March adapted by. Joseph Robinette. based on the book by E.B. White THE UNIVERSITY THEATRE CHARLOTTE S WEB

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1 March 2015 adapted by Joseph Robinette based on the book by E.B. White THE UNIVERSITY THEATRE CHARLOTTE S WEB

2 is a publication of Kalamazoo RESA s Education for the Arts, Aesthetic Education Program Editor Nick Mahmat Research Hilary Anthony Nick Mahmat STRATEGIES for using the Window on the Work Purpose The purpose of the Window on the Work is to provide educators and teaching artists with contextual information pertaining to the focus works presented by the Education for the Arts Aesthetic Education Program. This information can fuel the educational process between educators and teaching artists in developing lesson plans and can offer additional pathways (windows) into the repertory and possible connections to existing school curriculum. Contributors Hilary Anthony Nancy Husk Angie Melvin Tara Sytsma Michele VanderBeek Mary Whalen Design Nick Mahmat Education for the Arts Director Bryan Zocher Director s Secretary Kris DeRyder Coordinator Deb Strickland Aesthetic Education Program Coordinator Nick Mahmat Alternative & Special Education Arts Initiative Program Coordinator Angie Melvin In the planning process, use the Window on the Work: To brainstorm themes for study development As a reference tool as questions and interests develop in the planning session To elaborate and expand the instructional focus that has developed out of the planning process To learn more about the work of art To consider possible responses to the question pages as the Window is read To discover connections to other work by the same artists and to other works in the same genre During the unit of study, use the Window on the Work: To expand on a lesson idea As a reference to respond to students questions To keep the discussion about the work alive in the classroom For source material such as artist quotes or background information that may be utilized when incorporating contextual information experientially into a workshop. To discover additional connections After the unit of study, use the Window on the Work: To continue discussion about the work To compare to other works of art the class may study in the future To expand curriculum study in the classroom on a particular culture, period in history, etc. As a jumping-off point to make connections with other classroom activities, personal connections, and courses of study Comments or questions about this publication may be directed to Nick Mahmat, Aesthetic Education Program Coordinator at or nmahmat@kresa.org Education for the Arts, Window on the Work publications are proudly printed at Kalamazoo RESA s, REMC12 Media Center.

3 The Work The Work Terrific, terrific, terrific! Charlotte s Web is one of the most popular children s books of all time. EFA is delighted to partner with the Western Michigan University Department of Theatre to bring this heartwarming tale to life EFA and WMU will present Charlotte s Web to school audiences at 10:00 and 12:15, March 9-13, 2015, at Shaw Theatre on the campus of Western Michigan University. The following section contains information on the performance Charlotte s Web. Please consider the following questions as you view and read about the work. They may also serve as helpful discussion questions with students during workshops or after viewing the performance. What do you notice? Describe the detail you see when watching the show. What stands out to you? Who are the characters within the story? How would you describe the relationships between the characters? Charlotte s Web has many characters within the story consisting of both humans and animals? What are some of the artistic choices the actors and designers have made to create and distinguish between animal and human characters? What other techniques or devices do you notice the artists using to move the story forward? What are the effects of some of those choices? What themes are present in the story Charlotte s Web?

4 Produced in collaboration with Education For The Arts adapted by JOSEPH ROBINETTE based on the book by E.B. WHITE CHARLOTTE S WEB A Full-Length Play Adapted from the book by E.B. White By Joseph Robinette Produced by special arrangement with THE DRAMATIC PUBLISHING COMPANY of Woodstock, Illinois. CHARACTERS: Fern Arable John Arable Martha Arable Avery Arable Homer Zuckerman Edith Zuckerman Lurvy Wilbur Templeton Charlotte Goose, Gander, Sheep, Lamb Chorus [Reporter, Photographer, Spectators, Judges, Fairgoers, Announcer, Uncle (a pig), spiders] a young girl her father her mother her brother her uncle her aunt a hired hand a pig a rat a spider farm animals extras TIME: Present and the Past PLACE: The Arables Farm; the Zuckerman Barn; the County Fair

