© huntington theatre company bye, birdie,won him the tony award on broadway and subsequently the...

© Huntington Theatre CompanyBoston, MA 02115September 2002

No portion of this Teacher CurriculumGuide may be reproduced without writtenpermission from the Huntington TheatreCompany’s Department of Education.

Inquiries should be directed to:Donna Glick, Director of EducationHuntington Theatre Company264 Huntington AvenueBoston, MA 02115

Boston’s leading professional theatre, in residence at Boston University

Nicholas MartinNorma Jean Calderwood Artistic Director

Michael MasoManaging Director

Limelight

Student Matinee Series

literary and curriculum guide

for teachers

TEACHER LITERARY AND CURRICULUM GUIDE

MartyBook by Rupert Holmes Music by Charles Strouse Lyrics by Lee Adams

Based on the screenplay by Paddy Chayefkyand on the United Artists film

The Huntington's John Hancock Student Matinee Series is funded in part by a generous grant from the John Hancock Financial Services, Inc.

STAFF

This Teacher Literary andCurriculum Guide was prepared forthe Huntington Theatre Company by

Linda Murphy, Associate Director of Education

Michael Hayhurst, Teacher Advisory Council Member, Boston College High School

Michael Walczak, Teacher Advisory Council Member, Brooks School

With contributions by

Scott Edmiston, Literary Associate

Donna Glick, Director of Education

Marisa Jones, Education and Community Associate

Lynn Mattos, Education Intern, Emerson College

TABLE OF CONTENTS

3 The Story of Marty

4 The Creative Team

6 Film Reviews & The ProductionHistory

7 The Adaptable Talents of John C. Reilly

8 Becoming Marty by Ernest Borgnine

9 Did You Know...?

9 Themes and Related Works

10 Audience Etiquette

10 Background/Objectives

11 Preparation

12 For Further Exploration

13 Mastery Assessment

14 Questions for After

15 Open Response and Writing

16 Media Assessment

17 Lesson Plan

19 Handout: Analyzing the Elements of Musical Theatre

Limelight Literary and Curriculum Guide 3

Marty is a world-premiere musical based on the classic 1955 film. Inthe Bronx, a middle-aged butcher named Marty Pilletti spends allday working in a shop, which he dreams of buying and remodeling.

After ten years of overtime, he has paid off the mortgage on the house heshares with his widowed mother. His cousin Thomas wants Marty’s aunt tomove in with Marty in order to end her constant feuding with Thomas’ wife.Marty’s social life consists of hanging out with his buddies Angie, Ralph, Joe,and Leo, four childhood friends who spend their Saturday nights trying des-perately to meet women, and the rest of the week lying about how wellthey made out. In spite of his modest, solitary life, Marty is grateful that hesurvived the war to come home to his family and friends and considers him-self a lucky guy.

Across town in Brooklyn, Clara Ryan lives an equally quiet existence. Sheteaches sixth grade during the day and tends to her ailing father at night. Herroommate Mary is escorted around the town by several men, while Claraprefers to “run a hot bath and read East of Eden.” Like Marty, she has learnedto be quietly content with a life that has promised much and delivered little.

She and Marty meet by chance, dragged to a dance neither of themwants to attend. After her blind date pays someone to take Clara off hishands, Marty steps in and asks Clara to dance. There is an immediate con-nection and they spend much of the night sharing their most important wish-es. During their next two dates they fumble tentatively toward a deeperunderstanding and affection.

The remarkable effect that Marty and Clara have on each other is so evident that their families and friends begin to disapprove of the changes.Despite all the years that Mrs. Pilletti has tried to convince her son to get married, she’s afraid that a daughter-in-law will force her to leave the housein which she’s spent her entire life. Marty’s friends, threatened at the loss ofone of their drinking buddies, disparage Clara’s appearance and warn Martythat lowering his standards makes him look desperate. Through misunder-standings, Clara’s father and roommate also become convinced that Marty’sintentions are no good and that Marty is, in Mary’s words, “a creep.”

After years of pressuring these lonely misfits to get married, it seems that everyone in their lives is trying to prevent them from being with some-one who is perfectly suited to them. Ultimately, Marty and Clara mustchoose whether they should risk heartache or accept the advice of their families and friends, knowing that this may be their only chance at love.

THE STORY OFMarty

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4 Huntington Theatre Company

P addy Chayefsky (1923-1981)wrote Marty in 1953 for a television broadcast and then

adapted his script for the 1955Oscar-winning film. Chayefskyfirst gained recognition duringthe “Golden Age of Television” inthe early 1950s by using the medi-um as a vehicle for “minutelydetailed studies of small momentsof life.” His early naturalistic dramas for both TV and filmdemonstrated an informed respectfor common people and theireveryday problems.

Dividing his work betweenHollywood and Broadway over the next two decades, Chayefskypenned a series of smart, acerbicfilms distinguished by complexcharacterizations and social com-mentary, including the films The Catered Affair (1956) withBette Davis and Ernest Borgnine,The Bachelor Party (1957), and the Marilyn Monroe-inspired TheGoddess (1958); as well as the playsThe Tenth Man, Gideon, and TheLatent Heterosexual. His later satiri-cal work, such as the Oscar-winningfilms The Hospital (1971) andNetwork (1976), exhibited a bitter,critical intelligence unparalleled inAmerican cinema. Chayefsky wasthe recipient of three AcademyAwards, three New York Film Critics Awards, and the BritishAcademy Award.

Like his most famous character,Chayefsky was born in the Bronx.

THECREATIVETeam

Paddy Chayefsky

During location filming in 1955, heexplained, “Marty was a personalthing in a way. I wanted to get theneighborhood down, the people.They’re real people here too. My wife and I have this friend —this lonely bachelor, a nice guy,he’s not so young. He’s a good bit

of Marty. When I wrote it, I expect-ed at best a cute little show, atworst to end up way out in leftfield. I even thought it might makea good movie someday.” Now, hisstory of “two plain people who fall in love” will find new life as a musical.

