StudyguidecreatedbyMeganAlexander,EducationAssociateandSusanStephenson,EducationIntern.
SupportforRoses&Thorns(ATaleofBeauty&theBeast)isprovidedby
TheRobertandAdeleSchiffFamilyFoundationTheRuthJ.andRobertA.ConwayFoundation,KeyBank,
TargetCorporationandToyotaMotorEngineeringandManufacturingNorthAmerica,Inc.
ClassAct!issupportedbyTheScrippsHowardFoundation.
ThePlayhouseissupportedby
ArtsWave,OhioArtsCouncil&TheShubertFoundationandNEA.
CincinnatiPlayhouseintheParkEducationDepartment
MarkLutwak,EducationDirector
MeganAlexander,EducationAssociate
AnitaTrotta,EducationAssociate
KristinSchneider,CommunityEngagementCoordinator
ROSES & THORNS
(A Tale of Beauty & the Beast)
By Bret Fetzer
EDUCATORS’ STUDY GUIEDUCATORS’ STUDY GUI DEDE
CommonCoreAnchorStandardsaddressedthroughthisperformanceandeducators’guideinclude:
CCSS.ELA-LITERACY.CCRA.RKeyIdeasandDetails,CraftandStructure,
IntegrationofKnowledgeandIdeas
CCSS.ELA-LITERACY.CCRA.W TextTypesandPurposes
CCSS.ELA-LITERACY.CCRA.SL ComprehensionandCollaboration
CCSS.ELA-LITERACY.CCRA.L VocabularyAcquisitionandUse
IamthrilledthatweareabletobringROSESÞStoyourschool.
I�irstencounteredthisscriptwhenwepremiereditatHonoluluTheatreforYouthabout10yearsago.
Twothingsstruckme:
First,howtruethisversionringstotheoriginalstoryandtoJeanCocteau’sextraordinary�ilm.Thedeep
messagethat“Beautyisonlyskindeep”ringsastrueandcleartodayasiteverdid.Secondly,theplay-
wrighthasmanagedtoembracethemelodramaticelementsoftheoriginalandwrapthemincomedy.
Thisversionisthoroughlytheatrical,comicalandentertaining.Iteitherdodgestheclichesorhitsthem
headlongandsmashesthem,somethingIthinkyourstudentswillappreciateverymuch.
Youknowthatwetourwithverystrippeddowntechnicalsupport—wedon’tuselightingdesign,and
wesetupourstageinyourgym,cafetoriumortheatreinunderanhour.Wetourwithminimalsetting
andcostumes.Itallfallsbackonouractors.Thisscriptlendsitselftoanactingcompanylikeours,they
lovetheopportunitytoplaymultiplestylesaswellasmultiplecharacters.
When an audience connects with the performers, something special happens. An empathetic bond
forms.Everyaspectoftheatre—theliterature,theacting,thechoreography,thedesign—contributes
toandrestsonthisbond.Asweforgethisconnection,weintheaudiencearedrawnintoaworldthat
has its own rules of time and space. We experience its sensations as if we were there and, most im-
portantly,wesharethefeelingsofitscharactersasiftheirexperienceswereourown.Thetheatreoffers
aspecialkindofexperientiallearning;itallowsustowalkintheshoesofothers.Weempathizewithand
feel thecharacters’pride,exhilaration, joy, fearandotherstrongemotions,evenasweareable tosit
backandconsidertheimpactoftheirlives.Itisarichexperiencethatwesharefromthesafetyofour
seats.
Thisheightenedexperienceismadepossiblenotonlybythequalityofthescript,butbythemanyaesthetic
choicesmadebyalltheartists— theactors;thescenic,costume,andsounddesigners;thedirector;and
choreographer.Ateverymoment,theyhaveaskedthemselves,“Howcanwehelptellthisstory?”So,every
momentis100saturatedmoments.Ourbrieftimeinthetheatrecontainsthousandsofhours.Itisapower-
fulexperience.
