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A tool for using the theater across the curriculum to meetNational Standards for Education

■ Production Overview■ Lesson Guides■ Student Activities■ At-Home Projects■ Reproducibles

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© 2003, Camp Broadway LLCAll rights reserved

This publication is based on the work of Hairspray with book by Mark O’Donnell and ThomasMeehan, music by Marc Shaiman and lyrics by Scott Whittman and Marc Shaiman. Thecontent of the Hairspray edition of StageNOTES™: A Field Guide for Teachers is fullyprotected under the copyright laws of the United States of America and all other countries withwhich the United States has reciprocal copyright relations. All rights regarding publishing,reprint permissions, public readings, and mechanical or electronic reproduction, including butnot limited to, CD-ROM, information storage and retrieval systems and photocopying, and therights of translation into foreign languages are strictly reserved.

Printed in the United States of AmericaFirst printing, April 2003

ISBN: 1-930504-09-8

Look for the Original Broadway Cast Recording on Sony Classical

For more information on StageNOTES™ and other theater arts related programs for students,contact:

Camp Broadway LLC145 West 45th Street, 7th Floor New York, NY 10036Telephone: (212) 575-2929Facsimile: (212) 575-3125Email: info@campbroadway.comwww.campbroadway.com

StageNOTES™

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Using the Field Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Opening Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4Producer’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Musical Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Good Morning, Baltimore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

About John Waters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Using the Lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Overture to HISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16History to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Overture to LANGUAGE ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22Language Arts to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Overture to BEHAVIORAL STUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27Behavioral Studies to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Overture to LIFE SKILLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33Life Skills to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Overture to THE ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37Experiential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38The Arts to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Hairspray Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

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Field GuideCamp Broadway is pleased to bring you the Hairspray editionof StageNOTES™, the tenth in our series. We are proud to be affiliated with thisjoyous musical celebrating individuality, tolerance, and the spirit of youth.This guide has been developed as a teaching tool to assist educators in theclassroom who are introducing their students to the story in conjunction withthe Broadway production.

By using StageNOTES™, you will understand how Hairspray exposes the past(History), expands our visual and verbal vocabulary (Language Arts), illuminatesthe human condition (Behavioral Studies), aids in our own self-exploration (LifeSkills), and encourages creative thinking and expression (The Arts).

The Camp Broadway creative team, consisting of theater educators, scholars,researchers, and theater professionals, has developed a series of lesson plansthat, although inspired by and themed around the musical Hairspray, can alsoaccompany class study of the period and other related literary works. Toassist you in preparing your presentation of each lesson, we have included: anobjective; an excerpt from the script of Hairspray; a discussion topic; a writingassignment; and an interactive class activity. A reproducible handout accompanieseach lesson unit, which contains: an essay question; a creative exercise; and an“after hours activity” that encourages students to interact with family, friends, orthe community at large.

The curriculum categories offered in the Hairspray study guide have beeninformed by the basic standards of education detailed in Content Knowledge:A Compendium of Standards and Benchmarks for K–12 Education, 2ndEdition, written by John S. Kendall and Robert J. Marzano (1997). Thisdefinitive compilation was published by Mid-Continent Regional EducationLaboratory, Inc. (McREL) and the Association for Supervision and CurricularDevelopment (ASCD) after a systematic collection, review, and analysis ofnoteworthy national and state curricular documents in all subjects.

The Hairspray study guide is for you, the educator, in response to your needfor standards-compliant curriculum. We hope this study guide will help youincorporate Hairspray into your classroom activities.

Jodi Simon Stewart

Director of Education

Camp Broadway

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Margo Lion Adam Epstein The Baruch ∑ Viertel ∑ Routh ∑ Frankel Group

James D. Stern/Douglas L. Meyer Rick Steiner/Frederic H. Mayerson

SEL & GFO New Line Cinema

In Association With

Clear Channel Entertainment A. Gordon/E. McAllister

D. Harris/M. Swinsky J. & B. Osher

Present

H A I R S P R AYBook By

Music By

Lyrics By

Mark O’Donnell Marc Shaiman Scott Wittman

Thomas MeehanMarc Shaiman

Based upon the New Line Cinema film written and directed by John Waters

Starring

Marissa Jaret Winokur Harvey Fierstein

Also Starring

Laura Bell Bundy Mary Bond Davis Kerry Butler Linda Hart

Jackie Hoffman Matthew Morrison Corey Reynolds Clarke Thorell

Joel Vig Danelle Eugenia Wilson and Dick Latessa

With

Eric Anthony Shoshana Bean Denosh Bennett Joshua Bergasse J.P. Dougherty Eric Dysart Adam Fleming

Greg Graham Danielle Lee Greaves Katy Grenfell John Hill Hollie Howard Katharine Leonard Kamilah Martin

Alli Mauzey Rashad Naylor Judine Richard Peter Matthew Smith Todd Michel Smith Shayna Steele Brooke Tansley

S c e n e r y D e s i g n e d b yCostumes Designed by

Lighting Designed by

David RockwellWilliam Ivey Long

Kenneth Posner

Sound Designed byCasting by

Wigs & Hair Designed by

Steve C. KennedyBernard Telsey Casting

Paul Huntley

Production Stage ManagerAssociate Director

Associate Choreographer

Frank LombardiMatt Lenz

Michele Lynch

Orchestrations byMusic Direction by

Arrangements byMusic Coordinator

Harold WheelerLon Hoyt

Marc ShaimanJohn Miller

General ManagementTechnical Supervisor

Press RepresentativeAssociate Producers

Richard Frankel Productions Tech ProductionRichard Kornberg

Rhoda Mayerson

Laura Green Services, Inc.

Don SummaThe Aspen Group

Daniel C. Staton

Choreography by

Jerry MitchellDirection by

Jack O’Brien

T h e w o r l d p r e m i e r e o f “ H A I R S P R AY ” w a s p r o d u c e d w i t h t h e 5 t h A v e n u e T h e a t r e i n S e a t t l e , W a s h i n g t o n

D a v i d A r m s t r o n g , P r o d u c i n g A r t i s t i c D i r e c t o r ; M a r i l y n n S h e l d o n , M a n a g i n g D i r e c t o r

T h e p r o d u c e r s w i s h t o e x p r e s s t h e i r a p p r e c i a t i o n t o T h e a t r e D e v e l o p m e n t F u n d f o r i t s s u p p o r t o f t h i s p r o d u c t i o n .

ORIGINAL BROADWAY CAST RECORDING ON SONY CLASSICAL

hen I optioned the rights to JohnWaters’ movie Hairspray, I neverimagined what a thrilling journey

lay ahead. I did believe that the film wouldmake a successful Broadway musicalbecause of its Cinderella storyline, itslarger-than-life heroine, and, of course, itsmany possibilities for rousing song anddance. But the show that arrived in NewYork in the summer of 2002 exceeded mywildest expectations.

Along with the financing and managementof a production, commissioning producerschoose the creative team: book writer,composer, lyricist, choreographer,designers, and director. The Hairspraywriters began working in the winter of2000. Between that date and December2001 (by which time our complete artisticteam was assembled), we held fourreadings where the actors performed withscripts in hand and sang to theaccompaniment of three musicians. InMay 2002, two months before coming toNew York, the production had a successfulthree-week tryout run in Seattle. On August15th, Hairspray opened on Broadway.

My partners and I are thrilled to be part ofan event that brings so much joy toaudiences eight times a week. Along withthe satisfaction of having a hit show, wefeel especially happy that Hairspraycelebrates the uniqueness of a country thatis inclusive and diverse and where oneperson really can make a difference. TracyTurnblad and her friends are determined tomake the world a better place; we hopethat message will be an inspiration to yourstudents as they think about theirexperience at Hairspray and work throughthese study guide materials.

— Margo Lion

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airspray opens in June 1962, as plus-sizedteenager Tracy Turnblad wakes up ready foranother day (“Good Morning, Baltimore”).

After school, she and her best friend, PennyPingleton, watch The Corny Collins Show, starring“The Nicest Kids in Town.” While Tracy and Pennysigh over handsome Link Larkin, Tracy’s mother,Edna, slaves away at her ironing board. Penny’smother, Prudy Pingleton, expresses her disapprovalof teenagers dancing to “colored music.” Ednapoints out that it “ain’t colored. The TV’s black andwhite.”

In the studio, show producer, Velma Von Tussle,instructs her teen-queen daughter and Link’sgirlfriend, Amber, to hog the camera, while beratingCorny, the host, about including songs with “thatDetroit sound.” She reminds him that they have tosteer the kids “in the white direction.” On air, Cornyannounces auditions for an opening on the show, aswell as the national broadcast of the upcoming “MissTeenage Hairspray 1962” contest.

Tracy wants to audition for the show. Edna isskeptical, fearing Tracy’s size will lead to rejection,but her father, Wilbur (owner of the Har-de-Har HutJoke Shop), tells Tracy to follow her dream.

While Edna tells Tracy to forget about going tothe audition, Velma and Prudy argue with daughters,Amber and Penny. The girls stubbornly resist theirmothers, declaring “Mama, I’m a Big Girl Now.”

Making their own decision, Tracy and Penny raceinto the WZZT studios just as the auditions areending. Tracy sees Link and swoons “I Can Hear theBells.” Velma rejects Tracy, sneering at her weightand lamenting that times certainly have changedsince she was crowned “Miss Baltimore Crabs.”

At school, Tracy’s hairdo lands her in detention,where she befriends Seaweed J. Stubbs, the son ofMotormouth Maybelle (the host of once-a-month“Negro Day” on The Corny Collins Show.) At aschool dance, Tracy catches Corny’s eye while doingsteps she learned from Seaweed.

The next day, an astonished Edna and Wilbursee Tracy on TV, the newest member of the CornyCollins Council. Link sings the latest hit, “It TakesTwo,” dedicating it to Tracy, now an overnightsensation. After her mother forgives her, Tracy takesEdna out on the town for a fashion makeover(“Welcome to the ’60s”).

During a rough scatter dodgeball game, Amberknocks out her rival, Tracy. To cheer her up, Seaweedinvites Tracy, Link, and Penny (who has animmediate crush on him) to his mother’s record shop(“Run and Tell That”). Motormouth Maybellewelcomes them warmly; Tracy wonders why theycan’t all dance together on the show and plans tolead a protest during “Mother-Daughter Day.” Linkrejects the idea, fearing it will hurt his chance to beon national TV. He leaves a heartbroken Tracy to goback to Amber. Edna is dubious about joining theprotest. She is self-conscious about her weight, butMotormouth persuades her to accept herself — afterall, they’re both “Big, Blonde & Beautiful.” Thedemonstration turns into a riot; the police arrive anddrag Tracy and all the women off to jail.

Act Two opens in the women’s house ofdetention, “The Big Dollhouse.” Everyone isreleased on bail, except Tracy, who is moved tosolitary confinement.

Wilbur comforts a downcast Edna (“Timeless toMe”). Meanwhile, Link realizes his love for Tracyand breaks her out of jail (using a blowtorchimprovised with a lighter and a can of hairspray),and Seaweed rescues Penny from her mother’sclutches (“Without Love”).

The four flee to Motormouth’s record shop. Shereminds them that the fight against injustice is neverending (“I Know Where I’ve Been”).

The next day, Corny’s prime-time show is in fullswing and ready to announce the winner of “MissTeenage Hairspray 1962” (“Hairspray”). Amber andTracy are finalists for the title of “MissTeenage Hairspray 1962.” Amberperforms a dance she dedicates tothe absent Tracy (“Cooties”).Just as it looks like Amber haswon the crown, Tracy bursts infrom the audience to claimvictory and perform a dancethat’s dedicated to everyone.They all dance together; blackand white, fat and thin, youngand old, as Tracy leads thecompany in declaring “You Can’tStop the Beat.”

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Tracy Turnblad — teenager from Baltimore, wantsto be a dancer on The Corny Collins ShowCorny Collins — host of The Corny Collins ShowAmber Von Tussle — female star of The CornyCollins ShowBrad — dancer on The Corny Collins ShowTammy — dancer on The Corny Collins ShowFender — dancer on The Corny Collins ShowBrenda — dancer on The Corny Collins ShowSketch — dancer on The Corny Collins ShowShelley — dancer on The Corny Collins ShowIQ — dancer on The Corny Collins ShowLou Ann — dancer on The Corny Collins ShowLink Larkin — male star of The Corny CollinsShow, object of Tracy’s affection

Prudy Pingleton — mother of PennyEdna Turnblad — mother of Tracy

Penny Pingleton — Tracy’s best friendVelma Von Tussle — mother of AmberHarriman F. Spritzer — President of Ultra Clutch

Hairspray, sponsor of The Corny Collins ShowWilbur Turnblad — father of TracySeaweed J. Stubbs — befriends Tracy in detention

Duane — friend of SeaweedGilbert — friend of SeaweedLorraine — friend of SeaweedThad — friend of Seaweed

The Dynamites — female singing trio in “Welcometo the ’60s”Mr. Pinky — owner of Mr. Pinky’s Hefty Hideaway

clothing storeLittle Inez — Seaweed’s little sisterMotormouth Maybelle — Seaweed’s mother, host

of “Negro Day” on The Corny Collins ShowGym Teacher, Principal, Matron, Guard,Denizens of Baltimore

CharactersAct One

“Good Morning, Baltimore” . . . . . . . . . . . . . . . . . . . . . . . . .Tracy & Company“The Nicest Kids in Town” . . . . . . . . . . . . .Corny Collins & Council Members“Mama, I’m a Big Girl Now” .Edna & Tracy, Velma & Amber, Penny & Prudy“I Can Hear the Bells” . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tracy“(The Legend of) Miss Baltimore Crabs” . . . .Velma & Council Members“The Nicest Kids in Town” (Reprise) . . . . . . .Corny & Council Members“It Takes Two” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Link & Tracy“Welcome to the ’60s” . . . . . . . . .Tracy, Edna, The Dynamites & Company“Run and Tell That” . . . . . . . . . . . . . . .Seaweed, Little Inez & Company“Big, Blonde & Beautiful” . . . .Motormouth, Little Inez, Tracy, Edna, Wilbur

Act Two“The Big Dollhouse” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Women“Good Morning, Baltimore” (Reprise) . . . . . . . . . . . . . . . . . .Tracy“Timeless to Me” . . . . . . . . . . . . . . . . . . . . . . . . . . .Wilbur & Edna“Without Love” . . . . . . . . . . . . . . . . . . . . .Link, Tracy, Seaweed, Penny“I Know Where I’ve Been” . . . . . . . . . . . . . . .Motormouth & Company“Hairspray” . . . . . . . . . . . . . . . . . . . . . . . .Corny & Council Members“Cooties” . . . . . . . . . . . . . . . . . . . . . . . . .Amber & Council Members“You Can’t Stop the Beat” . . . . .Tracy, Link, Penny, Seaweed, Edna, Wilbur, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Motormouth & Company

Musical Numbers

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ilmmaker John Waters, born in Baltimore on April 22, 1946, had offbeat interests fromthe beginning. As a child, he was drawn to the spooky and bizarre; he was fascinated bythe characters of Captain Hook from Peter Pan and the Wicked Queen from Snow

White. At age six, he asked his mother to take him on a tour of the localjunkyard so he could look at the wrecked cars and imagine the autoaccidents.