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Playwright, composer, lyricist,and musician Rupert Holmes hasadapted Chayefsky’s original storyfor the stage. With his playwritingdebut, The Mystery of EdwinDrood, Mr. Holmes became thefirst-ever sole winner of the TonyAwards for Best Book, Music, andLyrics. Since then he has had two more plays produced onBroadway: the comedy-thrillersAccomplice (1990) and SolitaryConfinement (1992). Born inEngland, at age three he movedwith his family to upstate NewYork. By age of 20, he was workingas an arranger and songwriter forrecording artists such as GenePitney, The Drifters, The Platters,and the Partridge Family. In the1970s, he launched a concertcareer and began recording hisown “story songs” which attractedthe notice of Barbra Streisand forwhom he has written, arranged,and produced multi-platinumalbums including the soundtrackfor A Star Is Born. Mr. Holmes’

own 1979 album, Partners inCrime, yielded the ten top hit“Escape” (The Piña Colada Song).His songs have been recorded bysuch stars as Patti LuPone, BarryManilow, Dionne Warwick, andBritney Spears. From 1996-99, hewas the creator and writer of the television series, “RememberWENN,” on American MovieClassics cable network. His mostrecent play, Say Goodnight, Gracie

— a one-man show based on thelife of George Burns — premieredin 2000. In addition to Marty, cur-rent projects include a musicaladaptation of Oscar Wilde’s novelThe Picture of Dorian Gray.

Marty’s composer Charles Strouseis one of America’s most celebrat-ed and popular theatre artists,whose musicals are known all overthe world. His lyricists have includ-

ed Lee Adams, Alan Jay Lerner,Martin Charnin, and Sammy Cahn.Mr. Strouse’s first big success, Bye, Bye, Birdie, won him the Tony Award on Broadway and subsequently the London Critics’ Best Foreign Musical Award for the London production. In 1970,Applause, starring Lauren Bacall,achieved the same honors, whileAnnie not only won the Tony, buttwo Grammy Awards, as well. Mr.

Strouse’s other musicals includeCharlie and Algernon (Tony nomi-nation); All American, written withMel Brooks; Golden Boy (adaptedfrom the classic Clifford Odetsplay), starring Sammy Davis Jr.; andIt’s A Bird, It’s A Plane, It’sSuperman directed by Hal Prince.More recent musicals by Mr.Strouse include Mayor, Dance aLittle Closer, Nick and Nora, AnnieWarbucks, and Rags. He has writ-ten the scores for many films, mostnotably, Bonnie & Clyde and TheNight They Raided Minsky’s. Arevue consisting of his songs enti-tled By Strouse has been playing allover the country.

Marty’s lyricist Lee Adams wonhis first Tony Award for his very firstBroadway musical, Bye Bye Birdie(1960), which has gone on tobecome a classic. It remains one ofAmerica’s most-performed musi-cals, and its 1991-92 national tourstarring Tommy Tune broke houserecords from coast to coast. Adamsand Strouse went on to write sixother Broadway musicals. Amonghis catalogue of songs, a numberhave become standards: “Put On A Happy Face,” “Kids,” “A Lot Of Livin’ To Do,“ “Applause,”“Once Upon A Time,” “I Want ToBe With You,” and “You’ve GotPossibilities.” The theme song forthe television comedy “All in the Family,” sung by Archie andEdith at the beginning of eachepisode, was written by Mr. Adamswith Charles Strouse. Mr. Adams is an adjunct faculty member ofNew York University, and hastaught musical theatre at YaleUniversity and Columbia University.In 1989 he was elected to theSongwriters Hall of Fame. He is cur-rently working on a musical versionof Theodore Dreiser’s landmarknovel, An American Tragedy.

Rupert Holmes

“When I wrote it, I expected at best a cute little show ... I even thought it mightmake a good movie someday.” Now, his

story will find new life as a musical.


Marty began life in 1953 as a “tele-play,” starring Rod Steiger and Nancy Marchand, broadcast on NBC’s Goodyear TelevisionPlayhouse. The program caught the attention of actor Burt

Lancaster, who at the time was a partner in a film production company anddecided to turn Marty into a feature film. Paddy Chayefsky was enlisted toadapt his own screenplay, while Delbert Mann returned as director. The scriptunderwent several revisions (notably, Marty the Jewish butcher was turnedinto an Italian), and Ernest Borgnine, who had a memorable supporting rolewith Lancaster in the film From Here to Eternity, was cast in the title role. Thefilm was nominated for a total of eight Academy Awards, and received fiveincluding Best Picture, Best Actor, Best Director, and Best Screenplay.

The Huntington’s world premiere musical stage adaptation of Marty isdirected by Mark Brokaw and features actor John C. Reilly in the title role.The script received its initial reading in July 2001 in New York City, followedby a second reading in February 2002. The Huntington production of Martyis the first full professional production of the new musical.

Film Reviews“Marty is a warm and winningstory, full of candid comment onsome of the socially awkwardfolkways of the great urbanmiddle class ... The script isloaded with accurate and vividdialogue, so blunt and insensi-tive in places that it makes thelistener’s heart bleed whilestriking a chord of humor withits candor and colorfulness.”

Bosley Crowther, The New York Times

“Hollywood has long had thenotion that the only NewYorkers who fall in love are peo-ple who live in mirrored pent-houses, drive shiny Cadillacs,and visit the Stork Club everynight. But the fact is that everyyear several million people,neither wealthy nor handsome,but gentle and shy and agoniz-ingly lonely, grope for love in the most unsophisticatedplaces and somehow find it.Marty is the story of a boy andgirl of this kind and it is one ofthe most true and touching sto-ries of New York ever told.”

William Zinssner, New York Herald Tribune

“Marty is a work of genuineemotional impact, displaying arare ability to build charactersthrough spare dialogue andsmall, revealing situations ...There must be millions ofMartys. What makes this Martyexceptional is the fact that hehas such warmth and humorand affection.”

