An introduction to Fezziwig’s

June 30, 2008First Edition

FEZZIWIG’S: THE HAPPIEST PLACE ON EARTH, CIRCA 1850If you choose not to join, please return this handbook to any current member of the

Fezziwig cast. They will get it to the management where it can be re-used.

Fezziwig’s Handbook

Table of Contents

Welcome.......................................................................................2Who We Are and What We Do.....................................................2Our Part in the Story.....................................................................3The Management Team................................................................7Becoming a Fezziwigger...............................................................8

Prerequisites 8Auditions 8

2008 Schedule of Rehearsals and Events....................................8Pre-Workshops 8Workshops 9Dickens Schedule for 2008 10After Closing 10

A Day at Fair...............................................................................10The Start of the Day and Opening Tableau.................................12The End of the Day and Carol Out..............................................12Fezziwig’s Ballroom Etiquette.....................................................13The Dances of Fezziwig’s...........................................................18

Set Dances.............................................................................18Ballroom/Partner Dance.........................................................24Dances for Demonstration......................................................28

Games........................................................................................35Large Group Games...............................................................35Small Games..........................................................................40

Singing in Fezziwig’s...................................................................43Patriotic Songs.......................................................................43Hallelujah Chorus...................................................................44Christmas Carols....................................................................45

Building a character....................................................................51Creating a Character for Fezziwig’s........................................51

Dressing Your Character.............................................................53Ladies.....................................................................................54

Gents......................................................................................59Costumers/Seamstresses.......................................................60

Fezziwig Survival Skills...............................................................61Before Fair..............................................................................61During Fair..............................................................................62After Fair.................................................................................62

Details.........................................................................................63Who To Contact In An Emergency.........................................63Food at Fezziwig’s - Potluck...................................................63Cups and Water......................................................................63Things Box..............................................................................64Additional Questions...............................................................65

This guide was developed in the Spring of 2008 with the assistance of Elizabeth Schluntz, Emily Gladstone Cole, David Cole, Cathleen Meyers, Barbara Evangelista, Ammy Hill, and David Batzloff using MediaWiki. Final guide production via Microsoft Word.

Contact our director at director@fezziwigs.org.

http://www.fezziwigs.org

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WelcomeWelcome to Fezziwig's! You have in your hands a basic overview of who we are and what we do. You have received this because you have shown interest in joining our troupe. Please take some time to read over these pages. They should serve to answer some of the most common questions we hear about Fezziwig’s and assist you in the beginning steps of becoming a "Fezziwigger."

Fezziwig's is a family that prides itself on hard work, longevity, and community. We proudly say, "Once a Fezziwigger, always a Fezziwigger." We hope that this handbook will help you decide to join our family, but in no way want it to replace the information you will receive in rehearsals, workshops, and collaborating with the cast. The more time the cast spends working together, the better the production is.

If at any time you have a question about us, please feel free to ask anyone on the

management team, or even in the cast. We are here to help you.

Who We Are and What We DoWe like to think of Fezziwig's as the happiest place on earth, or at least Dickens Fair. Our moment in the Christmas Carol story is one of Scrooge's happiest memories, a company party hosted by a benevolent boss and peopled by employees and working class neighbors. Scrooge fondly remembers the party and the time he spent as an apprentice to Mr. Fezziwig.

As this is a company party, it is peopled with characters of the working class. Fezziwig’s is not the place for ball gowns and the gentry. It is a friendly get together with the baker, the maid from next door but one, packers and sorters, and the clerks of the company.

It is our goal to create the same magic that Scrooge remembers in our area. All our characters are at their best, enjoying each

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other's company and drinking in the charm of the season. Everyone is invited and welcomed into Fezziwig's, no matter their social standing or life outside of the warehouse. We focus on the positive and do our best to spread Christmas cheer to our patrons. We want to share this joy of the season and to help everyone recall happy Christmas memories and make new ones.

Our Part in the StoryAt Fezziwig's Warehouse it is always Christmas Eve. Dickens mentions us during Scrooge's journey with the Ghost of Christmas Past. At this point of the story, Scrooge is remembering his youth and reflecting on the lessons he should have learned from his experiences. The scene recounted is filled with happiness and the joy of Christmas. The text from the book follows:

Although they had but that moment left the school behind them, they were now in the busy thoroughfares of a city, where shadowy passengers passed and repassed; where shadowy carts and coaches battle for the way, and all the strife and tumult of a real city were. It was made plain enough, by the dressing of the shops, that here too it was Christmas time again; but it was evening, and the streets were lighted up. The Ghost stopped at a certain warehouse door, and asked Scrooge if he knew it. "Know it!" said Scrooge. "Was I apprenticed here?" They went in. At sight of an old gentleman in a Welsh wig, sitting behind such a high desk, that if he had been two inches taller he must have knocked his head against the ceiling, Scrooge cried in great excitement: "Why, it's old Fezziwig! Bless his heart; it's Fezziwig alive again!" Old Fezziwig laid down his pen, and looked up at the clock, which pointed to the hour of

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seven. He rubbed his hands; adjusted his capacious waistcoat; laughed all over himself, from his shows to his organ of benevolence; and called out in a comfortable, oily, rich, fat, jovial voice: "Yo ho, there! Ebenezer! Dick!" Scrooge's former self, now grown a young man, came briskly in, accompanied by his fellow-prentice. "Dick Wilkins, to be sure," said Scrooge to the Ghost. "Bless me, yes. There he is. He was very much attached to me, was Dick. Poor Dick. Dear, dear." "Yo ho, my boys!" said Fezziwig. "No more work to-night. Christmas Eve, Dick. Christmas, Ebenezer. Let's have the shutters up," cried old Fezziwig, with a sharp clap of his hands, "before a man can say Jack Robinson." You wouldn't believe how those two fellows went at it. They charged into the street with the shutters -- one, two, three -- had them up in their places -- four, five, six -- barred them and pinned then -- seven, eight, nine -- and came back before you could have got to twelve, panting like race-horses. "Hilli-ho!" cried old Fezziwig, skipping down from the high desk, with wonderful agility. "Clear away, my lads, and let's have lots of room here. Hilli-ho, Dick! Chirrup, Ebenezer." Clear away! There was nothing they wouldn't have cleared away, or couldn't have cleared away, with old Fezziwig looking on. It was done in a minute. Every movable was packed off, as if it were dismissed from public life for evermore; the floor was swept and watered, the lamps were trimmed, fuel was heaped upon the fire; and the warehouse was as snug, and warm, and dry, and bright a ball-

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room, as you would desire to see upon a winter's night. In came a fiddler with a music-book, and went up to the lofty desk, and made an orchestra of it, and tuned like fifty stomach-aches. In came Mrs Fezziwig, one vast substantial smile. In came the three Miss Fezziwig’s, beaming and lovable. In came the six young followers whose hearts they broke. In came all the young men and women employed in the business. In came the housemaid, with her cousin, the baker. In came the cook, with her brother's particular friend, the milkman. In came the boy from over the way, who was suspected of not having board enough from his master; trying to hide himself behind the girl from next door but one, who was proved to have had her ears pulled by her mistress. In they all came, one after another; some shyly, some boldly, some gracefully, some awkwardly, some pushing, some pulling; in they all came, anyhow and everyhow. Away they all went, twenty couple at once; hands half round and back again the other way; down the middle and up again; round and round in various stages of affectionate grouping; old top couple always turning up in the wrong place; new top couple starting off again, as soon as they got there; all top couples at last, and not a bottom one to help them. When this result was brought about, old Fezziwig, clapping his hands to stop the dance, cried out, "Well done!" and the fiddler plunged his hot face into a pot of porter, especially provided for that purpose. But scorning rest, upon his reappearance, he instantly began again, though there were no dancers yet, as if the other fiddler had been carried home, exhausted, on a shutter, and he were a bran-new man resolved to beat him out of sight, or perish.

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There were more dances, and there were forfeits, and more dances, and there was cake, and there was negus, and there was a great piece of Cold Roast, and there was a great piece of Cold Boiled, and there were mince-pies, and plenty of beer. But the great effect of the evening came after the Roast and Boiled, when the fiddler (an artful dog, mind! The sort of man who knew his business better than you or I could have told it him!) struck up "Sir Roger de Coverley." Then old Fezziwig stood out to dance with Mrs Fezziwig. Top couple too; with a good stiff piece of work cut out for them; three or four and twenty pair of partners; people who were not to be trifled with; people who would dance, and had no notion of walking. But if they had been twice as many -- ah, four times -- old Fezziwig would have been a match for them, and so would Mrs Fezziwig. As to her, she was worthy to be his partner in every sense of the term. If that's not high praise, tell me higher, and I'll use it. A positive light appeared to issue from Fezziwig's calves. They shone in every part of the dance like moons. You couldn't have predicted, at any given time, what would have become of them next. And when old Fezziwig and Mrs Fezziwig had gone all through the dance; advance and retire, both hands to your partner, bow and curtsey, corkscrew, thread-the-needle, and back again to your place; Fezziwig cut -- cut so deftly, that he appeared to wink with his legs, and came upon his feet again without a stagger. When the clock struck eleven, this domestic ball broke up. Mr and Mrs Fezziwig took their stations, one on either side of the door, and shaking hands with every person individually as he or she went out, wished him or her a Merry Christmas. When everybody had

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retired but the two prentices, they did the same to them; and thus the cheerful voices died away, and the lads were left to their beds; which were under a counter in the back-shop. During the whole of this time, Scrooge had acted like a man out of his wits. His heart and soul were in the scene, and with his former self. He corroborated everything, remembered everything, enjoyed everything, and underwent the strangest agitation. It was not until now, when the bright faces of his former self and Dick were turned from them, that he remembered the Ghost, and became conscious that it was looking full upon him, while the light upon its head burnt very clear. "A small matter," said the Ghost, "to make these silly folks so full of gratitude." "Small!" echoed Scrooge. The Spirit signed to him to listen to the two apprentices, who were pouring out their hearts in praise of Fezziwig: and when he had done so, said, "Why! Is it not! He has spent but a few pounds of your mortal money: three or four perhaps. Is that so much that he deserves this praise?" "It isn't that," said Scrooge, heated by the remark, and speaking unconsciously like his former, not his latter, self. "It isn't that, Spirit. He has the power to render us happy or unhappy; to make our service light or burdensome; a pleasure or a toil. Say that his power lies in words and looks; in things so slight and insignificant that it is impossible to add and count them up: what then? The happiness he gives, is quite as great as if it cost a fortune."

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He felt the Spirit's glance, and stopped. "What is the matter?" asked the Ghost. "Nothing in particular," said Scrooge. "Something, I think?" the Ghost insisted. "No," said Scrooge, "No. I should like to be able to say a word or two to my clerk just now! That's all." His former self turned down the lamps as he gave utterance to the wish; and Scrooge and the Ghost again stood side by side in the open air.

The Management TeamAs with any theatrical production, Fezziwig’s needs a main coordinator, decision maker, and all over head honcho. We call him David Batzloff (or Mr. Fezziwig), the Director. We also have a team of members who assist him, they are:

Elizabeth Schluntz (Mrs. Fezziwig) – Assistant Director in charge of Acting

Cathleen Myers (Lady Jane Digby El-Mezrab) - Assistant Director in charge of Dance

David Cole (Mr. Bagnet) - Assistant Director, web guru Emily Cole (Mrs. Bagnet) - Assistant Director in charge of

Singing Ammy Hill (Mrs. Summerson) - Assistant Director in

charge of GamesWe also have assistant shift leads who assist the directors in running the shifts:

Frederik Goris (Mr. Bunbury) Alexandra Couzens (Miss Tapkins) T. Goudeau (Mr. Soak)

Our liason to the rest of fair is our Stage Manager, Barbara Evangelista (Mrs. Toscano).

