
days, while Crash is feeling worried and guilty about his grandfather’s illness,
Mike elevates his bullying of Penn from verbal taunts to stealing Penn’s essay
and then his beloved turtle. Crash begins to see that he and Mike are bullying
Penn—simply being mean.
Crash visits Scooter in the hospital one evening and finds Penn there. Penn has
brought his jar of Missouri mud and leaves it with Crash, in case Crash wants to use
it to heal Scooter. Scooter’s illness brings out a protective urge in Crash. Though he
doesn’t know if his grandfather can even hear him, he promises to support Scooter,
as Scooter has always been there for him. He dips Scooter’s fingers in the mud in
hopes that it will make him better.
Crash heads to Mike’s house to make things right for Penn. He retrieves and anonymously
returns Penn’s turtle. But Jane sees him and accuses him of turtle-napping and trying to win the
Penn Relay for selfish reasons.
The Penn Relay trials at the end of the week attract a big crowd and the stakes are high. Jane has
learned that Mike is the one who stole Thomas, and she has softened towards Crash. Scooter has
emerged from his coma and is at the race. Penn’s great-grandfather
has traveled far to watch this event and Crash’s dad has finally come
to see him in action. It’s a close race. As he runs, Crash recognizes the
importance of the race to Penn and gives him the victory. Still, Crash
is dejected at the loss, but it’s clear to everyone, including Jane, that
something new is happening to Crash and they are proud of him.
Crash has found true friends and a new place in his family.
4
CURRICULUM CONNECTIONS & EALRs
Crash touches on many themes and ideas. Here are a few we believe would make good
Curriculum Connections: Friendship, Loyalty, Bullying, Social Hierarchy in Schools,
Competition, Family, Environmentalism, Aging, Track, Football, Reading, Adaptation.
We believe that seeing the show and using our Educator Resource Guide can help you meet the
following EALRs:
State Standards
Theatre
Reading
Science
Communication
1. The student understands and applies arts knowledge and skills.
1.1 Understand arts concepts and vocabulary, specifically, identifies and describes
characters, setting, actions, conflict, sounds.
1.2 Develops theatre skills and techniques.
1.3 Understands and applies theatre genres and styles of various artists, cultures, and times.
1.4 Understands and applies audience conventions in a variety of settings and
performances of theatre.
2. The student demonstrates thinking skills using artistic processes.
2.1 Apply a creative process in the arts: Conceptualize; Gather; Develop; Organize; Reflect;
Refine; Present.
3. Theatre: The student communicates through the arts (dance, music, theatre, and visual arts).
3.1 Uses theatre to express feelings and present ideas.
1. The student understands and uses different skills and strategies to read.
1.1 Use word recognition skills and strategies to read and comprehend text.
1.2 Use vocabulary (word meaning) strategies to comprehend text.
1.3 Build vocabulary through wide reading.
1.4 Apply word recognition skills and strategies to read fluently.
2. The student understands the meaning of what is read.
2.1 Demonstrate evidence of reading comprehension.
2.2 Understand and apply knowledge of text components to comprehend text.
2.3 Expand comprehension by analyzing, interpreting, and synthesizing information
and ideas in literary and informational text.
2.4 Think critically and analyze author’s use of language, style, purpose, and
perspective in literary and informational text.
3. The student reads different materials for a variety of purposes.
3.1 Read to learn new information.
3.2 Read to perform a task.
4. Life Science. Big Idea: Structures and Functions of Living Organisms
4. Life Science. Big Idea: Ecosystems
1. The student uses listening and observation skills and strategies to gain understanding.
1.1 Uses listening and observation skills and strategies to focus attention and interpret
information.
1.2 Understands, analyzes, synthesizes, or evaluates information from a variety of
sources.
Integrated
1. Ecological, Social, and Economic Systems
Environmental
3. Sustainability and Civic Responsibility
and Sustainability
5
JERRY SPINELLI TALKS ABOUT JERRY SPINELLI
When I was growing up, the first thing I wanted to be was a cowboy.
That lasted till I was about ten. Then I wanted to be a baseball player.
Preferably shortstop for the New York Yankees.
I played Little League in junior high and high school. I only hit two
home runs in my career, but I had no equal when it came to standing
at shortstop and chattering to my pitcher: “C’mon, baby, hum the
pea.” Unfortunately, when I stood at the plate, so many peas were
hummed past me for strikes that I decided to let somebody else
become shortstop for the Yankees.
It was about that time that our high school football team won a heartstopping game against one of the best teams in the country. While
the rest of the town was tooting horns and celebrating, I went home and wrote a poem about
the game. A few days later the poem was published in the local newspaper, and suddenly I had
something new to become: a writer.
Little did I know that twenty-five years would pass before a book of mine would be published.
Not that I wasn’t trying. In the years after college I wrote four novels, but nobody wanted them.
They were adult novels. So was number five, or so I thought. However, because it was about a
thirteen-year-old boy, adult book publishers didn’t even want to see it. But children’s publishers
did—and that’s how, by accident, I became an author of books for kids.
Life is full of happy accidents.
Sometimes I’m asked if I do research for my stories. The answer is yes and no. No, in the sense
that I seldom plow through books at the library to gather material. Yes, in the sense that the first
fifteen years of my life turned out to be one big research project. I thought I was simply growing
up in Norristown, Pennsylvania; looking back now I can see that I was also gathering material
that would one day find its way into my books.
John Ribble’s blazing fastball. Dovey Wilmouth, so beautiful a fleet of boys pedaled past her
house ten times a day. Mrs. Seeton’s whistle calling her kids in to dinner. The day my black snake
disappeared. The creek, the tracks, the dump, the red hills. My days did not pass through, but
stayed, filling the shelves of my memory. They became the library where today I do my research.
I also get material from my own kids. Along the way I married another children’s writer, Eileen
Spinelli, and from our six kids have come a number of stories. Jeffrey and Molly, who are always
fighting, have been especially helpful.