5 Show Synopsis A fter sparing the life of a piglet almost slaughtered as runt of the litter, a little girl named Fern Arable nurtures it lovingly, naming it Wilbur. Under Fern s loving care Wilbur grows to a fine size and is sold to Fern s uncle, Homer Zuckerman. In his new home of Zuckerman s barn Wilbur is left yearning for companionship. Despite his efforts he is snubbed by the other barn animals, until befriended by a barn spider named, Charlotte A. Cavatica who lives on a web overlooking Wilbur s enclosure. The two quickly become the best of friends. Upon Wilbur s discovery that he is intended for slaughter, Charlotte promises to hatch a plan guaranteed to spare his life. Witness two unlikely friends as they embark on an adventure to discover what it means to be a true friend. Experience this simple and touching tale where one is taught, A good life is much more important than having a long life. The images above are taken from the June 2014 Repertoire Showcase in which WMU staged a short preview to give audiences a taste of the upcoming production. The production in March will be fully staged with scenery. The fully staged production is directed by Assistant Professor of Theatre, Lofty Durham, and features WMU students. The script was adapted by playwright Joseph Robinette, who collaborated with author E.B. White on the stage version of Charlotte s Web and wrote the musical version with Charles Strouse.

6 The Artists The Artists The following section contains information about select artists whose work is featured in WMU s upcoming production of Charlotte s Web. You may wish to consider the following questions as you read along. Who are the artists whose work makes up the production of Charlotte s Web? What are their backgrounds and experiences as artists? What is their contribution to the production?

7 WESTERN MICHIGAN UNIVERSITY DEPARTMENT OF THEATRE The Western Michigan Department of Theatre prepares and empowers the next generation of professionally engaged, community-minded, and culturally aware theatre artists. Through intensive experiential practice and inquiry-based education, WMU s training fosters initiative and creative thinking. Their graduates are intentional learners empowered, informed, responsible, and prepared to succeed in the professional world. WMU s nationally award-winning Department of Theatre offers extensive onstage, offstage, and behind the curtain training. The range of experiences to which students are exposed is vast, creating the kind of well-rounded theatre artist necessary in today s field. The department presents nine faculty-directed productions each season in three different theatres, which feature student designs in set, costumes, lighting, and sound. WMU s Department of Theatre presents additional plays presented through their laboratory theatre program and directing classes, and Footlight productions. University Theatre productions are often recognized for their excellence. WMU has received top honors at the prestigious American College Theater Festival at the Kennedy Center in Washington, DC. Alumni are regularly featured on Broadway, television, film and in regional theatres, and have received numerous Tony nominations. The WMU Department of Theatre is accredited by the National Association of Schools of Theatre (NAST). This association sets standards for curriculum and production programs at the undergraduate and graduate levels for institutions of higher learning and is considered a prestigious accolade of the Department of Theatre.

8 LOFTON (LOFTY) DURHAM DIRECTOR OF WMU S UPCOMING PRODUCTION OF CHARLOTTE S WEB Lofty Durham is a researcher, teacher, and professional director who joined the Department of Theatre in fall His article, Reconnecting Text to Context: The Ontology of French Medieval Drama and the Case of the Istoire de la Destruction de Troie la Grant, won the 2011 Martin Stevens Award for Best New Essay in Early Drama Studies, which is given annually by the Medieval and Renaissance Drama Society. He has been nominated twice by Western to compete for the National Endowment for the Humanities Summer Stipend program. He is currently at work on a book, Playing with Ideas, that seeks to reframe the cultural importance of performance in late medieval France. He is a frequent contributor to conferences, including a perennial appearance as the co-convenor of a working group on medieval performance at the American Society of Theatre Research, and as a speaker at venues such as the Medieval Academy of America, the Medieval Congress at Kalamazoo, and the Arizona Center for Medieval and Renaissance Studies. In addition to teaching Theatre History, Script Analysis, Script Analysis for Production, as well as several sections a year of Introduction to Theatre, Lofty is a member of the graduate faculty of the Medieval Institute and a member of the Institute s Board. He was also instrumental in establishing Western s University Center for the Humanities, and he was responsible for conceiving and leading the development of the Speaker Series, Power and Publics. He is active on campus especially regarding best practices in teaching, learning, and curriculum development. Lofty earned his PhD, MA, and a certificate in West European Studies at the University of Pittsburgh. While in Pittsburgh, Lofty co-founded a small theatre company called Pandora s Box Theatre, which during its short yet fierce existence, produced a two-week repertory of new adaptations of Shakespeare s Titus Andronicus and Molière s Amphitryon in summer 2006, and in 2007, a critically acclaimed translation and adaptation of Edmond Rostand s chicken play Chanticleer. He also directed at several other venues in Pittsburgh, including Open Stage Theatre, City Theatre, and Pittsburgh Shakespeare in the Parks. Before arriving in Pittsburgh, Lofty directed professionally in the Washington, DC area, at organizations as varied as Washington Shakespeare Company, Source Theatre Company, the Opera Theatre of Northern Virginia, The Theatre Conspiracy, and St. Mary s College of Maryland. He was also lucky enough to assistant direct at the Folger Shakespeare Library s Elizabethan Theatre for four years. In addition to his academic and theatre experience, Lofty has worked in nonprofit organizations as a volunteer recruiter and manager, writer and editor, grantmaker, fundraiser, and marketer.

