It’s a Wonderful Life: A Live Radio Play · their own concerns and to expand the theatre-going...

The Shakespeare Theatre of New Jersey IT’S A WONDERFUL LIFE; A LIVE RADIO PLAY Student Activity Guide

Artwork: Scott McKowen

The Shakespeare Theatre of New Jersey’s production of

It’s a Wonderful Life: A Live Radio Play

Adapted by Joe LandryDirected by Doug West

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Student Activity Guideresearched and written by

the Education Department of


This GuideIn– About This Guide ...................................................................................................................... 1

– Test Your Understanding ............................................................................................................ 2

– Who Said That? ......................................................................................................................... 3

– Additional Topics for Discussion ............................................................................................... 4

– About this Production ............................................................................................................... 4

– Follow-Up Activities ................................................................................................................. 5

– Meeting the Common Core Standards ....................................................................................... 6

– About the Shakespeare Theatre of New Jersey ........................................................................... 7


One of the principal goals of The Shakespeare Theatre of New Jersey’s education programs is to demystify the classics, take them “off the shelf,” and re-energize them for students and teachers alike. Toward these goals, this Classroom Activities Guide, used in conjuntion with our Audience Guide, provide educators with tools to both allay their own concerns and to expand the theatre-going experience for their students beyond the field trip to The Shakespeare Theatre.

The information included in this guide will help you expand your students’ understanding of classic literature in performance, as well as help you meet many of the New Jersey Common Core Standards. We encourage you to impart as much of the information included in the Classroom Activities Guide and the Audience Guide to your students as possible. The following are some suggestions from teachers on how you can best utilize elements of these guides given limited classroom time.

•JUST THE BASICS: Many teachers have found that distributing or reading the SynopSiS and Who‘S Who pages from the Audience Guide has greatly increased students’ understanding and enjoyment of the production. It provides the students with a general understanding of what they will be seeing and what they can expect. Some teachers simply take the last five minutes of a class period to do this with very positive results.

•MINI TEAM-RESEARCH PROJECTS: When more class time is available prior to your visit, we recommend incorporating the background information on the era in which the play is set as well the play itself. One teacher divided her class into groups and assigned each group research topics based on the divisions found in this guide as well as the Audience Guide. Using a copy of the corresponding Audience Guide page as a launch pad, the students had one week to research the topics. The students then presented their information to the class in three- to five-minute oral reports. Including the questions that evolved from the presentations, the entire project took only one class period.

•POST-SHOW DISCUSSION: Using the questions found in the “TopicS for DiScuSSion,” many teachers will opt to take a class period after their trip to The Shakespeare Theatre of New Jersey to discuss the play with their students. The questions help keep the comments focused on the production, while incorporating various thematic and social issues that are found in the play.

•GET ON YOUR FEET: One school spent two days working through performance-based activities (a few of which are suggested in the “folloW-up AcTiviTieS” section) with a particularly “difficult and rowdy” class. They were astounded with the results.

Again, we hope you will incorporate as many portions of this guide as you are able into your classroom experience. If you have any suggestions for activities or topics not already found in the Audience Guide, please contact our Education Department. We are always interested in hearing new ways to excite young people (and teachers) about Shakespeare and live theatre.

Happy Teaching,

Brian B. Crowe, Director of Education

This GuideAbout

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“What’s My Line?”Promoting Active Listening

Teacher-tested, student-approved! Try this exercise with your students:

Before attending the production, give each student one line from the play to listen for. Discuss the meaning of the line and encourage their input in deciphering what the intention of the line might be. How would the student perform the line? Why is the line important to the play? Does it advance the plot, or give the audience particular insight into a character or relationship?

Following the production, discuss the line again. Did the actor present the line in the way your student expected? If not, how was it different?