Arthur Knight, Saturday Review

THE PRODUCTIONHistory

Ernest Borgnine as Marty (still from United Artists film)

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Bringing the beloved characterof Marty Pilletti to life on theHuntington stage will be John

C. Reilly, one of the finest characteractors to have emerged in the past decade. From his debut oppo-site Sean Penn in Brian DePalma’sVietnam drama Casualties of WarMr. Reilly has excelled in play-ing ordinary men confronted byextraordinary circumstances. But ina musical? “John sings incredib-ly well,” Marty producer JohnWeissenbach recently told Playbill.“[But] the show’s going to be lessmusical comedy, more realistic. Theactors we’re looking at are actorswho can sing, as opposed to singerswho can act.”

Mr. Reilly began his career withfeatured roles as Tom Cruise’s pitcrew chief in Days of Thunder(1990), a cop in Woody Allen’sShadow and Fog (1991), and a sup-porter of Jack Nicholson’s Hoffa. Heearned critical praise for playingJohnny Depp’s friend in What’sEating Gilbert Grape? (1993), and a malicious thug who tormentsMeryl Streep in The River Wild(1994). In 1995, he made two filmswith his friend Jennifer Jason Leigh:Dolores Claiborne and Georgia. In1997, he lured Mark Wahlberg intothe porn world in Boogie Nights,directed by his frequent collabora-tor Paul Thomas Anderson. Mr.Reilly returned to the battlefield in Terrence Malick’s acclaimed war drama The Thin Red Line(1998), and was hailed for his breakthough performances in the Oscar-

nominated Magnolia (1999) andThe Perfect Storm (2000).

Despite his success as a filmactor, Mr. Reilly’s first love remainsthe stage, and he returns to thetheatre as often as possible. Hisnumerous stage credits includeplaying Mitch in a revival of AStreetcar Named Desire at Chicago’sfamed Steppenwolf Theatre, aswell as performing in their Tony-winning The Grapes of Wrath. Hehas appeared frequently with TheActor’s Gang, a Los Angeles reper-tory group founded by actor TimRobbins. In 2000, he performed onBroadway in Sam Shepard’s playTrue West, in which he and co-starPhilip Seymour Hoffman alternatedroles every few days.

In a recent interview, Mr. Reillystated: “I’m a very adaptable per-

son. I mean, a lot of people don’treally know the scope of my work.They don’t put together all the dif-ferent things that I’ve done. Mostpeople know me from one or twomovies, depending on the kind of audience member they are.Mechanics know me from Days ofThunder — which is real embarrass-ing, going into a gas station with aflat tire after playing this hotshotmechanic in the movie. But to mycredit or my fault, I try to stayfocused on the work. I feel that asan actor your suspension of disbe-lief is the same, whether it’s in atheatre or on film, and the internalwork that I’m doing is really thesame. When I choose roles, the firstpriority is finding a part that isgoing to challenge me in some way,that will be different.”

THE ADAPTABLE TALENTS OFJohn C. Reilly

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In 1954, Hollywood Producer HaroldHecht contacted me and said, “Wehave a picture called Marty and we

want you to play a part in it.” I said.“Any part you want me to play, I’llbe happy to do it.”

“No, no, no,” he says, “We wantyou to play the lead.”

“Do you trust me?”“I wouldn’t ask you if I didn’t.”“That’s all I wanna know. I’ll

give you 110%.” And that was that. So I went

off to make Bad Day at Black Rock inCalifornia with Spencer Tracy. Oneday, up flew Delbert Mann, the

director, and Paddy Chayefsky, thewriter. They had come to have meread for them. So I asked for timeoff, and as I was leaving Spencersaid, “Hang on a minute. If anyoneleaves early, it’s me. I’m the starhere!” He was kidding of course.Well, to make a long story short hewanted to know what it was allabout and I told him, and he said,“Don’t worry about it, be yourself.You’ll make it.”

So I went to the reading. Nosooner had I opened the door andthere was Paddy Chayefsky seatedin the chair and he was a little airsick

Actor Ernest Borgnine has performed on stage, acted in more than 200 livetelevision broadcasts, made nearly 100 films, starred in five TV series, andmade numerous guest appearances on television. Early in his career, Mr.Borgnine was predominantly cast as the heavy, typified by his roles in FromHere to Eternity, and Bad Day at Black Rock. But all that changed withMarty. His performance as the lonely Bronx butcher earned him anAcademy Award as Best Actor, as well as top honors from the New YorkFilm Critics, the Cannes Film Festival, and the British Academy Awards.Subsequent films include The Catered Affair, The Wild Bunch, and ThePoseidon Adventure. In an interview at the British National Film Institute,he recalled how he won his most famous role.

BECOMING Martyby Ernest Borgnine

from flying up over the mountains. Ilooked at him and you could just seethe wheels turning as he looked atme and said, “This is Marty?”

So I turned to my friend DelbertMann with whom I had worked within live television. I said, “Sir. If youfeel that I’m not right for the part I’llhelp you find somebody else becauseI feel this is a wonderful script.”

With a three-day growth ofbeard, a cowboy hat, and everythingelse, I just looked awful, but I startedreading. Paddy Chayefsky was read-ing all the other parts and I was read-ing the part of Marty and I immedi-ately forgot all that an actor shouldknow. You know the old Stanislavskithings that you learn in school.

Delbert said, “Wait a minute.You’re doing this with a westerntwang!” So I kicked off the bootsand I threw out the cowboys’ hatand everything else, waited amoment, and we got started again.

One thing led to another andwe kept on reading and it got bet-ter and better. We finally got to thepart where my mother says, “Put onyour blue suit and go down and youknow, there’s a lot of tomatoes.”And I said, “Mum don’t you under-stand? I’m just an ugly, ugly man.”And I turned away and I just startedto bawl. I turned back and I lookedat Paddy Chayefsky and tears wererolling down his cheeks. I glancedover at Delbert and I thought,“GOD, I’VE GOT THE PART.”