Non-management positions of responsibility:

Back Stage Maintenance – Anthony Argyriou Food Coordinator – Joshua Summit

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Costume – Laura Rubin Decorations –

Please remember that these team members are volunteers just like you. They are not being paid and do this for the love of it. Please treat them with kindness and respect.

Becoming a FezziwiggerPrerequisitesTo begin:

Email director@fezziwigs.org and get on the email list. Read everything on the Fezziwig's and DCF websites. Talk to the Director in person at a rehearsal or other

time/place. You need to be able to dance and act. We take dancers who act and actors who dance. You do not need to start off acting or dancing well if you can do the other. One of the purposes of our rehearsals is to help people get up to speed on both the dancing and the acting.

Prospective Fezziwig cast members are encouraged to attend as many of the other period dance events held in the Bay Area as possible (Gaskell's, PEERS, Regency, English or Scottish Country Dance, Friday Night Waltz, etc.) The current director of Fezziwig's is also one of the announcers at both PEERS and Gaskell's, and as such is easy to spot.

AuditionsThere will be auditions for certain character roles. Roles may change from year to year and openings may happen when least expected. Criteria for casting may include: stage presence, projection, costume availability, schedule compatibility and actor reliability. If you are cast as a named character in Fezziwig’s, it is then expected that Fezziwig’s will be your primary focus, and the place where you spend the majority of your time at fair.

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2008 Schedule of Rehearsals and EventsPre-WorkshopsWe have 4 monthly pre-fair rehearsals, starting in July. These 4 rehearsals are held at the director’s home in Alameda. Doors open at 1:30; rehearsals start promptly at 2pm.

Saturday July 26th, 2-5pm Saturday August 23rd, 2-5pm SUNDAY September 21st, 2-5pm Saturday October 25th, 2-5pm

Note: for the exact location of the above rehearsals you need to be on the cast mailing list.

WorkshopsWorkshops are required by the Dickens Fair management and by Fezziwig’s. If you follow the Fezziwig’s requirements, you can be sure to have fulfilled the fair’s requirements. The site of rehearsals changes from year to year, but cast members are informed of the location via the email list as soon as it is decided. Workshops run from 10-5. There is a lunch break. You may bring lunch or drive to various local lunch options. The first day of workshops is required. Please plan to be there all day from the opening meeting through the Fezziwig rehearsal.

Fezziwiggers must take at least 5 workshops and attend 3 out of 5 of the Fezziwig’s rehearsals during the afternoons.

Note: The Dark Garden workshop does not count as one of the 5 required Fezziwig’s workshops

New Fezziwigers must take six workshops including:

Orientation to Victorian London Language (Victorian or Cockney) Physical Characterization Meet and Greet Projection Dance (please take more!)

Returning Fezziwiggers must take: Language (Victorian or Cockney)

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Character Lab or Improvisation Dance (including shilling for Dance 1) Projection An Elective appropriate to your character

On the first day of workshops, at the Fezziwig’s rehearsal, you will need to fill out the Fezziwig Information form and return it to the director. This includes your contact information and availability for the season. Workshops are also the time to get your costume approved. This approval will be signed off on your workshop sheet. Workshops are held:

November 11/12th

November 15/16th

November 22nd at the Cow PalaceThese requirements may be overridden by consent of the director.

Once you have completed the basic requirements including your workshops and costume approval, you may get your workshop sheet signed by the director and return it to registration. Registration is $10. There will also be an optional parking permit for sale as well.

Dress RehearsalDress Rehearsal is required. It is from 10-6 at the Cow Palace on November 23rd.

Wednesday, November 26 is the day to decorate the set. This is a work party. Many hands make light work, so please sign up to help if you can.

Dickens Schedule for 2008 November 28th, 29th, and 30th - Opening Weekend December 6th and 7th - Second Weekend December 13th and 14th - Third Weekend December 20th and 21st - Fourth and Final Weekend

After ClosingMonday December 22nd - Strike the set work party. Again, many hands make light work, so please sign up. This is also a great way to unwind and finish the year. Some of us find packing up Fezziwig’s to be just the right kind of closure.

January 3rd, 2009 - PEERS 12th Night Ball in San Mateo

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January 24th 2009 - Cast Party in Alameda

A Day at FairThe cast of Fezziwig's pride themselves on the fact that they open and close Dickens Fair. This means that we are the first thing patrons see when they arrive at Fair opening, and are the last thing patrons see when they leave at close of Fair. We feel we are the hardest working group in Fair, but we aren't slave drivers.

In a normal Fair day, cast members work in shifts. Shifts begin with a dance set and end with the conclusion of the games set. Cast members usually get two shifts off during the day and are free to leave the warehouse once Siamsa, an Irish/Scottish dance troupe, has begun their set. Although it is a long day, there are many opportunities to take a break and enjoy the Fair.

Here is a sample daily schedule:

9:30 Warm-Ups - All cast on site and preparing for the day 10:15 NO ANACHRONISMS

Everyone in costume Hair and accessories prepared No plastics left on stage No food containers visible

10:30 Patrons allowed inside Fezziwig’s 10:50 Tableau 11:00 First Dance Set (Officially Open) 11:50 Siamsa 12:20 Dance set 1:00 Small Games 1:20 Dance Set (includes 1:30 ghost scene) 2:00 Guest Performers2:30 Guest Performers3:00 Dance Set (includes 3:10 Queen’s visit) 3:40 Siamsa

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4:10 Dance Set 5:00 Small Games 5:20 Dance Set 6:00 Wink 6:30 Dance Set (includes 6:50 Reunion scene) 7:00 Hallelujah 7:15 Carol Out 7:45 Notes for cast members

The Start of the Day and Opening TableauOur day begins early because the windows of the Fezziwig warehouse look out into the lobby where our guests congregate before they come inside. Any time between 10:15 and 10:45 (this is dictated by Fair Management) the guests are let into Fezziwig’s Warehouse to find many of Mr. Dickens characters waiting to greet them. They are kept in Fezziwig’s throughout Opening Tableau. Please escort our guests towards the bleachers and chairs where they can best see the tableau. Two or three cast members are helpful in front of Mr. Fezziwig's desk and the stage to keep a clear space for Mr. Dickens and Stage Management's view.

At five minutes to eleven, the lights go down. The spotlight goes up on Mr. Dickens, who welcomes them to this time and this place in London. He then proceeds to introduce several of his characters from various book (usually David Copperfield, the Artful Dodger and Oliver, Pip and Miss Havisham, Nicholas Nickleby, the Crachetts and Mr. Scrooge, the chimney sweeps, the Fezziwig Daughters, and finally, old Mr. Fezziwig himself). It is important to remain quiet during tableau both on stage and back stage. Once this is done, he welcomes the guests to Christmas in London and the curtain parts to reveal the rest of the fair. Bangers and Mash (our beloved band) strikes up a waltz as the guests go out to explore and the rest of us have a dance.

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Generally, the first waltz is followed by a Grand March. Please be advised that the march frequently gets too long and Fezziwig couples should excuse themselves if this happens.

The End of the Day and Carol OutOne of the responsibilities of Fezziwig’s is to close the fair. Around 6:45, this begins with the Hallelujah Chorus. After the chorus, Ebenezer Scrooge (the elder) meets Ebenezer Scrooge (the younger) through the Magic of Christmas. Please be quiet and give focus to the Ebenezers during this scene. It is improvised daily and anything can happen. (Don't believe me? There was this one time when Ebenezer asked Belle to run off to London with him, and they were in London!)

After the magic of Christmas, Mr. and Mrs. Fezziwig and Ebenezer and Belle lead us in singing some Christmas carols, usually starting with Joy to the World, and then leading a procession, two by two, out of the warehouse to We Wish You a Merry Christmas. The procession stops with Mr. Fezziwig on one side of the exit, and Mrs. Fezziwig on the other, and we sing a few more carols, wish our guests the best of the season, and then conclude with We Wish You a Merry Christmas once again as we process back into the warehouse.

Following our return to the warehouse, we generally head straight to the bleachers for a few important notes. Please proceed directly to the bleachers; do not run backstage, do not collect your things. We'll keep it brief. You may begin undressing during notes if you are so inclined assuming you do it quietly and avoid distracting the directors.

Fezziwig’s Ballroom Etiquette Actually, most of our etiquette rules are just common sense and common courtesy. For convenience and clarity, we will also use the term “customer” here. At Fezziwig’s, however, there are no “customers” (except for those who buy Fezziwig’s Finest tea) – only “patrons” or “guests.” Please note - the word “please” is a polite imperative.

1. Please be silent during announcements and during dance instruction. The acoustics in the warehouse are dreadful.

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Please do give the announcers or dance callers all of your attention. Do not stand directly in front of those announcing dances.

2. If you are introduced to someone at Fezziwig’s, especially a customer, that is a polite way of saying, “Ask this lady or gentleman to dance (immediately!).”

3. If you absolutely CANNOT dance the dance because of an injury or because you have a show or gig to rush off to, please do one or both of the following: (a) Ask the customer for a future dance and be scrupulous about keeping your engagement. (b) Try to provide the customer with another partner.

4. All dances at the Fezziwig’s party are BOTH ladies’ and gentlemen’s choice. If a customer asks you to dance, accept graciously. If you cannot dance the dance, either because of an injury or because of a previous engagement, show, or gig, please refer to Rule #3.

5. If you collide with another couple on the dance floor or if they collide with you, PLEASE apologize at once – even if it was the other leader’s fault and not yours. (But keep moving. Coming to a complete stand-still on the dance floor is dangerous!)

6. Please note: In case of a collision, when responding to an apology, don’t say “It’s all right” and certainly don’t say “It’s OK.” Simply apologize in return – in period Victorian English: “I beg your pardon, sir.” “No, indeed, I beg YOUR pardon, sir. It was my fault entirely.”

7. Ladies, it is perfectly appropriate to ask another lady to dance. Indeed, given the extreme shortage of men at Fezziwig’s, it is almost imperative that you devote some time to dancing with the lady customers. Same-sex dancing, especially in country dances or set dances, was acceptable in the ballrooms of Jane Austen’s time, in Queen Victoria’s dashing Scottish regiments, and even among the miners during the California Gold Rush; however, if you dance with a lady, please make sure you introduce her to a gentleman for the next dance. We want our customers to feel as if they’re at a magical dance at

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the happiest Christmas party in Victorian London – and NOT as if they’re back in high school.

8. Ladies: Do not ask a gentleman to dance unless you provide a partner for the lady he is escorting.

9. Wherever possible, gentlemen, please take a lady partner with you to ask a customer couple to dance. True, most of our male customers would rather suffer slow torture or hold their wife’s purse than get out on the dance floor, but it’s a nice gesture.

10. Gentlemen: It’s certainly acceptable to ask a married lady to dance (her husband will probably thank you for rescuing him), but please ask the husband or escort’s permission to address the lady first (It’s very Victorian), then ask the lady to dance.

11. The Fezziwig’s party is a private party and not a public assembly, so, technically, introductions are not necessary in order to ask a lady to dance. It is assumed that all of Mr. and Mrs. Fezziwig’s guests are respectable (yes, even Bill Sykes if he behaves himself). But do introduce yourself as you dance so that you can present your partner to your Fezziwig colleagues. If the lady or gentleman is shy about giving his or her name, you can always ask, “And how shall I address you, Miss (or Madam)?” or remark “I know we’ve met, sir, but I regret that I cannot remember your name.”

12. Gentlemen: If you suddenly discover that you’ve inadvertently “asked” two ladies to dance, don’t wander off with the prettier of the two and a lame apology to the slighted lady. (Unfortunately, a true story from last year!) Very bad ton! The slighted lady is going to feel like an idiot, so please do all you can to repair the slight. Ask her for the next dance and, if possible, try to provide her with another partner for this dance. And, of course, if one of the two ladies involved is a Fezziwigger or another Dickens actress, she should gracefully offer to sit out the dance (“I’m a little tired, Mr. Smith, so I’d prefer to sit this polka out. I’d be happy to dance with you later when I’ve had a chance to recover.”).