9 E.B. WHITE AUTHOR OF THE BOOK, CHARLOTTE S WEB E. B. White, the author of such beloved classics as Charlotte s Web, Stuart Little, and The Trumpet of the Swan, was born in Mount Vernon, New York. He graduated from Cornell University in 1921 and, five or six years later, joined the staff of The New Yorker magazine, then in its infancy. He died on October 1, 1985, and was survived by his son and three grandchildren. Mr. White s essays have appeared in Harper s magazine, and some of his other books are: One Man s Meat, The Second Tree from the Corner, Letters of E. B. White, Essays of E. B. White, and Poems and Sketches of E. B. White. He won countless awards, including the 1971 National Medal for Literature and the Laura Ingalls Wilder Award, which commended him for making a substantial and lasting contribution to literature for children. During his lifetime, many young readers asked Mr. White if his stories were true. In a letter written to be sent to his fans, he answered, No, they are imaginary tales... But real life is only one kind of life there is also the life of the imagination. Biography courtesy of Harper Collins Publishers JOSEPH ROBINETTE AUTHOR OF THE PLAY, CHARLOTTE S WEB Joseph Robinette is a Tony Award nominee for the libretto of the acclaimed A Christmas Story, The Musical. He is the author or co-author of 55 published plays and musicals. His works have been produced at the Lunt-Fontanne Theatre and Lincoln Center for the Performing Arts in New York, Pittsburgh Playhouse, The 5th Avenue Theatre in Seattle, the Goodman Theatre in Chicago, Kansas City Repertory Theatre, the BBC and in all 50 states and in 17 foreign countries. Twelve of his works have been translated into foreign languages, and another five have been anthologized. Robinette collaborated with E.B. White on the authorized stage version of Charlotte s Web, and he wrote the musical version with Charles Strouse (Annie and Bye, Bye, Birdie). Other dramatizations include The Lion, the Witch and the Wardrobe, Anne of Green Gables and Stuart Little. He is the recipient of the American Alliance for Theatre & Education s Charlotte B. Chorpenning Cup, the 2004 Distinguished Play Award for Sarah, Plain and Tall and the Children s Theatre Foundation of America medallion for his body of dramatic works for family audiences in the United States and beyond.

10 The Craft The Craft What is an artist s craft? How does one describe their artistic process, approach, or the purpose of their work? The following section explores questions that relate to the craft of Charlotte s Web. You may wish to consider the following questions as you read. How does an actor create and portray characters within a play? What tools does an actor have at their disposal? What are some of the major themes present in Charlotte s Web?

