P.L.A.Y. (Performance = Literature + Art + You) Student Matinee Series Season

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1 Discovery Guide BOOK & LYRICS by ERIC IDLE MUSIC by JOHN DU PREZ & ERIC IDLE DIRECTED by MELISSA RAIN ANDERSON P.L.A.Y. (Performance = Literature + Art + You) Student Matinee Series Season

2 1 TABLE OF CONTENTS About Spamalot Eric Idle and John Du Prez.. 2 The Cast Spamalot Production History Activities England During The Middle Ages.. 4 Arthurian Legends Monty Python: Highly Intelligent and Silly How To Create A Play in 20 Quick & Easy Steps For Under $700,000 (Abridged) Spamalot Fun Facts DEAR EDUCATORS, If you have even a passing knowledge of Monty Python, you know that Spamalot, like much of the group s work, is full of ridiculousness and silliness and oddity. That s such a big part of Monty Python s charm the acknowledgment and embrace of how much of our days are spent on the ridiculous, the silly, and the odd. But what sets them apart is the incredibly high level of intelligence and empathy with which they embrace the lunacy. This, in turn, grants us access to their singular universe through any number of entry points. There is, of course, the initial humor of it all; the immediate visceral reaction to, say, one man slapping another in the face with a gigantic fish, or heroic knights seemingly unaware that their horses are merely servants clapping together two coconut halves. But once we make our way past the physical, we find that there is so much more to discover within the joke. Spamalot, at various points, touches on the nature of political power, how that power is derived, and to what ends it is employed; on the frustrations of unrequited love and the loneliness that accompanies it; on the ability to affirm a belief in ourselves against constant struggles with adversity; on the power of self-determination in the quest to find a personal grail; and, finally, on the value of finding the bright spots in even the darkest of situations. Quite a lot going on for a play with fish slapping and invisible horses, right? The question for us is always if the students will see some version of themselves in the story. Will they be able to connect themselves to what they re seeing on the stage? And, we believe, that the answer is yes. Maybe they ll identify with the put-upon and underappreciated Patsy. Or perhaps they ll recognize themselves in Prince Herbert and Lancelot straining against the ill-fitting plans set out before them. Maybe the more politically-minded Dennis will strike a chord? Or, possibly, even King Arthur himself will provide the connection, as he is given a task that he doesn t quite understand and is not equipped with a solid plan for completing that task a set of circumstances with which we can all, most likely, identify. As always, we thank you for the privilege of sharing the power of theatre with your students. We re so eager to witness them make these connections for themselves. Sincerely, Eric Evans Education Administrator eevans@gevatheatre.org (585) WARNING: Spamalot contains some mature language and content. While Spamalot is a musical comedy, some of the language and content in the production are suited for more mature middle and high school students. It is recommended that all educators take the opportunity to read the script of Spamalot prior to attending with their students. If you have questions or concerns about the content of the play or would like to request an electronic reading copy, please do not hesitate to contact the education department. For a list of resources used in the creation of this Discovery Guide, please visit Participation in this production and supplemental activities suggested in this guide support the following NYS Learning Standards: A: 2, 3; ELA: 1, 2, 3; SS: 2, 3, 4 LIFE IS REALLY UP TO YOU, YOU MUST CHOOSE WHAT TO PURSUE. THE LADY OF THE LAKE