He became interested in puppets; his talent for keeping birthday partypuppet show audiences spellbound earned him up to $25 perperformance, a substantial amount for a kid in the 1950s. By age twelve,he was intensely interested in show business, and subscribed to Variety,the trade journal of the entertainment industry.

His grandmother gave him a movie camera for his sixteenth birthday, and hebegan shooting short films in and around his parents’ house. For his casts,he assembled an ensemble of friends who would appear in his filmsthroughout his career. Waters’ star was the drag performer Divine (real nameGlenn Milstead), whose persona grew more outrageous with every role.

John Waters showed his early films whenever and wherever he could. Oneproject, Roman Candles, was shown in the basement of Baltimore’sEmmanuel Episcopal Church (admission 75¢). The movie used an experimental technique inwhich three projectors ran simultaneously.

His breakthrough film was Pink Flamingos, in which Waters regulars Divine and Mink Stolebattled for the title of “Filthiest People Alive.” A wild comic-horror plot including kidnapping,arson, and cannibalism was capped by a scene in which Divine ate dog excrement in full viewof the camera. Pink Flamingos became a midnight-movie smash, and earned John Waters thetitle “The Pope of Trash.”

Divine and John Waters reunited to make Polyester, for which Waters invented Odorama —scratch-and-sniff cards that audiences were given to smell at various points in the movie.

Waters became interested in making a movie about his childhood obsession with The BuddyDeane Show, an after-school dance show, in which local teens bopped to pop hits. Watersconsidered calling the film White Lipstick, but settled on Hairspray. Divine originally wanted toplay both teen heroine Tracy Turnblad and her mother, Edna. However, Waters cast Divine asfrumpy housewife Edna Turnblad (and station owner Arvin Hodgepile, one of the rare timesDivine played a man on screen) and nineteen-year-old unknown Ricki Lake won the role ofTracy.

With its PG rating and subject matter, Hairspray drew a larger audience than Waters’ earliermovies. It became one of the hits of 1988, catapulting Ricki Lake to fame, and earning Divinecritical praise for his performance as Edna. Tragically, soon after the movie’s release, Divinedied in his sleep.

Hairspray’s success drew a wide audience to Waters’ subsequent films (which include CryBaby, Serial Mom, and Cecil B. Demented). Waters even appeared in cartoon guise on TheSimpsons. Waters has continued to set all his films in Baltimore, keeping true to his particularskewed vision and delighting audiences with his tales of eccentric characters who revel in theexcesses of tastelessness and trash. ■

“In Baltimore, hair is politics.” — John Waters

airspray is set in Baltimore, Maryland, John Waters’ hometown. Baltimore’s unique character comesfrom its many paradoxical qualities: It is an urban center with a rural sensibility, a city on the borderbetween the North and the South, a blue-collar town that is home to world-class institutions of science

and culture. In Hairspray — and in all his films — John Waters captures the sometimes tacky, alwaysexuberant, unself-conscious quality of Baltimore and its citizens.

Baltimore Town, named for Lord Baltimore, one of the founders of the Maryland Colony, was founded in 1729at the large natural harbor at the mouth of the Patapsco River. Baltimore, the westernmost port on the easterncoast, as well as a midpoint between North and South, became a natural center of trade.

In the war of 1812, Britain attacked Baltimore, which they considered a “den of pirateson the Chesapeake.” While witnessing the bombardment of Fort McHenry, Maryland lawyerFrancis Scott Key scribbled his impressions on the back of an envelope. Key’s account of“the bombs bursting in air” became “The Star-Spangled Banner,” our national anthem.

Baltimore can claim some important “firsts”: The first railroad tracks in the United Stateswere laid there in 1829, connecting the landlocked Midwest with the port of Baltimore.

In 1844, the first telegraph line linked Baltimoreand Washington, D.C.

In the early 1960s, the time when Hairspray takes place, more thanhalf of the population of Baltimore was African-American. The city hadvoluntarily decided to desegregate the school system, rather than beforced to do so by court order. However, “white flight” (affluent whitefamilies moving to the suburbs) meant that the increasinglyovercrowded schools had a much higher percentage of black studentsthan white. Despite the efforts to integrate schools, Baltimoreremained heavily segregated, as it had been from its earliest days.(North Avenue, the location of Motormouth Maybelle’s record shop inthe show, was originally the northern boundary of the city. Blacks werenot allowed to cross this boundary after dark.)

Baltimore, sometimes described as “anoutpost of the North in a Southernstate,” found itself in astrategic position in the civilrights movement of the‘60s. The proximity of thecity to the nation’s capitalmade it a popular placefor civil rights activists tostage protests and rallies.The city’s central positionbetween the North and theSouth, the very location that madeit an economic center, put Baltimore inthe midst of the social struggle that divided the entire country. ■

“Good Morning, Baltimore”

According to John Waters, Formstone is the “polyesterof brick.”

Due to the unique composition of the soil aroundBaltimore, brick manufactured in the area was

extremely soft and porous. As buildingsaged, masonry would decay, chip away,and fall off. Formstone was one of anumber of cement-based “artificial stone”products created to repair and upgradebuilding exteriors.

Formstone was patented in 1937 bythe Lasting Products Company ofBaltimore; door-to-door salesmen pitchedFormstone as a low-maintenance way toupgrade a middle-class home, giving itthe wealthy look of stone.

Formstone was troweled on in thin layers; the toplayer could be tinted to simulate the shadings of stone.Crinkled wax paper was applied to the wet “stone” andremoved to provide texture, while grooves were cut in tolook like the mortar between “stones.”

Formstone reached the peak of its popularity in the‘40s and ‘50s, making Baltimore the “FormstoneCapital of the World.” By the ‘70s and ‘80s tastes hadchanged, and Formstone use dwindled. Formstone isstill used in construction in parts of the world today,and is very popular in Australia and New Zealand. ■

What Is

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Francis Scott Key

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17

Two of the notable names mentioned in“Welcome to the ’60s” (pages 12 and 13) areFrankie Avalon and his “favorite Mouseketeer,”Annette Funicello. The original Mickey MouseClub (which ran from 1955 to 1959) featuredthe Mouseketeers singing and dancing. Eachday had a different theme: Fun with MusicDay, Guest Star Day, Anything Can HappenDay, Circus Day, and Talent Round-up Day.Just as in Hairspray’s The Corny Collins Show,the cast members (most prominently Annette)had an enthusiastic fan following.

The Mickey Mouse Club returned in1977 as The New Mickey Mouse Club, andagain in 1989 as The All-New Mickey MouseClub or MMC. This version of the showfeatured then-unknowns Britney Spears,Christina Aguilera, Justin Timberlake, and KeriRussell in the cast.

There are many shows currently on the airthat bring “instant celebrity” to the peoplefeatured (American Idol, Star Search, even TheReal World or Survivor), in the same way thatTracy becomes a star on The Corny CollinsShow.

Watch one of these shows (you may evenfind the original Mickey Mouse Club stillplaying in reruns on the Disney Channel).Have you been a fan of one of these kinds ofshows? What did you know about the castmembers? Do you think what you see on theshow reflects who the person really is? (Forexample, Tracy presents herself more or less asshe is, while Amber tries to project an imagemuch nicer than her actual personality.)

How do you think people on these showsare affected by fame? How long does it last?Does it change their life permanently or onlytemporarily? How do you think you wouldhandle being on a television show that madeyou famous?

Ask yourself this question: What role does media play in my life? Then write a short but well-organized one-to-two page composition looking at different forms of media that have a strongimpact on your life. Do you watch TV? What shows do you watch? Which ones have actors,situations or story lines that you think about and find involving? How often do you go to themovies? What kinds of movies do you tend to like? What is your favorite movie right now? Whatmovie are you looking forward to seeing and why? What about the news? How affected are you bythe news? What news do you listen to or read?

Organize your composition according to the specific medium you’re talking about and decidewhether or not you think that medium is a large, mid-size, or small part of your life.

Refer to “Welcome to the 60s”(pages 12 and 13) and searchfor these items on the internet.Look for graphics as well asother printouts. Prepare a five-minute oral report on yourresearch.

Scrapbooks of teen idols werevery much a part of the worldfor teenagers. To make this intoa fun event, gather thegraphics beforehand and createyour own scrapbook. Also,when you present your report,dress up in what you thinkwould be an outfit from 1962.

H O U R S

to go

16

ExerciseHave the class discuss the role school plays in their future plans and expectations. Does school play a large part, or isit insignificant? Do the choices they make in school reflect their dreams?

Next, ask the class to develop a survey exploring the attitude of people in their parents’ generation concerning school.Possible survey topics can include what courses they took, how seriously they took these classes, how their culture andfamily ethnicity effected them, what their families thought of education, how their educational path may or may nothave changed as they grew older and/or the consequences of their education on their lives. Once the survey questionshave been determined, each student should conduct the survey at home with friends or family members. In thefollowing class period, the students should discuss the answers they have obtained in groups of three or four, and reacha consensus about the meaning of education for their interviewees. Finally, have the entire class reconvene to comparethe role of education for students both now and then.

HistoryExperiential

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Experiential ObjectiveTo see how the lives of ourparents when they wereteenagers affect our decisionsand our lives today.

Teaching Tips■ Begin with a brainstorm oncareer options today, andcompare them to the careerchoices of your parents. Are theoptions the same or different?

■ Would you think about goinginto the same profession ordoing the same kind of workthat members of your family aredoing? Do you daydream aboutyour future or do you prefer tolive in the moment and let thefuture take care of itself? Ifyou’re a daydreamer, do youdream of doing things withinyour reach, or do you dream ofthings that seem more difficultto achieve? How do youcompare your dreams with thoseof your sisters, brothers, friends,and other peers?

Tracy:Mother, you are so fifties.Even our first lady, JackieB. Kennedy, rats her hair.

Edna:Yeah? Well, you ain’t nofirst lady, are ya? She’s ahair hopper — that’s whatgot her put in detentionagain.

(taking Wilbur aside)Wilbur, talk to her. Girlslike Tracy...People likeus... You know what I’msaying. They don’t putpeople like us on TV —Except to be laughed at.

Wilbur:(to Tracy)

This TV thing ... You reallywant it?

Tracy:It’s my dream, daddy.

Wilbur:Then you go for it. This isAmerica, babe. You gottathink big to be big.

Edna:Being big enough is not theproblem, Wilbur.

Wilbur:When I was your age myparents begged me to runaway with the circus, but Isaid, “No. That’s what youwant. I have dreams of myown.” I dreamt of opening achain of joke shopsworldwide. So, okay, I’vestill only got one, but someday, if I can figure out howto keep the air from leakingout of my sofa-sized WhoopeeCushion, I’m going to make anoise heard ‘round theworld!(Edna screams with delight!)You follow your dream, baby.I’m grabbin’ an Orange Crushand heading back down to theHar-Dee-Har Hut. I’ve got mydream... And I wuv it!

Edna:(laughing again)You’re not helping, Wilbur!(Wilbur exits and Tracyfollows.)

Tracy:Thanks, Daddy.

Edna:Tracy, come back up here.I’ve got hampers of laundryand my diet pill is wearingoff!

Tracy:But, Mama I want to befamous.

Edna:You want to be famous? Learnhow to get blood out of carupholstery. Now there’s askill you could take to thebank. You think I wanted tospend my life washing andironing other people’sunmentionables? No, I wantedto design them. I thought Iwould be the biggest thingin brassieres. Well, youdeal with what life givesyou. Now start folding.

Tracy:Ugh.

From the ScriptAct 1, Scene 1Conflicting ideas concerning conformity and work ethic affected families back in the 50s and 60s just as they do today.The teens in Hairspray were beginning to think that hard work and staying in school were not necessarily the right answer,and certainly not the most glamorous answer, to life. In this excerpt, we see Tracy’s growing interest in cutting school,auditioning for The Corny Collins Show, and what it might mean for her family.

12

F R O M T H E S C R I P T

15

Writing ObjectiveTo analyze how media attention caninfluence its audiences, and theresulting consequences from ahistorical perspective.

Teaching Tips■ Put the word "cool" on the board.Note that the Corny Collins dancersare termed "cool" on his show. Havestudents write down all the wordsrelated to the word. Then ask thefollowing questions:

■ What is your perception of theword "cool" today? Does it mean thesame today as it meant in the 50sand 60s? If not, what word hasreplaced it? Who would you considerto be a "cool" person? Think about afriend, someone in the media, familymember whom you consider "cool."Why would you consider them "cool"?

■ Take a look at Connie Francis, whois mentioned in the above scriptexcerpt. Who would be consideredyour Connie Francis today? Whatwould make him or her "cool"? Whomdo some people consider "cool" thatyou do not? What images areprojected in the media today that youlike? What images are projected inthe media today that you do not like?

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From the ScriptAct 1, Scene 1 In this scene, the girls are watching a teen dance program on TV. Tracy and Penny are particularly struck by images ofcool, young people, how they dress, how they appear, and how they are encouraged to look, illustrating the ways inwhich these icons are encouraged to appeal to the young TV audience.

ExerciseHave your students imagine an equivalent of anAmerican Bandstand, Soul Train, or Corny Collins Showas it would be on TV today. Divide them into groups ofsix, with each student becoming a character on theshow. The roles may include playing a producer likeVelma, an announcer like Corny Collins, or the dancingcouples. Have each group write a short scenedramatizing each character motivation. For example,why has the producer chosen to create this show forhis/her audience? What are the dancers thinking duringthe show?

(Teachers may want to enlist a theater professional toconsult with the class about the elements of a well-

crafted and dramatic scene. This person can circulateamong the student writers and offer advice as they gothrough the process of writing their scenes.)

Once the scenes have been written and presented inclass, discuss the similarities and differences amongthem. Then, explore the various purposes that theproducers may have had for their audiences. In eachscene, look at the way in which the image of themoderator or program host is projected and the ways inwhich the dancers are projected. How do your students’scenes, describing dance shows today, differ from orresemble each other focusing on their proposedinfluence on a viewing audience?

Edna:Turn that racket down. I’m trying toiron in here.

Corny:SO, IF EVERY NIGHT YOU’RE SHAKINGAS YOU LIE IN BED

AND THE BASS AND DRUMSARE POUNDING IN YOUR HEAD

WHO CARES ABOUT SLEEPWHEN YOU CAN SNOOZE IN SCHOOLTHEY’LL NEVER GET TO COLLEGEBUT THEY SURE LOOK COOLDON’T NEED A CAP AND A GOWN‘CAUSE THEY’RE THENICEST KIDS IN TOWNTHEY’RE THE NICEST, NICESTTHEY’RE THENICEST, NICESTTHEY’RE THESUGAR AND SPICE-EST, NICESTKIDS IN TOWN

Corny:And that was our new dance of theweek — the “Stricken Chicken.” We’llbe right back.