Continued on the next page...
6
Ideas also come from everyday life. And from the newspapers. One day, for example, I read a
story about a girl who competed on her high school wrestling team. A year later bookstores
carried a new book with my name on it: There’s a Girl in My Hammerlock.
So there you are. I never became a cowboy or baseball player, and now I’m beginning to wonder
if I ever really became a writer. I find that I hesitate to put that label on myself, to define myself
by what I do for a living. After all, I also pick berries and touch ponies and skim flat stones over
water and marvel at the stars and breathe deeply and grin from ear to ear and save the best
part for last. I’ve always done these things. Which is to say, I never had to become anything. Or
anyone. I always, already, was.
Call me a berry-picking, pony-touching star-marveler.
Excerpted from:
Scholastic – http://www.scholastic.com/teachers/contributor/jerry-spinelli
Jerry Spinelli was born in Norristown, Pennsylvania in 1941. His first published novel was Space
Station Seventh Grade. His sixth, Maniac Magee, received several honors: a Boston Globe/Horn
Book Award in 1990, the D.C. Fisher Award in 1992 and the Newbery Medal in 1991 for “The Most
Distinguished Contribution to American Literature for Children.” His book, Wringer, also received a
Newbery Honor. The prolific author graduated from Gettysburg College and Johns Hopkins University.
He was awarded an honorary Doctor of Literature degree from Western Maryland College.
JERRY SPINELLI’S BOOKS
Space Station Seventh Grade1982
Who Put That Hair on my Toothbrush?
1984
Jason and Marceline1986
Night of the Whale1988
Dump Days1988
The Bathwater Gang1990
Maniac Magee1990
Hallie Jeffery’s Life1991
Fourth Grade Rats 1991
Report to the Principal’s Office1991
There’s a Girl in My Hammerlock1991
Do the Funky Pickle1992
Who Ran My Underwear Up the Flagpole?1992
Picklemania1993
Crash1996
Tooter Pepperday1996
The Library Card1997
Wringer1997
Blue Ribbon Blues: A Tooter Tale
1998
Knots in My Yo-Yo String1998
Stargirl2000
Loser 2002
Milkweed 2003
My Daddy and Me2006
Love, Stargirl2007
Eggs
2007
Smiles to Go 2008
Third Grade Angels2012
7
FROM BOOK TO PLAY – PLAYWRIGHT Y YORK ON
WRITING, ADAPTATION & JERRY SPINELLI’S CRASH
Becoming a writer
I started writing plays in my mid-thirties after being an actor for a few
years. I wasn’t a natural playwright or even a natural writer. I had to make
myself get up early every day and start writing even before the coffee water
boiled. I tricked myself into writing each morning, and once I started, a little
something good might end up on the page and that little something would
keep me going through the morning when I would have to stop to face my
other obligations. I learned that a writing day went better if I approached
yesterday’s words armed with something—perhaps a question I wanted to
ask one of the characters, or even wanting to learn the secret something that
character might hide in his second dresser drawer; I might also be armed with some new knowledge
that had fallen on my head during the previous afternoon or last night’s sleep.
In these early days of writing, I longed to be done with it. I didn’t like writing so much as I liked
“having written.” But as I continued to write, I accrued what I now call “my criteria for excellence”
for a play. These Y rules might determine that a new draft of a play needed further work and study,
revision, if you will. The concept of “done with it” evolved. I wouldn’t be done with it until I had
approached it with each rule and changed the play until it adhered. Then I added workshops—
sometimes I would be invited to a select workshop opportunity from a theater or organization,
and actors, a director, a dramaturg and I would listen over and over, learn what worked, what was
extraneous, cut redundancies—make better, funnier, profounder, each and every moment of the play.
I like it all now; the part that is me alone, the part that is collaboration with other theater artists, and
most fully, the part that is sharing the play with its audience.
Adaptation and Crash
Crash started with a lunch date with Linda Hartzell (SCT’s artistic director) almost three years ago. I
had loved this book for a decade and was thrilled to have this opportunity to delve into the amazing
world of Jerry Spinelli once again, and bring Crash to you.
The book, any good book, is perfect, but it will not fit on the stage for, oh so many reasons: it’s too
long, it’s too reflective, it’s comprised of internal monologues that, although quite poetic and moving,
just don’t work in the theater. My task is adaptation, which means I am taking from one form of
literature and transforming the story into dramatic literature.
If an author allows me to adapt his/her book for the stage, that author is extremely brave and
generous because in order for me to accomplish the task, I’m going to have to “mess with” the perfect
book. Even though I approach my task with care and gratitude, my ultimate allegiance is to play
structure: if I have to cut, I cut, if I have to change, I change, and, the most difficult aspect for the
original book author—I don’t use any dialogue from the book because, for me, book dialogue and
play dialogue have different criteria.
Continued on the next page...
8
The first thing that happens: I am asked to read a book and decide if I can be inspired to write a play.
I am looking for a unique character who wants something very badly, has resources to get it and
obstacles in the way. Crash and his schoolmate Penn Webb are unique characters with goals that are
in conflict with one another. I say “yes,” the theater gets permission from the book author and I start. I
make a chronology of the actual order of events, which, in the case of Crash, begin seven years prior to
the start of the story, when Crash met Penn Webb. Making this timeline gives me a chance to review
the story, get to know the characters better and try to get them into my own muscles. I read the book
one or two more times, then set it aside.
Something very scary is about to happen. I am about to ask Crash to talk to me.
First I have Crash describe another character, maybe a lesser character at first, but ultimately I’m
going to want Crash to describe Penn Webb. (I know it’s really me doing the talking, but when it gets
going really well, it won’t feel like me, it will feel like Jerry Spinelli’s version of a boy named Crash.) I
might spend a day or two with Crash, having him tell me things about other characters, or even things
about himself. Some of this information is directly from the book, but some of it is new, and I wouldn’t
be surprised if the new information was also known by Mr. Spinelli, but it wasn’t needed to tell the
story in the book.