Actually I was playing myselfbecause I too had been a wallflowerat one time. I didn’t know how to dance. I didn’t know how toapproach another person to say,“Would you mind if we have adance?” I was always the shy one. Iwas more of a boy scout than I was aman about town. So when the timecame I just played myself and it wasthe easiest thing in the world. L

Still from U

nited Artists film

,Marty


DID YOU Know...?

• Marty was named the 64th most romantic film of all time in a 2002American Film Institute poll.

• Betsy Blair, who played the dance-phobic Clara in the film, was actuallymarried to dancer Gene Kelly.

• Clara espouses “a hot bath to soak in while I finish [the 1952 JohnSteinbeck novel] East of Eden.” In 1955, Marty beat East of Eden in theAcademy Award for the Best Adapted Screenplay.

• Ernest Borgnine turned down $25,000 a week to appear on stage in LasVegas performing excerpts from Marty.

• In 1959, Marty became the first American film shown in Russia after WorldWar II. The New York Times reported: “The audience was noticeably sympathetic to the problems of love and loneliness, and alert for the signsof the way Americans live ... When Marty’s girlfriend told his mother that in-laws should not live with their married children, the entire audienceroared and joined in the applause. Russians, inhibited by housing prob-lems, know the problem well.”

• Mel Brooks’ The Producers had its genesis in the 1962 Strouse-Adams musi-cal All American, for which he wrote the book. Despite high expectations,All American closed after just 80 performances. Brooks wondered: Whatwould happen if someone tried to produce an intentionally bad musicalfor profit? The Producers was the result.

ThemesPost-war America

Working class heroes

Courtship and loneliness

Social misfits and peer pressure

Related WorksDramaFrankie and Johnny in the Clair de Luneby Terrance McNalley (1988)

Italian AmericanReconciliationby John Patrick Shanley (1998)

Lobby Heroby Kenneth Lonergan (2001)

Non- FictionThe Bronx Lost, Found, and Rememberedby Stephen M. Samtur (1999)

Bronx Accent: A Literary and Pictorial Historyby Lloyd Ultan (2000)

Films by Paddy ChayefskyThe Catered Affair (1956) directed by Richard Brooks

The Bachelor Party (1957)directed by Delbert Mann

The Americanization of Emily (1964) directed by Arthur Hiller

The Hospital (1971) directed by Arthur Hiller

Network (1976)directed by Sidney Lumet

Betsy Blair and Ernest Borgnine in Marty

Courtesy of Springer/Bettm

ann Film A

rchive


Because many studentshave not had the opportuni-ty to view live theatre, weare including an audienceetiquette section with eachliterary/curriculum guide.Teachers, please spendtime on this subject since itwill greatly enhance yourstudents’ experience at thetheatre.

1. How does one respond toa live performance of aplay, as opposed to whenseeing a film at a localcinema? What is the bestway to approach view-ing a live performance ofa play? What thingsshould you look and lis-ten for?

2. What is the audience’srole during a live per-formance? How do youthink audience behaviorcan affect an actor’s per-formance?

3. What do you know aboutthe theatrical rehearsalprocess? Have you everparticipated in one as anactor, singer, director, ortechnical person?

4. How do costumes, set,lights, sound and propsenhance a theatre pro-duction?

Audience Etiquette

Marty is the touching and hopeful story of a regular guy from theBronx of New York in search of love following World War II. In hispursuit of the “American dream,” Marty meets the practical Clara

at the Stardust Ball one Saturday night and happiness seems to be within hisgrasp, if only he can keep his friends and family from interfering. Marty andClara have a choice which may be one of the most important decisions oftheir lives — should they accept the advice of family and friends or riskheartache to take a chance on love.

OBJECTIVES

Students will:

1. Identify central themes in Marty, including:

the pursuit of the American dreamthe shifting of family responsibilitiesthe adventures of courtship, romance and lovethe confrontation of the realities of peer pressure and identity

2. Relate the themes and issues of Marty to their own lives.

3. Identify conflicts and struggles in interpersonal relationships of theirown while coming to understand those of the characters in Marty.

4. Analyze the play’s themes and issues within the characters’ generational,gender and cultural contexts.

5. Participate in hands-on activities to enhance understanding of the play,including acting, creating visual art, and music and movement.

6. Examine the elements of musical theatre, such as book, lyrics, and score.

7. Evaluate the Huntington Theatre Company’s production of Marty.

BACKGROUND & Objectives


Postwar America

In the 1950s – the time period inwhich Marty takes place – America,victorious in World War II, offered itscitizens, especially the working class,hope and opportunity for achieve-ment beyond any expectations.Optimism, youthful energy, nationalpride, and a country at peace werethe key elements propelling adecade of baby boomers searchingfor collective prosperity and personalconfidence. Divide your students intoresearch groups to investigate thehistory and impact of the 1950s on itscitizens, both present and future.Suggested topics might include:

• Politics • Economics

• Popular Culture

• Technology

• Women’s roles

• Music, movies, theatre, visual arts, dance

New York City in the 50s

Have a 50s day. Have students use theresearch from the exercise above, aswell as interviews of parents, grand-parents, relatives and/or teachers tocreate characters from the 50s. Havestudents bring their 50s characters tolife by wearing clothing of the periodand by inviting other classes to sharein a living history presentation.

Create a time line tracking theimportant historical events from1945 to 1959. Or have the class checkout the websites www.historychan-nel.com, or www.fifties.com.

Have students find out if thereare any small businesses in their

neighborhoods that have been opensince the 1950's? Pick one to research.How did it get started? What wasbusiness like back then? How has thebusiness, and business environmentchanged over time? (Have any of thesmall business grown into largechains? Were any neighborhoodbusiness replaced by chain stores?)Students could do research or inter-view the business owner.

How do students graduating inthe early 50's compare/contrast withstudents graduating today? Whattype of world were they entering?What opportunities were availableto them?