Ihopeyourstudentsenjoytheplayandafterwardareabletodiscussnotonlythestory,itscharacters,and
itsimportancetothem,butalsotheworkthatbroughtitintoexistence.
Thanksforbringingyourstudentstoseelivetheatre.Thanksforcultivatingthewell-roundedcitizensof
thefuture.Thanksforhelpingthemimaginethein�initepossibilities.
Best,
MarkLutwak
DirectorofEducation
FROM THE DIRECTOR OF EDUCATION
Thisguidecontainswritingprompts,discussionquestions,andclassroomactivities.Wewouldloveto
knowhowourmaterialsarebeingused inyourclassroom.Pleaseshareyourstudents’workoryour
ownthoughtsandsuggestionswithoureducationdepartment.
Theatreislive.Therearenoedits,noCGI,nore-takes.Everymomentisreal,performedbyrealliv-
ingpeopleinfrontofyoureyes.
Turnoffyourcellphone.
Wewelcomediscussionabouttheplay,butitisnotappropriatetodiscussduringtheplay.Please
keepchatteranddistractingsoundstoaminimum.
Usetherestroombeforetheshowsoyoudon’tmissthebestpartsoftheplay.
Payattention.Listen!Ifyoumisssomething,there’snorewind.Theatreisdeep.
Letittakeyouinandthepayoffishuge.
Respecttheactors.Theycanseeandhearyou.Theywantyoutoreact,tolaugh,
torespond.Givethemyourabsolutefocusandtheywillrewardyouwiththe
bestperformancetheyhaveevergiven.
Script
Wecanprovideyouwithacopyof thescript for thisplaybeforeyourstudentsseetheperformance.
Youmayuseittopreviewtheplayorhaveyourstudentsreadittothemselvesoraloudinclass.
StudyGuide
Thisstudyguideisdesignedtobeused.Pleasecopyandshareitwithstudentsandfellowteachers.It
containsbackgroundmaterial,activities,andquestionstohelpstrengthenunderstandingandbuildcon-
nectionstotheplay.
ClassAct!Workshops
ClassAct!isafree,single-sessionclassroomworkshop(45-60minutes)ledbyaprofessionalteaching
artist, thatusesdramaactivities topreparestudents foraPlayhousetouringproduction.Wealsocan
workwithstudentsaftertheyseeashowtohelpthemconnecttheirexperiencetothecurriculum.To
scheduleafreeworkshopcontactMeganAlexander,educationassociateat513.977.2031.
Pleasetakeamomenttoprepareyourstudents
forthetheatrebyremindingthem:
Weaskthatteachersmodelthisbehaviorfortheirstudents.When studentsseeadultstalking,readingorusingtheirphonesduringa
playtheygetthewrongmessageaboutrespectandfocus.
BEFORE THE SHOW
SEEING LIVE THEATRE
ThefatherofthreedaughtershasinvestedallhismoneywithaSeaCaptain.Beforeheleaveshome,he
askseachgirlwhatgift shewould likehimtobringher.Tulipasks for jewelry,Daffodilapuppy,and
Roseasksforasinglerose.
Fatherarrivesintownwithhishorse,Mulch,to�indthathisshareofthetreasurefromtheSeaCaptain’s
voyagewaslostatsea.Saddened,theyheadbackintotheforesttoreturnhome,buttheyarestoppedby
howlingwolves.Aneerieservantrescuesthem,takesthemtoamysteriouscastle,feedsthem,andbe-
stowsonthemthegiftsthatthegirlshaverequested.FatherrealizeshedoesnothavearoseforRose,so
hepicksonefromthegarden.AhorribleBeastappearsandthreatenstokillhimforthistheft,butsets
himfreeontheconditionthatoneofhisdaughterstakehisplace.
Whenhearriveshome,FathergiveshisdaughtersthegiftsandtellsthemofhismeetingwiththeBeast.