(Lights shift in the TV studio.)

Velma:And we’re off! All right, people,how many times do I have to tell you— We do NOT touch ourselves —anywhere — while on camera. Tammy,lose the padding. You, too, Fender.(the kids sheepishly turn away toremove their padding)And Link, stop hogging the camera;you’re not Elvis yet. Amber...Hogthe camera.

Amber:Yes, mother.

Velma:And YOU, Mr. Collins! None of thatDetroit sound today. You havesomething against Connie Francis?

Corny:The kids are just over the moon forrhythm and blues, Velma. They can’tget enough.

Velma:They’re kids, Corny. That’s why wehave to steer them in the whitedirection...I mean...you know what Imean.

F R O M T H E S C R I P T

Experiential

Writing

Using

the

Less

ons

HistoryDiscussion

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14

Discussion ObjectiveTo explore various societalperspectives and how theyhave affected the course ofhistory.

Teaching Tips■ Do you believe that people fromvarious groups and societies are equal to each other and should be treated in equal ways?

■ Do you believe that people indifferent societies and cultures canbe comfortable interacting withone another? Or, on the otherhand, do you believe that there aresome important differences tonotice? If so, do those differencesaffect our behavior? How?

■ Do you believe that members ofdifferent cultural groups can date,intermarry, have children, andcommunicate as effectively asfamilies with all members from thesame cultural background? Explainyour feelings and beliefs.

■ What are the pros and consexperienced in a family whereeveryone is from the same culturalgroup? What about in familiesmade up of differing culturalgroups?

ExerciseThe struggle to achieve equity in race relations became a central issue for society in the 1960s.The white population had very little information and experience with the topic, unlike today, wheresociety strongly supports equal rights.

At first, have individuals in the class find subjects they feel strongly about and are willing todiscuss. Pair up students with different beliefs and have them debate these opposing viewpoints.

1. Have your students read the Overture to History "I Know Where I’ve Been" (Pages 11 and 12) in order to identify two or three events that they might be familiar with. Ask them to take a strong stance on one topic and a neutral stance on a second topic, covering as many dates andevents as possible. Then, have them pair up to discuss the different perspectives surrounding each topic.

2. In class, have your students discuss current events that they feel very strongly about. Some examples might be a war or health care issues, such as drug prescription costs for the elderly. Have all the issues written down on the blackboard and in each instance, have the class identify and explain those that they have strong opinions about and those that they are not as concerned with.

3. For homework, have the students interview people aged 60 and over who remember the events listed in the Overture to History covering 1946-1968. Ask the interviewees what their memories are of two or three events. Then, have the students discuss these interviews in small groups of three or four after which they can share their findings with the full class.

From the ScriptAct 1, Scene 8 Edna and Tracy Turnblad both share a spirit for equality, fairness and friendship that is free of racial prejudice. Inthis scene, the younger generation boldly leads the older generation into a protest in order to make society fair andjust.

Tracy:Okay. So this is how we’re gonna doit; tomorrow, everyone bring yourmothers . . .

Penny:… and sisters!.

Tracy:… and meet around the corner fromthe studio and make signs!

Penny:Yes! And put words on them!

Tracy:Ms. Motormouth, you and little Inezwill walk in first. Mama and me willbe right behind you.

Edna:Excuse me?

Tracy:They’ll never be able to shove themback through the door with usblocking it.

Discussion

Reproducible

Discussion: The focus is onfacilitating an in-depth classdialogue.

Writing: The focus is on theexpression of thoughts inwritten form.

Experiential: The focus is onunderstanding social dynamicsas well as collaboration andteamwork in small and largegroups.

To go: A student worksheet ofadditional activities to becompleted outside of class.

The Standards listed throughout the StageNOTES™ Field Guide are excerpted from Content Knowledge: A Compendium of Standards and Benchmarks for K-12 Education (2nd Edition) by John S. Kendall

and Robert J. Marzano, published by Mid-Continent Regional Educational Laboratory, Inc. (McREL) and the Association for Supervision and Curricular Development (ASCD), 1997.

Featured Lesson Units

1 History

2 Language Arts

3 Behavioral Studies

4 Life Skills

5 The ArtsEach StageNOTES™ lesson includes the following components: Objective: An overall note to the teacher outlining thegoals of the lesson to follow.

From the script: An excerpt from the script of Hairspray to help“set the stage” for the activity that follows.

Exercise: A detailed description and instructions for theactivity to be facilitated in class.

Teaching Tips: Direct questions teachers may use to help guidethe students through the activity.

Overture to

1. Understanding and analyzingchronological relationships andpatterns:

■ Analyze influence of specific beliefs on these times. How would events be different in the absence of these beliefs?

■ Analyze the effects specific decisions had on history. How would things have been different in the absence of these specific decisions?

2. Understanding the historicalperspective:

■ Understand that the consequencesof human intentions are influenced by the means of carrying them out.

■ Understand how the past affects our private lives and society in general.

■ Perceive past events with historical empathy.

■ Evaluate credibility and authenticity of historical sources.

■ Evaluate the validity and credibility of different historical interpretations.

Summary of Standard for HISTORICAL UNDERSTANDING

airspray takes place in 1962, at a time when the civil rights movement wasgathering momentum. Racial tension was high; demonstrations and riots were inthe news daily. More and more students, both in college and in high school, were

becoming involved in protests against segregation in all areas of society. Below is a time line listing some of the major events in the struggle for civil rights, both

before and after Hairspray.

H

History

“I Know Where I’ve Been”

1946Concerned about the prevalence of racialdiscrimination, President Harry S. Trumanestablishes the President’s Committee onCivil Rights.

1947Jackie Robinson joins the Brooklyn Dodgersand becomes the first black Major Leagueplayer.

1948President Truman orders the integration ofthe U.S. military.

1954In Brown v. Topeka, Kansas, Board ofEducation, the U.S. Supreme Courtdeclares that “separate educationalfacilities are inherently unequal,” andorders that students be admitted to publicschools without regard to race.

1955In Montgomery, Alabama, Rosa Parksrefuses to give up her seat to a white manin defiance of local laws. Bus boycott led byMartin Luther King, Jr. successfullyoverturns the ordinance.

1957PresidentDwight D.Eisenhowersends federaltroops toenforce theright of nineblack studentsto enroll atCentral High School in Little Rock,Arkansas.

continued on next page

13

15

Listen for these names from the ‘60sthroughout Hairspray. See how many youcan catch.

Connie Francis A top singer of the ‘50sand early ‘60s. She appeared in theclassic Spring Break movie, Where theBoys Are (1960).

Gidget Pint-size surfergirl originally played bySandra Dee in Gidget(1959). Sequelsincluded Gidget GoesHawaiian (1961) andGidget Goes to Rome(1963).

Jackie B. KennedyFirst Lady JacquelineBouvier Kennedy,wife of John F.Kennedy, wasknown for her

trendsetting style, particularly herbouffant hairdo and pillbox hats.

“Hair Hopper” A Baltimore term forsomeone, male or female, who spent toomuch time on their outsized hairdos.

Rock Hudson, Doris Day Starred togetherin romantic comedies such as Pillow Talk(1959) and Lover Come Back (1961).He was tall, good looking, and debonair,while she was known for her squeaky-clean “good girl” image.

“Wilt the Stilt” At 7'1",Wilt “The Stilt”Chamberlain wasone of the NBA’slegendary players,setting numerousrecords duringhis 14-yearprofessionalbasketballcareer.

CandidCameraand AllenFuntAllenFuntwas thehost of CandidCamera, the firsthidden-camerastunt show,which captured

the reactions of ordinary people to pranksplayed by Funt and his cast. The showfirst aired in 1948 and has been revivedon various TV networks for over 50 years.

Peyton Place Based on a popular novel,this 1957 melodrama delved into thesordid secrets of a New England town. Itbecame the first prime-time soap operatelevision series in 1964.

Jackie Gleason Robust comedian bestknown for creating The Honeymoonerstelevision show in 1955. His trademarkphrases included "And away we go,""Hommina hommina hommina,"and "To the moon, Alice!"

“Don’t tell me Khrushchev has hisshoes off again” On November 17,1956, millions of televisionviewers saw Soviet leader NikitaKhrushchev pound the podium of theUnited Nations General Assembly withhis shoe, shouting at the West, “We willbury you!”

Metrecal First introduced in 1960,Metrecal (from “metered calories”) was acanned diet drink, like today’s Slim·Fast.

Eddie Fisher, Debbie Reynolds, Liz and DickSinger Eddie Fisher and perky filmcomedienne Debbie Reynolds married in1955 (they are the parents ofwriter/actress Carrie Fisher, perhaps bestknown as Princess Leia from the StarWars movies). Fisher fell in love withElizabeth “Liz” Taylor, and married her in1959 on the same day he divorcedDebbie Reynolds. Taylor went to Italy in1962 to film the epic Cleopatra.Although Eddie Fisher was also in thefilm, Taylor fell for her co-star Richard“Dick” Burton. Their affair madeheadlines worldwide. They married in1964, divorced in 1974, and remarriedthe followingyear.

Frankie Avalon andhis “favoriteMouseketeer”Teen idol FrankieAvalon’s “favoriteMouseketeer”was AnnetteFunicello, whobecame a star on the ‘50s TV series TheMickey Mouse Club. They met in 1958and became a wildly popular couple,starring in ‘60s movies such as BeachParty (1963) and Bikini Beach (1964).

The Gabor Sisters Glamorous Hungariansisters Zsa Zsa, Magda, and Eva Gaborbecame known in Hollywood for their

seductive, sophisticated, yetslightly scatterbrained,

personalities.

Mamie Eisenhower Wifeof President Dwight“Ike” Eisenhower, shewas First Lady from

1953 to 1961, known forher trademark bangs and

fondness for pink clothing.

Gina Lollobrigida Sultry Italian actressGina Lollobrigida was known in the ‘50sas “The Most Beautiful Woman in theWorld.”

“Castro’s invading” In 1961 the UnitedStates launched an unsuccessful attemptto overthrow Cuban leader Fidel Castroby invading the Bay of Pigs. Tensionsremained high between Cuba and theU.S., peaking in the Cuban Missile Crisisin October of 1962.

Glenn Miller Popular bandleader andcomposer of the ‘40s, known for hitssuch as “Moonlight Serenade.”

Chubby Checker Originally named ErnestEvans, singer Chubby Checker created adance sensation with his recording of“The Twist” in 1960.

The Hindenburg The 800-foot blimp,Hindenburg, was the largest aircraft everflown. While landing at Lakehurst, NewJersey, on May 6, 1937, the ship wasdestroyed in a tragic fire when thehydrogen that filled the blimp ignited.(Modern blimps are filled withnonflammable helium.)

Eva Marie Saint Beautiful blonde actresswho starred in such films as Hitchcock’sNorth by Northwest (1959). ■

“Welcome to the ‘60s”

“I Know Where I’ve Been” (continued from previous page)

1960Sit-ins at segregated public restaurantsand lunch counters are held throughoutthe South.

1961 Freedom Riders challenge “white only”rules at drinking fountains, lunchcounters, and rest rooms in bus andtrain stations in the South.

1962 James Meredith, a black student, enrollsat the University of Mississippi underprotection of federal troops.

1963 Four young black girls are killed in achurch bombing in Birmingham,Alabama.

1963Two hundred fifty thousand peopleattend the March on Washington, whereMartin Luther King, Jr. delivers his“I Have a Dream” speech.

1965Riots erupt in Watts, a ghettoneighborhood of Los Angeles, California.

1967Thurgood Marshall becomes the firstblack Supreme Court justice. Riots occur in Detroit and other largecities. The first black mayors of major U.S.cities are elected in Cleveland, Ohio, andGary, Indiana.

1968 Martin Luther King, Jr. is assassinated.Riots erupt across the country.

14 15

“Welcome to the ‘60s”

17

Writing ObjectiveTo analyze how media attention caninfluence its audiences, and theresulting consequences from ahistorical perspective.

Teaching Tips■ Put the word "cool" on the board.Note that the Corny Collins dancersare termed "cool" on his show. Havestudents write down all the wordsrelated to the word. Then ask thefollowing questions:

■ What is your perception of theword "cool" today? Does it mean thesame today as it meant in the ‘50sand ‘60s? If not, what word hasreplaced it? Who would you considerto be a "cool" person? Think about afriend, someone in the media, familymember whom you consider "cool."Why would you consider them "cool"?

■ Take a look at Connie Francis, whois mentioned in the above scriptexcerpt. Who would be consideredyour Connie Francis today? Whatwould make him or her "cool"? Whomdo some people consider "cool" thatyou do not? What images areprojected in the media today that youlike? What images are projected inthe media today that you do not like?

HistoryWriting

1LESSO

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HistoryDiscussion

1LESSO

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16

Discussion ObjectiveTo explore various societalperspectives and how theyhave affected the course ofhistory.

Teaching Tips■ Do you believe that people fromvarious groups and societies are equal to each other and should be treated in equal ways?

■ Do you believe that people indifferent societies and cultures canbe comfortable interacting withone another? Or, on the otherhand, do you believe that there aresome important differences tonotice? If so, do those differencesaffect our behavior? How?

■ Do you believe that members ofdifferent cultural groups can date,intermarry, have children, andcommunicate as effectively asfamilies with all members from thesame cultural background? Explainyour feelings and beliefs.

■ What are the pros and consexperienced in a family whereeveryone is from the same culturalgroup? What about in familiesmade up of differing culturalgroups?

ExerciseThe struggle to achieve equity in race relations became a central issue for society in the 1960s.The white population had very little information and experience with the topic, unlike today, wheresociety strongly supports equal rights.

At first, have individuals in the class find subjects they feel strongly about and are willing todiscuss. Pair up students with different beliefs and have them debate these opposing viewpoints.

1. Have your students read the Overture to History "I Know Where I’ve Been" (pages 11 and 12) in order to identify two or three events that they might be familiar with. Ask them to take a strong stance on one topic and a neutral stance on a second topic, covering as many dates andevents as possible. Then, have them pair up to discuss the different perspectives surrounding each topic.

2. In class, have your students discuss current events that they feel very strongly about. Some examples might be a war or health care issues, such as drug prescription costs for the elderly. Have all the issues written down on the blackboard and in each instance, have the class identify and explain those that they have strong opinions about and those that they are not as concerned with.

3. For homework, have the students interview people aged 60 and over who remember the events listed in the Overture to History covering 1946 to 1968. Ask the interviewees what theirmemories are of two or three events. Then, have the students discuss these interviews in small groups of three or four, after which they can share their findings with the full class.

From the ScriptAct 1, Scene 8 Edna and Tracy Turnblad both share a spirit for equality, fairness and friendship that is free of racial prejudice. Inthis scene, the younger generation boldly leads the older generation into a protest in order to make society fair andjust.

Tracy:Okay. So this is how we’re gonna doit; tomorrow, everyone bring yourmothers . . .