Interview someone who gradu-ated from high school in the 1950's.What do they remember most aboutthat time? What did they like best?Least? In what ways has Americachanged the most?

How was life different in 1950sNew York City from life in Bostontoday? Examine the impact of set-ting on this piece; does it make a dif-ference? To what extent are the set-ting and characterization in Martyuniversal? Explain your findings.

Working-Class Heroes

Marty has been described as a“working-class hero.” What charac-teristics make someone a hero? Havestudents list words that reflect hero-ism and use them to lead a discussionon characters and stories of heroism.Do heroes always inspire others posi-tively? How might a so-called heroaffect another person in a negativemanner? Does a working-class heroneed to do great things? What smallthings are heroic?

KEY ISSUESThe Pursuit of The American DreamHave students find photographs, pic-tures, and/or draw their own to cre-ate a collage entitled The AmericanDream. Content for the collageshould include material from the his-tory of immigration in this country,especially immigration to New YorkCity. Some of the characters in Martyare first-born Americans so theirAmerican dreams may differ fromthose whose ancestors can be tracedback for many generations. Hang thecollages up in the classroom. Havestudents write brief stories, using theimages as inspiration. Students candescribe a scene, take on the voice ofa person in a photograph, imaginewhat happens next, etc.

The Shifting of FamilyResponsibilitiesHave each student list the membersof his or her family along what he/she perceives each family member’srole is within the familial structure.

Responsibilities to consider are: who provides financially for the

family? who takes care of the family’s

living arrangements and upkeep ofthe household who determines therange and scope of responsibilitiesin the household is there a head ofthe family?

Have the students share theirlists with their classmates. Comparethe similarities found among the stu-dents’ families. Next, discuss whatmight happen to a family when aperson holding important responsi-bilities suddenly dies or moves away?What if someone is added to thefamily? What would happen in your

PREPARATION FOR Marty


family if someone new moved intoyour home? How might the familydynamics change in these situations?

The Adventures and Challenges of Love

In a ten-minute free-writing exercise,ask students to list as many examplesas possible of different kinds of love.Encourage them to include crushesand physical attractions, which aresometimes confused with true love.Next have students compose a list ofobstacles that could stand in the wayof a love relationship. Then ask stu-dents to write a paragraph that illus-trates their personal view of thepower of love.

The Confrontation of the Realitiesof Peer Pressure

There’s a Monday kinda girl who cooks & sews

When it’s time for me I’ll marry one of those

You can keep your meat loaf and your tuna melt

I’m hungry for a dish in a garter belt!We gotta get movin’ and get us

A Saturday Night Girl!We don’t need a delicate, innocent,

mousy, uptight girlThe hour is late and she’s waiting’

My Saturday Night Girl!

Have students read the lyrics to“Saturday Night Girl.” During thssong we learn how Marty’s guyfriends regard women. What do the-ses attitudes toward women revealabout Marty’s friends? How is Martydifferent from his friends? Keep inmind the final scene where he con-fronts each of them about this issue.Marty has remained quiet for a longtime due in part to peer pressure.Have you ever been in a situationwhere peer pressure has kept youfrom speaking out? What mightcause you to break the silence?

FOR FURTHER EXPLORATION 1. If you were assigned to be the dramaturg for a production of Marty,

what research material would you provide for the director and actorsat the first rehearsal (e.g. information on the political, cultural andeconomic climate of the 1950s, etc.) What images, photographic orotherwise, would you display at rehearsal? Bring in some of thesepictures and hang them around the classroom.

2. What is a coming-of-age story? We often think of a coming-of-agestory taking place during adolescence. However, Marty and Clara areadults still living at home, obeying their aging parents. How is Martya coming-of-age story for both Marty and Clara? Compare Marty andClara to characters in another book, short story, or play that revolvesaround this issue. (for example: Eugene O’Neill’s Ah, Wilderness!)

3. Huntington Theatre Company director Mark Brokaw told the castand crew that Marty is “about hope, about a changing world andfinding your place in it.” Describe a time period in American, past orpresent, in which people were uncertain about themselves becauseof a changing world. What were the catalysts for and influences ofthese changes? How did people respond to the changes? How didthey discover where their places were in this new world? What roledid hope play in their search?

4. Paddy Chayefsky wrote Marty in 1953 for the Sunday evening hour-long dramatic TV series, the Philco-Goodyear Playhouse. Comment-ing on Marty as representing “ the sort of material that does best ontelevision,” Chayefsky wrote, “the main characters are typical, ratherthan exceptional; the situations are easily identifiable by the audience and the relationships are as common as people... I tried towrite the dialogue as if it had been wire-tapped. I tried to envisionthe scenes as if a camera had been focused upon the unsuspecting characters and had caught them in an untouched moment of life.” In 1955, Chayefsky adapted his script for the Oscar-winning film. Read his tele-script, watch the film, and compare both to theHuntington’s musical adaptation. Describe the similarities and differ-ences between the three versions. Do the film and musical abide byMr. Chayefsky’s description of his original work? Why or why not?

5. Obtain and read the original tele-script of Marty, view the movie andcompare scenes from each of these with the Huntington’s musicaladaptation. How faithfully did the adaptors Rupert Holmes, (book)Charles Strouse (music) and Lee Adams (lyrics) capture the feeling ofthe original.

6. Research the lives and theatrical background of actor John C. Reilly,writers, Rupert Holmes and Charles Strouse, lyricist Lee Adams, anddirector Mark Brokaw. As lead members of the creative team for themusical adaptation of Marty, how are the experiences of these artistscomplementary? Other than their specific job function, what influ-ence do you imagine that they each bring to the collaborativeprocess of adapting and creating a new musical?


1. How does Marty feel about hislife in the Bronx? What aresome of the reasons he consid-ers himself a “lucky guy?”

2. In the first scene at the Butchershop, Mrs. Fusari brings upmarriage. What are some thereasons that Marty feels pres-sure to marry?