Rose,theever-dutifuldaughter,agreestogointotheforestthinkingthatFather’s imaginationhasrun
wild.ShesoondiscoverstherereallyisaBeastandisgivenaroominhispalace.Rosebeginstocarefor
theBeastandsoonlosestrackoftime.Twomonthspassbyandsherealizesthatshehasnotbeenhome.
WithpermissionfromBeastandapromisetoreturninsevendays,Rosegoesbackhometo�indthings
have not gone well without her. She takes up her former role in the household, begins doing chores
again,andsoonlosestrackoftime.
Atthelastminute,sherealizesthattheBeastisdyingwithoutherandthatshehaslovedhimallalong.
Intheendshereturns,declaresherlove,andthehorrible-appearingBeastbecomesahandsomePrince.
Runtime:approximately1hour.Optional&variableQ&Awithcasttofollow.
SYNOPSIS
THE WORLD OF THE PLAY Didyoueverplay“house,”“copsandrobbers”oranothermake-believegamewhenyouwereyounger?
Whenweplaythesegameswepretendthatthingsandpeoplearedifferentthanwhattheyactuallyare.
Maybeyourbestfriendbecameaprincessoryourbabybrotherbecamethefamilydog,oryoubecame
therulerofyourownworldandhadto�ightoffthreeheadedbatswithlasereyes!
Thetechnicaltermforthispretendingiscalledsuspensionofdisbelief.Itislikebeingallowedtohit
thepausebuttononrealityandfullycommittoanotherworld.Youaresuspending(holding/stopping)
yourdisbelief(notbelieving).Whenyouwatchplay,yoususpendyourdisbeliefinordertoacceptwhat
theactorsaredoingonstageasbeingrealinyourimaginationandinthecontextofthestory.
Theenchantmentof thisstorycomes fromtheway theactors transform fromcharacter to character
andfromscenetoscene.Youwillseeourcastof�iveplaymaleandfemaleroles,talkinganimalcharac-
ters,andevenpersonifyobjectssuchasadoorandaclock.Thesimplesetisdesignedtomovequickly
and isused indifferentways to indicatedifferentscenes. Inaddition, theydonothave lights tohelp
showthetimeofdaywhereweare,sotheactorsworkextrahard,and
demandthatweuseourimaginationtofollowalong.
Preparetoletyourimaginationtakeyouonajourney.
Anythingispossiblewhenweentertheworldofaplay.
CAST
CLAIRESIMBA
Rose
JAYHOBSON
Father/Wolf2/Door/Rabbit/
Beastess
OLLIECORCHADO
Tulip/SeaCaptain/Wolf/Beast/
Prince
CHRISTOPHERRICHARDSON
Daffodil/Wolf/Sailor/Servant/
Clock/Mirror
LAURIEROBERTS
Mulch/Thorn/Handsome/
Moneylender
ARTISTIC/PRODUCTION STAFF
Director ..................................................................................................................................... MARKLUTWAK
AssistantDirector .............................................................................................................. JOHNMUETHING
SetDesigner ............................................................................................................................ KENTONBRETT
CostumeDesigner ........................................................................................................ GORDONDEVINNEY
SoundDesigner ............................................................................................................................. JEREMYLEE
PropMaster ................................................................................................................................ ANNAGOLLER
Choreographer ...................................................................................................... KARI-LEESUTHERLAND
ProductionManager........................................................................ PHILRUNDLE/AMANDAPOWELL
TechnicalDirector .......................................................................................................... VERONICABISHOP
StageManager ............................................................................................................................ TRACYHOIDA
ONE STORY MANY VERSIONS
Thefairytalesandfolktalesweknowandlovebeganinmanydifferentformsandwerepasseddown
fromgenerationtogenerationthroughhundredsofstorytellers,untilanauthorwrotedownthestory
andpublished it toa readingaudience.The taleofBeautyandtheBeastisactuallyquitedifferent.This
storydidnotbeginasfolklore,butasanovel,�irstwrittenandpublishedbyMadameGabrielle-Suzanne
BarbotdeVilleneuvein1740.Shewasin�luencedbyotherfairytalespublishednotlongbeforeher,in-
cluding those of fellow French author, Charles Perrault (LittleRedRidingHood,
Cinderella,SleepingBeautyandothers).HeroriginaltaleofBeautyandtheBeast
hasmanyelementsoffolklore,butwasmoreforadultsthanchildrenofthetime.