I go through this “talking exploration” with each of the characters who I think might be in the play.
This talking/writing gives me confidence that I can write in the voice and with the cares of each of the
characters. I am not going to let the characters talk to each
other until I know how they speak, what they care about
and, most importantly, what they want. When I have this
information, I am ready to let them talk to each other. I look
at my chronology list and see if there’s a scene where two of
these characters can engage, and I give it a try. I might write a
dozen scenes before I begin to think about the story I need to
tell, the story that I read when I first read the book.
As you can imagine, I might veer onto some wrong path.
I have been lucky with Crash, Stargirl and Eggs that Jerry
Spinelli has read drafts and given me good advice to make the play more reflective of his original
story. He has also been very understanding that the needs for the stage differ greatly from the needs
for a book.
At some point, I invite actors to read the play to me, and from this reading, I make changes, get input
from the theater and the director, and begin the process of collaboration with designers to finally
bring the three dimensions to this story that started its life between the cover of a book.
Since inaugurating the Charlotte Martin Theatre with Afternoon of the Elves, Y has returned to SCT
with seven more plays for children and their families. In addition to Crash, other third millennium plays
include: Stargirl; Eggs; Don’t Tell Me I Can’t Fly; The Final Testimony of Henry Samson; Fork in the
Road; Late in the Game; Getting Near to Baby; Woof; …and LA is Burning; River Rat and Cat; Bleachers
in the Sun; Framed; Nothing is the Same; Mask of the Unicorn Warrior; and The Othello. These and
earlier plays are happily still produced in theaters across the country and available from Broadway Play
Publishing, Dramatic Publishing, St. Martin’s Press, Smith and Kraus, or from the literary team at Bret
Adams, Ltd. Y still lives with Mark Lutwak to whom most things are still dedicated. www.yyork.com
9
A CHAT WITH GEOFF KORF, LIGHTING DESIGNER
Please tell us a little bit about your working process.
When I read a play, images develop in my head. I “see” the characters and
places in my imagination. Sometimes those images are very clear, but often
they are just fuzzy impressions. Many of my ideas about light are inspired
by the place: What’s the place like where the story happens? When I read
the script for Crash, I imagined the backyard with a lot of trees around the
yard; it seemed green and lush. Later I tried to “look” at that image more
carefully, and I “saw” bright sunlight shining through the trees. The color of
the light was pale yellow—warm light—and it reflected off of all the green
leaves and made a kind of pale green reflected light. Even though it starts as imagination, those
early images of light are often what I end up trying to create on stage. When I start to meet with
the director and other designers, something similar happens again. Their ideas and designs
create new images in my head. Later when I see the actors in rehearsal, they will inspire more
lighting images. The final design is like a big mash-up of all of these images that I’ve collected
throughout the process.
What is a particularly interesting or unusual challenge on this project, and how are you
setting out to solve it?
In the example of the backyard, I was thinking about light in a realistic way. I imagined a real
kind of place with a real kind of light. In this play, there is a place we visit that isn’t like any real
location I could go to: inside the mind of Crash. What an exciting challenge! How can we create
the feeling that the audience will suddenly be in the private, secret world inside of Crash’s head?
If the world around Crash seems to stop or slow down, how would the other characters appear?
I want those moments to feel like Crash is practically the only person in the world, but it is also
important for the audience to be aware of the other characters, because Crash is aware of them.
Somehow they need to appear differently than in the other parts of the play. Some tools I can use
are the angle, brightness and color of the light. I want to make the angle and color of light on the
other characters new and different, while creating clear focus on Crash. I also think that if the
other characters are moving in slow motion, maybe the light on them should be pulsing in some
way. I know for sure that Crash should be brighter than anything else for those moments.
What in your childhood got you to where you are today?
My mother and my father were both teachers of theater, so I spent a lot of time in my childhood
acting and seeing plays. I saw a lot of students struggle trying to make a career as an actor. By the
time I was a teen, I knew that I didn’t want to struggle like that. I thought I should do something
more “serious”—something that would have a bigger impact on the world, so I went to college to
Continued on the next page...
10
study physics. I was miserable and dropped out in my freshman year. I returned to college a year
later and refused to declare a major and only took courses I wanted to take. That soon led me
back to theater. I came to see that I had a special talent for theater more than for physics or math.
I discovered that what I was good at and what I liked and what I could make a living at could all
be the same thing.
A successful career in theater depends mainly on three things: talent, personality and grit.
I’ve known talented people who simply thought it was too difficult and gave up. I’ve known
less talented people who worked hard and were great people to be around who have had long
careers. The part of the formula I’ve had since childhood is grit; I don’t give up easily. (My
parents would probably say that I was really stubborn.) When I feel like I have a great idea or
that I know a really good way to do something, I try hard to explain to other people what I think
or feel. I try to convince others about my ideas when I think my ideas are strong. I keep working
at things even when they are challenging.
Geoff Korf has designed lighting for almost three hundred productions in his career. This is his fifth
design at Seattle Children’s Theatre. He also teaches lighting design at the University of Washington.
WHAT DO YOU SEE?
If it wasn’t for light, we couldn’t see anything. Everyone knows that. But we don’t always pay
attention to the way that light tells us a story.
In Crash there are many different locations where the action takes place. What kind of light do
you imagine when you think of these places?
School’s race track on a cloudy day
Rec hall dance at night
Hospital room
Room in a house where someone’s playing a video game
Front door of a house in the early evening
Think about where the light is coming from. Is the source from the sky or is
it man-made? Is there more than one source? What color is the light? Is there
anything blocking the light that casts shadows?
Imagine how places might be lit differently in a play depending on what’s
happening. How can the light in a backyard change when the mood
changes?