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13. If you decline a dance, you DO need to give a polite reason (and “No thank you,” “I really hate the Congress of Vienna” or “Sorry. I’m not dancing” are NOT polite reasons) but try to keep your story straight. If you decline a polka on the ground that you’re recovering from a sprained ankle and then are seen dancing a sprightly polka later in the set, your credibility is lost.

14. Forms of address: “Sir” and Madam” will get you far. “Miss” is appropriate for young girls and young ladies whose marital status you aren’t certain of. Please remember not to use the 1970’s feminist title “Ms.” It’s a glaring anachronism.

Having said that, we do not wish you to use this as an excuse for not learning your fellow Dickens actors’ character names.

15. Remember to join country dances at the bottom of the set – not at the top – unless, of course, one of the directors or shift leads specifically asks you to come to the top and lead a set. Then please do accept the post with alacrity. Arguments on the dance floor are such bad ton – unless, of course, they’re part of a theatrical gig you’ve prearranged!

16. Unless you are a strong, experienced English, Irish, or Scottish country dancer capable of calling a country dance or quadrille, please do not rush to the top of the set. The First Couple in either a country dance or a quadrille must be able to call the dance and set an example for the rest of the set.

17. Yes, the purpose of any country dance is flirtation with your neighbors, corners, and partner but please do not be so preoccupied with flirting with your neighbors and corners that you neglect your partner. Your partner should always be your central focus. It is understandable that a married or engaged couple or sweethearts who suddenly find themselves corners or neighbors will dance the figures with a special tenderness. But going out of your way to chase someone else’s partner while you are dancing with another lady is very bad form and callously insensitive as well.

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18. Please do not correct your partner’s form unless he or she is causing you physical pain or unless he is leading you into danger. It is acceptable to correct someone in a quadrille or country dance set if he is moving incorrectly, but not with the air of giving him a dance lesson. Please avoid pedantry. Finally, unless your partner asks for feedback, do not offer style points.

Fancy footwork is fine in the Lancers Quadrille, Strip the Willow, Soldier’s Joy, Sir Roger and any reel or jig-time country dance – as long as your solo dancing does not mystify your partner (The same rule applies to hand-clapping games during Sir Roger or Strip the Willow). Remember that your two main duties in a country dance or set dance are (1) to support and guide your partner and (2) to support and help guide the set.

19. You’ll have some opportunity to dance with your friends (in fact, when the dance floor is empty, as it occasionally is in the early morning set, this is a good idea!), but, of course, the customers’ needs come first. For this reason, it’s not a good idea to book dances in advance. If you DO reserve a dance with a customer, don’t forget to keep your engagement and don’t keep your partner waiting. Remember, also, that the Congress of Vienna is a customer dance at Fezziwig’s. Please don’t book a Congress with your Significant Other at Fezziwig’s. There are plenty of other balls where Congress is danced!

20. Please remember the End of Dance drill: At the end of a dance, bow or curtsy to your partner and thank them for the dance, THEN applaud the band. Then escort your partner back to their place. Then bow or curtsy again and thank them, ideally with a nice compliment.

21. You’ll notice that for better customer service we actually have to break some of the traditional Victorian ballroom etiquette rules. We permit ladies to ask gentlemen to dance (otherwise, most of our customer gentlemen would never have the courage to get out on the dance floor!); we permit you to dance more than twice or thrice with the same partner; and we certainly DO introduce skilled dancers to unskilled dancers (which some Victorian

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dance etiquette books strongly discourage). We also applaud the band, which Victorian dance manuals generally frown on. Our excuse is that the musicians of Bangers & Mash are our friends and neighbors!

The Fezziwig’s dance party does capture the cheerful, hospitable spirit of Victorian ballroom etiquette by our attention to the needs of the other guests (especially our “paying guests”) and by ensuring that they have partners whenever possible.

The Dances of Fezziwig’s

Set DancesEveryone in Fezziwig’s should know these dances well enough to lead our guests through them. Please pick two or three that you will be confident enough to call.

GRAND MARCHThe Call: Ladies and Gentlemen, please take partners and line up behind the Lead Couple (add their names!) for a Grand March.

The step is simply walking in time with the music and the dance simply involves following the lead couple in a series of patterns that will either be called or demonstrated. Nothing could be easier! Keep alert and pay attention and you'll be fine.

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March Notes:

If the line of couples is already long enough to extend half-way around the ballroom, please don't join in.

The first two couples in a Grand March should be experienced Fezziwig couples. The third and fourth couples should INCLUDE an experienced Fezziwigger!

We do not do tunnel, bridge, or dip-and-dive figures in Grand Marches and Reels at Fezziwig’s. EVER. These figures are painful for people with back problems and can cause painful and embarrassing accidents (anything from earrings caught in false curls to earrings caught in real curls!).

Pay attention to the figures yourself and guide your partner attentively.

REELThe Call: Ladies and Gentlemen, you don't need a partner to learn and dance The Reel.

A follow-the-leader reel is a lot like a Grand March except that there is only one leader (usually aided and abetted by the second and third dancers in the line) and the line is single file. No partners are required. While the music is usually a lively Scots or Irish reel, the pace of the follow-the-leader reel is a brisk walk for the safety of the many children who inevitably join in.

Reel Notes:

1. Please do your best to keep the pace to a walk and to discourage grapevines and crack-the-whip figures.

2. Do your best to look after the children in the line.

3. If you are not dancing in the reel line, you may create creative "obstacles" of various kinds to help the leader keep the reel from going too fast.

4. Do not make "low bridge" figures. No one should be forced to bend or stoop.

JOLLY DOG'S POLKA

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The Call: Ladies And Gentlemen, please take Your Favorite Partner and come forward to Learn and Dance the Jolly Dog Polka.

The Instructions: Now this dance is really quite simple. Most of it is just a polka and can be danced in either open or closed position, but at times the music will stop and change. At this point you stop, place your hands on your hips and sing a little song "Fa la la, Fa la la, etc," while setting first to the right and then to the left thusly (demo set, right and left); then sing "Slap, Bang (demo Clap own hands and gently clap hands with partner),here we are again, here we are again, here we are again. Slap, Bang, here we are again, What jolly dogs are we!" and turn single, (demo turn)", and change partners thus (take someone else) and polka some more. Any questions? No? Then let us begin.

If you find yourself without a partner during the partner change, Lost-and-Found is in the center. Fear not. You will be rescued.

SELLINGER'S ROUND

The Call: Ladies and Gentlemen, you don't need a partner to learn and dance Sellinger's Round.

The Instructions: Ladies and gentlemen please join hands in a circle (pause). Now this dance is very simple. First, join hands and slide eight steps to the left (demo slipping step) and then eight steps to the right. Next, drop hands and take three steps towards the center, clap twice, three steps back, and clap twice (demo). Now we take a setting step to the right, then to the left(demo) and turn ourselves around (It's a right turn, so just follow your own right shoulder!). That was so much fun we do it again: one, two, three, clap, clap. one, two three, clap, clap. To the right, To the left, and turn yourself around.

STRIP THE WILLOW

The Call: Ladies and Gentlemen, Please take partners and form five or six couple sets for Strip the Willow.

The Instructions: The dance starts with the top couple turning by right arms one and a half times, the gentleman then presents the lady to the next man who turns her by the left arm, and then she turns with her partner by the right, and so on down the set. At the bottom is the man’s turn to dance with the ladies, and they go up the set, always turning your partner by the right and others by the

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left. Upon reaching the top, we go down both sides of the set at the same time. When we get to about the third or forth couple the next couple should start their turn.

SIR ROGER DE COVERLEY

The Call: Ladies and gentlemen, please form four or five couple sets to learn and dance Sir Roger De Coverly.

The Instructions: Take hands along the lines, step forward, bow and/or curtsy, and step back. That’s the first and last time we do that.

Now we start with the top woman and the bottom man, step forward, bow and/or curtsy. The top man and bottom woman do the same. Top woman and bottom man turn by right hands. The top man and bottom woman do the same. Repeat by left hands, both hands, and no hands.

Next comes the fun part called lacing the boot. The top couple cross by right shoulders and go behind the next couple, and so on down the set, on reaching the bottom they take hands and slip up to the top, cast to the outside, walk to the bottom of the set while the rest follow, make a bridge* for the couples to go under, and we start again with a new head and foot couple.

* Please do not make a closed bridge that forces the other couples to stoop under it. This maneuver can be painful for anyone with a bad back. Instead, make your bridge a nice open arch that the other couples can easily walk under!

SPANISH CIRCLE WALTZ (Also called the Sicilian Circle Waltz)

The Call: Ladies and gentlemen, please form a circle of couples facing couples to learn and dance the Spanish Circle Waltz.

The Instructions: Formation: A circle of couples facing couples

Note: Every step is waltzed

Facing your corner (the lady or gentleman who is NOT your partner), waltz-balance forward, then back and change places, turning the lady under. Then facing your PARTNER, waltz-balance forward, then back, and change places, turning the lady under. Repeat!

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Join hands with the other couple in a right hand star and waltz around (4 waltz steps), then do a left hand star (4 waltz steps) to return to home. Note: The ladies' hands should be on top.

Taking inside hands with your partner, waltz two small steps forward and two small steps backward. Then waltz forward (4 waltz steps), dropping hands and letting the ladies pass through the middle. Waltz forward until you meet the NEXT couple in line.

Bow to your new opposite couple!

SOLDIERS’ JOY

The Call: Ladies and gentlemen, please form a circle of couples facing couples to learn and dance Soldiers’ Joy

The Instructions: Danced in a circle of couples facing couples. Note that the dance is similar in its progression to the Spanish Circle Waltz.

Step: The step can be a lively walking step or a polka or skip-change step.

Forward and back (8 counts)

Forward and turn your opposite by two hands all the way around (8 counts)

Swing your partner (16 counts)

Ladies' Chain (16 counts)

Forward and back (8 counts).

Forward and pass on through to the next couple, allowing the ladies to pass through the middle (8 counts).

Bow briefly to your new couple and proceed to dance the figures with them!

DUKE OF KENT'S WALTZ

The Call: Ladies and Gentlemen, please take partners and form long ways sets to learn and dance the Duke of Kent’s Waltz.

The Instructions: Long ways duple minor set (Take hands four from the top)

Every step is waltzed

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First & Second couples right hand star (4 waltz steps around) and left hand star (4 waltz steps around)

Second couple stands still & looks elegant while the First couple takes both hands and does 2 chassez (slide) steps down the set, 2 chassez steps up the set and casts off (Second couple takes inside hands and waltzes up into the First Couple's place.)

All: Giving right hands, waltz balance "in", then "out" and change places turning the lady under. Repeat, but giving left hands.

Ladies turn their Right Diagonal (the gentleman diagonally to their right) all the way around by the right hand. (Hint: The lady looks "up" to the men while the men look down upon the lady)

Then Ladies turn their own partners by the left hand.

LA BASTRINGUE

The Call: Ladies and gentlemen, please form a circle of couples to learn and dance La Bastringue.

The Instructions: Formation: A circle of couples, with the ladies on their partner’s left

All join hands and go into the circle "a double" (three steps and a close) and back again. Repeat. Circle to the left, (8 counts) and then to the right (8 counts) Note: Step is a chassez or slipping circle.

Take your partner in ballroom position and swing for 16 counts.

(Be sure to end with the lady on your right, in skater's or promenade position)

Promenade for 16 counts (polka step or brisk walking step).

Reform the circle. Ladies, you will observe that you now have a new partner (the new gentleman on your right).

THE NORTHDOWN WALTZ

The Call: Ladies and Gentlemen, please take partners and form long ways sets to learn and dance the Northdown Waltz.