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1. At the beginning of the play, what will Clarence receive if he helps George? a) a halo b) a medal c) his wings d) a harp

2. Who does George save from drowning in the lake? a) Mary b) Violet b) Uncle Billy d) Harry

3.What news does the telegram Mr. Gower receives contain? a) his son has died of influenza b) his mother in law is coming to visit c) his son won the Nobel Prize d) Sam Wainwright owes him $25,000

4. Why wasn’t George able to go away to college after his father passed away? a) he couldn’t afford it b) he had to take over the Bailey Building and Loan c) Mr. Potter offered him a job d) he and Mary were expecting a baby

5. What surprise does Harry Bailey bring home with him from college? a) a new job b) a wife c) a new car d) a copy of Tom Sawyer 6. Why don’t Mary and George go on their honeymoon? a) George had to work b) they hadn’t saved up enough money c) they gave their honeymoon money away to bank customers d) Mr. Potter stole their passports

7. What does Mr. Potter offer to do during the “run” on the bank? a) offer customers half of what their shares are worth b) take everyone to lunch c) offers George a job at the Department Store d) steals Clarence’s wings

8. What product is there a commercial for during the performance? a) Folgers Coffee b) Coca-Cola c) Pine-Sol d) Bremel Hair Tonic

TeST your unDerSTAnDing - circle the letter that BEST answers the question.


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9. How much money did Uncle Billy misplace? a) $10,000 b) $5,000 c) $8,000 d) $25,000

10. Where did Uncle Billy misplace the money? a) at Martini’s bar b) in the safe c) at George’s house d) in the newspaper he loaned to Mr. Potter

11. Who does Mr. Potter bribe in an attempt to take down the Baileys? a) Sam Wainwright b) Edwina Hatch c) Bert the Cop d) Sadie Vance, the bank examiner

12. What is ZuZu trying to protect when she gets sick on the way home from school? a) a flower she won as a prize b) her older brother Peter c) an old photragraph of her grandfather d) her favorite sled, Rosebud

13. In the alternate reality without George Bailey, what is the new name of Bedford Falls? a) Mount Bedford b) Pottersville c) Lake Mohawk d) Rochester

14. What sound does Clarence say means that an angel is earning their wings? a) a carhorn b) a bell c) a baby crying d) an accordian

TeST your unDerSTAnDing - circle the letter that BEST answers the question.


Who SAiD ThAT? - Match the line on the left to the character who says it on the right. one character May speak More than one line.

A. “Never mind that, take those capsules over to Mrs. Blaine’s.” GEORGE

B. “George, what’s the combination to the safe?” VIOLET BICK

C. “There is nothing quite so loathsome as a family business” MARY

D. “Why, I only wear it when I don’t care how I look.” CLARENCE

E. “Why don’t you kiss her instead of talking her to death?” ZUZU

F. “Remember, no man is a failure who has friends.” MR. POTTER

G. “I want to give my flower a drink.” HARRY

H. “Well, in my book he died a much richer man than you’ll ever be!” UNCLE BILLY

I. “To my big brother, George; The richest man in town!” MR. GOWER

J. “I said I wish I’d never been born.” BERT THE COP

K. “Remember the night we broke the windows in this old house? This is what I wished for.” OLD MAN COLLINS

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ADDiTionAl TopicS for DiScuSSion1. George continually talks about leaving Bedford Falls for travel and adventure but he chooses to stay and help run his father’s business. Why does he choose to do this instead of following his dreams? Discuss what would have happened if George had left like he had originally planned.

2. Mr. Potter is determined to buy up Bedford Falls and make a profit from the people that are living there. He uses his power and influence to scare people, but George never gives in. Why is it important that George stands up to him? How can George’s actions be applied to real life situations?

3. George feels like his friends and family would have been better off if he had never been born, and he gets the opportunity to see what that world would look like. He discovers that he has a positive impact on many of the people in his life. What are the positive impacts you make every day that make a difference to the people in your life?

4. At the end of the play everyone in the town comes together to help George save his business. Write a continuation of the play and explore what happens once he gets the money. Does he ever discover that Mr. Potter has the money? What happens to Mr. Potter if the town finds out that he kept the money for himself? Support your argument.

AbouT ThiS proDucTion1. As this is a live radio play, the show acknowledges that the people on stage are actors and you even see them performing at microphones. How does the addition of the microphones, the advertisements, and introduction of the actors add or take away from the performance?

2. There are a lot of live sound effects in this production that are made by unusual objects. Discuss your favorite sound effects and why you liked them.

3. The set, lights, costumes, and props all help to create the world and time period the play is set in. Discuss how all these elements work together to create a cohesive world and how the direction of the actors enhances that world.