Penny:… and sisters!.

Tracy:… and meet around the corner fromthe studio and make signs!

Penny:Yes! And put words on them!

Tracy:Ms. Motormouth, you and little Inezwill walk in first. Mama and me willbe right behind you.

Edna:Excuse me?

Tracy:They’ll never be able to shove themback through the door with usblocking it.

From the ScriptAct 1, Scene 1 In this scene, the girls are watching a teen dance program on TV. Tracy and Penny are particularly struck by images ofcool, young people, how they dress, how they appear, and how they are encouraged to look, illustrating the ways inwhich these icons are encouraged to appeal to the young TV audience.

ExerciseHave your students imagine an equivalent of anAmerican Bandstand, Soul Train, or Corny Collins Showas it would be on TV today. Divide them into groups ofsix, with each student becoming a character on theshow. The roles may include playing a producer likeVelma, an announcer like Corny Collins, or the dancingcouples. Have each group write a short scenedramatizing each character motivation. For example,why has the producer chosen to create this show forhis/her audience? What are the dancers thinking duringthe show?

(Teachers may want to enlist a theater professional toconsult with the class about the elements of a well-

crafted and dramatic scene. This person can circulateamong the student writers and offer advice as they gothrough the process of writing their scenes.)

Once the scenes have been written and presented inclass, discuss the similarities and differences amongthem. Then, explore the various purposes that theproducers may have had for their audiences. In eachscene, look at the way in which the image of themoderator or program host is projected and the ways inwhich the dancers are projected. How do your students’scenes, describing dance shows today, differ from orresemble each other focusing on their proposedinfluence on a viewing audience?

Edna:Turn that racket down. I’m trying toiron in here.

Corny:SO, IF EVERY NIGHT YOU’RE SHAKINGAS YOU LIE IN BED

AND THE BASS AND DRUMSARE POUNDING IN YOUR HEAD

WHO CARES ABOUT SLEEPWHEN YOU CAN SNOOZE IN SCHOOLTHEY’LL NEVER GET TO COLLEGEBUT THEY SURE LOOK COOLDON’T NEED A CAP AND A GOWN‘CAUSE THEY’RE THENICEST KIDS IN TOWNTHEY’RE THE NICEST, NICESTTHEY’RE THENICEST, NICESTTHEY’RE THESUGAR AND SPICE-EST, NICESTKIDS IN TOWN

Corny:And that was our new dance of theweek — the “Stricken Chicken.” We’llbe right back.

(Lights shift in the TV studio.)

Velma:And we’re off! All right, people,how many times do I have to tell you— We do NOT touch ourselves —anywhere — while on camera. Tammy,lose the padding. You, too, Fender.(the kids sheepishly turn away toremove their padding)And Link, stop hogging the camera;you’re not Elvis yet. Amber...Hogthe camera.

Amber:Yes, mother.

Velma:And YOU, Mr. Collins! None of thatDetroit sound today. You havesomething against Connie Francis?

Corny:The kids are just over the moon forrhythm and blues, Velma. They can’tget enough.

Velma:They’re kids, Corny. That’s why wehave to steer them in the whitedirection...I mean...you know what Imean.

NAME DATE

CLASS TEACHER

YOU think?What do1.

After

Copyright 2003, Camp Broadway

3.

EXPRESSyourself2.

H I S T O R Y

19

Two of the notable names mentioned in“Welcome to the ’60s” (pages 12 and 13) areFrankie Avalon and his “favorite Mouseketeer,”Annette Funicello. The original Mickey MouseClub (which ran from 1955 to 1959) featuredthe Mouseketeers singing and dancing. Eachday had a different theme: “Fun with MusicDay,” “Guest Star Day,” “Anything CanHappen Day,” “Circus Day,” and “TalentRound-up Day.” Just as in Hairspray’s TheCorny Collins Show, the cast members (mostprominently Annette) had an enthusiastic fanfollowing.

The Mickey Mouse Club returned in1977 as The New Mickey Mouse Club, andagain in 1989 as The All-New Mickey MouseClub or MMC. This version of the showfeatured then-unknowns Britney Spears,Christina Aguilera, Justin Timberlake, and KeriRussell in the cast.

There are many shows currently on the airthat bring “instant celebrity” to the peoplefeatured (American Idol, Star Search, even TheReal World or Survivor), in the same way thatTracy becomes a star on The Corny CollinsShow.

Watch one of these shows (you may evenfind the original Mickey Mouse Club stillplaying in reruns on the Disney Channel).Have you been a fan of one of these kinds ofshows? What did you know about the castmembers? Do you think what you see on theshow reflects who the person really is? (Forexample, Tracy presents herself more or less asshe is, while Amber tries to project an imagemuch nicer than her actual personality.)

How do you think people on these showsare affected by fame? How long does it last?Does it change their life permanently or onlytemporarily? How do you think you wouldhandle being on a television show that madeyou famous?

Ask yourself this question: What role does media play in my life? Then write a short but well-organized one-to-two page composition looking at different forms of media that have a strongimpact on your life. Do you watch TV? What shows do you watch? Which ones have actors,situations or story lines that you think about and find involving? How often do you go to themovies? What kinds of movies do you tend to like? What is your favorite movie right now? Whatmovie are you looking forward to seeing and why? What about the news? How affected are you bythe news? What news do you listen to or read?

Organize your composition according to the specific medium you’re talking about and decidewhether or not you think that medium is a large, mid-size, or small part of your life.

Refer to “Welcome to the ‘60s”(pages 12 and 13) and searchfor these items on the Internet.Look for graphics as well asother printouts. Prepare a five-minute oral report on yourresearch.

Scrapbooks of teen idols werevery much a part of the worldfor teenagers. To make this intoa fun event, gather thegraphics beforehand and createyour own scrapbook. Also,when you present your report,dress up in what you thinkwould be an outfit from 1962.

H O U R S

to go

18

ExerciseHave the class discuss the role school plays in their future plans and expectations. Does school play a large part, or isit insignificant? Do the choices they make in school reflect their dreams?

Next, ask the class to develop a survey exploring the attitude of people in their parents’ generation concerning school.Possible survey topics can include what courses they took, how seriously they took these classes, how their culture andfamily ethnicity effected them, what their families thought of education, how their educational path may or may nothave changed as they grew older and/or the consequences of their education on their lives. Once the survey questionshave been determined, each student should conduct the survey at home with friends or family members. In thefollowing class period, the students should discuss the answers they have obtained in groups of three or four, and reacha consensus about the meaning of education for their interviewees. Finally, have the entire class reconvene to comparethe role of education for students both now and then.

HistoryExperiential

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Experiential ObjectiveTo see how the lives of ourparents when they wereteenagers affect our decisionsand our lives today.

Teaching Tips■ Begin with a brainstorm oncareer options today, andcompare them to the careerchoices of your parents. Are theoptions the same or different?

■ Would you think about goinginto the same profession ordoing the same kind of workthat members of your family aredoing? Do you daydream aboutyour future or do you prefer tolive in the moment and let thefuture take care of itself? Ifyou’re a daydreamer, do youdream of doing things withinyour reach, or do you dream ofthings that seem more difficultto achieve? How do youcompare your dreams with thoseof your sisters, brothers, friends,and other peers?

Tracy:Mother, you are so fifties.Even our first lady, JackieB. Kennedy, rats her hair.

Edna:Yeah? Well, you ain’t nofirst lady, are ya? She’s ahair hopper — that’s whatgot her put in detentionagain.

(taking Wilbur aside)Wilbur, talk to her. Girlslike Tracy...People likeus... You know what I’msaying. They don’t putpeople like us on TV —Except to be laughed at.

Wilbur:(to Tracy)

This TV thing ... You reallywant it?

Tracy:It’s my dream, daddy.

Wilbur:Then you go for it. This isAmerica, babe. You gottathink big to be big.

Edna:Being big enough is not theproblem, Wilbur.

Wilbur:When I was your age myparents begged me to runaway with the circus, but Isaid, “No. That’s what youwant. I have dreams of myown.” I dreamt of opening achain of joke shopsworldwide. So, okay, I’vestill only got one, but someday, if I can figure out howto keep the air from leakingout of my sofa-sized WhoopeeCushion, I’m going to make anoise heard ‘round theworld!(Edna screams with delight!)You follow your dream, baby.I’m grabbin’ an Orange Crushand heading back down to theHar-Dee-Har Hut. I’ve got mydream... And I wuv it!

Edna:(laughing again)You’re not helping, Wilbur!(Wilbur exits and Tracyfollows.)

Tracy:Thanks, Daddy.

Edna:Tracy, come back up here.I’ve got hampers of laundryand my diet pill is wearingoff!

Tracy:But, Mama I want to befamous.

Edna:You want to be famous? Learnhow to get blood out of carupholstery. Now there’s askill you could take to thebank. You think I wanted tospend my life washing andironing other people’sunmentionables? No, I wantedto design them. I thought Iwould be the biggest thingin brassieres. Well, youdeal with what life givesyou. Now start folding.

Tracy:Ugh.

From the ScriptAct 1, Scene 1Conflicting ideas concerning conformity and work ethic affected families back in the ‘50s and ‘60s just as they do today.The teens in Hairspray were beginning to think that hard work and staying in school were not necessarily the right answer,and certainly not the most glamorous answer to life. In this excerpt, we see Tracy’s growing interest in cutting school,auditioning for The Corny Collins Show and what it might mean for her family.

Overture to

Writing■ Demonstrates competence in the

general skills and strategies of the writing process

Prewriting, drafting and revising, editing and publishing

■ Demonstrates competence in the stylistic and rhetorical aspects of writing

■ Uses grammatical and mechanical conventions in writtencompositions

■ Gathers and uses information for research purposes

Reading■ Demonstrates competence in the

general skills and strategies of the reading process

■ Demonstrates competence in the general skills and strategies for reading a variety of literary texts

■ Demonstrates competence in the general skills and strategies for reading a variety of informational texts

Listening and Speaking■ Demonstrates competence in

speaking and listening as tools for learning

Summary of Standards for LANGUAGE ARTS

Language Arts

“They wouldn’t say klutz.”So we changed it to clod —the line ended up beingcut anyway. Originally,when Tracy said, “I wish

every day were Negro Day,” Corny’sanswer was, "I read you like the tabloids, kid.” And JohnWaters said there were no tabloids in Baltimore. So wechanged it to “I read you like tomorrow’s headlines.”Which is probably better, since Tracy’s a visionary.

At one point we had Tracy popping a lot of diet pillsto explain why she’s so peppy, and John Waters thoughtthat was a little too “bad girl.” On the other hand, wehad some sentimental moments with Edna talking aboutmother love and he said, “Well, it’s getting a littleHallmark.” So he kept us from being too treacly on theone hand, and untrue to the character on the other.

SN: How did you collaborate with the composer-lyricistteam, Marc Shaiman and Scott Wittman?

MO: I had ideas for situations that could become songs.In one instance,I suggested thatthe threeteenage girls bein parallelplaces,complaining totheir mothers— it’s the old“Get me outtahere!” song(“Mama, I’ma Big GirlNow”). And Isuggested inthe secondact that

when Tracy breaks out of jail, and Pennybreaks out of her home, that they have parallel love duetsthat become a quartet (“Without Love”).

I didn’t knowexactly whatthe song wouldbe — that’swhere Marcand Scottcame in.

Collaboration can bemaddening, but it’s never a blank slate — there’salways input. We were lucky that we were a prettyfriendly team.We could enjoy each others’ suggestionswithout resenting them.

SN: How did you become interested in writing? Do you haveany advice for aspiring writers?

MO: Most of the playwrights I know were puppeteers askids, they put on puppet shows.They did skits in highschool, played around with the tape recorder. Nowadays,chances are you’re playing around with the video camera.You know you’re a writer if you have a compulsion to recordit, to write it down.

I have a twin brother, who was David Letterman’s headwriter for many years. As kids we would act out little skitsin school, until the teachers finally said, “You wanna dosomething for the Christmas show?” So I guess I had anautomatic vaudeville partner.

Writing is a combination of imagination andobservation. Whether you’re writing a story or drawing acartoon or writing a play, it’s all storytelling. I always referto cartoons as the world’s shortest plays: They havecharacters, they have sets, they have dialogue, but it’susually only one line.

If you want to be a writer, you should find the worldinteresting. There are no writers who don’t look. You mustobserve. Everything has to be fascinating. I keep a journalwhere I write down weird stuff I overhear, or strangesituations that might be interesting to explore — justsnippets of funny dialogue. The world is an endless font ofmaterial. ■

“It Takes Two”ook writer MarkO’Donnell talks aboutadapting Hairspray from

a screenplay into a musical.

StageNOTES: How did you beginworking on the script?

MARK O’ DONNELL: I started bywriting a synopsis of the show-to-be in the manner of the plotdescriptions on a cast album.I put in parentheses where Ithought a song would go. We

kept some of the classic lines — “We’llclaw our way to the top!” — but there’snot too much dialogue from thescreenplay.

We used John Waters’ story as aframework to start with, so we knewwhere it began and ended. And then wehad to get characters saying interestingthings — memorable, funny things.

I like incongruities. I was alwayscrazy about Oscar Wilde. You know, “Agentleman never hurts another’s feelingsunintentionally.” And although no onewould call Hairspray Oscar Wilde, I didtry to write dialogue that seems to haveincongruities: “What are you doing in thishuge crowd of minorities?” That kind ofthing.

SN: What sorts of changes did you need tomake for the stage version?

MO: In the movie, Tracy gets on the showright away, she gets Link right away. Sheis a force of nature, and she is not to bedefied. But on stage, what do you do forthe next hour and a half? We felt she

needed to overcome obstacles, so wedeferred the love and the success.

We simplified the plot, and wedropped or combined characters. Forinstance, the character of Velma exists inthe movie, but she has no power. She’sjust a pushy stage mom. I thought itwould be much more effective to give thevillain power.

We also fleshed out other characters.Link and Seaweed are fun to look at inthe movie, but can you tell me anythingabout them as people? They simply exist.We tried to create interrelationships, soSeaweed was key to Tracy’s success,which explained their friendship.

We tried a version that had no LittleInez and no Penny. Tracy was alone, shehad no friends at all. I think it was aneconomical move — we thought, “Wecan’t have fourteen principal characters!”But it looked terribly cold when we sawit, so we went back to what we hadbefore.

A cut we made both for economy andfor emotional value is that all thecharacters besides Tracy are fatherless.Whatever you think of Tracy, she’s theonly one with a father. That’s what givesher some grounding, and makes her amore optimistic person I think.

Trim, trim, trim was the name of thegame always. If the show is to have amagical spell, it has to be relentless.

SN: Did John Waters make anysuggestions?

MO: He did, especially about language.I had used the word “klutz.” He said,

B

Marissa Jaret Winokur (Tracy Turnblad),

Matthew Morrison (Link Larkin)

Corey Reynolds (Seaweed J. Stubbs),Kerry Butler (Penny Pingleton)

Marissa Jaret Winokur (Tracy Turnblad) with members of the cast

20 21

Mark O’Donnell

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Language ArtsWriting

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Writing ObjectiveTo learn to gather informationin order to enhance dramaticwriting.