Someone is playing with their best friend
Someone is very angry about a person’s behavior
Someone just got hurt really badly
11
ABOUT THE SET
From Carey Wong, Set Designer
The action of Crash takes place in several different locations: Crash
Coogan’s backyard, the school’s race track, a rec hall dance, a hospital,
Mike Deluca’s house and at Penn Webb’s front door. Most of those
locations are only used for one scene, but the Coogan’s backyard
re-appears many times. We needed to figure out a scenic approach
that would make the show visually interesting, serve the action of
the show and permit rapid, almost cinematic scene changes. Also, we
hoped to present a fresh visual style that people haven’t often seen on
stage before.
Crash Coogan is aggressive and direct. The set design for Crash
should reflect that. The play doesn’t need fully realistic settings. But
it does need something recognizable as a visual anchor for the show.
Crash’s house serves that purpose. It makes sense to create a set
that has the backyard always present, but can easily represent all
the other settings; we can go to other locations with the addition of
simple pieces of scenery or furniture at various places on the stage,
with lighting helping us define and isolate those spaces. I felt that
the backyard might benefit from being on a rake (a raised, ramped
platform) so that it has a dynamic sense to it and the action on it
would be enhanced. And I wondered if there might be a way to have
the image of a running track intersect with the backyard and loop
back around behind the house in a sort of unrealistic, stylized way—
like a ribbon floating into the air.
I began looking at some graphic novels with interesting illustration
styles that might influence the way in which we create the visual
world of Crash. I found an artist/writer, Rutu Modan, whose book, Exit
Wounds, has an interesting way of treating color in a flat, comic book
style. The color palette is controlled to make the characters in the
images stand out strongly in the foreground. I was also attracted to the
1960s paintings of Roy Lichtenstein whose work was inspired by the
flat graphic style of comic book motifs. This inspired me to use forced
perspective in the set design, which gives more power to an image by
creating an illusion of distance and size. Another inspiration was the
cover of a book entitled American Dream Houses. The rigid geometric
shape of the lawn and walkway leading to the house incorporate the
kind of look that I felt could be useful for the Crash set design.
Continued on the next page...
12
Frame from Rutu Modan’s graphic
novel, Exit Wounds
Roy Lichtenstein’s painting Okay,
Hot Shot, Okay. Artificial perspective
makes it look like the plane is right
behind the pilot.
Cover of the book American
Dream Homes
All of this led me to the images you see
here. As I write this, it is almost nine
months before Crash opens. We don’t
know yet if all the ideas we are starting
with will be what we end up with. If
this concept is not within the budget for
the show, or if there are changes in the
script that affect locations and action
for example, we will need to re-imagine
elements of the design.
The set model of the opening look of the show uses a comic-book style
image of the title. This helps to reinforce both the graphic look of the set
and Crash’s hard-hitting personality.
This model of the set
shows the Coogan home
at the top of the ramp
that represents their
backyard. The house
stays onstage for almost
the entire show.
13
The hospital room is
created by adding a
hospital bed. Lighting
isolates the area to take
focus away from the rest
of the set.
ABOUT THE COSTUMES
From Melanie Burgess, Costume Designer
It might seem an easy task to design
costumes for a play like Crash that is set in
the present time—one just has to go out and
buy some clothes from the store, right?
This Coogan family collage shows a
few items to give a sense of the kind
of style they each wear. Melanie also
created collages like this for each
character in the play.
In fact, it’s not that simple. First I have to
take the time to analyze the play to discover
how to help the audience understand each
character and their place in the story, and
from there I begin my research. In the case
of contemporary clothes (what is worn
today), I start by thinking of where these
characters might purchase their clothing.
In Crash, the Coogan family is financially
comfortable and might shop at Macy’s, while
the play tells us that Penn Webb, due to his
circumstances, is shopping at thrift stores.
Penn’s clothing is comfortable and has personality, but
it is not what Crash and his friends would consider
fashionable. Look at the difference between Penn’s and
Crash’s running clothes. (Crash’s running clothes are in
the Coogan family collage.)
Sketch for the outfit we first
see Penn wearing
I then gather the research I have found in various
places—catalogs, on the Internet or in magazines,
for example—and create a collage of images for each
character in order to have a discussion with the director.
We look at all the collages together, and often look
through even more sources as we are meeting, to see
what seems best for each character in terms of things
like style, shape and color. With the information from
that conversation, I start sketching specific costumes.
When the costumes for a show are built from scratch by
a theater, they are made to match my sketched designs.
When the costumes for a show are bought in stores,
however, the clothes are never exactly like my sketches.
I have to buy pieces of clothing that are already made
that best fit the guidelines the director and I decided on,
so I am dependent on what stores have in stock at the
time. The costumes end up being similar to my original
sketches, but the finished products are always a bit of
a surprise—sometimes they turn out much better than
my original idea!
14
BULLIES AND BULLYING, AND WHAT YOU CAN DO
Most kids aren’t bullies. Most kids don’t get bullied. But most kids do see it, or know about
it happening. If that describes you, then you can choose to do something about it. But
before you learn what you can do, you need to know what bullying is. Bullies
aren’t always bigger and stronger than their victims. They don’t always attack
physically. They might spread rumors, exclude people from groups, insult
people or make threats. But however they bully, they will usually do it again
and again. Bullying can happen between all kinds of children, both girls and
boys, starting around age 6.
Both bullies and their victims believe that the bully is more powerful, and that there isn’t
much the person being bullied can do to stop them. All sorts of kids can be bullied. But
when young people are seen as “different,” and they don’t get support from the adults and
other children around them, they are more likely to be bullied. People seen as “different”
can include lesbian and gay youth, students with special health needs and
students from religious or ethnic groups that aren’t part of the dominant
group. Schools and communities can help protect children by respecting
diversity.