Form long ways sets for as many as will. Every step is either waltzed or waltz-balanced

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A1 1-4 SECOND corners join right hands, balance forward and back, then change places. 5-8 First corners do the same. 1-8 Repeat A1 to places B 1-8 First Couple take inside hands, lead down the center and lead back to 2nd place, 2nd couple moving up (stealing the First Couple’s original place!). C 1-8 - First and Second Couples do an 8-count waltz poussette (counterclockwise) to their progressed places

Explanation of the Waltz Poussette Figure: First & Second Couples take two hands (with partners) and waltz-poussette around each other in eight counts). This is a kind of dos-a-dos for couples: The First Couple begins with the First Man pushing and the First Lady pulling while the Second Couple begins with the Second Lady pushing and Second Man pulling.

By the time the waltz poussette section ends, the First & Second Couples end in their progressed places, with the Second Couple above the First Couple.

CAVALRY GALLOPEDE

The Call: Ladies and Gentlemen, please take partners and form long ways sets to learn and dance the Cavalry Gallopede.

The Instructions: This is a Military dance, and WE will be your Captains. Follow our lead, and we'll lead you through safely. Now I'll talk you through the dance and then off we go. Take hands along the set, advance, bow and/or curtsy and retire. Now draw sabers and Charge across the set, passing by the right shoulder. Turn and dress your lines, taking hands along the set again. Now advance, bow and/or curtsy and retire again. And Charge!

Now Engage by taking your partner in ballroom position and Swing for sixteen counts. Now Reverse and Swing for sixteen counts counter-clockwise, and separate. And Here they come! The top couple slides down the set for eight counts, slides back up for eight counts, and then quickly slides all the way down the set and swings for a total of sixteen counts. While the head couple is charging down the second time, the rest of the set moves up one place and dresses lines.

Remember that the original Captains remain the Captains of the dance and call the orders, no matter what position they occupy in the set!

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Ballroom/Partner Dance A valuable dance and dance etiquette research tool is the Library of Congress' online collection of dance manuals at http://memory.loc.gov/ammem/dihtml/dihome.html The website also includes a number of video demonstrations of 19th century dance steps.

THE WALTZ At Fezziwig’s, we dance the early Victorian rotary, or turning, waltz, which turns exclusively to the right. For both historical and safety reasons, we do not do left turns at Fezziwig’s. Unlike those adventurous Americans, Europeans didn't start reversing the waltz, as modern Viennese waltzers do, until the 20th century (A late 1960's episode of the classic British television show "The Avengers" actually suggests that reversing the waltz was considered a bit daring even then!). But, more to the point, the left-turning waltz takes up more space than our warehouse "ballroom" has room for and we know from experience what a safety hazard just one careless left-turning couple can be in a room full of right-turning couples.

Additionally, we do not cross-step waltz. This is another modern innovation and travels at a different rate than the rotary waltz making it incompatible with the Fezziwig’s floor.

To avoid dizziness in the waltz, you may either guide your partner into open waltz variations (taking care to avoid too many twirls, of course) or into skaters' position, but please do resist the temptation to reverse.

THE POLKA We dance a pleasant, moderate tempo polka, or Polka Francaise, as it was called back then, as opposed to the much faster Polka Schnell so beloved by the later 19th century Germans and Viennese. Gentlemen especially are advised to keep their steps small and elegant, while ladies should take care to support their own weight and to assist their partners in turning (Whoever has the inside track needs to take a slightly longer step to

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manage a smooth, easy turn). The hop in the Polka Francaise is gentle and small - almost effortless.

The long, bounding steps of the dance we affectionately call the "19 Year Old Polka" are appropriate only in an uncrowded ballroom and only when both partners have sufficient stamina to sustain it.

While open polka and skater's polka as well as a half-ballroom position (used in Part 1 of "Bohemian National Polka") are all acceptable variations and antidotes to dizziness, a half-ballroom position will support your partner far better than an open polka. The flirtatious Coquette figure (in which the couple separates and chases each other) is charming, but not appropriate on a crowded ballroom.

THE GALOP The Victorian galop or galopade is a fast but simple dance and the only step is a series of sliding ("chassez") steps and closes. The usual pattern is "slide, slide, slide, half-turn. slide, slide, slide, half-turn." There is no heel-toe step in the galop (The Gaskell galop, though fun, is a modern invention) and the dance NEVER reverses directions. That would be dangerous, especially at high speeds.

The galop can be graceful and fun if the leader measures his steps to suit the length of his partner's stride. The galop can be done as a 'follow-the-leader" dance and can be danced in open or "Side Saddle" position, but because the galop is exhausting for most people over the age of 14, dancers are advised to pause occasionally for rest (taking care, of course, to protect your partner as you withdraw to the side).

Variation: The EsmeraldaNamed after the gypsy heroine of Victor Hugo's "Hunchback of Notre Dame," the Esmeralda is a lively, fun variation on the polka. The pattern is slide, slide, slide, turn, slide, slide, slide, turn, followed by two polka turns. The only caveat: Don't dance this variation too many times in a row or you will exhaust your partner.

THE SCHOTTISCHE The schottische is a pleasant, easy dance which can be danced in either open or "closed waltz" position. The most delightful

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version is perhaps the Military Schottische, in which the couple dances Part 1 in open position (step, step, step, hop, step, step, step, hop), but assumes closed waltz position for Part 2 and executes four turning step hops. The alternate schottische step (Step-close-Step-hop) is also elegant and appropriate, though harder to teach the customers.

We generally teach the customers to dance the entire dance in open position first before introducing the turning step hops. There are a variety of fun variations on the open schottische which the customers also enjoy, though we discourage any variations that block traffic or have the potential to cause collisions in a crowded ballroom (particularly "The Genuflection," in which the leader suddenly drops to one knee and guides his partner to dance four step hops around him.

The key to survival in the schottische is to keep the hops small, even, and almost invisible. Big hops are ungraceful and inappropriate unless you're dancing with a particularly lively child partner. But for the sake of your knees and ankle, please keep your hops low at all other times!

MAZURKA WALTZES There are a variety of beautiful mazurka waltz variations that can be done to "mazurka" music and all of them are fine: The polka mazurka, the polka redowa, the Varsouvienne, La Kostka, and even the redowa itself are the most popular and will be taught in the Dance 2 and 3 workshops at Dickens Fair.

But the trick to dancing mazurka waltzes successfully is to vary your steps so that you are not constantly doing the same step over and over. This lack of variety is exhausting to your partner, ergonomically incorrect, and really tedious for the audience to watch. It is not only acceptable but perfectly correct to alternate plain rotary waltz steps with your mazurka waltz steps and it's also perfectly acceptable to do "open mazurka" or "open redowa" steps as a variation.

Finally, if either you or your partner is inexperienced in these exotic dances, there is absolutely nothing wrong with simply waltzing to a mazurka waltz. Better to dance a graceful waltz than an awkward polka mazurka or redowa.

CONGRESS OF VIENNA

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The Call: Ladies and Gentlemen, please take partners for the Congress of Vienna – a patterned waltz.

Part A: Partners bow to one another. Couples do an open waltz for four bars, beginning with opening forward and closing together, opening again and closing again. Then take closed waltz position and turn for 10 bars. Repeat the open and closed section for four bars and repeat the closed turning waltz for 10 bars. Then do 8 bars of open and closed followed by 8 bars of closed turning waltz.

Part B: Partners take two hands with the gentleman lowering his right hand and raising his left hand to turn into a window without dropping hands. The gentleman draws the ladies right arm in front of him. The couple then walks around each other for 4 bars. Partners unwind and turn the opposite way in 4 bars. The couple then walks around each other for 4 bars. The couple then unwinds.

The gentleman leads his lady around to the left. She takes his left hand in her left hand and walks around his back, finishing by taking his right hand in her right hand. This takes 4 bars. The man pivots backwards while the lady walks forward for 4 bars. The lady then goes back to the other side of the gentleman while he remains stationary, offering his left hand outstretched. This takes 4 bars. The man pivots backwards while the lady walks forward for 4 bars.

The first window is then repeated and unwound into open position to repeat part A.

Generally Part A is played 3 times and Part B is played twice with the final part A ending in a bow.

Note: The Congress of Vienna is NOT a demonstration dance. It is easier to lead an inexperienced dancer through than 3 minutes of traditional rotary waltz. It can be led equally well from the lady’s or gent’s position. It is danced multiple times a day, so please don’t save it for your favorite partners; share it with everyone!

Dances for DemonstrationLANCERS QUADRILLEFormation: A quadrille set is formed like a square dance set. The First Couple (who is in charge of calling the dance) is the couple

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with their backs to the stage. The second couple is the couple facing the stage (and the First Couple). The Third Couple is the couple on the First Couple’s right; the Fourth Couple is on the First Couple’s left.

The First and Second Couples are the Heads. The Third and Fourth Couples are the Sides. Fortunately for the Sides, the Heads execute each figure of Figures 1, 2, and 3 twice; then the Sides dance the figures twice.

Steps: The travelling step may either be a brisk, musical walk or a temps elevé (polka) step. The chassez can either be the Regency “ballet” chassez or Irish “sevens” or a simple, elegant sliding or galop step. Setting steps may be the English country setting step (Jeté boureé), the Scottish country setting step (pas de bas), or any of the many Regency setting steps you might have learned.

For a full description – with helpful illustrations – of this version of Lancers, see Thomas Hillgrove’s 1863 manual in the Library of Congress’ online collection of dance manuals at http://memory.loc.gov/

Figure 1 - Les Tiroirs -- The Drawers Introduction (8 measures, or 16 counts): Bow to your partner; bow to your corner.

Heads forward and back. Heads forward and turn your opposite (two-hands, quite around). The Drawers' Figure: Couples 1 and 2 change places, with Couple 1 going in between Couple 2. Turn as naturally as possible, then change places again with Couple 2 going in between Couple 1.

Chorus figure: Ladies, balance to your corner and turn him (two hands, quite around and back to place).

Heads do the figure again, but this time Couple 2 takes the lead on the Drawers Figure and passes through the middle first. Couple 1 passes through the middle on the way home.

The Sides then dance Figure 1 all the way through twice.

Figure 2 - Les Lignes - The Lines Introduction: 8 measures (or 16 counts) for nothing

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Heads forward and back. Heads forward and lead the ladies around so that they are back-to-back (but facing their partner) and that both head couples are in a single file line.

Heads chassez (slip) to their own right and then to their own left and turn (two-hands) back to place.

Sides meanwhile help the heads to form lines along the side. All go forward and back (a very stately move) and turn (two-hands) back to place.

Figure 3 - Le Dorset Introduction: 8 measures (or 16 counts) for nothing

Heads forward and back. Heads forward and low bow. Men retreat while all four ladies form a right-hand star ("Right hands across), with head ladies' hands on top.

While the ladies go around - 8 counts to the right and then (forming a left hand star), 6 counts to the left, the gentlemen dance around them counterclockwise.

On the last two counts of 8, gentlemen turn your partners back to place. This is a simple right hand turn (there is no time for twirls).

Figure 5 - Les Lanciers Introduction: Usually only one chord.

All do a grand right and left around the set. When you meet your partner half-way around the set, bow to him (or her) and continue progressing around the set until you reach home.

Solo: The first couple assumes promenade position and dances around the set (briskly), starting to their own right.

All Chassez Figure: As Couple 1 reaches home (and will face out when they get there), the other three couples form a line behind them. Couple 2 does not need to move but Couple 3 swings into place behind Couple 1, while Couple 2 swings into place behind Couple 3 and in front of Couple 2.

All Chassez - following the First Couple: Ladies to the left and gentlemen to the right (ladies passing in front of their partners both times). All balance (2 counts, free foot first). Then all chassez back to place, ladies passing in front of their partners.

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All then cast off, as in Sir Roger de Coverley, following Couple 1 and lead up, ultimately forming two lines, facing each other. Forward and Back (very grandly) and turn your partner back to place.

Grand right and left, this time with Couple 2 doing the solo and leading the dance. (The figure is repeated twice more, first with Couple 3 doing the solo and leading the dance; then with Couple 4).