3. What is going to happen to theButcher shop where Martyworks?

4. Why does Marty hesitate tocall the girl that he met withAngie the week before at themovies?

5. What do the guys mean whenthey sing about a “Saturdaynight girl?” What kind of girl isa “Saturday Night Girl?”

6. Why does Virginia want hermother-in-law to move in withMrs. Pilletti?

7. What do we learn aboutThomas in scene IV, where heasks Mrs. Pilletti to take hismother in?

8. Compare the characters ofClara and Marty. What do theyhave in common?

9. What do we learn aboutClara’s attitude towards datingin her first song?

10. Why is it funny when Mrs.Pilletti uses the word “toma-toes“ to describe the womenat the stardust ballroom?

11. What reasons does Marty giveto his mother for not wanting

to go to the Stardust ball-room?

12. What does the “blue suit” rep-resent to Marty? Why is thecolor blue important?

13. One of Marty’s friend’s says“I’m telling you, the Stardust isreally slippin.’ There’s just noclass here anymore. (sees tallgirl) Chickie! Chickie Chickie!”Why is this line ironic?

14. What does Keegan do at theStardust Ballroom?

15. What does Marty think aboutKeegan and Angie’s behavior?

16. As the band starts playing thesong “Who can say what fatewill bring,” Marty asks ClaraRyan to dance. Why is this songappropriate for this moment inthe play?

17. How do Clara and Marty seetheir own physical appear-ance?

18. How does Mr. Ryan react toMarty when he first meetshim?

19. How does Clara break 1950’sstereotypical gender roleswhen she asks Marty out?

20. On what level do Marty andClara connect? Why is the cho-rus in the song “She likes whoI am” important after Claraand Marty meet? What is dif-ferent about Clara that Martylikes?

21. Why does Angie tell the guysthat Clara looks like “Pluto?”

22. Why would Angie want tobreak up Clara and Marty?

23. How does Aunt Catherine feelabout moving into Mrs.Pilletti’s house?

24. How does Mrs. Pilletti’s atti-tude about Clara and Martychange after Aunt Catherinemoves in? Why?

25. How does Mrs. Pilletti treatClara when she first meets her?Why?

25. How do Mrs. Pilletti and Mr.Ryan react to Marty and Claradating? What are they afraidwill happen?

27. When Mr. Ryan believes thatMarty is “manhandling” hisdaughter he says: “MartyPilletti — the name says it all.”What does Mr. Ryan mean?What stereotypes about Italiansis he basing his judgment on?

28. What happens when MaryFeeney comes downstairs andsees Marty and Clara together?

29. Why does Thomas adviseMarty not to buy the butchershop? Are his intentions self-ish?

30. When Clara sees Marty at theend of the play she says“Maybe that star of yours willmake you lucky.” How hasClara replaced Marty’s specialstar? How is she like the specialstar?

31. What role does the raffle playwhen Marty and Clara reunite?

MASTERYASSESSMENT


Note to teachers: After viewing AMonth in the Country, ask the fol-lowing questions:

1. About the Play andProduction

A. What was your overall reac-tion? Were you moved?Shocked? Empathetic? Explainyour reactions. How was theplay structured? Did it build toa single climax? Was it episod-ic? Did this structure help orhinder your understanding ofthe play Was the dialogue inter-esting? Appropriate? Wereyou aware of the imagery andsymbolism during the course ofthe play? Would you have beenaware of these devices withoutprevious preparation?

B. Was the pace and tempo of theproduction effective and appro-priate?

2. About the Characters

A. Did the characters touch youpersonally in some ways? Didyou care about them?

B. Were the characters three-dimensional and believable?

C. Were the motivations of thecharacters clear?

D. What qualities were revealedby the actions and speech ofthe characters?

E. Did the characters change/develop/undergo transforma-tion during the course of theplay?

F. In what ways did the charactersreveal the themes of the play?

3. About the Set

A. Was the set usable and work-able?

B. Was the set compatible withthe production as a whole?Were there any features of theset that distracted from theaction of the play?

C. Did the design reflect thethemes, type and style of play?

D. Were the artistic qualities ofunity, balance, line, texture,mass and color used effectively?

E. Did the set provide appropriateenvironment and atmosphere?

F. Was the set used to present anysymbolic images or did it simplyrepresent the space in which

the action of the play occurred?Did it contain elements of botha “realistic” and a “symbolic”approach?

4. About Lighting and Sound

A. Did the lighting establish moodand atmosphere? Was the illu-mination sufficient? Did thelighting harmonize with, andcontribute toward, the unity ofthe production?

B. Were the music and soundeffects appropriately con-ceived? Were they executedeffectively?

5. About Costumes/Makeup/Hairstyles

A. Were all of these elements cor-rect in terms of the period fash-ion? Were they suitable interms of character and story-telling for the production?

B. Did the costumes and make-upuse of color/ design serve to illu-minate the themes, type andstyle of the play, or any particu-lar choices of interpretations inthis production

QUESTIONS FOR AFTER Attending the Performance


Open Response Assessment

Instructions for students: Pleaseanswer the following as thoroughlyas possible in one well planned and carefully written paragraph.Remember to use topic sentencesand examples from the text.

1. What is the musical Marty about?What does it have to say toyoung people today?

2. Many of the characters in Martyare conflicted about what theirdesires. Pick one of the followingcharacters and discuss his/herinternal conflict: Marty, Clara,Mrs. Pilletti, Thomas. How doesthe internal conflict inform theirdecision making?

3. The musical Marty is a romance,and Clara refers to Marty as a“romantic.” How would youdefine romance? What charac-teristics make someone a roman-tic?

4. Some of the characters in themusical try to discourage Martyand Clara’s relationship. Why?Choose one of the supportingcharacters and explain why he orshe may not want the couple’sromantic relationship to work.Have you personally everattempted to dissuade someonefrom entering into or continuinga relationship.

5. Marty’s “special star” is ametaphor. What do you think itstands for?

6. How do Marty’s relationshipschange over time? Choose a rela-tionship between Marty and oneother character and describe it

from the beginning to the end ofthe play.