Villeneuve’slongnovelwasabridgedbyJeanne-MarieLeprince
deBeaumontwhoseshortedversionwasincludedinanantholo-
gyoffairytalesforchildrenin1756.Thisversionwaswidelydis-
tributed,translatedintoEnglishandreadalloverEurope.Beau-
mont’sversionisusedasthesourceformanyoftheadaptations
wehaveavailabletoday.
Todatetherehavebeennumerousadaptationsandretellingsof
BeautyandtheBeast.Everythingfromchildren’spicturebooksto
teennovelstoadultthrillerstellthetaleofabeautifulgirlwhofallsinlove
withabeastlyman.MostwellknownisDisney’sanimated�ilmwhichhas
beenturnedintoapopularBroadwaymusical.However,itwasaFrench
�ilmdirectorwhotookthestorytonewlevelofhumanity,onethatisex-
ploredinourproductionaswell.
Jean Cocteau directed LaBelleetlaBête(BeautyandtheBeast)in 1946.
ThemoviestarredFrenchactorsandappearedinblackandwhitewithwhatwewouldnowconsider
antiquatedspecialeffects.Butforitstimeitisamasterpiece.Themajorchangefromtheoriginallitera-
ture occurs in the �inal moments of the �ilm. Belle sees the Beast transform into a
handsomeprince,butisdisappointed.ShehasgrowntolovetheBeastforwhatheis
andrespondstohisbeautywith“Ishallhavetogetusedtoit.”
ItisinthiscontextthatwebringyouBretFetzer’stakeonthisfamoustale.Thebeau-
tyanduglinessinthisstory,andintheworld,areoftenhidden.Itisuptousto�ind
whatliesbeneath.
DiscussionQuestions: Villeneuve’sstorywasveryliberalforhertime.Havingastrongfemalecharacterwhomakesherown
choiceswasnot common in the literatureof 1740.Yet, in2014 we might �indherending clichedor
shallow.Sometimesthecontextofastoryisjustasimportantasthestoryitself.
• WhydoyouthinkCocteaualteredtheending forhis 0ilm?Thinkabouthowthatendingwouldhave
beenviewedbyitscontemporary(post-war)audience.WhatdoesitsayaboutCocteau’spointofview?
• HowisthestoryofBeautyandtheBeastmeaningfultoyouasastudentin2014? • Afterseeingtheplay,discussyourreactiontotheplay.Theplaywrightwroteforamodernyouthaudi-
ence.Discusselementsoftheplaywhereyoufoundthattobetrue.
Theatreisacollaborativeartform;manyartistsworktogethertocreateaplay.
• Thescriptprovidesallthebasicinformationfromwhichalltheotherartistswork.Theplaywright
workedonthisplayformanyyears.Theplaywas�irstproducedin2001attheHonoluluTheatre
forYouthunderthetitleBeautyandtheBeast.
• Theactorslearnthelinesandinventthebehaviorthatmakesthembelievable.Ouractorsrehearsed
foreighthoursaday,sixdaysaweek,forfourweeksforthisproduction.Theactorsinthisproduc-
tionareallmembersoftheBruceE.CoyleActingInternCompany,aprofessionalinternshipforyoung
actors.
• Thesetdesignerplanstheenvironmentoftheperformingspace.Thisplaytakesplaceinmanylo-
cations.OursceneryisbuiltbycarpentersandotherartisansinthePlayhouseshop.Achallenge
ofdesigningforatouringshowiskeepingthesetsmallenoughthattheactorsandstagemanager
canassembleitquickly.