The dance ends with one final grand right and left or (in German fashion) with all four couples taking ballroom position and galopading gracefully around the set – twice. Yet a third ending is for all four couples to execute a Grand Square.

At Dickens Fair, we generally end with the Grand Galop.

MR. PICKWICK'S FANCY

Formation: Longways, duple minor country dance set for as many as will. Steps: Polka-step, skip-change step, or jig step (or a brisk walking step!).

First & Second Couple: Right hand star, left hand star. First Couple down the middle (6 steps) Turn as a couple (2 counts) Charge up the set and cast around the second couple into second place. First Couple is now “improper” (on the wrong side) and progressed.

Holding hands along the line, all set twice (Using any setting steps you like: English jeté boureé, Scots pas de bas, Irish rise & grind, etc.)

8 counts: First & Second Couple take hands four and circle half-way around. 8 counts: First & Second Couple “around the house” (Note: There is plenty of time for this last figure and even time for flourishes).

THE BOHEMIAN NATIONAL POLKA

Formation: A circle of couples. This may include customers who already know the dance but we do not teach or call the dance during the dance sets at Fezziwig’s.

This choreography by Richard Powers is based on research by the Czech dance historian Frantisek Bonus (1919-1999). It is

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intended to portray the steps and forms of the original 1830s National Style of Polka from Bohemia, ten years before "polkamania" swept the world.

Prof. Bonus' long and complex collection of figures was intended for stage performance by a professional company. Richard's choreography is still challenging but is a social form danced for pleasure.

Music: Josef Strauss' "Feuerfest Polka" at 104 beats/min (slower than modern polkas).

An especially good recording is by the Cincinnati Pops Orchestra on the CD "Ein Straussfest". Telarc CD-80098.

Note: One bar of music equals the time of two walking steps or one polka step.

Introduction: 4 bars. Taking hands (his R, her L), honor partners: 1) Step back away from partner. 2) Close feet together, stand tall and look at partner. 3) Honor partner (she plies, head still raised, as he inclines slightly forward, flat back, bending at the waist). 4. Rise and face line-of-direction (LOD).

1. PromenadePosition: Side-by-side, both facing LOD, lady on the right, taking inside hands, raised to chest height. Man's free L hand is akimbo (on his L hip). Lady's R hand holds skirt down, or may also place free hand akimbo as shown in the illustration. This convention of free hand placement is kept throughout.

Take 2 low, heavy Polka steps (step-close-step-hop) forward, beginning on outside feet.

Walk forward 2 elegant slow steps.

Rock forward on outside foot, honoring partner; rock back on inside foot.

Repeat this 4-bar sequence a total of 4 times. On the last repeat, replace the rocking steps with two more walking steps, man leading the lady into the next position.

2. Chassez In and OutHalf-close into open waltz position, without taking hands, both facing into the center. Her left hand is at the nape of his neck.

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Chassez into the center (slide-close-slide); chassez back out, turning a quarter clockwise so that the gent faces out of the room.

Take two turning Polka steps to revolve 3/4 of a turn, still without taking hands.

Repeat the 4 bars.

Take hands palm-to-palm (closed to waltz position) and chassez in and out as before, except turning a little more than a quarter because the man needs to be in backing position for the following pivots.

Turn as a couple with four slow pivot steps (two full turns, as in a Schottische, but without the hops). Take each step with a heavy down-up undulation.

Dudacka (doo-DAHTCH-ka) Polka step: Chassez in (slide-close-slide), look toward the outside wall and stamp outside foot to that side, looking down toward the stamp. Chassez out rotating a quarter CW and stamp toward LOD.

Take one complete turn of a Polka (2 bars), then cast away from partner, walking around in a tight circle four steps (he to his left, her to her right), to meet again.

3. Pivots and Polkas Quickly take waltz position upon meeting and pivot four

slow steps as before, traveling LOD.

Polka two bars (one full turn).

Repeat the four bars. End with the man facing LOD, placing his partner to face him.

4. Redowacka (ray-doe-VAHTCH-ka)Position: Drop both hands to face partner at a close distance. Man's (and possibly also lady's) hands akimbo.

The lady backs against LOD as the man advances LOD with the opening sequence of steps: Two polkas, two walks and two rocking steps in place. Twist the body with the steps (not in opposition) during the polkas, and twist somewhat during the rocking steps.

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Lady backs the man with the same steps. Always begin with man's L and lady's R foot.

Take hands in waltz position: Repeat the 2 twisting polkas, but then pivot two full turns with 4 slow pivot steps, traveling LOD.

Repeat the 2 twisting polkas backing the lady; pivot once around with 2 steps; then he turns the lady under by raising his L (her R) arm as she polkas (not pivots) under with 3 quick steps R L R (to gain her L foot free for the next section).

5. Chassez And Polka Tremblante Push off from the held hands into: Both chassez to their

left side (slide-close-slide), and chassez back to the right side, without touching partner.

The lady does 2 Polka Tremblante steps turning to her left, traveling LOD. (Polka Tremblante is a polka with small steps where the body bounces down and up with each step and hop.) Meanwhile the man walks forward 4 short steps, clapping boldly 4 times.

Repeat chassez and polka tremblante pursuit.

The man drops strongly to one knee (either one) and claps 15 times (8 plus another 7) as the lady does 7 polka tremblante steps in a large counter-clockwise circle around him. He watches her as she encircles him. The lady only travels 3/4 of this circular path, ending on the outside of LOD, facing him. He rises to face her as he claps the last time and as she steps two steps in place R L (to gain her R foot free for the next part).

Transition Taking closed waltz position, polka one full turn (2 bars)

and cast away with four steps, as done at the end of Part 2.

REPEAT FROM THE TOP

Take inside hands and repeat parts 1 (without the introduction), 2 and 3 only.

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Final honors: 1. Release from waltz position, keeping his L (her R) hand, and step back away from partner. 2. Close feet together, stand tall and look at partner. 3. Honor partner. 4. Rise.

Choreography and description by Richard Powers© 1986, 2003 Richard Powers

Games

Large Group GamesWINKWink is a game of flirtation for adults only. A game of Poor Pussy or Grandmother's Footsteps should always be running for children at the same time.

All of the ladies sit in chairs in a circle. There is a man standing behind every lady, and a lady in every chair save one. This always begins with Mr. Fezziwig having the empty chair ("Awwwwwww"). Mr. Fezziwig introduces the game. "In the days before I met my dear Beatrice, I often found myself the odd man out. So I would wink at another lady to get her attention. The lady would then try to come and take my empty chair. If she did so, I would give her a nice kiss ON THE CHEEK. If the gentleman she sat in front of notices, he may try to stop her from leaving by placing his hands lightly, but firmly ON HER SHOULDERS. If he does so, it is because she didn't really want to run off, and she

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shall turn and give him a kiss ON THE CHEEK. Whoever has the empty chair should wink quickly and decisively at someone else in the circle, always remembering, THE FASTER YOU WINK, THE MORE KISSES YOU GET."

Later, an additional rule can be added: General Wink. If Mr. Fezziwig calls "General Wink!" then everyone must get up, find a new partner, exchange a kiss on the cheek, and sit back down. This will leave a new person to wink.

After 10 minutes, the game is reversed and the men take the ladies’ seats while the ladies do the winking. This continues until mysteriously, every seat is filled. When there are an equal number of ladies and gentlemen, there is only one thing for it: DANCING!

Tips: When your partner has not moved for several minutes,

you can encourage other Fezziwiggers to wink at your partner by rubbing your chin (for the gents) or tugging your ear (for the ladies).

Fezziwiggers should always hesitate and let the patron get to the designated winker first.

If someone just won't notice they're being winked at, then it may be entertaining to visibly and loudly distract their partner while giving them a clear signal to go for it. Example, "Oh I say sir, have you noticed the candied almonds over there behind you?"

STAGE COACHStage Coach is a story telling game wherein the cast acts out, with the assistance of the audience, the scripted story that follows.

Prior to telling the story, the story tellers each select a part (one through six). Once that is settled, there is a brief introduction to the story. The person making the introduction can do so as they please, but a common practice is to say something like "My father used to tell us stories by the firelight. Since we were very energetic children who could scarcely sit through an entire story, father would give us cues in the story. Each time we heard our cue, we were to stand up, spin about, and sit back down. Let us

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all give you some cues now so that you can play along." Then the story tellers disperse, giving each person 2 or 3 key words from the story. The keywords are:

Mr. Pillicody Mrs. Pillicody The Goose Aunt Matilda John Mary The Medical

Students The Coachman All the place names

(best reserved for adults) The Red Ribbon The Parcel (and its contents) Gin Punch Tizzies

After the parts are distributed, the final instruction is given. Whenever "Christmas" is mentioned, everyone must stand up and make their way to a new seat, greeting everyone they meet along the way. Demonstrate "Happy Holidays! Best of the season! Joyous Yule Tidings! Happy Christmas!" and so on. Once everyone is reseated the story proceeds.

Tips: BE LOUDER!!!

The story tellers and the pantomime actors need not be the same people. This allows those who are injured but loud enough to do the talking and those that are up for physical comedy to take the pratfalls even if they don't feel confident telling the story.

Nominate various people to perform pantomime roles in advance. This is a good way for Fezziwiggers to get involved before they're confident enough with the story to tell it to the audience.

Props are good. The horn is fun for the goose sound effects. Having a flask for the gin punch is also amusing. The toy box works for Aunt Matilda's luggage.

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Keep the story tellers moved back to the edge of the stage. Too often, they drift forward and those guests nearest the stage cannot hear the story.

(1) Mr. Pillicody and Mrs. Pillicody were planning their Yuletide holiday. "Let us visit my Aunt Matilda at Gretna Green," said Mrs. Pillicody. "Yes, we'll bring her her holiday goose," said Mr. Pillicody. "It's her only joy at Christmas."

(2) So the very next morning, with many boxing day presents in hand, Mr. Pillicody and Mrs. Pillicody arrived at the inn where the stagecoach was to start. (Mr. Pillicody had an extreme aversion to these new-fangled railways.) Mrs. Pillicody approached the coachman, who sat at his high drivers seat with reins in hand, and inquired: "Excuse me, Sir, are you the coachman?" "Of course I'm the coachman," said the coachman, emphasizing his haughty carriage. "Well, Aunt Matilda's holiday goose can not ride with the baggage. It would throw him into a tizzy."

(3) "Quite right, Ma'am," interjected the guard, with a twinkle in his eye. "There are a great number of dangerous tizzies twixt here and Gretna Green. But, as you are our only passengers this season, you will be our only joy at Christmas, and your goose may ride where it will." And so, despite Mr. Pillicody`s best organizational efforts, the packages, Mrs. Pillicody, and Aunt Matilda's goose were safely tucked on board. And with a crack of the whip and a snap of the reins, the coach headed north out of London town.

(4) After a full day's jostling journey, Mr. Pillicody and Mrs. Pillicody arrived at the coaching inn in Cambridge. Their one consoling thought as they tumbled into bed was the goose snoring between them, for the goose would be Aunt Matilda's only joy at Christmas. Mr. Pillicody and Mrs. Pillicody rose to a bright December day. At the stage, they were joined by two lovers, John and Mary, from Trumpington, eloping to Gretna Green. Also boarding the stagecoach were two young men who introduced themselves as medical students bound for the University of Edinburgh. They carried a peculiarly long parcel (five feet eight inches, to be precise) of which they were very protective, wrapped in brown paper and tied with a red ribbon.

(5) They also carried a case bottle which, Mr. Pillicody was pleased to learn, contained gin punch. Suddenly, everyone's

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interest was sparked. The goose was interested in the red ribbon, Mrs. Pillicody was interested in the contents of the five foot, eight inch brown paper parcel, and Mr. Pillicody was extremely interested in the gin punch. The lovers, John and Mary, were of course, interested in being left alone on top of the stagecoach. It was their greatest joy at Christmas.