3 ABOUT SPAMALOT 2 Bes dréamlic fréogan áwrítan nigontíenlic-hundseofontiggéare-fífwintre filmen, Monty Python and the Holy Grail, onbutan brytencyning Ænglisc you didn t think we were going to make you translate the whole thing from Olde English, did you? Spamalot, which is (lovingly) ripped off of the 1975 film, Monty Python and the Holy Grail, is centered around the story of King Arthur and his fellow Knights of the Round Table, as they embark on a brave quest to find the Holy Grail. Their journey is a noble one. Set in England (not to be confused with FINland) in 932 AD, we see King Arthur meet the Lady of the Lake, we watch Sir Lancelot come to grips with who he really is, and we witness Arthur s servant, Patsy, struggle with a lack of appreciation. With some divine intervention, chaotic battle scenes, and cheesy, stereotypical love songs along the way, Spamalot is sure to bring smiles, laughs, and a reminder to always look on the bright side of life. ERIC IDLE & JOHN DU PREZ Above: Eric Idle; Far right: John Du Prez Eric Idle has been a writer, song-writer, comedian, and performer for over forty years. He is most well-known as one of the six members of Monty Python along with John Cleese, Graham Chapman, Michael Palin, Terry Jones, and animator Terry Gilliam. As Monty Python, they produced a highlyregarded television series as well as four feature films, among a number of other projects. Idle is credited with the authorship of Spamalot but, in fact, the bulk of the story and the dialogue is derived from the film, which was co-authored and created by all of the members of Monty Python in John Du Prez is a musician, conductor, and composer who has since written several film scores including Oxford Blues, Once Bitten, and Carry On Columbus. Du Prez often worked with members of Monty Python, most notably for Monty Python's Life of Brian, Monty Python's The Meaning of Life, A Fish Called Wanda, and Time Bandits. Du Prez also co-wrote the music for Spamalot. THE CAST Top row (from left to right) : Brandon Andrus (Sir Dennis Galahad/Black Knight/Prince Herbert s Father); Jessica Azenberg (Ensemble); Jennifer Cody (Patsy/Guard #2); John Cummings (Ensemble); Mike DiSalvo (Sir Lancelot/French Taunter/Knight of Ni/Tim the Enchanter); Nicole Eras (Ensemble); Andy Frank (Ensemble); Leah Hassett (Ensemble); Hunter Foster (King Arthur). Bottom row: Jacob Hoffman (Historian/Not Dead Fred/French Guard/Prince Herbert/Minstrel); Ashley Dawn Mortensen (Lady of the Lake); Shannon Mullen (Ensemble); Frankie Paparone (Ensemble); Adam Pellegrine (Ensemble); Jim Poulos (Sir Robin/Guard #1/Brother Maynard); Jacob Stewart (Ensemble); Michael Warrell (Sir Bedevere/Mayor/Dennis Mother/Concorde). THE NEW TEST IS YOU MUST PUT ON A BROADWAY MUSICAL. NI KNIGHT

4 3 SPAMALOT S PRODUCTION HISTORY I think Spamalot turned out splendidly. It s had a tremendous run. I defy anyone to go and not have a really fun evening. It s the silliest thing I ve ever seen and I think Eric did a great job. John Cleese, Monty Python member Since its Chicago preview in December of 2004, Spamalot has gone on to become one of the most successful musicals in theatre history. The profits from the show s initial New York run are said to have made Broadway box office history. Below is an abbreviated production history for Spamalot Chicago (preview) (Shubert Theatre) Broadway run (Shubert Theatre) West End (Palace Theatre) st North American tour st UK Tour West End revival nd North American tour nd UK Tour In addition, Spamalot has had innumerable productions throughout the United States as well as Australia, Spain, Sweden, France, Germany, Hungary, Belgium, the Czech Republic, Canada, Italy, and Japan. ACTIVITIES The Politics of Spamalot ARTHUR: I am your king MOTHER: Well, I didn't vote for you. ARTHUR: You don't vote for kings. MOTHER: Well, how did you become king then? Though many may consider Spamalot to simply be a silly musical, it actually boasts several political underpinnings. Consider, for example, the above dialogue and the question posed by Dennis mother. Over the course of the scene, a number of political philosophies are mentioned. Several are listed below. Research them and their different systems of governance. * Autonomous collective * Dictatorship * A self-perpetuating autocracy * Anarcho-syndicalist commune Realism in Spamalot In Spamalot, we see many situations with little basis in reality. You will never, for example, meet up with a stubborn man in armor who refuses to let you pass, thus forcing you to de-limb him. Some of the situations that actually are grounded in reality quickly escalate far beyond any sort of recognizabe scale. However, despite the immense silliness of much of Spamalot, there are many themes present that will be immediately recognizable to many audience members. As you watch the play. consider some of the following: * The relationship between King Arthur and Patsy * Prince Herbert s relationship with his father * The Lady of the Lake s feelings about her place in the story Try to notice how many other instances you recognize while watching Spamalot, and how quickly they spin out of control. Fact Checking Spamalot While theatre often requires audience members to suspend their disbelief, it is still the goal of the production to be as believable as possible. Spamalot, however, features a number of items that have no business in a story set in 932 A.D. Research technological advances during the Middle Ages and see what would have been considered cutting edge for its time. How many modern items you can spot in this prodution? STRANGE WOMEN LYING IN PONDS DISTRIBUTING SWORDS IS NO BASIS FOR A SYSTEM OF GOVERNMENT. - DENNIS