• Thecostumedesignerresearches,plansanddesignsclothingthathelpusunderstandtheworldof
theplayandthecharacters.Thecostumesarebuilt,found,andalteredbythemembersofourcos-
tumeshop.Someofthecostumesforthisplaywerepurchasedhowever,theyallrequiredaltering
tomatchthedesigner’svisionandto�ittheseactors.
• Thesounddesignerisresponsibleforalloftherecordedsoundthatyouhear,includingmusicthat
hemayhavecomposed.
• Thedirectorworkswithalloftheotherartiststocoordinatetheirwork.Hehasanoverallvision
oftheplay,andworkstomakesurethateveryonetellsthesamestoryinthesamestyle.Heworks
withtheactorsinrehearsaltodecidewhereandhowtomoveandspeakthelines.
• The stagemanagerschedules rehearsals, helps the director keep track of everything, and then
runstheshowonceithasopened—shecallsthecues,whichdeterminewheneverynewsound
occursandwhenandhowthesceneryismoved.Forthistouringproductionshealsoisincharge
ofrunningthesetup,breakdownandtransportationofeachperformance.
Discussion Question:Howdidthevariousdesigners,playwright,actors,andtheatrestaffsupportthe
playwiththeirwork.Citespeci0icexamplesfromtheplayorscript.(Seepage3ofthisguideforinfor-
mationonhowtoobtainascript).
WritingPrompt:Pretendyouareatheatrecriticwhoisreviewingtheshow.Writeanewspaperreview
answeringthefollowingquestions:Didyoulikeit?Wasitfunny?Wasitsad?Wasthestoryinteresting?
Did the storymake sense?What there anything special about the play?Were the actors believable?
Choosetwotechnicalelementsandexplainhowtheyhelpedordetractedfromtheplay.Wouldyourec-
ommendtheplaytoothers?Whyorwhynot?
THEATRICAL ELEMENTS
Set design for Accidental Friends 2012/13 touring play.
CLASSROOM CONNECTIONS IntegratetheARTSintoYourClassroom
Usethefollowingactivitiesandprojectideastosupportcorestandardsinyourclassroom.
“Forordinarybeautycouldnoteasilytaketheplaceoftheterriblebeauty
thatwonherheart.”–JeanCocteau
CostumeDesign
HavestudentsworkingroupsorasindividualstodesigntheirowncostumefortheBeastthatcanshow
the transformation fromBeast toPrinceonstage.Encourage themto includedetails suchashowthe
costume would function (zippers, buttons, masks). This project targets close script analysis, critical
thinking,andcollaborationskills.
Personi icationMonologues
Someofthecharactersinthisplayarepersoni�ications.Createyourownpersoni�iedcharactertotella
story.Havestudentswriteamonologueastheteacher’sdesk,thewhiteboard,orapencil.Havethemact
outtheirmonologuesfortheclassorforapartner.Promptscouldbe:Adayinthelife,GuesswhatIam,
or Worst/Best day ever as the object. Thisprojecttargets0irstpersonpointofview,0luency,causeand
effect,andattentiontodetails.
HotSeat
Haveastudentspeakfromtheperspectiveofacharacterfromtheplay.Therestofthestudentswillask
questions.(Example:totheBeast:AreyouandRosestill friends?;ToTulip:Howcouldyoutreatyour
sisterthatway?)The“actor”muststayin-roleandanswerastruthfullyastheycanknowingwhatthey
knowfromtheplayandtheinferencestheycanmake.Havethemexperimentwithcharactervoicesand
movement as they answer. Thisprojecttargetsidentifyingcharactertraits,inferenceskills,anddrawing
conclusionsfromatext.
TheEnd
WhenJeanCocteau,directorofthe1946filmwenttothepremiereofhisfilm,hepaidspecialattentionto
theaudience’sreactionneartheendoftheshow.Henoticedthatthepeoplewhosawhismoviefeltthe
samedisappointmenthisleadingladydidwhenBeastturnedintothehandsomePrince.Itissaidthatafa-
mousactressatthetime,GretaGarbo,evenmoaned“GivemebacktheBeast!”asthemovieended.