Teaching Tips■ What sorts of characters doyou like in dramatic media?Do you like characters who arefair-minded, offhand, casual,imperious, strident, goofy, silly,chaotic, or problematic? If youwere asked to create aparticular character, what sortof character would you choose?

Principal:Tracy Turnblad, onceagain your monumentalhair-don’t has seriouslyobstructed everyone’sview of the blackboard.As Principal ofPatterson Park High Icondemn you to threemore days of detention!

(Lights up on TRACY indetention. Around herare SEAWEED, LORRAINE,GILBERT, THAD, DUANE andanother student asleepat his desk. LORRAINEis at the blackboardwriting repeatedly, "Iwill not talk in speechclass.")

Tracy:Detention! Is there nopity for a teen justtrying to fit in?

Seaweed:Maybe you oughtn’t tryso hard?

Tracy:Excuse me, but why areyou always so happy?You get detention justabout every time I do,and I’ve never seen youcomplain.

Seaweed:Oh but I do. This is myway of complaining.(SEAWEED turns on asmall transistor radio.MUSIC starts and he doesa soulful little dance.)It’s how I use my blues.

Duane:Use them blues, brother.Use ’em to lose ’em.

Tracy:Hey, that move’s swift.

Seaweed:The man can dine on adiet of detention solong as he don’t starveme of my tunes.(another step)

Here’s a littlesomething–somethingsignified to say,"Hello, my name’sSeaweed J. Stubbs, andwhat’s yours."

Tracy:That’s unbelievable.Can I do that?

Seaweed:I don’t know. Can you?(TRACY & SEAWEED dancetogether)

Tracy:Hello. My name is TracyTurnblad.

Gilbert:Not bad for a whitegirl.

Seaweed:Ain’t no black and whitein here. Detention is arainbow experience.(SEAWEED does anotherstep)

ExerciseThe writing exercise will continue from the discussion exercise in the previous segment. After the discussion segment,students should be given a homework assignment which involves developing both a fact sheet and research materialsuseful for writing their scenes. In their groups, the students will then select five characters to appear in their dramaticadaptation using their chosen human-interest article as a guide. Simultaneously, they should also clarify theresponsibilities of each student, i.e. who will write the dialogue, who will play which role in the drama, etc.

The research component of this homework assignment will involve creating information based on both the originalarticle and on information from other sources, i.e. the Internet. However, much of the final material should come fromthe writer’s imagination or memory of similar characters they’ve observed in life. The more research, observations, andfactual material gathered, the better their writing will be.

Once this research has been gathered and particular roles have been assigned to each student, the group should writescenes in which characters are fleshed out and are made up to interact in ways that dramatize these stories. Thescenes can be a flash forward or flash back sequence. What leads up to the characters’ conflict? What happens afterthe conflict?

From the ScriptAct 1, Scene 4 Tracy’s been put in detention again for wearing a “monumental hairdo.” When she gets there, she meets Seaweed, whosemother is the host of The Corny Collins Show’s monthly “Negro Day” broadcast. An immediate camaraderie is establishedbetween them.

Language ArtsDiscussion

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Discussion ObjectiveTo learn techniques andgeneral strategies of thewriting process for creatingdramatic texts.

Teaching Tips■ Who do you know that is areally good storyteller? Howdo they make those storiesinteresting? Do they useinteresting language? Do theyset up suspense at thebeginning of their story? Doyou have any techniques thatwork well for you when tellinga story? Do you prefer a storythat contains heavy conflict, alot of description, or action?

Amber:DO YOU DANCE LIKE YOU DRESS?

Link:GIRLS, THERE’S NO NEED TO BECRUEL!

Velma:Would you swim in an integratedpool?(The music stops dead and theCOUNCIL gasps in shock)

Tracy:I’m sure I would. I’m all forintegration. It’s the NewFrontier?

Velma:Not in Baltimore it isn’t.

Tracy:Um, where’s Corny? I’d love todance for him.

Velma:I’m the producer and may I befrank?(Music back in, ominouslybuilding, building)

Velma:FIRST IMPRESSIONS CAN BE TOUGHAND WHEN I SAW YOU, I KNEW ITIF YOUR SIZE WEREN’T ENOUGHTHE LAST ANSWER JUST BLEW IT!

AND SO, MY DEAR, SO SHORT ANDSTOUTYOU’LL NEVER BE "IN"

Velma and the Council Members:SO WE’RE KICKING YOU OUT!

Velma:WITH YOUR FORM AND YOUR FACEWELL, ISN’T YOUR FAULTYOU’RE JUST CAUGHT IN A CASE OF"MISS…

Velma and the Council Members:BALTIMORE…

Velma:…CRABS!"You’re free to go.

ExerciseIn the Language Arts Overture, “It Takes Two” (pages 18 to 19), Mark O’Donnell states that he was verycareful to shape the movie into a piece that would hold its own dramatically on the stage. The first thing hedid was heighten the initial obstacles or conflicts in the movie in order to have a drama that would play outduring the entire show. For students to gain experience in using techniques to heighten the drama, havethem bring in human-interest stories that they find in the newspaper.

At first, have three or four students read their stories aloud and discuss both the ways in which the conflictsin these stories could be immediately established, as well as their possible outcome. Next have each studentcircle and identify the conflict in their particular newspaper excerpt. After that, students can break up intogroups of four or five where they will read and evaluate each piece, choosing the one most capable ofbecoming the strongest drama. The students can talk about ways in which they might write out a dramaticscene, focusing on possible characters, storylines and their final outcomes. The actual writing of this piececan happen in the Language Arts Writing Lesson, here the students will combine the facts in the articles withtheir own dramatic license in order to embellish and heighten the drama.

From the ScriptAct 1, Scene 3 Tracy is auditioning to be part of the Council. All of the conflicts she will be facing are presented here dramatically.

22

Council Members:OOH’S

25

to go

Mark O’Donnell, who wrote the book for Hairspray, talks about the combination ofimagination and observation as something always present for writers. The class hasexperienced that by writing characters created from a combination of fact and imagination.

For an interesting after-school activity, take some time to observe people on the bus, thesubway, in the streets, at home, etc. Carry a small pad and when you see people who catchyour interest, jot down some notes about their appearance, the way they carry themselves,their vocal qualities, how they speak to other people and what it is that has attracted you tothem. Then write a short description of four or five people whom you have selected from thehundreds you’ve seen to be the subject of a thumbnail sketch.

You have just experienced working with a number of people in a collaborative process. Howwas that experience for you? What role were you able to play? Was it something youvolunteered for, or was it assigned to you? Were you happy in that role? Did you find thatyou worked well with people and vice versa? Did it start out as a positive collaboration ordid you have to learn how to make it positive as the work progressed? On the other hand,did you find a successful working situation impossible?

Set aside some time to do a free association journal entry which begins with the open-ended sentence “The role I was able to play in putting on the class presentation of humaninterest stories was…” Next, finish that sentence and for five minutes simply write aboutyour experience and why it was interesting, productive, not productive, etc.

Bring your journal entry into class and share and discuss it with a partner.

There are many characters that youhave developed from the humaninterest stories. In part, you havealso developed them visually bothin your imagination and in terms ofcostume elements. Now, findphotos and portraits in magazinesof people resembling the characterscreated in class. Some people inthe class who are particularly fondof drawing can contribute sketchesor cartoons of these characters toadd to the picture collection. Bringthese pictures to class, and ingroups of eight, determine the onesthat best represent the characters.Put those selected photos ordrawings up on the blackboard andsee if the other groups in the classcan identify the charactersrepresented by these visual images.

NAME DATE

CLASS TEACHER

YOU think?What do1.

H O U R SAfter3.

EXPRESSyourself2.

L A N G U A G E A R T S

Copyright 2003, Camp Broadway

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Language ArtsExperiential

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Experiential ObjectiveTo demonstrate collaborationskills in speaking and listeningwhile working on a groupproject.

Teaching Tips■ Do you tend to be theperson in a group who has lotsof ideas? Do you tend to bethe person in a group who isvery good at listening andunderstanding what otherpeople have said? Do you tendto be someone with ideas thatyou find difficult to shareand/or express? Do you find itexciting to be in meetingswhere collaboration is ongoing?Are there kinds of personalitiesin the group dynamic thatmake it easier or more difficultfor you to express yourself?

Corny:Yeah! And that was ourdance of the week –“Peyton Place AfterMidnight,” – introducedto you by our brand newCouncil member, MissTracy Turnblad.

Edna:Oh, my word! Tracy!Live in our own livingroom!

Wilbur:I think I’ve seen herhere before.

Penny:And she’s going to be aregular.

Edna:Imagine, my little girl,regular at last.

Penny:Hi, Tracy. It’s me,Penny!

Edna:She can’t hear you.(The phone rings and SHEanswers it.)Hello?... Yes. Thisis...her childhood home.No, I’m not her father.(Back to the show...)

So let’s wave a wistfulbye-bye to Brenda — seeyou next year.

Council Members:(waving to BRENDA as SHEexits)Awww...

Corny:...and inaugurate thenewest member of ourCouncil, Tracy Turnblad!Cozy up to old Corny andtell us about yourself,Trrrrace.

Tracy:Well, I go to PattersonPark High, I watch yourshow, and I do

absolutely nothing else.(ALL applaud and cheer)But someday I hope to bethe first womanpresident of the worldor a Rockette. You’vegot to think big to bebig!

Corny:And if you werepresident, what wouldyour first official actbe?

Tracy:I’d make every day NegroDay!

Velma & Spritzer: Aaaaiiiieeeee!!!!!(SPRITZER runs off inhorror, VELMA follows.)

ExerciseThe exercise for the Experiential Language ArtsLesson segment is to present each human intereststory scene as part of a unified dramatic piece.First, the class as a whole should brainstorm astructure that brings the scenes together. After thisstructure has been agreed upon, students can beassigned particular tasks. For example, somestudents can write transitional material as well asmake changes in the present scenes toaccommodate the new format. Others can direct thescenes, stage manage, manage and determine theprops, design sets and costumes and/or act in the

piece. Note that two full class periods will berequired to have a productive rehearsal and arewarding presentation.

Once again, the teacher might bring in a theaterprofessional or someone on staff with experience inputting together collaborative production to workwith students while they go through this process.

From the ScriptAct 1, Scene 6Tracy Turnblad is a dynamic young woman and not about to stand for anyone putting her down. With integrity andoptimism, she forges ahead in spite of the criticism she receives of her mission to integrate Baltimore and on herweight.

Behavioral StudiesDiscussion

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Discussion ObjectiveTo analyze change due toconflict, cooperation, andinterdependence amongindividuals, groups, andinstitutions.

Teaching Tips■ Do you belong to a social,sports, church, or any otherparticular group? Would yousay these groups are filledwith conflict or cooperation?What might some conflicts ina particular group be? Whyand how do behaviors ingroups tend to shift? Howmuch of this has to do withattitudes? How and why mightattitudes tend to change insome groups?

■ Do you presently belong toa group that you wish wouldmake a shift in behavior andattitude? How might thoseshifts be accomplished?

ExerciseHave your students look at samples ofadvertisements either from magazines or from TVshows. Have them discuss the images and what theymean to them.

After having this discussion, focus the lesson on theissues surrounding targeting audiences for thepurpose of selling products. Ask your students whyadvertisers target audiences, as well as theconsequences, benefits, and challenges of targeting.

Next, have them look at the script where Mr.Spritzer, the advertiser on The Corny Collins Show,begins the excerpt above with the followingstatement:

“That chubby Communist girl and kissing on themouth with possibly parted lips… I assure you,controversy is not what Ultra Clutch wishes topromote.” In response, Corny Collins says, “Negroesand chubby girls buy hairspray, too, Mr. Spritzer.”

Discuss those two lines of dialogue with the class,asking them to interpret what those two lines meanto them. Ask the class whether that discussionabout advertising and targeted audiences applies toour world today. Have the discussion continue bycompiling a list of targeted audiences that thestudents can observe and can identify either inmagazines, TV, the subway, or movies today.Furthermore, have them sort advertisements thatthey have observed in terms of targeting audiences.

In addition to this discussion, encourage students tobrainstorm new advertisements that focus onparticular targeted audiences, i.e. the elderly, youngchildren, Hispanic, Asian, Caucasian, middle-classaudiences, geographical locations, etc. Afterbrainstorming and discussing the nature of varioustargeted audiences, have students createadvertisements for a select audience. Collect thework, and for the next class period, read and discussthe most successful among them. These studentscan get extra credit for strong brainstorming ideasand creative writing.

Spritzer: Mrs. Von Tussle, Negro Day everyday?That chubby Communist girl and kissingon the mouth with possibly partedlips... I assure you, controversy isnot what Ultra Clutch wishes topromote.

Corny:Negroes and chubby girls buyhairspray, too, Mr. Spritzer.

Spritzer:Mrs. Von Tussle, how do you plan tohandle this?

Velma:I plan to start by firing him!

Corny:You can’t fire Corny Collins from TheCorny Collins Show.

Velma:Why not? They do it all the time onLassie!

Corny:Mr. Spritzer, to keep your audience,you got to keep up with the times.

Velma:This show’s fine the way it is........

YOU CAN’T SAY I’M A BIGOTBUT IT JUST ISN’T TRUELOOK, I LOVE SAMMY DAVISAND HE’S BLACK AND A JEW!

BUT THEY BETTER GET SET FOR A FULL OUT ASSAULTTHEY SHOULD NEVER HAVE BOILEDMISS BALTIMORE CRABS(End of song. End of Scene Six.)

27

From the ScriptAct 1, Scene 6 Prior to this scene, several elements have already conspired to begin a cultural revolution, which is reflected in Tracy’s successboth romantically and on TV. In this scene, the antagonists try to resist these changes.

Overture to

■ Understands that group and cultural influences contribute to human development, identity, andbehavior

■ Understands various meanings of social group, general implications of group membership, and different ways that groups function

■ Understands that interactions among learning, inheritance and physical development affect human behavior

■ Understands conflict, cooperation,and interdependence among individuals, groups, and institutions

Summary of Standards for BEHAVIORAL STUDIES

Behavioral Studies

26

“Big, Blonde & Beautiful”Marissa Jaret Winokur, the original Tracy Turnblad, talks about confidence, body image,and self-acceptance.

Hefty. Plus-sized. Dimple-kneed.Those are all from articles about Hairspray. They never want to use the word “fat” so

they find every other word there is. It’s like nobody can talk about it, or even say it outloud. Why is that?

There are studies around that say girls who are five years old already have a bad self-image. They feel bad when they look in the mirror, and they’re five years old. That isreally crazy!

Look at this — I still have my report card from kindergarten. It says “Marissa needsto learn to control and lower her voice.” Well, I guess I didn’t really pay attention tothat. I know they probably meant well — “girls should be quiet and polite” — butthrough your whole life there are people who want to tell you what you should do andwho you should be. I don’t think you should always listen to them.