5 ENGLAND DURING THE MIDDLE AGES 4 We learn early on that Spamalot is set during the Middle Ages in 932 A.D. However, as Monty Python member Terry Gilliam has pointed out, the Arthurian stories that the group used as inspiration (such as the works of Sir Thomas Malory and Chretien Le Troyes) were written in the 12th century and set in the 10th century. As a result, Gilliam and the other members of the group were afforded an enormous amount of material from which to craft their skewered version of the Arthurian legend. The Middle Ages ran from roughly the end of the 5th century through to the start of the Early Modern period in When England emerged from the collapse of the Roman Empire, its economy was in decline and many of its towns had been abandoned. Following several centuries of Germanic immigration to the area, a series of predatory kingdoms developed, with all of them in competition for power. Over time, the Anglo-Saxons rose as the dominant force in the country. Their rise also resulted in a large increase in conversions to Christianity, leading to the establishment of a network of monasteries and convents across the country. The 8th and 9th centuries witnessed fierce Viking attacks until Wessex was eventually established as the dominant kingdom. Despite repeated crisis of succession and a Danish seizure of power at the start of the 11th century, by the 1060s England was a powerful, centralized state with a strong military and successful economy. The Norman invasion of England in 1066 led to the replacement of the Anglo-Saxon elite with Norman and French nobles and their supporters. William the Conqueror and his successors took over the existing state system, repressing local revolts and controlling the population through a network of castles. The new rulers introduced a feudal approach to governing England, eradicating the practice of slavery but creating a much wider body of unfree laborers called serfs. England's population more than doubled during the 12th and 13th centuries, fueling an expansion of towns, cities, and trades. A new wave of monasteries and friaries were established, while ecclesiastical reforms led to tensions between successive kings and archbishops. Despite developments in England's governance and legal system, infighting between the Anglo-Norman elite resulted in multiple civil wars and the loss of Normandy. The 14th century in England saw the Great Famine and the Black Death, catastrophic events that killed approximately half of England's population, throwing the economy into chaos and undermining the old political order. The Black Death, or Plague, as it is commonly known, was a fatally infectious disease caused by powerful bacteria spread in the air, by direct contact, or by contaminated, undercooked food or materials. While treatable, if detected early, plagues were responsible for thousands of deaths throughout the world during the Middle Ages. Pieter Bruegel the Edler s The Fall of the Rebel Angels Pieter Bruegel the Edler s Feast of Fools Social unrest followed the Black Death, leading to changes in the economy and the emergence of a new class of gentry as the nobility began to exercise power through a system termed feudalism. Nearly 1,500 villages were deserted by their inhabitants as people sought new opportunities in the towns and cities. New technologies were introduced, and England produced some of the great medieval philosophers and natural scientists. English kings in the 14th and 15th centuries laid claim to the French throne, resulting in the Hundred Years' War. Following several important military victories, England enjoyed an economy buoyed by profits from the international wool and cloth trade. By 1450, however, the country was, again, in crisis, facing military failure in France and an ongoing recession. More social unrest broke out followed by the Wars of the Roses, fought between rival factions in the English nobility. Henry VII's victory in 1485 typically marks the end of the Middle Ages in England and the start of the Early Modern period. WHY ARE WE CALLED THE MIDDLE AGES WHEN NOTHING COMES AFTER US? - KING ARTHUR