(6) Riding through the damp, green countryside, Mrs. Pillicody's curiosity as to the contents of the parcel increased. "Is it a present for your Grandmama?" she questioned. The goose gnawed at the red ribbon. "Oh no, she has a better one in her closet," responded the tall medical student, defending the parcel from the ravenous goose with his ever present boxwood stethoscope.

(1) As the party approached York city, things appeared amiss with our lovers John and Mary. Indeed, as the company reboarded the stagecoach after the night's rest, a lover’s quarrel was in full bloom. John had forgotten the color of Mary's eyes.

(2) Mary would not speak to John. The wedding was off, and John was banished to the roof. Mary would ride inside the carriage, alone (with the Pillicodys, and the parcel, and the goose). Mary's misery would be her only joy at Christmas.

(3) The medical students joined John on the roof and consoled him with gin punch. Mr. Pillicody called out encouragements to John between sips of gin punch and Yorkshire bumps. Mrs. Pillicody sat opposite the parcel, struggling with her conscience.

(4) The coachman cracked his whip, and Mary sat in a snit. The goose gnawed at the red ribbon. Intending an innocent peek at the parcel, Mrs. Pillicody raised a corner of the brown paper... revealing a complete skeleton, painted green for the holidays.

(5) Mrs. Pillicody screamed. As the coachman hit the largest bump in Yorkshire, the green skeleton lunged forward, hugged Mrs. Pillicody, scandalously kissed Mary on the lips, and punched Mr. Pillicody in the nose. At the sound of Mary's screams, John flung himself dramatically from the roof, through the open window, and wrestled the vicious green skeleton to the floor.

(6) The guard blew his horn! The coachman pulled up the reins and applied the brake, sending the now drunken medical students sprawling, and hurling Mrs. Pillicody and Mr. Pillicody, the goose, ... ... ... John and Mary all in a heap on the floor. Mary and

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John, of course, would never be separated again. When the stagecoach was finally brought to a stop, and the door was opened, who should be found standing there, with bags in hand, but Aunt Matilda!

(1) "Oh, How thoughtful of you to bring me a goose," said Aunt Matilda, "but I was just coming to London to visit you. For you see, as much as I love goose, visiting relations is my only joy at Christmas."

(written by Jim Letchworth, Marilyn Prince, and Antone Cepernich) (thanks to Richard Lawrence, for this edition)

Small GamesFIND THE LEADER Who is the leader of this plot? All the players sit in a circle and one person closes their eyes in the center. The rest of the circle selects a leader. All the followers follow the action. The center person is then called to ready and must guess who the leader of the gesture is. The leader must continue to change the gesture periodically. When the leader is guessed, they become the guesser.

Tips: In the demonstration, use gestures that are subtle.

Broad changes from gesture to gesture are too visible.

Do not look directly at the person leading the circle.

If they guesser is struggling,

"accidentally" look directly at the person leading the circle as a clue.

MOPS AND BROOMSIn this busy holiday season, with so many things to do and people to see and things to prepare and cakes to make, we sometimes find ourselves all mops and brooms. The leader of this game sits in the circle. In his right hand, he offers one object to the person

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on his right and says, "This is a mop." The person on the right, seeing that it is clearly not a mop says, "A what?" Then the leader repeats, "A mop." The person on the right, completely won over by the leader's charm, says, "Oh! A mop!" and proceeds to offer it to the person on his right, saying, "This is a mop." The person on his right says, "A what?" The person on the leader's right has completely forgotten, so must ask the leader again. "A what?" The leader replies, "A mop." The person on the right repeats, "A mop." The recipient then says, "Oh! A mop!" and begins again with the next person. Each time, the question "A what?" must return to the leader, and the answer "A mop" must be returned around the circle. Meanwhile, to the leader's left, a similar thing is occurring, only in that direction, the object is "A broom."

The game proceeds fairly easily until the two questions cross over and while "A mop" is passing around to the right and "A broom" is passing to the left, the people in the middle get mightily confused, and hopefully everyone has a good laugh. Eventually, both objects make it all the way back to the leader, who will retain them. When both are home, the game is over.

Tips: The leader should use their fingers to keep track of which

side is the mop and which is the broom. (Try using 3 fingers forward (making an M) for the mop and the thumb and forefinger in a circle (making a B) to represent the broom.)

Think of something witty to end the game. Examples include, "What? Are you mad? This is plainly a pop gun and this is clearly a rattle." or "Ah, well then, it must be time for housekeeping, but I'd much rather play another game."

Try to seat a Fezziwigger immediately opposite the leader to help assist when the two items cross.

This game works better with those aged 8 and older.

This is a short game, usually lasting 10 minutes. It is best done first as it has a definite end that cannot be stretched.

DO YOU LOVE YOUR NEIGHBOR?Sitting in a circle, the leader of the game starts out in the middle

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of the circle. They turn to someone in the circle and ask, "Do you love your neighbor?" The person they ask may answer, "No!". If they say no, then the players on either side of the respondent must try to change places while the person in the center of the circle tries to steal a seat. If they person asked instead says "Yes," it must be qualified somehow. For example, "Yes, save those with black shoes" or "Yes, save those with brown hair" or "Yes, save those who like Jane Austen" or "Yes, save those who have two feet." Whoever is described by the exception must try to change seats without having their seat stolen by the person in the center. Depending on the creativity of the exception, much giggling and blushing may ensue.

Tips: Demonstrate the game with a Fezziwigger.

Do not use any cruel or derogatory exceptions.

THE MINISTER’S CATIn this game we attempt to describe the minister's most remarkable cat. We start by clapping our hands first to our laps then together and to this rhythm the first person starts with a word beginning with the letter A, such as "the minister's cat is an angelic cat", and we keep going with "A" words until some one misses. When this happens, the next person starts with a word beginning with "B" and so on until time runs out. In the past this game was played as an elimination game, but we find it is more fun for everyone to keep playing instead of watching.

Tips: You do not always need to start with the letter A. (In fact,

by second weekend, most Fezziwig’s will be grateful if you start with L or P for a change.)

Always repeat whatever the person said loudly and clearly.

POOR PUSSYSince it is the holiday season, we are all feeling very kind and charitable to all people and God’s creatures, even stray cats that come begging with a meek catlike meow. Now as we in this circle have no food to give the poor little cat, we must give it a sincere pat on the head and say "Poor Pussy." It must be sincere or you will have to take the poor pussy's place. Cats of course being

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cats, he will beg twice more, before giving up and going off to beg some other soul for food. Remember, if you show any sign of insincerity, perhaps by smiling or laughing, you shall become the cat.

Tips: Do not touch the patrons.

If a patron has been to two persons already, encourage them to try a Fezziwigger. That Fezziwigger is required to give a well-acted laugh by the second attempt at meowing, no matter how underwhelming the attempt really is.

This is the best game for small children.

Singing in Fezziwig’sMost songs in this section can be heard online. If you don’t know the music, a little online searching will probably find it for you.

Patriotic SongsWe are British and sing British patriotic songs. You will need to memorize the words to Rule Britannia and God Save the Queen.

God Save the Queen is sung daily as the queen enters Fezziwig’s Warehouse. We only sing the first verse:

God save our gracious Queen,Long live our noble Queen,God save the Queen:Send her victorious,Happy and glorious,Long to reign over us:God save the Queen.

Rule Britannia is sung daily as the queen exits Fezziwig’s Warehouse. We only sing the first verse and we do not stamp our feet:

When Britain first at Heav'n's commandArose from out the azure main;Arose, arose, arose from out the azure main;

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This was the charter, the charter of the land,And guardian angels sang this strain:Rule, Britannia! Britannia, rule the waves!Britons never, never, never shall be slaves!Rule, Britannia! Britannia, rule the waves!Britons never, never, never shall be slaves!

Hallelujah ChorusAt the end of the day, we invite all of our guests to join us in singing the Hallelujah Chorus from Handel’s Messiah. There is a Hallelujah Chorus class taught during workshops that is recommended for Fezziwiggers.

Every day we distribute song books that contain the words and full score. We also hold up cue cards to cue the various groups on which words to sing when. (While this isn’t especially effective, it is very silly and makes for a good show.)

If you’d like to learn your part of the score (divided by vocal range), these documents and midi recordings are available online to help you:

For Sopranos (female, high)- part score .pdf: http://wso.williams.edu/cpdl/sheet/han-m42s.pdf- midi: http://wso.williams.edu/cpdl/sound/han-m42s.mid

For Altos (female, low)- part score .pdf: http://wso.williams.edu/cpdl/sheet/han-m42a.pdf- midi: http://wso.williams.edu/cpdl/sound/han-m42a.mid

For Tenors (male, high)- part score .pdf: http://wso.williams.edu/cpdl/sheet/han-m42t.pdf- midi: http://wso.williams.edu/cpdl/sound/han-m42t.mid

For Basses (male, low)- part score .pdf: http://wso.williams.edu/cpdl/sheet/han-m42b.pdf- midi: http://wso.williams.edu/cpdl/sound/han-m42b.mid

Christmas CarolsFezziwiggers are responsible for carol-out at the end of the day. We exit the warehouse with the curtain closing behind us, and sing a few carols to wish our guests well as they retreat into the night.

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For these carols, there are words in the back page of the Hallelujah Chorus books. We generally sing all of the verses for each song. Before leaving the warehouse, we generally sing Joy to the World. As we exit the warehouse and parade through the fair, we sing We Wish You A Merry Christmas, repeating until we reach the exit.

Don’t panic if you don’t know the words or the song. Just mouth the words as you go, and by the end of the second weekend, you’ll know them. The key here is to look like you’re singing carols and loving it, even if you’re Jewish or really really tired.

We Wish You a Merry ChristmasWe wish you a merry ChristmasWe wish you a merry ChristmasWe wish you a merry Christmasand a happy New Year.

(Chorus - repeat after every verse)Good tidings we bringto you and your kinGood tidings of Christmasand a happy New Year.

Now bring us a figgy puddingand bring it right here (Chorus)

We all love a figgy pudding (3x)so bring it right here. (Chorus)

We won't go until we get some (3x)so bring it right here. (Chorus)

Joy to the WorldJoy to the world, the Lord is come.Let earth receive her King.Let ev'ry heart prepare him roomand Heav'n and Nature sing!And Heav'n and Nature sing!And Heav'n, and Heaven and Nature sing!

Joy to the world, the Savior reigns!Let men their songs employ

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while fields and floods,rocks, hills and plainsrepeat the sounding joy!Repeat the sounding joy!Repeat, Repeat the Sounding Joy!!

He rules the world with truth and graceand makes the nations provethe glories of his righteousnessand wonders of his love.And wonders of his loveAnd wonders, wonders of his love.

Hark, the Herald Angels SingHark, the herald angels sing,Glory to the new-born King!Peace on Earth and mercy mild,God and sinners reconciled!Joyful all, ye nations rise!Join the triumph of the skiesWith angelic hosts proclaim,Christ is born in Bethlehem!Hark, the herald angels sing,Glory to the new-born King

Deck the HallDeck the hall with boughs of hollyfa la la la la, la la la la.'Tis the season to be jollyfa la la la la, la la la la.Don we now our gay apparelfa la la, la la la, la la laTroll the ancient Yuletide carolfa la la la la, la la la la.

See the blazing Yule before usfa la la la la, la la la laStrike the harp and join the chorusfa la la la la, la la la laFollow me in merry measurefa la la, la la la, la la lawhile I tell of Yuletide treasure

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fa la la la la, la la la la.

Fast away the old year passesfa la la la la, la la la laHail the new, ye lads and lassesfa la la la la, la la la laSing we joyous all togetherfa la la, la la la, la la laHeedless of the wind and weatherfa la la la la, la la la la

Silent NightSilent night, holy night.All is calm, all is bright'Round yon Virgin Mother and Child.Holy Infant, so tender and mild.Sleep in heavenly peace.Sleep in heavenly peace.