I’ve been lucky, I guess. I always had a lot of self-confidence — that’s what gotme into performing. And most of the time nobody gave me too much trouble

about my size. I’m short — just five feet tall — and I’m not a skinny little stick. But Ihad a lot of friends, I was a cheerleader, I was in shows at school. I just ignored anyonewho said I shouldn’t do those things, I guess.

Of course I would love to lose 10 pounds. I would never lie and say I don’t thinkabout it, but I don’t think about it every day. I love my body. I don’t like wearing clothesthat hide or cover it. I love wearing costumes that show it off.

Whenever I would go out and audition for parts, I always decided I wouldn’t take the“poor fat girl” roles. That’s not who I am. When I heard they were doing a musical ofHairspray I thought, yeah, that’s for me.

I know that some people see my weight first, but I don’t think of Tracy as a rolemodel for all the heavy girls out there — she’s more than that. She’s an individual. Shedoesn’t fit the mold. This show says that you can be whoever you really are, and not onlythat, you can win.

John Waters always likes to say that what he loves most about Hairspray is thatwhen they do it in high schools, there will finally be a part for “the fat girl and the dragqueen.” It’s cool to be part of something like this, a show that really says something.

Playing Tracy — well, it’s one of the hardest things I’ve ever done in my life justbecause of all the energy it takes, but it’s also a once-in-a-lifetime opportunity. I’m doingmy best to enjoy it — and trying not to lose too much weight.

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Behavioral StudiesExperiential

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From the ScriptAct 1, Scene 8 The Turnblads, Motormouth Maybelle’s family, and all the people who have been marginalized become idols of teenculture. With confidence, strength of character, and enthusiasm, they accept and relish their new positions.However, the group that has been overshadowed by Tracy and Seaweed’s success takes a spiteful revenge asexpressed in this upcoming scene.

Experiential ObjectiveTo examine ways in whichone’s inheritance or culturalstatus becomes threatenedwhen a competing andemerging cultural groupovertakes that privilegedposition.

Teaching Tips■ What do you think a fairsociety would look like? Doyou think it’s possible forgroups to treat each otherwith fairness?

■ Do you feel like you arepart of a group that is mostlyprivileged, not privileged, orpretty much in a neutralposition? How do you identifyyourself within this group?

■ Have your students writeabout their thoughts on thesequestions for a continuousfifteen-minute period. Nexthave them decide if theywould like to share theirthoughts, first with a partnerand then with the class.

ExerciseIt’s hard to imagine what it feels like to be in either a high or low-status group, unless you haveexperienced it first hand. The following is an in-class exercise that can provide this experience.Over the next two days, have your students choose a privileged group based on gender. Forexample, one day, females will comprise the high-status group. They will be called upon first whenstudents raise their hands to volunteer answers. They will receive praise for their answers and ingeneral these will be subjects of attention. The other students will mostly be ignored except forpoints of criticism. The class can come up with tasks that the male students will perform for theothers, such as sharpening pencils upon request, carrying books to class, opening doors, etc. Onthe second day, switch the status of these gender groups and repeat this exercise. Finally, let theclass decide if they, in fact, want to continue with the status experiment or alternatively discussways in which status distinctions can be eliminated and groups can be equalized. To finalize thisexperiment, have students determine the nature of privilege in a group.

An alternative role-playing exercise may involve students acting out stories based upon newspaperheadlines that suggest status relationships. In these improvisations, students can be stopped andasked to reflect upon their roles of privilege or the lack thereof. Students can then switch rolesand replay these improvisations.

Amber:Well, well, well, TracyTugboat, you finallyfound a title you couldwin: Miss Special Ed!

Link:Knock it off, Amber

Tracy:Amber Von Tussle, youhave acne of the soul.

Gym Teacher: Students…Commence!(And with a shrillwhistle the gamebegins. AMBER gets theball and throws it atTRACY.)

Amber:Hey, thunder thighs,dodge this!

Tracy:You throw like a girl!

Seaweed: Hey, no fair throwingat the head.

Gym Teacher:That’s right, go forhis nuts!(the ball barely misseshis head)

Link:Everybody take it easy.This isn’t World WarThree.(AMBER gets the ballaway from LINK andtakes dead aim atTRACY’S head.)

Amber:Says you! Eat dodgeball, Trampy Ton-o-lard!(SHE viciously snapsthe ball right intoTRACY’s head. TRACYcrumples to the ground,knocked out. A whistleblows.)

Gym Teacher:Game over.(school bell rings)Class dismissed! Allright girls, who wantsto take a shower?Extra credit!(the GIRLS and GYMTEACHER exit)

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From the ScriptAct 1, Scene 7 Tracy, a new teen idol, has her phone ringing off the hook. Her mother, Edna, is also celebrated as the popularmother of her popular daughter. Both Tracy and Edna quickly adapt to their newly forming "glam" images androles in the popular culture.

Writing ObjectiveTo examine ways in whichcultural influences affect self-esteem, identity and behavior.

Teaching Tips■ Do you like to be part ofgroups that are just like you?Do you like to be part ofgroups that are different fromyou?

■ Think of how you have orhave not adjusted to groupsthat are different.

■ How do you think you'dreact to stardom? Has Tracyhad to make big changes toher personality in order to fitinto a group? Might she findlearning new things amongpeople who functiondifferently from her a negativeor positive experience?

ExerciseHave your students brainstorm the effects ofsocial acceptance on personality. Have themexplore its influence on how we dress, speak,walk, eat, and generally conduct our lives. Goover possible scenarios that focus on issues ofsocial acceptance and personal confidence.

When preparing for this assignment, remindstudents of the relationship between socialacceptance and confidence. We have all been insituations where a cultural environment hasconflicted with our personalities. We’ve alsoprobably all experienced situations where thecultural environment supports and accepts ourpersonalities. In a short in-class writing exercise,have students recall their experiences with thesetwo contrasting situations. (“Culturalenvironment” can refer not only to ethnic culturebut also to pop trends like hip-hop culture. Havestudents discuss how they define a “culture.”)

After they have done a short written piece

identifying these two situations, have themchoose one situation for a well-developed one- totwo-page composition that they will also begin inclass. In the first paragraph have them describeand define the cultural situation that they havechosen to represent concluding that paragraphwith a statement about whether or not thatsituation made them personally comfortable. Inthe next paragraph, have the students describethemselves in reference to that specific culturalsituation so that we can see who they are andhow they affected and were affected by thatsituation. In the final paragraph, have themdescribe an incident that is indicative of howwell they did or did not function in that socialsituation. Ultimately, they will be writing acomposition about a comfortable or anuncomfortable social situation that they canrecall and find interesting to write about.

Option: Students can bring their essays in to asecond class where they will exchange their workwith another student and edit each other’sassignment.

All:YOUR MAMA’S WELCOMING THE SIXTIESOH OH OH OH OH OH OH OHYOUR MAMA’S WELCOMING THE SIXTIESOH OH OH OH OH OH OHGO MAMA, GO, GO, GO!(FANS besiege TRACY for photos andautographs.)

Dynamites:WELCOME TO THE RHYTHM OF A BRAND NEW DAY

Tracy:TAKE YOUR OLD-FASHIONED FEARS

Dynamites:AND JUST THROW THEM AWAY

Mr. Pinky’s Staff: YOU SHOULD ADD SOME COLOR AND A FRESH NEW“DO”

Dynamites:’CAUSE IT’S TIME FOR A STARWHO LOOKS JUST LIKE YOU!

Judine:DONCHA LET NOBODY TRY TO STEAL YOUR FUN’CAUSE A LITTLE TOUCH OF LIPSTICK NEVERHURT NO ONE

Kamilah:THE FUTURE’S GOT A MILLION ROADS FOR YOUTO CHOOSEBUT YOU’LL WALK A LITTLE TALLER IN SOMEHIGH-HEEL SHOES

Shayna:AND ONCE YOU FIND THE STYLE THAT MAKES YOUFEEL LIKE YOU’RESOMETHING FRESH AND NEW

Dynamites:STEP ON OUTHEAR US SHOUT

Tracy & Dynamites: MAMA, THAT’S YOUR CUE!!!YEAH, YEAH, YEAH(EDNA emerges from the shop lookingresplendent.)

Copyright 2003, Camp Broadway

Overture to

Thinking and Reasoning■ Understands and applies the

basic principles of presenting an argument

■ Understands and applies basic principles of logic and reasoning

■ Effectively uses mental processes that are based in identifying similarities and differences (compares, contrasts, classifies)

■ Understands and applies basic principles of hypothesis testing and scientific inquiry

■ Applies basic trouble-shooting and problem-solving techniques

■ Applies decision-making techniques

Working With Others■ Contributes to the overall effort of

a group

■ Uses conflict-resolution techniques

■ Works well with diverse individualsand in diverse situations

■ Displays effective interpersonal communication skills

■ Demonstrates leadership skills

Self-Regulation■ Sets and manages goals

■ Performs self-appraisal

■ Considers risks

■ Demonstrates perseverance

■ Maintains a healthy self-concept

■ Restrains impulsivity

Life Work■ Makes effective use of basic tools

■ Uses various information sources, including those of a technical nature, to accomplish specific tasks

■ Manages money effectively

■ Pursues specific jobs

■ Makes general preparation for entering the work force

■ Makes effective use of basic life skills

■ Displays reliability and a basic work ethic

■ Operates effectively within organizations

Summary of Standards for LIFE SKILLS

conversation with Marc Shaiman andScott Wittman, composer and co-lyricists of Hairspray.

StageNOTES: How do you work together whenyou write?

MARC SHAIMAN: I beg Scott tocome into the room with thepiano. We think of the idea for asong, and I’ll just sit at thepiano and sort of … “Play,monkey, play!” (laughs)

SCOTT WITTMAN: Everything’sdone at the piano. We don’t sitin separate rooms and write. Wesit at the piano and figure outwhat the scene calls for andwhat the character wants.

MS: I start playing music — itcomes pretty simply for me —and then we start carving awayfrom the top. And as the lyricsstart forming I amend themelody or chords.

SN: What kind of research didyou do for Hairspray?

MS: Both as procrastination andas a very valuable tool, we’ll go off and buyevery possible reference book on the subject.

SW: Lots of research books. I also boughtSeventeen magazines of the period on eBay.

MS: We found a great book called Black Talk,a fantastic book about the last century ofblack slang. We actually have a lot of bookson slang, but none that were so particular tothe black community.

SW: “The blacker the berry, the sweeter thejuice” was in there.

MS: When we saw it there on paper, wethought, “Hm, that’s a great phrase.”

SW: “Run and Tell That” came out of there aswell. We make lists of the words that pop outat us, until we find the title or the hook.

SN: Were you inspired by particular ‘60ssongs?

MS: For every song in the score, I could tellyou two songs that were the inspiration forthe musical groove. “You Can’t Stop theBeat” is inspired by “River Deep, MountainHigh.” There’s also a connection with “TheBeat Goes On,” which meant “life goes on.”It sort of means the same thing here, but it’sboth figuratively and literally about “thebeat.” “Good Morning, Baltimore” certainlyhas the sound of “Be My Baby.” “HeatWave” has the basic groove for “Welcome tothe Sixties.”

“Without Love” was inspired by “YourLove Keeps Lifting Me Higher” and “You’reAll I Need to Get By.” I cheated a little thereand went a little further into the ‘60s thanthe time period of Hairspray. My idea —and my excuse (laughs) — was that the kidsare thinking ahead. The first time we wrotethe song “Without Love,” Seaweed started it,and we had the book writers give him linesinto the song that said, “Somewhere outthere there’s a new world, new rhythms, newsounds.”

SN: What song was the most difficult for youto write?

MS: Velma’s song kept changing andchanging.

SW: After Tracy sang “I Can Hear the Bells,”the audience was so enamored of her theydidn’t want anyone onstage calling her fat orugly.

A“You Can’t Stop the Beat”

Life Skills

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Marissa Jaret Winokur plays Tracy Turnblad in Hairspray. There is an interview with her in theOverture to Behavioral Studies: “Big, Blonde & Beautiful” (page 24). Using information fromthis interview, pretend that you and she are close friends, and that you are being interviewedabout her by a journalist for a celebrity magazine. Describe your friendship, how long you’veknown her, experiences you’ve shared with her, your opinion of her character, etc. Mostimportantly, imagine how she has felt playing the role of an outsider and whether that has beendifficult or rewarding for her identity. Write down the interviewer’s questions and your answers.Share your writing in class, where you and your classmates can observe the varying opinionspeople have of the actress, and the ways in which playing the role of an outsider has affectedher identity.

Would you like to see more social integration on TV? Would you like to see couples fromdifferent races and ethnic backgrounds as boyfriends and girlfriends, friends, lovers, andmarriage partners on TV and in life? Why or why not? Write out your thoughts, usingspecific examples to explain your opinions. Your teacher will compile an anonymous surveyfrom the class so that you may compare your responses with others.

In the interview with MarissaJaret Winokur, we see how shefeels being a “hefty,” high-spirited and “dimple-kneed” girl.Compose a two-paragraph letterto Marissa about how you feelseeing a young woman on stagewith such a positive self-image.Bring your letter to class and beprepared to read it to yourclassmates, who will also readtheir letters to you.

NAME DATE

CLASS TEACHER

YOU think?What do1.

H O U R SAfter3.

EXPRESSyourself2.

to goB E H A V I O R A L S T U D I E S

Copyright 2003, Camp Broadway

Marc Shaiman

Scott Wittman

continued on next page

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From the ScriptAct 1, Scene 8 In this scene, Tracy and Penny meet Seaweed and his mother, Motormouth Maybelle on their turf in an "Afro-Fantastic"scene. Tracy has bounced back from the assault by Amber in the gym and she is in the company of her allies. Link hasjoined them in friendship, but he still isn’t bold enough to protest against the prejudice that his new friends faceeveryday. Tracy learns a life lesson about the generous nature of love and the need to believe that good can overcomebad choices.

Discussion ObjectiveTo observe collaborativetechniques displayingeffective interpersonalcommunication skills.

Teaching Tips■ Who is the funniest personyou know? What makes themfunny? Are they reacting tothe people in conflict aroundthem? Can you recall asituation in which a funnyperson has lightened theenergy in the room?

ExerciseIn Hairspray, many of the charactersuse humor as a way of coping withproblems. For example, Ednamakes jokes to take away the stingof Amber and Velma’s insults in therecord shop scene. When we gothrough painful moments, findingthe funny side of the situation oftenhelps us get through it.

In class, have students brainstormwhat makes a situation funny. Forolder students, you might begin byexamining the aphorisms “Comedyis tragedy plus time” and “Comedycomes from pain.” Often thefunniest personal stories come fromthe awful things that happened to

us, once a fair amount of time haspassed.

In the above scene, observe the useof different kinds of comedic lines:

■ Insult: “The watermelon doesn’tfall very far from the vine.”■ Understatement: “Tracy, be a dearand hold mommy’s waffles.”