11 The Craft Vocalization: Actors need to be able to adapt their own voices to reflect a character s internal and external characteristic. CREATING CHARACTER Characterization can be defined as the way in which a writer or actor conveys his or her characters through dialogue and vocalization, physicality, description, and costuming and make-up. In a production such as Charlotte s Web, in which actors portray a vast array of both human and animal characters, the actors must make the most of all the tools at their disposal to create fully realized characters on stage. How does an actor portray a character? What tools and techniques can they employ to help create an individual? Variations in the quality, tone, patterns of speech and accent or dialect all play an essential role in the creation of a character. The illusion of a character can be lost if the character s voice is not suitable or if the actor is not consistent with the use of it. The goose in Charlotte s Web has a particular way of speaking that is immediately identifiable. How do these choices in speech aid in personifying the goose s character? Costumes and Make-up Costumes and make-up can often be an audience s first clue toward understanding a character. Costumes convey information about a character before one word of dialogue is spoken. They convey the character s social and economic circumstances, his personality, his role in the story and the time period or setting. In the production of Charlotte s Web actors on stage must portray both human and animal characters. Directors and Costume Designers must make clear choices as to how they will costume actors to help the audience understand and distinguish each character. Physicality: Everyone moves with a unique rhythm. One might move at a frantic pace while another may bounce or glide from place to place. In addition all have their own mannerisms; these simple behaviors may aid in creating and identifying the personality and character. An individual s posture and stance adds to this physical component of character. Does the character stand tall and straight or slouched and slumped? How does a character move? What parts of their body move? How does an animal stand or move differently from a human? How does a human playing an animal move in a way that is indicative of that animal?

12 WHAT ARE SOME COMMON THEMES IN CHARLOTTE S WEB? Charlotte s Web is a charming tale filled with wonderful characters and rich themes. When brought to life on stage the themes leap from the page to create a moving experience for the audience. Some common themes from the story are discussed in the following text. What additional themes or lessons stand out to you as a viewer? Admiration What does it mean to be the center of attention and admired? What does it feel like to be in the spotlight? The character of Wilbur experiences what it s like to be admired as Charlotte spins web after web of praise for the humble pig. Admiration brings Wilber the joys of extra slop and the attention of many, but in this story it s about more than these simple pleasures - admiration is a means of survival. The positive attention and fame is the only leverage the characters have in saving Wilbur s life. As Wilbur receives attention and admiration for the miracles performed by the spider, Charlotte stays hidden on the sidelines (an aspect essential to her plan.) The nature of this plan gives rise to other questions around the theme of admiration and attention. Who is deserving of the admiration Charlotte, or Wilbur? Why is Charlotte so willing to let Wilbur receive attention for her actions? What does that say about her character and her and Wilbur s relationship? "There can be no mistake about it. A miracle has happened and a sign has occurred here on earth, right on our farm, and we have no ordinary pig." "Well," said Mrs. Zuckerman, "it seems to me you're a little off. It seems to me we have no ordinary spider." "Oh, no," said Zuckerman. "It's the pig that's unusual. It says so, right there in the middle of the web." -From Charlotte s Web by E.B. White

13 Persuasive Language and Communication Language can be persuasive! This is a strong theme that opens the show and runs through the entirety of Charlotte s Web. In the opening scene it is Fern s words that convince her father to spare the young piglet, Wilbur. As Wilbur matures and his life is once again threatened with talk of slaughter, Charlotte turns to the persuasive power of words to again spare the pigs life. "The message I wrote in my web, praising Wilbur, has been received. The Zuckermans have fallen for it, and so has everybody else. Zuckerman thinks Wilbur is an unusual pig, and therefore he won't want to kill him and eat him. I dare say my trick will work and Wilbur's life can be saved." -Charlotte in Charlotte s Web by E.B. White Illustration by Garth Williams. FERN: Papa, please don t kill it. It s unfair... The pig couldn t help being born small, could it? This is the most terrible case of injustice I ever heard of. WILBUR: But I don t want food. I want love, I want a friend. Someone to play with me. Mortality Life is not infinite and death is part of life and Charlotte s Web reminds us of that. The theme of death appears throughout E.B. White s original book as well as the play. For Wilbur and his friends, there are two ways to respond to their finite lifetimes: fight the good fight and accept your fate. How are both these responses witnessed within the play? What is Charlotte's attitude towards death? How would you compare this to Wilbur's outlook on death? How does Charlotte confront her own death in contrast to the way she confronts the possibility of Wilbur s? Friendship What does solid and strong friendship look like? What does it take to be a good friend? Wilbur experiences several different friendships in the course of the show; his initial friendship with Fern, the relationship forged with Charlotte, even a conditional friendship with Templeton the rat. How would you describe Charlotte and Wilbur s friendship? How is it different from the friendship he had with Fern? or has with Templeton? The story of Charlotte s Web reminds us all of the importance of friends. It reminds us friends are necessary for survival. Perseverance If at first you don t succeed... In Charlotte's Web there are a lot of characters who try really hard, especially when times are tough. In Wilbur s case perseverance pays off - Charlotte works hard on her web and saves his life. Are there downsides to working so hard? Which characters value hard work in the show? What is the relationship between failure and perseverance and how do we see this relationship play out within the show?