Silent night, holy nightShepherds quake at the sight.Glory streams from heaven afar.Heavenly hosts sing "Alleluia"Christ the savior is born.Christ the savior is born.

Silent night, holy night.Son of God, love's pure light.Radiant beams from thy holy face,With the dawn of redeeming graceJesus, Lord at thy birthJesus, Lord at thy birth.

The First NowellThe first nowell the angel did saywas to certain poor shepherdsin fields as they lay.In fields where they lay keeping their sheepon a cold winter's nightthat was so deep.Noel, noel, noel, noel.

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Born is the King of Israel.

They looked up and saw a star,shining in the East beyond them far.And to the earth it gave great lightand so it continued both day and night.Noel, noel, noel, noelBorn is the King of Israel.

God Rest Ye Merry, GentlemenGod rest ye merry, gentlemen,let nothing you dismay.Remember, Christ our saviorwas born on Christmas dayto save us all from Satan's powerwhen we had gone astray.

(Chorus, repeat after every verse)Oh, tidings of comfort and joy,comfort and joy.Oh, tidings of comfort and joy,

In Bethlehem, in Jewry, this blessed Babe was born,and laid within a mangerupon this Christmas morn,the which his mother Marydid nothing take in scorn (chorus)

From God, our heav'nly Fathera blessed angel cameand unto certain shepherdsbrought tidings of the samehow that in Bethlehem was bornthe Son of God by name. (Chorus)

Now to the Lord sing praises,all ye within this place.And with true love and brotherhoodeach other now embrace.This holy tide of Christmas

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all others doth deface. (Chorus)

Here We Come a-WassailingHere we come a-wassailingamong the leaves so green.Here we come a-wandr'ingso fair to be seen.

(Chorus, repeated after each verse)Love and joy come to you.And to you your wassail too.And God bless you and send youA happy New Year.And God send you a happy New Year.

We are not daily beggars that beg from door to doorbut we are neighbors' childrenwhom you have seen before (chorus)

Good master and mistress as you sit by the firepray think of us poor childrenwho wander in the mire (chorus)

God bless the master of this houselikewise the mistress tooand all the little childrenthat round the table go! (Chorus)

Oh Come, All Ye FaithfulOh come, all ye faithful,joyful and triumphant,oh come ye, oh come ye to Bethlehem.Come and behold him,born the King of Angels.

(Chorus, repeated after each verse)Oh come, let us adore Him.Oh come, let us adore Him.Oh come, let us adore Him,

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Christ the Lord.

Sing, choirs of angels,sing in exaltation,oh sing, all ye citizens of Heav'n above,"Glory to God, in the Highest!" (Chorus)

Yea, Lord, we greet Thee,born this happy morning.Jesus, to Thee be all glory giv'n.Word of the Father, now in flesh appearing (chorus)

Adeste fidelesLaete triumphantesvenite, venite in Bethlehem.Natum videte, regem angelorum.Venite adoremus, venite adoremus,venite adoremus, Dominum.

Good King Wenceslas(all) Good King Wenceslas look'd outon the feast of Stephen.When the snow lay roundabout,deep and crisp and even.Brightly shown the moon that nightthough the frost was cruel,when a poor man came in sightgath’ring winter fuel.

(Men) "Hither, page, and stand by meif thou knowst it telling.Yonder peasant, who is he?"Where and what his dwelling?(Women) "Sire, he lives a good league henceunderneath the mountain,right against the forest fence,by St. Agnes’ fountain."

(Men) " Bring me flesh and bring me wine.Bring me pine logs hither!Thou and I shall see him dine

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when we bear them thither!"(All) Page and monarch forth they went,forth they went together.Through the wild wind's cold lamentand the wintry weather.

(Women) "Sire, the night grows darker nowand the wind grows stronger.Fails my heart, I know not how.I can go no longer!"(Men) "Mark my footsteps, good my page!Tread thou in them boldly.Thou shalt find the winter's ragefreeze thy blood less coldly."

(All) In his master's steps he trod,where the snow lay dinted.Heat was in the very sodwhich the saint had printed.Therefore, Christian men be sure,wealth or rank possessing,you who now do bless the poorshall yourselves find blessing!

Building a characterCreating a Character for Fezziwig’sAn important step in creating a character is to take the Characterization classes at workshops, but don't be afraid to start on your own. Remember that a character has both a personality and a physical presence. Work at your character both from the outside and from the inside. You may choose to model your character on a minor character from Dickens novels or just make something up.

The OutsideGo to a public place for an hour. Watch people. Find 3 different ways of sitting, standing, using your hands. Ask yourself "would my character do that? If not, why not?" Decide how your character walks, stands, sits. Stand like a Victorian. If possible, spend some time in your costume. Victorian clothing restricted movement

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much more than modern clothing does. This will affect how your character moves. If you can find a book on etiquette, adopt one of its less gross flaws. Etiquette books tell people not to do things that they are in fact doing all the time. If you are lucky enough to be playing a Dickens character who has a characteristic turn of phrase such as Mr. Wemmock referring to his father as "the aged P" or Mr. Fezziwig's "Hilli ho!", not to mention Scrooge's "Bah, Humbug!" Practice it! Find something that you can wear or carry that shows your station in life and your own or your family's profession, Look at pictures. Picture yourself in them, relating to those people.

The InsideCreate your back story.

What kind of people raised you? If not your parents, who were they?

How were you treated and what has it done to you? Do you have sisters and brothers? How do you relate to them now you are an adult? What do you do all day? How do you get your living? Do

you like the work you do? What kind of place do you live in and who shares it? Who can you trust? If you had a bad nightmare, is there

anyone in your life you could tell? Who is your best friend?

What do you like best to eat? What will you have for Christmas dinner? What did you have for breakfast?

What is your favorite Christmas Carol? What is your favorite dance? What is your favorite parlour game?

Where are you in terms of this world’s wealth? What is the largest sum of money you have ever had at once?

What do you daydream about? What are your hopes? What do you not have that you think you can achieve?

What can you not ever aspire to achieve? Make up 3 incidents that happened to you. Have these at

the ready to tell a stranger. How do you know the Fezziwigs? Which one are you

closest to? What makes you tick?

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Put Them Together How do you introduce yourself to people in character? How do you ask them to dance? Shyly? With a fancy

speech? Expecting the answer yes? How does your character go right hands round in Sir

Roger? Back to Back? How would your character explain the game of Poor

Pussy? If you meet a family group, do you speak first to the

father, mother, child, girl or boy? When you pretend to already know customers, where do

you say you met them? Who do you say introduced you? What does your body language say as you approach

customers? Eager friendliness? Delighted expectation? Shy pleasure?

How do you suggest sitting out a dance if a customer is enjoying talking with you but can't or won't dance just now?

For good practice, write a page using your character's voice. It can be a letter or a page out of your character's diary. If you want some guidance, give it to Mrs. Fezziwig (Elizabeth Schluntz). She's happy to help.

Dressing Your CharacterThere are a lot of resources available. First, see the guidelines on the Dickens Fair site: www.dickensfair.com.

Also, if you don't have a lot of money, one place to start is the thrift store. Things to look for are:

a scarf a shawl plaid trousers for gents doilies to be made into ladies’ head covers white button up blouses for ladies undershirts

Ask a veteran to take you shopping. Their experience can be invaluable in identifying things that will work.

There are also a lot of online resources for buying costumes.

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And a very important note: please wear your costume shoes and corset before opening day. Wear them to workshops and rehearsals as soon as possible. Do not try to break them in opening weekend. You will regret it.

Ladies Back in the day, people wore a lot more clothing than we wear now. Remember, England is exceptionally cold in the winter. Typically there were 7 or 8 layers of clothing.

The first layer would be their drawers, which were made of cotton and would come below the knee or to the ankle, depending on what they were wearing. Normally, a younger lady would wear those that would go to the knee, the more mature and older women would wear them longer, to the ankles.

The second layer would be the chemise. This was nothing more than a cotton night gown that would be worn under the corset to keep it from becoming soiled by bodily oils and from pinching the lady.

The third layer was the corset. Corsets were not used to get the very thin waistline, or to give a woman a busty boost. They were simply designed so that it would give a smooth line from the waist to the bust of the woman. They were constructed of whale bone sewn into cotton. There were hook and eye clasps on the front and it laced up in the back. The corset originated in France.

The fourth layer would have been the corset cover or camisole which of course was made of cotton. It prevented the color from your dress from rubbing or fading onto the corset. Corsets cannot be laundered, so you really have to try your best to keep them clean.

The fifth layer was the under petticoat, normally white, that was made of cotton. It was worn under the hoop skirt to keep it from getting dust and dirt under it and was worn to preserve modesty.

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The drawers were split and any tilt of the hoop or gust of wind could reveal more than she might wish to be seen.

The sixth layer was the hoop skirt. Hoop skirts were sometimes made of whale bone sewn into cotton, but were mainly constructed out of steel covered by cotton, making a simple caged crinoline. This is what gave the southern belles their bell.

The seventh layer were the over petticoats. Normally, during the spring and summer a woman would only wear two of them. But during the Fall and Winter months would wear anywhere from 4 to 5 at a time. The purpose was to cover the hoop skirt so that the bones wouldn't show through.

Finally, add the blouse or bodice and the skirt.

Every lady should expect to have several essential elements:

a corset two undershirts to wear under your corset (one for

Saturday and one for Sunday) a hoop skirt or a "crinoline" or quilted petticoat drawers (to the knee or to the ankle) a dress gloves a good pair of boots/shoes that are period and

comfortable enough to dance in all day a bonnet or hat a shawl

Additionally, you may also want to have several other pieces including multiple undershirts or shirts to go over your corset and under your dress. It's no fun washing your dress on Saturday after fair, and Fezziwig’s is sweaty business, so deodorant and fresh undershirts are key. Also, a timepiece (see http://tinyurl.com/6zvoa3) can be very handy. Wrist watches are not period and are not allowed.

A corset is essential to creating the proper lines. Timeless Trends (http://timeless-trends.com) offers an inexpensive but well-made off the rack corset. Select a size that is 3-4 inches smaller than your natural waist. Dark Garden (http://darkgarden.com) in San

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Francisco offers high quality custom and ready-made corsets. A corset is a good place to start your costuming.

A note on hoops vs. petticoats: Ladies, you are not required to wear a hoop at Fezziwig's. Multiple petticoats are a perfectly acceptable alternative to the hoop, and many dancers prefer the petticoat option, especially for the athletic dances of the 1840's and '50's. Other dancers prefer the air space created under a hoop skirt. If you do wear a hoop, be sure to avoid the giant hoops of the Civil War era. Smaller hoops are more becoming to most women and more considerate to your fellow dancers. We recommend a hoop circumference of 120 to 135 inches.

You will only need one dress for the run of Dickens Fair. We recommend choosing a washable fabric as the Cow Palace is dusty and dirty. Also, undershirts (under your corset and/or between your corset and your dress) are also key to keeping your dress smelling fresh and clean. Plan to have at least 2 undershirts: one for Saturday and one for Sunday. You really must wash these weekly. It's all well and good to look period, but we really don't want to smell period.

If you do choose to wear more than one costume at Dickens Fair, both or all of them need to be formally approved by both the Fezziwig Costume Mistress and/or Fair's current Costume Director.

Dresses can be found ready made from several online retailers.

Cumberland River Sutlery has a simple day dress that is perfect for Fezziwig’s. Choose your waist size (with corset on!) from the left hand column. (http://shop.vendio.com/victorianattire)

Ott's Sutlery - http://www.ottssutlery.com/ladies_apparel.htm

Abraham's Lady - The Day Dress or Garibaldi set is appropriate. http://www.abrahamslady.com/clothing.html

Mrs. Fezziwig and Mrs. Summerson highly recommend getting a pair of Justin Lacers for boots. Take the kiltie off the front and you've got lovely (mostly) period boots in a large range of colors. Purchase these gently used at a huge discount on eBay (see http://tinyurl.com/63k7ae). The bit that isn't period is the speed

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lace pegs on the upper half of the boot. If you're feeling ambitious, you can change those out for normal grommets or get a cobbler to do it for you. You will be able to pass costume approval without this change. These are the most comfortable shoes we've found for a full day of Fezziwig’s.