Bullying can happen anywhere—cities, suburbs or rural towns. It can
take place in cyberspace, through mean text messages, rumors posted
on social networking sites and embarrassing pictures, videos, websites
or fake profiles. Kids who are being cyberbullied are often bullied in
person as well.
Why do people bully others? Sometimes children bully to fit in. Sometimes, when these
kids get involved in sports or clubs they learn to make friends and become leaders without
feeling the need to bully. Other times kids act out because something else—
problems at home, abuse, stress—is going on in their lives. Often bullies
have been bullied themselves.
If you see someone being bullied, you have the power to help them.
You don’t have to confront the bully. In fact, that is usually a bad idea.
If you use insults or physical violence to defend someone, you will most
likely only make it harder for them. Better to approach the person being
bullied. Let them know they are not alone. If you can, help them get away. If that
is impossible, leave yourself—bullies gain more power from an audience that watches, but
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15
doesn’t interfere. Later, go up to the person who was bullied and let them
know you didn’t think it was cool. Spend time with them. Talk with them,
listen to them, sit with them at lunch or play with them at recess. Tell
them you don’t like the bullying and ask if you can do anything to
help. And set a good example, by not bullying others.
If you see bullying or are being bullied yourself, it is important to
tell an adult you trust—a parent, teacher or coach. You can leave
a note if you don’t feel comfortable saying something in person. Do
not get discouraged if you have already talked to teachers and nothing
happened. Keep trying. Teachers and other school authorities will respond if they
find out that the bullying is happening again and again. Try talking to other
teachers and counselors so that you can get more people involved in trying to
stop it.
It takes courage, generosity and persistence to help someone being
bullied. But if you feel that bullying is none of your business, put
yourself in the victim’s shoes. Bullying can turn someone’s life into a
nightmare. You wouldn’t want to feel that way, and they shouldn’t have to.
For Teachers: The information and advice in this article is taken from the U.S. Department of
Health Human Services website www.stopbullying.gov, which provides very complete, accessible
and well-researched information on what bullying is, the best ways to deal with it and how to get
help.
If you are being bullied, you should know that bullying can affect you in many ways.
You may lose sleep or feel sick. You may want to skip school. You may even be thinking
about suicide. If you are feeling hopeless or helpless or know someone that is, please
call the LIFELINE at 1-800-273-TALK (8255).
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ENVIRONMENTALISM AND ECONOMIC GROWTH
ABBY: Developers are pulling out the forests and putting in houses and shopping malls. The
animals and birds need a place to live, too.
MOM: Those developers are putting in houses that I sell so that I can help support us.
– from Crash, adapted by Y York from the novel by Jerry Spinelli
Who is right, Abby or her mom? Does protecting the environment mean opposing economic
growth? Many environmentalists believe so. According to Gus Speth, co-founder of the Natural
Resources Defense Council, “growth in America today... is at the root of environmental losses.”
But sometimes economic growth and environmental health go hand in hand. For example,
between 1970 and 2006, the size of the U.S. economy doubled, the number of cars and trucks in
the country more than doubled and the number of miles those
cars and trucks covered almost tripled. But did they spew out
more pollution? No. The government began to regulate what
came out of all those tailpipes, the car companies developed new
technology and the total amount of poison those vehicles spewed
into the atmosphere fell by over half. In the case of lead, one of
the most dangerous poisons, it fell by 98 percent.
Not only that, a study at the Massachusetts Institute of Technology showed that states with
stronger environmental standards have higher rates of economic growth. But why? How can
putting restrictions on economic activity lead to more of it?
Actually, it probably goes the other way around. In a democracy,
as people become richer, they demand a better environment. A lot
of people want jobs, money and houses in the suburbs with nice
lawns, but those people also want to breathe clean air, drink pure
water and live free from the worry that some chemical they can’t
see might be giving them cancer.
Economics and the environment interact on a global level as well. Take deforestation, for example.
In countries that have an average family income of at least $4600, forests don’t decrease in size—
because, all over the planet, people love their countries’ forests and want to preserve them. But if
people in richer countries buy wood from poorer countries where forests are disappearing, that
doesn’t help the environment of the planet. And, so far, we only have one habitable planet. To solve
environmental problems we can’t think just about our own nation, or our own backyard.
And what about those backyards—and front yards, too, for that matter? In America, a lot of them
are covered with lawns. In Crash, Abby begs her family to stop mowing the grass, to turn their
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yard into a haven for plants and animals. But ever since Thomas Jefferson first imitated the green
grass lawns of England at his home in Virginia, Americans have loved them. On lawns many of us
play, relax and feel pride in our own patch of beauty.
Do lawns cause environmental problems? Sure. Huge amounts of chemical fertilizer and pesticide
poisons spread from lawns into the wider world. Many lawns contain only one species of grass,
and many of those species are not native to the area in which they grow—they crowd out local
plants and reduce biodiversity. Americans also spill 17 million gallons of gas each summer while
re-fueling lawn mowers. That’s more than the Exxon Valdez oil tanker spilled off the coast of
Alaska.
However, lawns bring environmental benefits as well. For one thing, they are better for the
environment than pavement or dirt with no plants at all. They produce oxygen, filter out pollutants
that might otherwise flow into streams and rivers, and reduce flooding and erosion. American
lawns grow healthier each year. Since the U.S. Congress passed the Food Quality Protection Act
in 1996, people have put fewer and fewer poisonous chemicals on
their lawns. The spread of organic lawn care could make lawns into
outstanding environmental citizens. “Grasscycling,” mulching and
bringing in beneficial insects all helps. Plant more than one native
grass species and your lawn could actually contribute to biodiversity.
Use hand-powered or electric lawn mowers, or even a modern gas
mower, and another lawn-related problem diminishes dramatically
(as long as you don’t spill gasoline).
The conflicts between economic growth and taking care of our planet are not going to go away.