6 5 ARTHURIAN LEGENDS King Arthur King Arthur was a legendary British leader of the late 5th and early 6th centuries who, according to medieval history, led the defense of Britain against Saxon invaders in the early 6th century. The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and largely disputed by modern King Arthur historians. Arthurian legends tell tales of Arthur s kingdom, battles, valor, his marriage to Guinevere and the gift of the Round Table upon their union, the adulterous love affair between Guinevere and Arthur s knight Lancelot, his quest for the Holy Grail, the acquisition of a sword from Merlin and the stone, the Lady of the Lake, Excalibur, and the destruction of his kingdom. Holy Grail According to a Welsh poem, the Grail was a magic cauldron that King Arthur and his men were sent on a quest to retrieve. It was capable of providing enlightenment, happiness, eternal youth, and food in infinite abundance. As time progressed, the Holy Grail came to represent the chalice that Christ drank from at the Last Supper and the vessel used to catch his blood as he hung on the cross. It was said to have been brought to Britain and later became the object of knightly quests - only those godly enough, noble enough, and those with a true heart were said to be worthy of finding the Grail. The Knights of the Round Table Knights were usually of noble birth and formed the backbone of an army since they could afford expensive armor and weaponry. When knights attended a festival or council at King Arthur s castle, those who sat at the head of the table usually held precedence or had a higher position than the others. To resolve quarrels over status woes, King Arthur s table was constructed in a rounded shape. The ingenuity of this design made all the knights equal, regardless of stature, and represented equality, comradeship, eternity, and a united purpose. Arthur s knights were heroes, renowned for their strength, courage, honor, dignity, courtesy, and skill in combat and warfare as they undertook quests and strove to protect the king and the citizens of the kingdom. The Legend of the Lady of the Lake Arthur meets the Lady of the Lake and gets the Sword Excalibur by Henry Justive Ford The Lady of the Lake is best known for presenting King Arthur with the sword, Excalibur. She does so at the request of Merlin who, as Arthur s advisor, fears for his safety in battle. Later in the legend, the sword is returned to her. While Arthur is off battling the Saxons, his nephew or illegitimate son (depending on the legend), Mordred, raises an army against him. He engages Arthur in battle upon his return and both Mordred and Arthur are mortally wounded. As he draws his last breaths, Arthur asks his most loyal knight, Bedevere, to throw Excalibur into the lake, and then to return and tell him what he sees. Bedevere tries twice to throw the sword into the lake and each time he is reminded of what a faithful sword it has been and finds he cannot bear to do it. He hides the sword and tells Arthur he has done his bidding. Each time Arthur accuses Bedevere of lying and sends him back to throw in the sword. On his third attempt, Bedevere finally manages to throw the sword in the lake. He returns to Arthur and tells him that, as he threw the sword, he saw a hand - undoubtedly belonging to the Lady - emerge from the lake and take it down into the water. At this, Arthur nods and closes his eyes. As Arthur passes away, Bedevere sees the ghosts of past kings and queens appear and carry his body out over the lake. Camelot In Literature, Camelot (an imaginary place), is usually situated in the South of England. Camelot is sometimes identified with Cadbury Castle. When the site was excavated in the late 1960s, it was confirmed that a large fort and enclosure was there in the Arthurian era and was probably occupied by a powerful leader and his followers. If Arthur existed, he would have needed a base for his operations and, in most medieval texts, Arthur holds court at Camelot. AND REMEMBER, GENTLEMEN: WHAT HAPPENS IN CAMELOT, STAYS IN CAMELOT. - KING ARTHUR