14 The Origins The Origins The following section contains brief information pertaining to the origins of the work Charlotte s Web. You may wish to consider the following questions as you read. Where did E.B. White get the idea for Charlotte s Web? What inspired him to be a writer? Original illustration by Garth Williams used in the book Charlotte s Web, by E.B. White

15 A LETTER FROM E. B. WHITE Before his death E. B. White composed the following letter in response to the frequent questions he received from young readers. Dear Reader: I receive many letters from children and can't answer them all -- there wouldn't be time enough in a day. That is why I am sending you this printed reply to your letter. I'll try to answer some of the questions that are commonly asked. Where did I get the idea for Stuart Little and for Charlotte's Web? Well, many years ago I went to bed one night in a railway sleeping car, and during the night I dreamed about a tiny boy who acted rather like a mouse. That's how the story of Stuart Little got started. As for Charlotte's Web, I like animals and my barn is a very pleasant place to be, at all hours. One day when I was on my way to feed the pig, I began feeling sorry for the pig because, like most pigs, he was doomed to die. This made me sad. So I started thinking of ways to save a pig's life. I had been watching a big grey spider at her work and was impressed by how clever she was at weaving. Gradually I worked the spider into the story that you know, a story of friendship and salvation on a farm. Three years after I started writing it, it was published. (I am not a fast worker, as you can see.) Sometimes I'm asked how old I was when I started to write, and what made me want to write. I started early -- as soon as I could spell. In fact, I can't remember any time in my life when I wasn't busy writing. I don't know what caused me to do it, or why I enjoyed it, but I think children often find pleasure and satisfaction is trying to set their thoughts down on paper, either in words or in pictures. I was no good at drawing, so I used words instead. As I grew older, I found that writing can be a way of earning a living. Some of my readers want me to visit their school. Some want me to send a picture, or an autograph, or a book. And some ask questions about my family and my animals and my pets. Much as I'd like to, I can't go visiting. I can't send books, either -- you can find them in a bookstore or a library. Many children assume that a writer owns (or even makes) his own books. This is not true -- books are made by the publisher. If a writer wants a copy, he must buy it. That's why I can't send books. And I do not send autographs -- I leave that to the movie stars. I live most of the year in the country, in New England. From our windows we can look out at the sea and the mountains. I live near my married son and three grandchildren. Are my stories true, you ask? No, they are imaginary tales, containing fantastic characters and events. In real life, a family doesn't have a child who looks like a mouse; in real life, a spider doesn't spin words in her web. In real life, a swan doesn't blow a trumpet. But real life is only one kind of life -- there is also the life of the imagination. And although my stories are imaginary, I like to think that there is some truth in them, too -- truth about the way people and animals feel and think and act. Yours sincerely, E.B. White

16 "This activity is supported by the MICHIGAN COUNCIL FOR ARTS AND CULTURAL AFFAIRS and the NATIONAL ENDOWMENT FOR THE ARTS." Education for the Arts Offices: Service Center Office: 1819 East Milham Avenue Portage, MI Epic Center Office: Epic Center Suite South Kalamazoo Mall Kalamazoo, MI Tel: Kalamazoo Resa, Education for the Arts Charlotte s Web