Billions of people all over the world are striving for a better life for themselves and their families,
consuming more and more energy, food and other resources, and putting billions of tons of
pollutants into the air, water and earth. That presents a huge challenge. But we need strong
economies to help produce the innovations that can meet this challenge. And we need concerned
citizens, willing to get involved: to think, learn and understand multiple points of view in order to
find solutions.
References:
Book on organic lawn care – http://www.amazon.com/dp/0300086946/ref=rdr_ext_tmb
Most accessible article on trying to analyze the environment with economic tools (What’s a Polar
Bear worth?) – http://www.csmonitor.com/Commentary/the-monitors-view/2012/0510/
Green-accounting-of-economic-growth
Gus Speth’s anti-growth view – http://neweconomicsinstitute.org/publications/letter-liberalsliberalism-environmentalism-and-economic-growth
Massachusetts Institute of Technology Project on Environmental Politics and Policy –
http://web.mit.edu/polisci/mpepp/environment_&_economy.htm
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WHO ARE THE QUAKERS?
Quakers are the members of the Religious Society of Friends, a Christian
denomination which emerged out of the religious turmoil of mid-1600s England.
The Quaker religion is practiced today in a variety of forms all around the world. To
members of this religion, the words “Quaker” and “Friend” mean the same thing.
Quakers have no leaders, priests or ministers. They believe everyone ought to decide for himself
or herself how to worship God, and that people should worship God directly, not through another
person. So different Quakers might believe very different things; they hold beliefs that range from
very liberal to conservative. But common themes re-appear, in different ways, again and again
through the generations of Friends. These themes are called “testimonies” because they testify to
the guidance of God as Friends have experienced it. There is no “official” list of testimonies, but a
common acronym used in many Friends schools is SPICES: simplicity, peace, integrity, community,
equality and stewardship of the earth.
• The Testimony of Simplicity guides Friends to lead lives of material simplicity, because they
believe that material luxury leads to spiritual deprivation and environmental destruction.
• Quakers are best known for the Peace Testimony. Friends oppose war in all forms. Not only do
Friends refuse to fight in wars, they seek to let their whole lives be expressions of peace in the world.
• The Testimony of Integrity is a recognition that Quakers must lead lives of honesty in all their
dealings—speaking clearly and honestly, and showing consistency between their religious faith
and the way that they live.
• The Testimony of Community holds that living by faith is not a private matter. It calls Quakers
outward to meet the needs of the outside community as well.
• The Testimony of Equality emphasizes the fundamental brotherhood and sisterhood of all people.
Friends reject titles designed to elevate some individuals above others. For some Quakers this
means never using any titles at all, even Mr. or Ms. Some will identify a person by their job, for
example calling a judge “Judge”, but will not say “Your Honor.” Similarly, they believe that they are
to treat with love and respect those whom the wider society rejects or considers inferior.
• The Testimony of Stewardship is relatively new, although strands of it are woven through the
other testimonies. But taking care of the planet for future generations is emerging as a testimony
in its own right.
There are not very many Quakers compared to the number of people in other religious groups. The
United States contains about 125,000. The states with the highest number of Quakers are Indiana,
North Carolina, Ohio, Pennsylvania and California. Pennsylvania, the state where Crash is set, is
sometimes known as the “Quaker State” and has a strong historical association with Quakerism.
Pennsylvania, meaning “Penn’s Woods,” started as a grant of land from the King of England to William
Penn, a noted early Friend, who wanted to establish a place where Quakers and others could worship
free from persecution.
Research and excerpts from:
Quaker Information Center – http://www.quakerinfo.org/
Quaker Maps – http://www.quakermaps.com/info
Cape Cod Quakers – http://capecodquakers.org/intro_quakers.html
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FINDING YOUR TEAM
Be yourself; everyone else is already taken. – Oscar Wilde
Say the word “team” and many people think of football and basketball. Maybe sports aren’t your
thing. That’s okay. There’s a team—and a connection—for everyone.
For most activities, there are teams, clubs or informal groups of people who share the same
interests. It’s great to find something you like and people you can share that with. You can make
friends, build confidence and get better at your activity while learning from others.
Find what you like.
Think about what you like to do most. Whether you love science, cooking,
robotics or working with animals, there’s sure to be a place where people get
together to do the things you like.
Want to try something new? What would you like to learn to do? You won’t
know whether you like something until you’ve tried it. Some kids assume
drama is not their thing. They may change their mind when they actually get on stage, or when
they learn about different aspects of theater, like building props or sewing costumes. Other
times, you try something new and know it isn’t something you want to continue. That’s fine, too.
Keep exploring. Everyone’s different. And that’s a good thing.
Find where to do it.
Teams and clubs are everywhere. They may meet at your school, a community center or a
specialized place. Here are just a few ideas:
• Book clubs – If you love reading, think about joining a group to talk about books. Check out
kids’ book clubs at public libraries and bookstores or start your own.
• Specialty clubs – Check your school website, local community center and other organizations for
afterschool programs. From art to chess to knitting and learning Japanese, there’s likely an activity
you’ll like.
• Service organizations – You might offer to help at an animal shelter, with a homeless shelter or
with anything you feel is important.
• All sort of sports – There are hundreds of different sports you can try. We’re lucky enough to have
lacrosse, ultimate frisbee, gymnastics, fencing and many other sports teams and clubs in our area.
• Sing, dance, act or perform – If you play an instrument or like to perform, look into the Drama
Club at your school, classes at a local theater or consider gathering a group for a talent show.
• Cooking – Like the kitchen? Try a cooking class. They’re often offered at grocery stores, kitchen
stores and community centers.
• Others – We can’t even begin to list all of the options that are available. If you’re still looking to
explore an activity, check your local Boys & Girls Clubs, community centers and YMCA programs.
Whatever you choose, feel good about what you do and who you are. You are the one and only YOU.