7 MONTY PYTHON: HIGHLY INTELLIGENT AND SILLY 6 One of the central themes in writer David Morgan s book, Monty Python Speaks!, is the endurance of one of the group s guiding principles the willful collision of intelligence and ridiculousness as a means to examine and spoof the extremes of both. Throughout the book, Morgan reflects how truly ground-breaking that combination felt to audiences in the late 1960s and through the 1970s, when Monty Python was at its most popular peak. The revolution was televised, writes Morgan. Monty Python was not about jokes; it was really about a state of mind. It was a way of looking at the world as a place where walking like a contortionist is not only considered normal, but is rewarded with government funding; where people speak in anagrams; where highwaymen redistribute wealth in floral currencies; and where BBC (British Broadcasting Corporation) newsreaders use arcane hand signals when delivering the day s events. When the six members of Monty Python embarked on their unique collaboration, continues Morgan, they were reacting against what they saw as the staid, predictable formats of other comedy programs. What they brought to their audiences was writing that was both highly intelligent and silly. What made Monty Python extraordinary from the very beginning was their total lack of predictability, reveling in a stream-of-consciousness display of nonsense, satire, sex, and violence. Throughout their careers they were uncompromising in their work and, consequently, made a mark on popular culture which is still being felt today. Monthy Python during the filming of Monty Python and the Holy Grail In their 1975 film, Monty Python and the Holy Grail (on which Spamalot is largely based), many of these attributes are on full display in what Morgan describes as a joyfully irreverent mixture of comic riffs, mock heroics, and songs in which bits and pieces of Arthurian mythology were all targets for satire. The faithful rendering in the film, for example, of setting and costume of the Middle Ages only enhances the absurdity of King Arthur and his knights miming horse-riding while being followed by servants clapping together two coconut halves in place of horse hooves. You could enjoy the story for its faithfulness to (parts of) Arthur s story, or for the sheer oddity of how Monty Python told that story. Part of their brilliance was in giving audiences that choice. Monty Python and the Holy Grail was not, however, a mere period piece with some eccentric touches. The members of the group, all college educated with several of them extremely well-versed in the Middle Ages, knew that they could use this story in its mocking of the acceptance of myth as fact, for example, or the inconsistencies of political rhetoric as a way to appeal to the sensibilities of younger (or at least more out-of-the mainstream) audience members. This was a time when the Vietnam War was still being fought and the specifics of 1960s idealism were being openly questioned. In Monty Python Speaks!, member Michael Palin says, we found that within these characters we could write material that did not need modern references necessarily, but would be modern attitudes the peasants discussing modern constitutions and how the governmental bodies should be. Now that s a very modern idea, a sixties and seventies concept that you could stay in costume and do it in a field; you didn t have to cut to people around a discussion table. Monty Python would continue with this scrutiny of institutions governmental and religious, among others in their subsequent films Monty Python s Life of Brian and Monty Python s The Meaning of Life as well as their own individual projects. And, as David Morgan opines, you can still feel the influence of their work today. SO BE YOU WARNED YOU BRAVE KNIGHTS, FOR DEATH AWAITS YOU ALL WITH NASTY GREAT BIG POINTY TEETH! TIM THE ENCHANTER

8 7 HOW TO CREATE A PLAY IN 20 QUICK & EASY STEPS FOR UNDER $700,000 (ABRIDGED) From top to bottom: King Arthur (Hunter Foster) and the Black Knight (Brandon Andrus); Patsy (Jennifer Cody); Sir Dennis Galahad (Brandon Andrus) and The Lady of the Lake (Ashley Dawn Mortensen); God s feet and the Holy Grail All photos courtesy of HuthPhoto GOD THE ALMIGHTY AND ALL KNOWING HAS MISPLACED A CUP? SIR ROBIN