DiscussionQuestion:WhydoesRosethinktheBeastwasmorehandsomebeforehechanged?Whyare
Rose,Cocteau,Fetzer,andotheraudiencessadtoseetheBeastbecomeahandsomeprince?Doyoufeelthe
sameway?Whyorwhynot?
Rewrite theendingof theplayor theendingofBeaumont’s shortstory.Debate thenewendingsasa
class. Whose is the right way to end the story; Fetzer’s, Beaumont’s, yours, or someone else’s?
Thisprojecttargetspersuasivethinking,speakingandlistening.
merchant riffraff gesture trinkets thorn
bridle fragrant specula�on countenance generous
VocabularyFromtheScript CCSS.ELA-Literacy.RI.__.4CraftandStructure
Usethesequestionsasdiscussionorwritingprompts.
Story
♦ Isthisplayaworkof�ictionornon-�iction?Howdoyouknow?
♦ Whatisthesettingoftheplay?
♦ Compareandcontrastthethreesisters,Tulip,DaffodilandRose.Howaretheydifferent?Howare
theythesame?
♦ Listthemajorplotpointsofthestory.Whatisthemajorcon�lict?
♦ WasthecaptaintellingthetruthaboutFather’streasures?Whyorwhynot;howdoyouknow?
♦ WhydoesthenecklacebitetheMoneylender?WhydoTulipandThornseemonkeysandlizardsin
themirrorinsteadoftheirre�lections?
Production
♦ Whatdidtheopeningdancetellyouabouttheshow?
♦ Thereare19charactersandonly5actorsso theactorshad toplaymore thanonerole.Howdid
eachactorshowthatheorshewasswitchingtoanewcharacter?Didyou�indthiseffective?
♦ Theatreissometimesdoneina“campy”stylewhichmeansthatseriousmomentsorlinesbecome
funnybecausetheyareexaggeratedorover-done.Canyouthinkofsomeexamplesfromtheshow?
♦ Whatsurprisedyouaboutthisproduction?Wasthereanythingusedordoneinauniquewaythat
reallyimpressedyou?
Themes
ThoughtfulChoicevs.InstinctandDesire
♦ WhentheBeastapologizes forwanting toeat therabbit,Rose toldhimthat therewasnothing to
forgiveandhe“didashisheartdemanded.”WhatdoyouthinkRosemeansbythis?
♦ Thinkofatimewhenyoureactedoninstinct.Didyougetmadandthrowsomething?Didyouyell
becauseyouwerescared?Naturalreactionscanbeimportanttooursafetyinsomesituations,but
ashumanswehave theability to thinkandcontrolouractions ifweput in theeffort. Justas the
BeastchosetobekindtoRose,andnottoeatthatrabbit,wecanmakechoicestobekindandpa-
tientaswell.
Perceptions
♦ ThinkaboutthepuppetshowstheBeastandRoseputonintheplay,eachfromtheirpointofview.
Whatdotheysayabouthoweachcharacter feelsaboutthesituationtheyare in?Howdoestheir
perception compare to what is actually going on in the story? How do their perceptions of each
otherchange?
♦ How do our perceptions of each other change as we get to know someone? Think of someone in
yourschoolorneighborhood.Whatwasyour�irstimpressionofthem?Hasitchangedsinceyou’ve
gottentoknowthatperson?Inwhatways?
Appreciation
♦ Roseshowsappreciationforeventhesmallestofthings.Useyourmemoryorthescripttocountjust
howmanytimessheexpressesgratitudeornoticesthebeautyaroundher.Startagratitudejournal
inyourownclassroom.
AFTER THE SHOW
Name _____________________________________________Grade________School____________________
Cause and Effect Directions:Drawapictureandwriteashortcaptionof3differentexamplesofcauseand
effectyourememberfromtheperformanceofRosesandThorns.
Example: Cause–Fatherplucksarosefromamysteriousgarden.
Effect–TheBeastappearsandthreatenstokillhim.