What is the effect of each? Velma’smean-spiritedness is made evidentthrough her insults. Edna, bycontrast, shows the most restraint,and gets the biggest laughs. Shesays the least, but at the same timereveals to us that she is smarterthan the others. When we see Ednarespond to a vicious attack with a

witty remark, we as an audienceside with her, enjoying her victoryover her petty opponents.

Motormouth, Edna, Tracy andSeaweed all respond to racism andinsults with wit. Ask the studentsto discuss how they handle similarsituations: is it possible to respondto racism with kindness and humor?

For homework, ask the students tofind the comedic potential in theireveryday lives. What situations arefunny? Are they funny initially oronly in retrospect?

Edna:Oooooooohhhhh!!!!! Tracy, that was you!

(calling out the door)Wilbur! It was the kids I saw.

Tracy:Mama, what are you doing here?

Edna:I had a sudden craving for chicken andwaffles, so we drove up to Ruby’s Take-Out across the street. Hello everyone. I’mTracy’s mom.

Velma:(taking in EDNA)

Oh! So, you’re what spawned that!

Edna:Excuse me?

Velma:I guess you two are living proof that thewatermelon doesn’t fall very far from thevine.

Edna:Tracy, be a dear and hold mommy’s waffles.

(EDNA takes a threatening steptoward VELMA as WILBUR enters.)

.....

Link: I like these people. But whether or notthey’re on TV won’t get me a recordingcontract.

(realizes that sounds too shallow) That comes out all wrong. I’ve been singingand dancing and smiling on that show forthree years waiting for it to lead to mybreak...I’m not gonna throw it away. C’mon, I’mleaving and you gotta too.

(He starts toward the door.)

Tracy:No! I want to do this, and so should you.It’s what’s right. Stay, Link. Please stay.

Link:Sorry...See ya, little darlin’. (He exits.)

Tracy:Oh mama...how could I think Link Larkinwould ever care about someone like me?

Edna:...It’s just Eddie Fisher all overagain...boys are not the brightest things.Give him time. I’m sure he’ll figure outhe’s crazy about you.

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MS: But in the story we had toimmediately have her rejected becauseof the way she looks, and herprinciples.

SW: We wrote a song called “No OneOn My TV Show Will Ever Look LikeThat,” and the audience wasn’thaving it.

MS: The audience hated Tracy being sopoked fun of, even though it was bythe villain and you obviously hate herfor saying those things. Then we triedanother song with the same melody,called “I Prefer the Status Quo,”which was a more veiled way for Velmato reject Tracy — to speak in a bigotedway without being found out. Butfinally we realized that we needed towrite something funny.

SW: “Miss Baltimore Crabs” gave her ashowier, “Disney villainess” – stylenumber.

MS: Even with that song, we had to cutit down to the bare minimum. We justneeded to make the point that Tracy’snot getting on the show, and that thevillain is lost in her illusions.

SN: Were you interested in theaterwhen you were in high school?

SW: I grew up in Nanuet, New York. Iwas in every musical and in every play— I think we did three a year. Buteven if I didn’t get a part in the show,I would be on the stage crew —anything to be involved. This isterrible, but I cut school everyWednesday and I’d go into the city andbuy standing room tickets to shows. Ijust saw as much as I could. Allthrough high school in the summer Iwould apprentice in summer stock, forno money. I think at one point they

wanted me to pay them (laughs). Oneweek you’d be doing props, one weekyou’d be on the stage crew, one weekyou’d be a dresser. I learned a lot fromwatching those actors — how to put ashow on in a week. I did anything Icould to be around theater.

MS: I left high school with a G.E.D. Imoved to New York less than a yearlater, and just had a fairy-tale entranceinto the business. I met the people Idreamed aboutmeeting, and Istarted workingright away. It’salways tough whenpeople ask how todo what I’ve beenlucky enough to do.There’s no way tore-create whathappened with me.All I can say is, youhave to be out theredoing it. Havecourage and selfconfidence — youcan’t do much ifyou don’t have that.

But, there’s nota day that goes bythat I don’t wishthat I had a collegeeducation in music,and had a chanceto further mymusical knowledge.I’ve had to learnthings by the skinof my teeth, and I can’t imagineanything more glorious than beingspoon fed the rules of orchestration,and the history of it all. I wish I’d hadthat.

SN: Can you compare writing music formovies to writing a Broadway musical?

MS: Writing music for movies is verythrilling — you get a hundred-pieceorchestra playing your music. Moviesare just so huge. When you work onsomething, and you know thateveryone in the country or the worldknows about it, it’s almost surreal. Butnothing can compare to human beingssinging songs that you’ve written, andsinging them so well. It’s amazing tosee everything fall together the way itdid on Hairspray — the sets,

costumes, direction, choreography.And then for it to be such a hit, tomake an audience so joyous everynight — that’s truly unspeakablysatisfying, there are just no words todescribe that satisfaction. ■

Top left: Laura Bell Bundy (Amber Von Tussle) and Linda Hart (Velma Von Tussle)

(right) with members of the cast.

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3535

From the ScriptAct 2, Scene 1 Tracy’s dad mortgages his Har-De-Har Hut Joke Shop and brings enough bail money to release everybody from jail.However, a court order detains Tracy in solitary confinement. Her family and friends reaffirm their love and support forher, even though they’re forced to leave her behind. Consequently, Tracy still has a very positive sense of herself to keepher spirits high. The writers and composers of Hairspray give Tracy a moment that allows the character to express herself-confidence at this potentially lonely time.

Experiential ObjectiveTo illustrate techniques thatenable individuals to developa strong self-image.

Teaching Tips■ Can you think of a timewhen you were an absolutelyhappy person? Did it evermake you want to get up andsing? Do you know anyone inyour family and/or among yourfriends who prefer to use songto express emotion?

■ What is there about singinga song that is more inspiringthat speaking words? What isit about music that attractsyou? What is your favorite alltime most inspiring song?

ExerciseThere are times when we want a private moment in order to express confidence, and/or bravado aboutour ability to overcome obstacles. While this is not necessarily easy to express in dialogue, this stronglevel of emotion can sometimes be conveyed through song.

Have students identify songs they are familiar with which express the same high self-esteem they findin the script excerpt above. Their assignment for tomorrow is to bring in the song lyrics and explaintheir selection to the class. They can additionally teach the class to sing the song if they choose.

Tracy:OH, OH, OHI’M ALL ALONEMY HEART HAS GROWN BUT IT’S BROKEN, TOO.

THIS MORNING LIFE WAS ABALTIMORE FAIRY TALENOW I CAN’T MAKE BAIL!

MY MOTHER’S IN SHOCKMY FATHER’S IN HOCKI MUCH PREFER LINK’S ARMSTO JAILHOUSE CELLS

SO LINK, PLEASERESCUE ME NOW’CAUSE I LOVE YOUAND THIS PRISON SMELLS.LINK, HEAR THE BELLS!

AND GET READY BALTIMORETHERE’S A BRIGHT, BRAND-NEW DAY IN STORELET ME OUT SO THIS DREAM’S UNFURLEDI’LL EAT SOME BREAKFAST,THEN CHANGE THE WORLD!

AND I PROMISE BALTIMOREONCE I CHA-CHA RIGHT OUT OF THAT DOORTHE WORLD’S GONNA WAKE UP AND SEELINK’S IN LOVE WITH ME!

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From the ScriptAct 2, Scene 1 There has been a raucous demonstration to integrate The Corny Collins Show. The efforts to open images of black andwhite teens dancing together get proponents and opponents alike thrown in jail together, and a new character, thematron of the prison, is introduced to heighten the intensity of an already thickening plot.

Writing ObjectiveTo analyze the interactions ofdiverse individuals withinsimilar situations.

Teaching Tips■ How good are you atobserving differences amongpeople? Do you play an activeor passive role when there aredifferences among people inyour company?

■ Does diversity amongpeople create a good,challenging, or uncomfortableatmosphere for you?

■ Think of four people thatyou know through the processof free association. Are youable to distinguish thedifferences and similaritiesamong them? If so, whatmight they be?

ExerciseHave students choose three to five contrasting personalities among people that they know, have met, orhave heard about. For no more than fifteen minutes, have the class write a thumbnail sketch of each ofthese people. Next give them thirty-five minutes to write a scene in which their characters have beenthrown into jail and are forced to interact with each other.

With a partner, students can then exchange scenes and read them aloud together, actingout/interpreting each role as they see fit. Have the characters been portrayed successfully? What arethe strengths and weaknesses of the scenes? Using feedback from their writing partner, studentsshould rewrite their scenes, sharpening their characters and their dramatic interactions.

Finally, have students volunteer to read their rewritten scenes to the class. Are the character portraitssuccessful? Discuss.

(The FEMALE CAST, with the exceptionof PRUDY, are in jail! A MATRON stands watch over them.)

Women:I GOTTA GET OUT,I GOTTA GET OUT,I GOTTA GET OUT,HOW’D I GET IN THIS SLAMMERTHIS COOLER, THIS BIG DOLLHOUSE!

Matron:Alright, ladies, welcome to the bigdollhouse! For those of youse new tothe penal system I’m letting you knownow that I don’t stand for boozing,doping, cussing, gambling, fighting,or any other sort of unladylikebehavior. Think of me as a mother…whoeats her young.

Velma:LOCKED UP WITH ALL THESE LOWLIFE WOMEN

Edna:AND HORIZONTAL STRIPESAIN’T EXACTLY SLIMMIN’

Amber:IS THERE ANYBODY HERE WHO CAN DRYCLEAN MY BLOUSE?

Matron:IT’S THE MAID’S DAY OFF

All:IN THE BIG DOLLHOUSE

Little Inez:LADY JUSTICE WHERE HAVE YOU GONE?

Edna:OOH, WILBUR, CHECK, I THINK I LEFT THEIRON ON!

Velma:DID YOU SEE CORNY LAUGHING?I COULD MURDER THAT LOUSE!

All:HONEY, THAT’LL GETCHA LIFEIN THE BIG DOLLHOUSEBIG HOUSE!

Overture to

Art Connections■ Understands connections among the various

art forms and other disciplines

Music■ Sings, alone and with others, a varied

repertoire of music

■ Performs on instruments, alone and with others, a varied repertoire of music

■ Improvises melodies, variations, and accompaniments

■ Composes and arranges music within specified guidelines

■ Reads and notates music

■ Knows and applies appropriate criteria to music and music performances

■ Understands the relationship between music history and culture

Theater■ Demonstrates competence in writing scripts

■ Uses acting skills

■ Designs and produces informal and formal productions

■ Directs scenes and productions

■ Understands how informal and formal theater, film, television, and electronic media productions create and communicate meaning

■ Understands the context in which theater, film, television, and electronic media are performed today as well as in the past

Visual Arts■ Understands and applies media, techniques,

and processes related to the visual arts

■ Knows how to use the structures (e.g., sensoryqualities, organizational principles, expressive features) and functions of art

■ Knows a range of subject matter, symbols, and potential ideas in the visual arts

■ Understands the visual arts in relation to history and cultures

■ Understands the characteristics and merits of one’s own artwork and the artwork of others

Summary of Standards for THE ARTS

The Buddy Deane Show

Like Tracy Turnblad, young John Waters would race home after school to watch TheBuddy Deane Show, the inspiration for Hairspray’s Corny Collins Show. Almost everylarge city had its own dance-party show, which featured local teenagers doing the latestdances to pop hits.

The most well-known was American Bandstand, which was first broadcast in Philadelphiain 1952. When it began airing nationally in August 1957, it became an instant hit.

The dancers featured on the show were regular Philadelphia high school students. Soonthey became mini-celebrities, with fans devoted to their every move.

In 1957, Baltimore’s WJZ-TV gave ex-disk jockey, Buddy Deane a show, running from4:35 to 6:00 PM every weekday, and from 1:00 to 2:30 on Saturday. The studentregulars were called “The Committee” (renamed “The Council” in Hairspray). Waterseven appeared on The Buddy Deane Show:

I was on The Buddy Deane Show as a guest, but a guest was so low. TheCommittee members’ jobs were to dance with guests, who were the low-lifeviewers. They couldn’t dance with each other except every second or thirdrecord.

The Committee members were myimaginary friends. I used to watch theshow and draw exaggerated hairdos andmake up fictitious biographies for all ofthem.

The Buddy Deane Show had only whitedancers (except on “Negro Day” once amonth), even though the teens on the showusually preferred dancing to music by blackartists.

Earlier, in the 1940s and early ‘50s, white singers would record their own “cover”versions of rhythm and blues tunes, since radio programmers worried that theiraudiences would reject “race music.” However, the biggest music audience, teenagers,were more interested in the authentic raw sounds of rock & roll and rhythm & blues.Cover versions lost their popularity, and radio stations began integrating their playlists.Color distinctions didn’t matter to the teens — they just wanted more of the music. Amember of the popular black group, the Cleftones, remarked that “disc jockeys andrecord distributors were doing more for integration than Brown versus the Topeka Boardof Education.”

Unlike the situation in Hairspray, the television-station management actually did want tointegrate the show. However, the parents of the Committee members refused to allow it.

In real life, it did not have a happy ending. The Buddy Deane Show went offthe air because they wouldn’t integrate. It wasn’t Buddy — the kids’ parentssaid, “You’re not dancing with black people on television.” It was tense herein Baltimore. Even today it would be odd to have fifteen-year-olds black andwhite, slow dancing together on television. I don’t think that would be able tohappen, to tell you the truth. I gave it a happy ending that it didn’t have.

The Arts“The Nicest Kids in Town”

36

NAME DATE

CLASS TEACHER

YOU think?What do1.

H O U R SAfter3.

EXPRESSyourself2.

What is a good environment for you to brainstorm ideas and think creatively? Do you find itvaluable to gather research before you begin the brainstorming process? In order to exploreways in which you brainstorm, look at the following list of general topics and pick one thatappeals to you. Spend at least an hour at home turning that topic into a poem, amonologue, a scene, a song, a drawing, a photograph, etc. You can create this finishedpiece alone or with other people. However, along with this product, which you will presentto the class, report on the process you used to create it. The process will be different foreveryone. Some people will work from images that come to mind and build stories aroundthese images. Some people will work from characterizations, hearing dialogue that containsdramatic conflict, etc. Use the following list of general topics to begin the brainstormingprocess:

In the Overture to Life’s Skills, “You Can’t Stop the Beat” (pages 28 and 29), Scott Wittmandiscusses his high school and college career. He talks about how his involvement with musicalsstarted in high school, with summer stock, movies, and theater continuing throughout his life.He was fascinated and committed to all forms of theater and followed this path wherever hecould. Describe either yourself or someone you know in terms of your or their deep commitmentto a strongly motivated pursuit.