7. What do you think happens toMarty and Clara after the play?Write a paragraph describingtheir lives one, five or ten yearslater.

8. In many ways popular music is aproduct of the place where andthe time when it was written.Think of two songs from themusical Marty. What are twomodern songs that would be theequivalent of these? Compare thecentral themes in the songs fromMarty with those from today.

9. Mr. Ryan, when he thinks that hisdaughter is being “manhan-dled,” says “Marty Pilletti, thatsays it all.” Mr. Ryan is referringto stereotypes about Italian menas being brutes. What are someother stereotypes that peoplehave of different ethnic groups?How are these stereotypesshown to be false in the play?

Writing Assignments

1. Write a journal entry for one ofthe characters mid-way throughthe play. How does he or she feelabout the changes that areoccurring in his or her life? Whatare his or her other fears? Whatconflicted feelings does he/shehave? (For example, Mrs. Pillettiwants her son to settle down andbe happy, but at the same timeshe is afraid that Marty will aban-don her, as Thomas abandonedhis mother.)

2. Marty closely reflects the periodof the 1950s, an era that is often

idealized as being simple anduncomplicated. This is particularlytrue in the final scene of the musi-cal. How might the ending be dif-ferent if Marty took place today?Your assignment is to rewrite theending of Marty for 2002.

3. Pretend you are one of the char-acters from the musical. Write aletter to a friend about what ishappening to you or write to oneof the characters that you do notspeak to on stage.

4. Write an essay in which youexplore the function of the sup-porting character in Marty.

5. Although Aunt Catherine andMrs. Pilletti sometimes serve ascomic relief, at times their scenesare quite serious. Examine thescene in which Aunt Catherinemoves in. What fears and issuesare illuminated, particularly inthe song “Niente Da Fare”?

6. Clara remarks that it’s “difficultfor a parent to let go, and per-haps just as difficult for the sonor daughter. Hard for either tomove on.” Do you agree or dis-agree with these statements?Why? Do you think letting go isharder for the parent or thechild? Write an essay answeringthese questions as Marty, Clara,Mrs. Pilletti, or Mr. Ryan. ORWrite an essay answering thesequestions from either the child’sor parent’s point of view.

7. How have the economics, mores,and values of society changedthe nature and needs of families?Marty’s Aunt Catherine moves inbecause she has nowhere else to

OPEN RESPONSE & Writing


These questions and hands-on exer-cises are interactive challenges inDrama, Music, Dance, Visual Artsand Design that inspire further con-sideration or understanding of theplay.

Creating Characterization

Have each of your students choosea character from Marty that he/shewould like to portray. As thoughthey were preparing for the role inrehearsal, have them ask the fol-lowing questions about their char-acters:

a. What do I want in the play?What is my overall objective?

b. What is in the way of what Iwant in the play? What are myobstacles? Who is/are my obsta-cles? Does what gets in the wayof what I want change through-out the course of the play?How?

c. Does my character change dur-ing the course of the play?What is my character’s journey,or plot of transformations?

d. What are the contradictionsinherent in my character?

Role Playing/Improvisation

a. Tableaux: Divide students intogroups of five. Ask them to cre-ate a tableau showing someonewho is lonely. Other students inthe class try to identify the situ-ation. Class discussion shouldfollow. (Have you ever knownsomeone who was in a situationlike this? How do you thinkhe/she felt?) After the discus-sion, have the first group recre-

ate the tableau. This time, askthe other students to changethe tableau so it no longerreflects loneliness. Volunteersmay come forward to move theparticipants into other posi-tions.

b. Tableaux: How do groupdynamics and peer pressurechange as people age? Dividethe class into groups and haveeach group present a series of 5snapshots showing the relation-ship of 3 friends from childhoodthrough adulthood.

c. Status: How do people revealtheir social status and feelingsin nonverbal ways? Engage stu-dents in movement exercises onbody language and how it indi-cates status.

Acting

Have students act out a scene fromMarty. They should use props andelements of costumes. Have themconsider who stands where, whomoves when and where, gestures,tone of voice, music, and intendedemotional impact.

Visual Art

What is the texture and feel of themusical? What colors come to mindas you read/view it? How mightsuch visual elements (color and tex-ture) provide you with an insightinto the musical? the main and sup-porting characters? the world ofMarty and Clara? Have students cre-ate a collage using various colorsand textures to represent themoods of the scenes and the feel-ings of the characters.

Music/Dance

In many ways popular music is aproduct of the place where and thetime when it was written. Think oftwo or three songs from the playMarty. What are modern popularsongs that would be the equivalentof these? Find the lyrics to thesesongs and compare them to one ofthe songs in Marty. How is the cen-tral them the same in each of thesesongs?

The Design Process

The set designers for Marty wereheavily influenced by the work of Edward Hopper, particularly his oil paintings of New Yorkbrownstones. Have students visitwww.artchive.com/ftp_site.htm to look at some examples ofHopper’s work and discuss theirreactions to it.

MEDIA Assessment


ONE-DAY LESSON PLAN introduces students to the plot, character, author, and themes of the play.

DAY ONE - Introducing the Play

1. Distribute Mastery Assessment questions (page 3) for Marty for students to read before and to review afterattending the performance.

2. Read the synopsis of Marty (page 3). Write the objectives for the play (page 10) on the board and discuss otherworks the students have studied that have similar themes and issues.

3. Copy and distribute the information about the creative team, Holmes, Strouse and Adams (page 4). In groupsor individually, have students underline the highlights in their lives and report to the class.

Optional: To save time, narrate highlights to students.

4. Ernest Borgnine remarked on playing Marty, “When the time came I just played myself and it was the easiestthing in the world.” John C. Reilly, who originates the role in the musical, commented, “When I choose roles,the first priority is finding a part that is going to challenge me in some way, that will be different.” Discuss howtwo actors may approach the same role differently.