20
THOMAS THE TURTLE
In Crash, Penn Webb enjoys sharing information about his pet, Thomas, an
eastern box turtle. It’s no wonder—they are fascinating animals.
Box turtles are land dwelling reptiles which get their name from the structure of
their shells. The high, rounded upper shell (the carapace), grows to a maximum
length of seven inches. The shell itself is bone, but the colorful overlay that we see
is actually a layer of keratin (same stuff as our fingernails). Eastern box turtles
have a carapace that is usually a darker brown with bright yellow, orange and/or
red markings. Box turtles are unique in that their lower shell (the plastron) has a
hinge on it that allows adult turtles to retract their head, tail and limbs into their
shell and clamp it shut when frightened by predators—or a curious human. They
wait in this position, like little, rounded boxes, until the threat is gone. A young
turtle’s shell is not completely hardened until it is seven years old, but very few
animals can harm an adult when it protects itself this way.
The underside of a box
turtle. You can clearly
see the hinge where the
plastron clamps shut.
The turtle’s head is in
the left side of the shell.
Box turtles can live in a wide variety of habitats from damp forests to dry grassy fields. They live in
the eastern United States, from southern Maine to Florida along the East Coast and as far west as
Michigan, Illinois, eastern Kansas, Oklahoma and Texas. Due to its popularity as a pet, the eastern
box turtle is sometimes found far outside this range. Although Penn Webb has given Thomas a
good home after finding him on a road trip, you should not remove a box turtle from the wild. Box
turtles have a homing instinct which causes them to return to the place of their birth. If they are
moved from one habitat to another, they will spend the rest of their lives trying to go back to their
original habitat. If you see a box turtle crossing the road, place him safely on the side of the road in
the direction he was going, and leave him there.
Penn is right to be concerned when Thomas is inactive and has little appetite in spring. In the
wild, box turtles usually emerge from hibernation in April. To hibernate, they burrow as much as
two feet deep into loose earth, stream bottoms, old stump holes, mammal burrows or mud. In the
spring and fall, they may be out foraging during all daylight hours and they sometimes bask in the
sun to get warm. In the heat of the summer, box turtles are usually active only in the morning and
after it rains. When it gets too hot, they hide under decaying logs and leaves, or crawl into mammal
burrows or mud. When it is very hot, they go into shady pools and puddles to cool off.
Like other turtles, eastern box turtles can live a long time, possibly up to 100 years. Researchers
have discovered that unlike other animals, a turtle’s organs do not gradually age over time. They
have the power to almost stop the ticking of their personal clock. A turtle’s heart doesn’t need to
beat constantly—the turtle can actually turn it on and off. Turtles don’t really die of old age. In fact,
if not for accident or illness, turtles might just live forever. Sadly, for many in captivity, 30-40 years
is more typical—even shorter with less than ideal care.
As tempting as it might be to have a pet turtle, it is not generally recommended for young children
to interact with box turtles. Like all reptiles, they carry salmonella bacteria, which can cause illness
in humans. Always wash your hands after touching a turtle.
Information and excerpts from:
University of Michigan Museum of Zoology – http://animaldiversity.ummz.umich.edu/site/accounts/
information/Terrapene_carolina.html
21
WORDS & PHRASES THAT MIGHT BE NEW TO YOU
He’s lethargic, and he won’t eat. – unenergetic, listless
Sixty-five years ago come the 25th of May, my great grandfather retrieved magic dirt from a
tributary of the Missouri River. – stream flowing into a larger stream or a lake
This mud has curative properties. – healing
MIKE: Are your parents quacks?
ABBY: His parents are not quacks.
PENN WEBB: They’re Quakers. And I’m a Quaker, too.
quacks – persons who pretend to have medical skill
Quakers – a branch of Christianity called the Religious Society of Friends, founded in
England during the 17th century. (See the related article in this study guide.)
We’re going to see what’s blooming in the Habitat Garden. – place where a plant or animal
naturally or normally lives or grows
It’s a chance to see the tiny flowers unencumbered by foliage. – unburdened by, free of
He’s a couple months older than me, he’s just a pipsqueak. – small or insignificant person
See, Mom, developers are pulling out the forests and putting in houses and shopping malls. – people
who purchase land, divide it and build on it
You kids don’t know what puts the food on your plates. It’s development. – construction of houses
or other buildings
Are you planning to forage for your food when the development stops? – hunt, search
First you give Grandpa a stroke then you don’t get him a birthday present. – sudden weakening or
loss of consciousness or the power to feel or move caused by the breaking or blocking of a blood
vessel in the brain
They want to move him to a long-term facility. – place that provides nursing care and other
services for long periods of time for people who cannot care for themselves
It’s a coma. – sleeplike state of unconsciousness caused by disease or injury
Pencil will be obliterated. – wiped out
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22
FOOTBALL WORDS & PHRASES
CRASH: I’m a running back.
MIKE: A back needs to be quick and fast.
CRASH: I am.
MIKE: Maybe you’re fast, but you’re too big to be quick.
CRASH: Famous last words. You offense?
MIKE: The line. For now. When I get to high school I’m going defense. I want to sack the
quarterback. And tackle the running back.
offense – team that has possession of the football and attempts to advance it toward the
goal line for a touchdown
defense – unit that is responsible for keeping the opposition away from the goal line. The
defense is the unit that does not have possession of the football.
running back – offensive player who runs with the football
the line – players who start each play lined up on the line of scrimmage (an imaginary line
stretching the width of the field that separates the two teams)
sack the quarterback – to tackle the quarterback behind the line of scrimmage. The
quarterback is the player who directs the offense of the team. He either hands the ball
to the running back, throws it or runs with it himself.
tackle – bring down an offensive player who has the ball
He plays football and he’s a great offensive lineman, and he’s really cool. – player that lines up on
the line of scrimmage whose primary job is to block the defensive players
Hey, I know, let’s play a couple downs while we’re waiting. – actions that start when the ball is put
into motion and end when the ball is “dead.” Basically, a down is one play.