Have you ever thought aboutmaking a movie? Imagine that youwere given all the money youcould ever ask for in order tomake a movie. You will be thedirector of that movie. Chooseyour location. Choose two centralcharacters. Cast them with anyactors of your choice, professionalor otherwise. Choose the musicyou’d like to have as underscoringfor the piece. Jot down thosenotes and bring in your ideas toshare with the class.

to goL I F E S K I L L S

Copyright 2003, Camp Broadway

■ Fried eggs■ Kissing■ Purple Passion■ A stack of books■ The flute player■ Doorknobs■ Tap dancing

■ Fondly recalled memories■ Partial to pizza, etc.

(You can add or subtract fromthese topics at will.)

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From the ScriptAct 2, Scene 2 Wilbur and Edna reaffirm their love for each other.

Writing ObjectiveTo learn how visual metaphorsin the arts can be used to putforward new ideas.

Teaching TipsWhat are the qualities of a“Mom of the Year”? What arethe qualities of a "Dad of theYear"? Explain your answers.What are the qualities of ahappy, compatible couple?What makes themcompatible? Who is the leastcompatible couple that youknow? What could makethem compatible? What isyour vision of the greatest loveaffair you could possiblyimagine? Can you remembera time when something youdreamed of or wished forcame true? If yes, what wasit and how long did it last?

ExerciseHairspray is a unique world seen through the eyes of John Waters. In this world, integration on TV ispossible every day, overweight girls can be sexy teen idols and romantic love objects, and goofycouples who seem to be complete opposites can be the dream parents of their time. In this world, TVpersonalities can support healthy role models and not lose their jobs. How true is this picture to life?

After discussing Hairspray as a vision of life through the eyes of John Waters, have the class createtheir own vision of the world. This world should include contrasting verbal and visual images. Forinstance, in Hairspray, Wilbur compares Edna to the Hindenburg disaster, yet intends it as acompliment. (Similar apparent contradictions are found throughout the show, capturing John Waters’feel for paradox.)

Begin by using the lyrics of “Timeless to Me” to demonstrate how metaphor and simile are used.Then, allow the students to brainstorm, encouraging them to free their minds from conventionalphysical and visual images. Be sure there is time remaining in class after they’ve written their visionsto share their ideas with one another.

Wilbur & Edna:YOU NEED A FRESH COAT OF PLASTER

Edna:BUT WILBUR, I’M STILL HOT TO TROT

Wilbur:YEAH EDNA, YOU’RE LIKE THE HINDENBURGDISASTER

Edna:I’M FULL OF GAS!

Wilbur:BUT YOU WON’T BE FORGOT!!

Wilbur & Edna:LOVE TAKE A LICKIN’BUT WE KEEP ON TICKIN’WE’RE JUST LIKE THE CLOCK ON THE WALL

Wilbur:YEAH OUR SPRINGS NEVER POP

Edna:AND ON THE DAY THAT YOU DROP

Wilbur & Edna:WHOO! I’LL CATCH YOU WHEN YOU FALLAND WE GOT A KIDWHO’S DONE WHAT SHE DIDAND WE’RE AS PROUD AS PROUD CAN BE

Wilbur:YOU’RE STILL MY BIG AFFAIR

Edna:MEIN HERR!

Wilbur & Edna:YOU’RE TIMELESS TO ME.

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From the ScriptAct 2, Scene 2 Tracy is in prison, causing Edna to feel like a failed parent. Luckily, Edna has Wilbur to cheer her up.

Discussion ObjectiveTo understand the context inwhich theater is performedand how theater can aspire tochange society.

Teaching Tips■ Have you seen the movieHairspray? Was it like anyother movie that you’ve everseen? In what ways would yousay it was different, and inwhat ways was it similar?What would you identify asthe themes of Hairspray?

■ How many movies or playscan you think of that dealwith integration in ways thatare satisfying to you? Literallycount the number that youcan think of. Of this number,how many of them representthe world as you know it?

■ Some people say moviesshould be more like life,others say that life should bemore like the movies. Whichstatement do you agree withand why? Exercise

John Waters took a situation from his own life that could have led to despair. But as he tells us inthe “Overture to the Arts” (page 34), he changed the endings in both the movie and stage version toreflect a more positive outcome.

“Even today it would be odd to have fifteen-year-olds black and white slow dancing together ontelevision.”

But in Hairspray it does happen, demonstrating how theater can be used as a vehicle to initiate orsuggest change in society. Have a discussion of that phenomenon. Ask your students if they cancome up with other movies, songs, or theater pieces which demonstrate an alternative to presentreality. Furthermore, ask them to identify situations that they would like to see changed by a work ofart and how they believe this could be accomplished.

(WILBUR & EDNA are athome later that day.WILBUR is busilyworking on a jumbohairspray can model.EDNA is on the phone.)

Edna:Hello? Yes, Mr. Pinky.Yes, of course Iunderstand that youhave an empire toprotect, Yes. I’llreturn the outfits.The pettipants, too. Iscarcely wore themtwice...but Mr. Pinky,she’s just a littlegirl and little girlsmake mistakes. If theydidn’t — where wouldother little girls comefrom?...Yes, Iunderstand… it is toobad...Goodbye.(SHE hangs up andbursts into hysterics.)Oh, Wilbur, this is areal Midol moment.

Wilbur: I’m closing up.(A "Rube Goldberg" typetrick pulls the"closed" sign on theshop)

Edna:Oh, Wilbur, mystomach’s in knots. Mynerves are on edge.

Wilbur:Calm down, sweetheart.

Edna:Calm down? There arenames for women whoabandon their daughterswho’ve gotten arrestedfor trying to integratean after school sockhop type televisionshow. Yes, there arenames, and Hallmarkdoes not make a cardfor any of them!

Wilbur:You can’t worry aboutpeople calling younames. You know howmany times I’ve beencalled crazy? But Isay, "Yeah crazy.Crazy like a loon."Anyway, we haven’tabandoned Tracy. Infact, I got just whatshe needs here; standback.(HE pushes the aerosolcan top – it explodes)What’d’ya think? Isn’tit a doozy?

Edna:Impressive. But how’sit gonna help ourTracy?

Wilbur:You’ll be surprised.

Edna:Oh, sure! You’re avisionary inventorsaving the day!

NAME DATE

CLASS TEACHER

YOU think?What do1.

H O U R SAfter

Copyright 2003, Camp Broadway

3.

EXPRESSyourself2.

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Based upon the visual images that your teacher has shown in class as well as images thatyou have seen in the media or researched on the Internet, what is your impression of the‘60s? Jot down your thoughts about the songs, dances, TV shows and politics of the time.Was the ‘60s a time that you would have enjoyed living in? Why or why not? Write a shortessay discussing this topic, answering all the questions above.

How interested are you in performing? Have you performed as an actor, athlete, musician,dancer, etc.? What is your relationship to performing? Would you rather be on stage orbackstage? If you were able to perform in Hairspray, which of the characters would youlike to play? Would you prefer to be working on the scenic elements, directing, etc.? Tryto identify who you are in terms of performance; an actor, a director, a designer, a writeror an audience member. For a homework assignment, make a short tape or burn a CD inwhich you do one of the following:

a) Read a poem that either appeals to you or one that you’ve writtenb) Pretend to be a fictional character, describing yourself and your situationc) Describe what puts you most at ease when you’re in front of an audience

Hairspray is about “monumentalhairdos.” What about hairdostoday? Set aside an afternoon towalk around your city or town withnotepad and pen in hand. Writedown descriptions or drawsketches of the variety of hairdosthat you encounter in the street.Next, compile similar descriptionsof hairdos seen on TV or inmagazines. Bring these into classand compare them with others.

Hairdos in theater are traditionallyconsidered part of the costumedepartment. Pretend you are acostume designer responsible forcreating a look for two characters.Using your hairdo sketches as aguide, develop these characters,and the roles they might play in adramatic story. Then eitherdescribe them orally in class orpresent classmates with a writtendescription.

to goT H E A R T S

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The ArtsExperiential

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From the ScriptAct 2, Scene 3 Link has come to Tracy to tell her that he loves her. Penny and Seaweed also declare their true love.

Experiential ObjectiveTo use acting and directingskills to produce a scene.

Teaching Tips■ What roles have you playedin theater projects both in andout of school? Which roleswere most like you, whichwere most different from you?What are the qualities that gotowards making up a gooddirector?

■ What are the qualities thatgo towards making a goodactor? Do you consider itimportant to work with theatercollaborators who aretalented? Do you consider itimportant to work with theatercollaborators who areresponsive and cooperative?

■ If you had to choose onequality over another, talentversus cooperation, whichwould you choose?

Penny & Seaweed: Backup:’CAUSE WITHOUT LOVE ...WITHOUT LOVE

Seaweed:LIFE IS LIKE A BEAT THAT YOU CAN’T FOLLOW OOH-OOH

Penny & Seaweed:WITHOUT LOVE WITHOUT LOVE

Penny:LIFE IS DORIS DAY AT THE APOLLO OOH-OOH

Penny & Seaweed:DARLING, I’LL BE YOURS FOREVER I’LL BE YOURS FOREVER‘CAUSE I NEVER WANNA BEWITHOUT LOVE WITHOUT LOVE

Seaweed:I’M YOURS FOREVER DOOT DOOT DOO DOOTNEVER SET ME FREE DOOT DOOT DOO DOOTNO, NO, NO! NO, NO, NO!

(The light comes on in the jail again. From now on we can see both couples at once.)

Link: Backup:IF YOU’RE LOCKED UP IN THIS PRISON, TRACE OOH-OOHI DON’T KNOW WHAT I’LL DO OOH-OOH

Tracy:LINK, I’VE GOT TO BREAK OUT OOH-OOHSO THAT I CAN GET MY HANDS ON YOU I CAN GET MY HANDS ON YOU

Seaweed:GIRL, IF I CAN’T TOUCH YOU NOW OOHI’M GONNA LOSE CONTROL LOSE CONTROL

Penny:SEAWEED, YOU’RE MY BLACK WHITE KNIGHT BLACK WHITE KNIGHTI’VE FOUND MY BLUE-EYED SOUL

ExerciseThis excerpt not only features four vigorous andappealing principal actors, but a backup chorusof singers to create a rousing production number.Have the class divide in half. Select twodirectors, one for each scene, and have thedirectors choose actors and backup singers torehearse and produce the scene in class.

Have each team choose a familiar song todramatize. While staging the songs, remind the

students to concentrate on the storytelling aspectwhile simultaneously keeping the emotions ofthe piece in mind.

The classroom teacher may ask the musicdirector and the drama teacher to give the classsome tips for directing actors and singers in ascene. After the scenes have been rehearsed, thedrama and music teachers can be part of adiscussion analyzing this process for both thedirectors and actors.

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Resources

EDUCATION:McRELMid-continent RegionalEducational Laboratory, Inc.2550 S. Parker Rd. Ste. 500Aurora, CO 80014303-337-0990 phone303-337-3005 faxwww.mcrel.orge-mail: info@mcrel.org

ASCDAssociation for Supervision andCurriculum Development1703 N. Beauregard St.Alexandria, VA 22311703-578-9600 phone800-933-2723303-337-3005 faxwww.ascd.orge-mail: member@ascd.org

WEBSITESwww.hairsprayonbroadway.comThe official website for Hairspray

www.amazon.comTo purchase any of the merchandise listed

www.playbill.comFor the latest information and news on Hairspray

RETAIL STORES Applause Theatre Books211 West 71 Street, NYC212-496-7511www.applausebooks.com

Drama Book Shop250 West 40 Street212-944-0595www.dramabookshop.com

Theatre Circle Books1 Shubert Alley, NYC346 West 44 Street, NYC212-586-7610800-223-1320www.BroadwayNewYork.com

BOOKSAnderson, Terry H. The Movementand the Sixties. Oxford UniversityPress, 1996.

Carson, Clayborne, and MartinLuther King, Jr. In Struggle: SNCCand the Black Awakening of the1960s. Harvard University Press,1995.

Farber, David R., and Beth Bailey.The Columbia Guide to America inthe 1960s. Columbia UniversityPress, 2001.

Gitlin, Todd. The Whole World IsWatching. University of CaliforniaPress, 1981.

Isserman, Maurice, and MichaelKazin. America Divided: The CivilWar of the 1960s. OxfordUniversity Press, 2000.

Klatch, Rebecca E. A GenerationDivided: The New Left, the NewRight, and the 1960s. Universityof California Press, 1999.

Morgan, Bill, and Greg Davis.Collector’s Guide to TV Toys andMemorabilia: 1960s & 1970s.Collector Books, 1998.

Unge, Irwin. The Times Were aChangin’: The Sixties Reader.Three Rivers Press, 1998.

Yapp, Nick. The 1960s (Decadesof the 20th Century). Konemann,1998.

MUSICHairspray: Original Broadway CastRecording, Sony MusicEntertainment, 2002.

Hear It Now! The Sound of the’60s, Sony, 1999.

Rock ’n Roll Relix: Five-VolumeCollection, 1960–1969, EclipseMusic Group, 1997.

Cry Baby: Original Motion PictureSoundtrack, MCA, 1990.

Hairspray: Original Motion PictureSoundtrack, MCA, 1988.

Every Great Motown Song,Volume 1: 1960s, Uni/Motown,1988.

Broadway Magic: 1960s, OriginalCast Compilation, Sony MusicEntertainment, 1987.

ENTERTAINMENT FILMS Cry Baby, directed by John Waters,starring Johnny Depp and RickiLake. Released by UniversalStudios, 1990, Rated PG-13.

1960s: Music, Memories andMilestones, White Star Studios,1989, Not Rated.

Hairspray, directed by John Waters,starring Ricki Lake and Divine.Released by New Line Studios,1988, Rated PG.

The ’60s: The Complete NBCMiniseries, Vidmark/Trimark Studio,1999, Rated PG-13.

EDUCATIONAL AND INFORMATIONALFILMS The 20th Century: The 1960s: TheGlobal Revolution, Mpi HomeVideo, 2000.

StageNOTES™

A FIELD GUIDE FOR TEACHERS

A Field Guide for Teachers

A Camp Broadway LLC Publication

Editor: Jodi Simon StewartAssociate Editors: Roseanne Saraceno, Lesley MazzottaArt Director: Joseph M. Pisarchick

Writers: Russell Granet: Associate Program Director at The Center for Arts Education and a member of the faculty for New York University’s Kaplan Center for Educational Drama.

Robert Hartmann: composer/lyricist and Assistant Professor, New York University Graduate Musical Theatre Writing Program

Maxine Kern: dramaturg, playwright and educator with experience in curriculum development, interdisciplinary writing coordination and classroom teaching

Copy Editor: Lesley Krauss: owner of Book Project Management, a trade book editorial production company

For Hairspray:Costume Design: William Ivey LongScenery Design: David RockwellLighting Design: Kenneth PosnerLogo Design: Serino Coyne, Inc.Production Photos: Paul KolnikPress: Richard Kornberg & Associates

Special Thanks: Joaquin Esteva, Winnie Goodridge, Lily Hung, Ronni Mandell, Brian Mear, Tammy Samuels, Barry Singer, Sasha Taublieb

Printed by: Royal Fireworks Press, Unionville, NY