9 THE WOODEN RABBIT, SIRE!, IT S THE VERY LATEST IN MODERN TECHNOLOGY. BEDEVERE 8

10 9 ALL MY KNIGHTS HAVE FLED AND WE RE LOST IN A DARK AND EXTREMELY EXPENSIVE FOREST. KING ARTHUR

11 SPAMALOT FUN FACTS * $467,000 Spamalot s production budget for direct costs (costumes, set, travel, rentals, actor and designer fees, royalties, etc.) * $185,000 Spamalot s production budget for indirect costs (overhead, Geva staff, utilities, etc.) * $66,5000 Spamalot s royalties (11% of the show s total projected income) * $50,000 Spamalot s marketing budget * $30,000 Spamalot s costume budget * Spamalot holds the record for most costumes in a single production in Geva history. * There are over 200 costumes, 100 pairs of shoes, and 40 wigs (not including facial hair). * Equity guidelines state that every article of clothing that touches an actor s skin (undergarments, tights, leotards, socks, etc.) must be doubled so that on two-show days when we there isn t enough time to wash everything between performances, every actor has clean clothing to wear under their costumes. The costumes are regularly cleaned and maintained by the wardrobe crew and costume shop. * Each of the 17 actors in Spamalot had two 1-hour costume fittings that s 34 hours of just fittings in a Set model by Scenic Designer James Morgan two-week period. * There are several trick costumes in Spamalot be sure to look for them! 10 STAFF SKIP SKIP SKIP SKIP GREER DIRECTOR OF EDUCATION/ ARTIST IN RESIDENCE LARA RHYNER ASSOCIATE DIRECTOR OF EDUCATION ERIC EVANS EDUCATION ADMINISTRATOR KEVIN PLINZKE EDUCATION INTERN JEAN GORDON RYON DRAMATURG MARK CUDDY ARTISTIC DIRECTOR TOM PARRISH EXECUTIVE DIRECTOR All costume renderings by Costume Designer Susan Branch Towne ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE. PATSY

12 Geva s P.L.A.Y Student Matinees December 2nd, 3rd, 8th, 9th, 10th, 15th & 16th at 10:30 am For all audiences (ages 5 and up) January 19th and February 4th at 10:30 am For high school audiences February 25th and March 2nd, 3rd, 10th, 16th, 17th and 18th at 10:30 am For middle school audiences and up Tickets on-sale now. For more information, call (585) Education Partners Thank you to our corporate and foundation donors who support our education programs. (Donors are listed for the time period 05/31/2014 through 9/11/2015) Ames-Amzalak Memorial Trust in Memory of Henry Ames, Semon Amzalak and Dan Amzalak Jay Birnbaum Canandaigua National Bank & Trust The Donald F. and Maxine B. Davison Foundation Enterprise Feinbloom Supporting Foundation Fred & Floy Willmott Foundation Louis S. & Molly B. Wolk Foundation Max and Marian Farash Charitable Foundation David & Sharon Mathiason Mr. & Mrs. Dennis Mullen The Guido and Ellen Palma Foundation Dr. & Mrs. Richard Poduska The Polisseni Foundation Eric & Elizabeth Rennert Rochester Area Community Foundation Lynn Rosen & Bradley Rosen Time Warner Cable Mr. & Mrs. Peter van Demark Ms. Katherine Wall & Ms. Madeline Wall Wegmans Food Markets Summer Curtain Call Supporters Sherwin & Linda Cornell Weinstein The Xerox Foundation Printing Sponsor Excellus BlueCross BlueShield To Kill A Mockingbird Education Program Sponsor Thank you to the supporters of the 2015 Summer Curtain Call Event, our annual gala in support of our education programs. Executive Producer Nocon & Associates, A private wealth advisory practice of Ameriprise Financial Services, Inc. Dawn & Jacques Lipson, M.D. Elaine P. & Richard U. Wilson Foundation Associate Producer Pamela Giambrone Kim & Janet Tenreiro Sergio & Mary Ann Esteban LLD Enterprise Director Jack & Lisa Baron Victoria & Bill Cherry CJS Architects Constellation Brands, Inc. Suzanne Gouvernet Michael & Joanna Grosodonia Manning Squires Hennig Co., Inc. REDCOM Laboratories Joseph A. Floreano Rochester Riverside Convention Center Rochester Regional Health System Rochester Red Wings Trillium Health U.S. Employee Benefits Services Group VisitRochester Helen A. Zamboni & Steven L. Rosen With additional support from (585) Magazine Balsam Bagels Black Button Distilling Conolly Printing Daryl Hogg Entre Computer Services Fioravanti Florist Hedonist Artisan Chocolates ImageNow by Mahar Madeline s Catering Mark s Pizzeria Marshall Street Bar & Grill The Melting Pot Moonlight Creamery News 10 NBC New York Wine & Culinary Center Nolan s Rental Inc. Paper Moon Productions ROC Brewing Co. WXXI Public Broadcasting 75 Woodbury Boulevard Rochester, New York Box Office: (585) 232-Geva (4382) Education Department: (585) or Interested in sponsoring Geva s Educational programming? Contact Kelly Smith at (585)