TRACK WORDS & PHRASES
JANE: What are we supposed to do with these blocks?
PENN WEBB: They’re the ready-set-go blocks. Everybody starts from the blocks so it’s fair.
Penn has taught himself how to run so he doesn’t know the technical terms for things. The
supports on which sprinters place their feet at the beginning of a race are actually called
the starting blocks.
But now I’m old enough to go to the Penn Relays.
Penn Relays is the oldest and largest track and field competition in the United States,
hosted annually since April 21, 1895 by the University of Pennsylvania at Franklin Field in
Philadelphia, Pennsylvania. It regularly attracts more than 15,000 participants from high
schools, colleges and track clubs throughout North America and abroad, most notably
Jamaica, competing in more than 300 events over five days. Historically, the event has been
credited with popularizing the running of relay races. It is held during the last full week in
April, ending on the last Saturday in April.
He’s running the anchor, so you know he’s good. – last leg of the relay race. It is usually run by the
fastest runner on the team.
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C i r c l e o f F ri e nd s
What connects us to our friends and family? Often it is a shared interest or experience.
We might make friends at soccer practice, get to know our science partners during class
or bond with cousins over our love for music. In the box below, brainstorm some interests
and experiences that are part of your identity. Do you like to play sports? Make art? Enjoy
a certain kind of food?
In the diagram below, write your name in the center circle and then add one of your
brainstorm ideas on each line connecting your name to an outer circle. In the outer circles
write names of friends and family with whom you share that interest or experience. When
you’re finished, look at your diagram and celebrate all the different parts of your identity
that connect you to the people you know!
—‡••Š‘
In this activity, students learn things they may not know about their classmates.
Each student writes one sentence about an interest or talent they have or activity they do. Ask them
to pick something that their classmates might not know. Make it clear that they only share what they
feel comfortable sharing; we all have so much that makes us special that we have plenty of
interesting stuff to share.
Give some examples of possible statements:
I once ran a five-mile trail run.
I speak more than one language.
I make science-fiction movies with my sister.
I know how to make tamales.
My family has 5,000 bees in our backyard.
I volunteer at an animal shelter.
Collect these statements and write them on a board with plenty of blank space around them.
Give students a list of all student names to cut apart, or individual small pieces of paper they can
write each student’s name on.
Ask students to post or write the name of the student they think wrote the statement next to the
statement—not writing their own name anywhere, of course. They can’t repeat a student’s name on
more than one statement and must match all names with statements.
Students can compare and discuss which student submitted which statement before they try to guess,
or after, or both. If a student knows for sure which statement a student made, ask them to avoid
announcing that to the class so everyone can have the fun of trying to match things up.
At the end of the session, read the correct answers and allow time for the student to share something
about their statement. For example, why they like to do a certain activity, or how they learned to do
it.
Ways to extend the activity:
Students can count/chart who was matched with the most/least of the correct statements.
Put all the statements in a box and have each student choose one blindly, returning their own
statement to the box if they happen to draw it. Have them do additional research on the topic they
drew and report back to the class.
BOOKLIST
For Children & Young Adults:
For Adults Working With
Children & Young Adults:
Fiction:
Bystander
James Preller
Fiction:
Firefly Lane
Kristin Hannah
Confessions of a Former Bully
Trudy Ludwig
Nonfiction:
Unlikely Friendships: 47 Remarkable Stories
from the Animal Kingdom
Jennifer S. Holland
Facts of Life: Stories
Gary Soto
Lunch Money
Andrew Clements
Why Good Kids Act Cruel: The Hidden Truth
about the Pre-Teen Years
Carl E. Pickhardt, Ph.D.
Powerless
Matthew Cody
The Unwritten Rules of Friendship: Simple
Strategies to Help Your Child Make Friends
Natalie Madorsky Elman and
Eileen Kennedy-Moore
Colorfully written and practical, this book
offers many tips for anxious parents.
The Truth about Truman School
Dori Hillestad Butler
The View from Saturday
E.L. Konigsburg
Website: http://www.stopbullying.gov
8th Grade Superzero
Olugbemisola Rhuday-Perkovich
Reggie (aka “Pukey”) is trying hard to stay
under the radar in middle school because of
an embarrassing start to the school year. But
when he’s drawn into the school election he
comes face to face with doing the right thing,
regardless of the consequences. What really
makes a wimp, or a bully, or a kid just trying
to grow up?
Nonfiction:
Bullying and Me: Schoolyard Stories
Ouisie Shapiro; photographs by Steven Vote
We Want You to Know: Kids Talk About
Bullying
Deborah Ellis
26
Booklist prepared by Judy Nelson,
Pierce County Library System
HOW DID WE DO?
We’d love to know what was helpful to you as you read and used this guide. Please fill out and
return this short survey to us. We appreciate your feedback.
1. For which play/plays did you use the Educator Resource Guide?
□ Dr. Seuss’s The Cat in the Hat
□ The Edge of Peace
□ Danny, King of the Basement
□ Adventures with Spot
□ The Wizard of Oz
□ Crash
□ Dot & Ziggy
2. Was it easy for you to find and download the Educator Resource Guide?
□ Very □ Somewhat □ Not very
□ Not at all
3. On a scale of 1 – 5 (5 being the highest), how useful was the Educator Resource Guide?
□ 1
□ 2
□ 3
□ 4
□ 5
4. What did you use from the Educator Resource Guide?
5. Is there something you would like to see included in the Educator Resource Guide that wasn’t here?
6. Which of the following best describes you? I teach:
□ Preschool
□ High school
Other Comments:
□ Elementary school
□ Home school
THANK YOU!
MAIL to: or EMAIL: Seattle Children’s Theatre
[email protected]
201 Thomas Street
Seattle, WA 98109
Attention: School Shows
27
□ Middle school or FAX:
206.443.0442