5. Show selected scenes from another Paddy Chayefsky’s film and discuss how themes relate to those presented inMarty.

FOUR-DAY LESSON PLAN introduces students to the play and then, after viewing the performance, asks them tothink more critically about it. Includes time for class discussion and individual assessment.


Same as Day One above; completed before seeing the play.

DAY TWO - The Play

Attend performance at Huntington Theatre Company.

LESSON PLANS


DAY THREE - Follow-up Discussion

Discuss Mastery Assessment answers in class.

DAY FOUR - Test

Individual Assessment: Choose either several questions from the Open Response Assessment or one questionfrom Writing Assignments (page 15) for students to answer in a one-period in-class writing.

Optional: Students may choose one of the For Further Exploration or Media Assessment tasks to complete.

SEVEN-DAY LESSON PLAN completely integrates Marty into your schedule. Within seven school days, you can intro-duce the play, assign reading, teach the musical theatre form, and assess your students on both a group and indi-vidual level. Students will ideally view the play after completing all assigned work.


Introducing the Play: Same as Day One above

Homework: Read Act One of Marty and answer corresponding Mastery Assessment Questions.

DAY TWO - The Play

Discuss Act One and answers to questions

Homework: read Act Two of Marty and answer corresponding Mastery Assessment Questions.

DAY THREE - Act Two

Discuss Act Two and Questions

Homework: Handout on “Analyzing The Elements of Musical Theatre”

DAY FOUR - Analyzing The Elements of Musical Theatre

Discuss the many forms of musical with the class.

Discuss question #3 of the handout in class.

Homework: Prepare work from Preparation, Key Issues, For Further Exploration or Media Assessment sections.

DAY FIVE - Group Work

Meet in groups to prepare presentations; schedule media center for this period if necessary.

Homework: none

DAY SIX - Presentations

Group Assessment: Students present their findings to class.

Homework: Complete sample questions from Open Response or Writing Assignments to study for test

DAY SEVEN - Test

Individual Assessment: Choose either several questions from the Open Response Assessment or one question fromWriting Assignments for students to answer in a one-period in-class writing.

Optional: Students may choose one of the For Further Exploration or Media Assessment tasks to complete forextra credit.

Name: _______________________________________ Date: ____________________

ANALYZING THE ELEMENTS OF Musical Theatre

Musical theatre, like theatre itself, is frequently universal and often life-affirming; most importantly,America has embraced the form and made many of its most distinctive artistic contributions to worldtheatre in different types of musicals.

1. Ask students to work in groups to research and define each of the following musical theatreforms, citing examples of the influence of earlier forms. Students should be encouraged to pres-ent recorded examples that will allow the class to appreciate the variety of music, songs, artists andmusical facts that represent their findings. Assign teams one or more of the following categories:

2. Director-choreographer Bob Fosse once described an evening of musical theatre as “when every-body has a good time – even in the crying scenes.” Create student teams and assign one of the following musicals as the subject for reports.

Show Boat – Jerome Kern and Oscar Hammerstein II, 1927

Porgy and Bess – George and Ira Gershwin, 1935

South Pacific – Richard Rodgers and Oscar Hammerstein II, 1949

West Side Story – Leonard Bernstein and Stephen Sondheim, 1957

Hair – MacDermott, Ragni and Rado, 1968

Jesus Christ Superstar – Tim Rice and Andrew Lloyd Weber, 1971

Questions to consider include:

What themes are prevalent in these musicals?

What historical relationships do these musicals have with their themes?

What social impacts did these musicals have on their first audiences?

Why were these musicals considered to be controversial during the decades in which they were first presented?

Opera Operetta Ballad Opera

Minstrelsy Vaudeville Burlesque

Revue Follies Oratorio

Musical Comedy Concept Musical Rock Musical/Rock Opera

Over

3. Encourage your students to become familiar with the elements of the musical: book, lyricsand score.

The Book (sometimes called the libretto) generates the “theatre” in musical theatre. It is the gluewhich binds the other elements of the musical together. The book encompasses the necessary com-ponents of dramatic form:

character – the people we remember in the story

plot – the sequence of actions which drives the characters, idea or situations

situation – any moment within the plot that generates drama, sustains audience attention, and begs for resolution

dialogue – speech; generally a companion in tone and style to the lyrics of the musical theme — the main idea (or ideas) of the musical

In a traditional musical book the following dramatic elements are generally established within thefirst five minutes of the performance, either through action or exposition:

time – morning, afternoon or night

place – geographical setting

characters – social identity, status, relationships

theme – a hint of the message or purpose of the story is introduced

conflict – obstacles that the characters must endeavor to overcome

tone – mood of the musical (serious, comedic)

The Lyrics share stage time with dialogue, dance, scenery changes and instrumental music. Theatrelyrics must be compact, dense with word meaning and delivered with dramatic power. Song lyricsare an integral part of the story and are created to develop character and move along the plot ofthe musical.

The Score is the music. Music expresses and reinforces the emotion in drama as well as serves tounderscore dramatic action. It establishes the tone and sets the mood of a piece. Its componentparts are melody which represents an aural image of the lyric, harmony which creates tones thatcolor the aural image, and rhythm which contrasts the dramatic values of character and action.

4. Ask students to observe the staging and listen to the opening song in the first scene of Marty.From watching and listening to “Look At A Lucky Guy” ask students do discuss which of the essen-tial dramatic elements are introduced to the audience.

go. How has life for olderAmericans changed over theyears? Has society’s perception ofthe elderly changed, particularlyas the “Baby Boomer” genera-tion ages? What options do olderAmericans now have for livingarrangements as well as for work,activity, and social interactions?

8. Write a critical review of theHuntington Theatre Company’sproduction of Marty and submitit for publication in your schoolnewspaper. Be sure to send us acopy.

Run over text from openResponse and Writing. Notenough to add a page, cansome questions be edited?

© huntington theatre company bye, birdie,won him the tony award on broadway and subsequently the...

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