Ladies, your hair must be up. At the minimum, it should be pulled into a ponytail and pinned into a bun. You may slick it all back and glue it down, but you may not have it loose and free. Traditional hair styles were generally parted down the center. Please pin down all stray hairs. Bobby pins are your friend.

We recommend reviewing images of hairstyles online or in period movies to get ideas. Be aware, though, that many period movies, even much admired films, show the heroines with loose, modern shoulder length hair or long hair tied back with a ribbon. Neither style is appropriate for Victorian ladies over 14. Organized curls are fine. Hair worn loose and flowing is not!. Hair must be done before tableau. We strongly recommend doing it before you leave the house as it is much easier to do with a mirror and there is only one backstage. Side curls and back curls, both "sausage" and "banana" styles, are permitted, but don't bring your curling iron to Fair. There is no suitable outlet for it. Additionally, remember that your hair must be able to withstand 8 hours of dancing and games.

Finally, there are a few things that will not be tolerated. Zippers should never be visible. They were not perfected until the early 20th century and have no place on our stage. Also, ladies, you simply must wear drawers. Showing so much leg in a polka just shocks our sensibilities! Skirts should not be more than 3-4 inches off the ground. The idea is that you should look like you're floating and don't really have legs. You certainly shouldn't be showing off your legs or (heavens forfend!) your knees. This is a party at the office. We are not at a ball. Please wear daywear not ball gowns

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In other words, your gown must have long sleeves and a reasonably high neckline and must certainly not reveal cleavage, no matter how lovely it is. On the other hand, the hem of your skirt must not touch the floor; you don't want to risk tearing it on the dance floor! And please avoid bright lip colors (especially red). We are respectable people, unlike those trashy sorts on the other end of town, or, heaven forbid, one of Jeremy's Girls.

That said, discreet make-up is certainly permitted at Fezziwig's (e.g., a non-bright lip color, blush, powder, brow pencil and make-up base). Fair's Costume Director has even suggested using a base one shade darker than your usual color as an antidote to the anemic look of much of the lighting at Fair. Eye make-up, however, needs to be very discreet or you'll end up looking like a Bond Girl instead of a Dickens heroine! Only ultra-fashionable 19th century women like the Empress Eugenie wore eye-liner and even she used it subtly.

Costume colors to avoid: For theatrical reasons, neither black nor white should be the principal color of your costume. Avoid pastels and select warm winter colors and jewel tones instead. Remember that Dickens Fair management's goal is for the Fair to look like a Christmas card come to life.

Jewelry: Less is more for dancers. Brooches and cameos, watch necklaces, and simple earrings are fine. Bracelets can be hazardous on the dance floor, and necklaces with precious gemstones are inappropriate for a simple party like the Fezziwig’s. Above all, please don't wear anything valuable to Dickens Fair and please don't wear family heirlooms. Leave Aunt Mathilda's 100 year old garnet brooch at home.

GentsGentlemen, you have the blessing that menswear has changed little, but those little changes will trip you up. To get dressed, you will need these essentials:

Shirt Cravat Waistcoat (vest) Trousers (high waisted, no cuffs,

no pleats)

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Gloves A hat (top hat or bowler) A good pair of boots/shoes that are period and

comfortable enough to dance in all day A coat

Additionally you may wish to add a pocket watch, a handkerchief, and a second (or third or fourth) shirt. Many of our gents change shirts mid-day when they get too sweaty. Yes, you're going to be hot. No, you may not remove your coat. If you really feel you'll die if you dance while wearing a coat, then you'd better plan on playing a working class fellow, probably a tea packer at the warehouse.

Online retailers of western wear and civil war sutlers can be a good resource, but avoid things that look especially western-y. Still, it's an easy way to find trousers with the correct waistline and waistcoats (vests) with a straight bottom (no points). If you've got questions, contact a veteran Fezziwigger.

Wild West Mercantile - great for trousers and waistcoats. Check their Bargain Corral. (http://www.wwmerc.com/)

River Junction – (http://www.riverjunction.com/catalog/catindex2.html)

Gentleman's Emporium – (http://www.gentlemansemporium.com/mens_victorian_clothing.php)

Gentlemen, we advise you to use just a little bit of makeup to better define your face. A pale pink lipstick will make you look alive. A little shadow around the eyes will give your face definition. The lights at Fezziwig’s are unflattering and much as you may dislike it, some subtle stage makeup will really make a difference.

Costumers/Seamstresses In 2007, Liz Martin recommended these seamstresses for Dickens costuming.

These talented costumers have been tested and are costumers who have continually built passable or more than passable costumes for our fair. Please be aware that all costumers set their own rate and any business you conduct together is not affiliated with the fair. ~ Liz

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Alexandria Volk: BlackSwanX@gmail.comI do individual consultations and patterning and construction help on a case-by-case basis, sliding scale charged. I also make custom costumes and do custom refitting and repairs – though these services cost more.

Cherie Moore: cherie@wintermooncostumes.net A multiple award-winning costumer is now accepting a very limited amount of commissions for this year's Dickens Fair. Novato area

Rachel Tibbetts: rtibbett@yahoo.com Based in the East Bay, but some travel may be possible.

Carol Wood: kerolkid@gmail.com Experienced costumer, ladies and mens, millinery as well.

Hannah Phillips-Ryan hjvelvet@hotmail.com

To this list, we’d like to add:

Kim Yasuda: costumes@kimyasuda.com

Victoria Ridenour: (650) 962-0882 or opmetr@aol.com

Three Quick Tips for Working with a Professional Costumer Not all costumers are dancers. Make certain that your

costumer knows that you will be dancing in your day dress ALL DAY LONG, not simply sitting, taking tea, and looking pretty!

Make sure the hem of your skirt is at least our recommended 3 inches off the ground. Some costumers tend to want to make the hemlines too long. If possible, the skirt also needs reinforcement of some kind around the hemline.

Be especially careful to remind your costumer that you will need to be able to raise your arms above your head and also need to be able to extend your arms as far as they'll go. Show your costumer the arm movements of the Congress of Vienna. The tight sleeves of some early and mid-Victorian afternoon dress styles are simply not appropriate for Fezziwig's.

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Fezziwig Survival SkillsBefore Fair Before the run of the season starts, try to finish all of those nagging chores like getting an oil change, mending your costume, shopping for Christmas presents. Anything that can be done before November that will keep you from having to do it in November and December will make your life a little happier and easier.

Daily Bathe, brush your teeth, use deodorant. We become very up close and personal with our guests, and they would like us to smell like 21st century people rather than true Victorians. But please, leave off the perfume and after shave as many people are sensitive to artificial scents and may become allergic.

Ladies, you may want to eat breakfast before putting on your corset.

This will require good time management on your part, but taking time to do preliminary stretching exercises BEFORE putting on your costume is also a good idea. You can do more serious and useful stretches without the restriction of a Victorian costume, no matter how comfortable it is. Our 9:45 am group warm-ups will be even more effective if you have done your own warm-ups first.

Getting to fair and being ready to go no later than 9:45 means that you have time for stretching and warm-ups. These may seem trivial, but they can really help you make it through the day.

During Fair Ask questions. Don't be afraid to ask for clarification or help. We're a team.

Drink lots of water. No, more water than that.

Eat regularly. You're burning a lot of calories.

We highly recommend Mr. Brown's morning mush as the best breakfast at fair. Bowl of mush (oatmeal with fruit

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cooked in), with or without a sausage is the perfect fuel for Fezziwig’s.

The Meat Pie Shop (near the V&A) is also another good value for hot food midday.

Take your breaks. Find a bench somewhere in fair and sit. Walk the fair in character. Go to the big green room out back and check your iPhone. Take some time off.

After Fair If your feet are killing you, draw a washtub ankle deep of hot water. Pour in one packet of Johnson's Foot Soap. Why does it work? I don't know. But it does. It takes the ache right out of your feet.

Remember to do your stretches in the evening, too! This will also help ease your muscle pain and help prevent injuries.

Eat a good meal between close of fair and sleep. Make it something easy to digest and easy on your system. You've just put your body through a lot of work, and it needs energy to make it through the next day, even if the next day is a Monday. Drink more water before you go to sleep.

Before you turn in, lay out the clothes and supplies you need for fair the next morning. Have a physical check list you can refer to when you are low on brain waves. Some people leave their costume at fair Saturday nights; some take them home every night. It's up to you, but preparing your needs for the next day the night before will give you more time to sleep.

Sleep. It may be tempting to go partying with friends, but you really do need a good night's rest, especially on Saturday night.

DetailsWho To Contact In An Emergency If a medical or safety emergency arises, find the Stage Manager. If you can't find him or her, talk to the bar outside of Fezziwig’s. They have access to the radio system. We have an onsite EMT and "handymen" to fix sets and people (available for guests and cast). If a customer is hurt, Fair Management MUST know about it to avoid lawsuits later (yes, it has happened).

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If a personal emergency arises and you need help or to leave, please find a director or shift lead. If you can't find one, find the Stage Manager.

Food at Fezziwig’s - Potluck We maintain a food pantry backstage that is intended for grabbing a bit here and there between sets, but don't expect to eat full meals from this food. Everyone is encouraged to bring something to contribute. We absolutely love homemade food, but please include an ingredient card as many of our cast have allergies and will not be able to enjoy the treat if they don't know what's in it.

Cups and Water Please drink plenty of water. Generally, there is a faucet and sink backstage for drinking water and washing hands. Occasionally the Cow Palace has water failures and bottled water must be brought in.

Put your name on a cup using a Sharpie marker from the Things Box. After you've finished your water, please turn the cup upside down on the shelf to help keep the dust out. The Cow Palace really does have cows (and their emissions) during the year, and you don't want to consume what's in the dust here.

NEVER leave a filled cup of water backstage unattended. Water spills on costumes and baggage can be devastating.

Cups are discarded nightly to prevent sharing with the permanent residents of the Cow Palace. (ROUSes? I don't think they exist.)

Hypoglycemic Packs On the bottom shelves of the food pantry are a couple of packs for diabetics or hypoglycemics. These are emergency supplies containing sugar gels and protein bites. Please feel free to use them in an emergency.

Things Box The Things Box is a set of drawers that contain various essentials for needs that arise during the run of fair. It includes the medicinal:

asprin Tylenol

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Advil pseudoephedrine (generic Sudafed) Immodium AD (anti-diarrheal) Dayquil Claritin bandages mole skin cough drops (sugar and sugarless)

It also includes a few things to help us look our best:

hair spray bobby pins hair elastics spare gloves spare buttons, snaps, and hooks spare suspenders spare shoelaces spare lappet/doily nail clippers nail file tweezers clear nail polish (to stop runs) safety pins needles, thread, and scissors lipstick blush

Some basic life necessities are also included:

condoms tampons and pads Krazy Glue Johnson's Foot Soap

If you ever need something from the Things Box, please help yourself. Please keep the Things Box tidy so the next person can find things. If you can't find something, ask a director or stage manager, especially Mrs. Summerson. If you use the last of something, please let Mrs. Summerson know and she'll restock it.

A Special Note on CondomsA long time ago, in the early days of the AIDS epidemic, we lost too many good friends and loved ones to this disease. Please, take a condom (or two or three) if you think there's any chance

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you might find yourself needing one. We would much rather resupply often than lose one more person to a preventable disease. Drama We hate to have to say it, but we must: please keep your personal drama at home. If it does come with you to fair, please leave it back stage. Our guests came to see the magic of the holiday season, not your temper tantrum.

Additional QuestionsAsk them. You may always contact the director at director@fezziwigs.org. You may also ask any other assistant director, shift lead, or stage manager to get a reliable answer to a question. Don’t hesitate to ask.

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