Test Your Understanding - Answer Key

1) c 2) d 3) a 4) b 5) b6) c 7) a 8) d 9) c 10) d11) d 12) a 13)b 14) b

A. MR. GOWER E. COLLINS I. HARRYB. UNCLE BILLY F. CLARENCE J. GEORGEC. MR. POTTER G. ZUZU K. MARYD. VIOLET BICK H. GEORGE

Who Said That?- Answer Key


folloW-up AcTiviTieS

CRITIC’S CORNERWrite a review of this production of It’s a Wonderful Life: A Live Radio Play. Be sure to include specific information and your own reactions

to both the acting and the design elements (set, costumes and sound). Explain what you liked about the production, and what you disliked, and support your opinions. Then submit your review to The Shakespeare Theatre of New Jersey’s Education Department, or see if it can be published in your school newspaper.

“Alert the media!” It’s a Wonderful Life takes place in the small town of Bedford Falls, where the only regular source of news would be the local paper. Select

a series of events from the play, and “cover” them in the style of a newspaper. For example, create a news bulletin about George saving Harry, a social column on the hosting of family at the holidays, or interviews with Uncle Billy, Mary, or Harry about their favorite holiday memory.

“I learn by this letter...” Write a letter from the point of view of one of the characters, discussing an event or situation in the play. For example, a letter from

Clarence to his wife about his trip to Earth, or a letter from Mary to George while she is away at college.

CASTING CALLImagine that you are a movie director about to put together a new film version of It’s a Wonderful Life. Choose the eight main characters (in

your opinion) and list five words that describe each character. Using these descriptions decide what actor you would cast in each role. Defend your decision by explaining why that particular actor seems right for the character depicted in the story.

OPERATION: CLARENCEDivide into four groups, and have each group come up with a backstory about Clarence’s life.

Your task is to then come up with a staged adaptation of your group’s Clarence story and present them for the rest of the class.

IT’S A WONDERFUL RADIO PLAYRadio plays were extremely popular in the early-to-mid 20th century. Divide into small groups

and choose a short play, story or fairy tale to adapt into a Radio Play, complete with foley sounds. Write a quick script, come up with some cool sound effects and present the Radio Play to your class.

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CALLING ALL TEACHERS!

Do you have activities or exercises to suggest for this play? We are always

looking for new ideas to inspire students (and teachers). Send your suggestions to

[email protected] and we will share them with other teachers, and maybe

even include them in future study guides.


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LANGUAGE ARTS LITERACY STANDARDSAs a theatre dedicated to the classics, we are continually engaged in exploring some of the world’s greatest literature and the relationship between the written text and performance. Our philosophy and practice follow the underlying assumptions of the Language Arts Literacy CCSS: That “language is an active process for constructing meaning”; that “language develops in a social context”; that language ability increases as learners “engage in texts that are rich in ideas and increasingly complex in language”; that learners achieve mastery not by practicing isolated skills but by “using and exploring language in its many dimensions.”

In the practice of theatre, we merge all areas of the language arts, as the standards suggest “in an integrated act of rehearsal, reflection, and learning.” Below, you will find just a few of the possibilities for aligning your study of our productions to each of these standards.

NJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. Read a scene from the play as a class and use context clues to interpret new

words and expand vocabulary.NJSLSA.R9. Analyze and reflect on how two or more texts address similar themes or

topics in order to build knowledge or to compare the approaches the authors take. Compare this production to another Shakespeare play or to a piece you are

reading in class. NJSLSA.R10. Read and comprehend complex literary and informational texts

independently and proficiently with scaffolding as needed. Analyze a portion of the text, isolate specific imagery, meanings, references,

and then compare those instances to other passages in the play.W.3.6. With guidance and support from adults, use technology to produce and publish

writing as well as to interact and collaborate with others. Compare and Contrast the printed text with the staged version viewed online. Maintain a journal or blog that classmates can comment on using specific

prompts about the play.SL.3.1. Engage effectively in a range of collaborative discussions (one-on-one, in groups,

and teacher led) with diverse partners on grade 3 topics and texts, building on others’ ideas and expressing their own clearly. Participate in a post-show Discussion.

L.6.3. Use knowledge of language and its conventions when writing, speaking, reading, or listening. Write a new ending for the play in modern prose.

VISUAL AND PERFORMING ARTS STANDARDSBoth the CCSS and the Every Student Succeeds Act promote the inclusion of “programs and activities that use music and the arts as tools to support student success through the promotion of constructive student engagement, problem solving, and conflict resolution” (ESSA 2015). Performances, workshops, and study guide exercises developed by The Shakespeare Theatre of New Jersey strive to address the Visual and Performing Arts Standards.

Below, you will find a few possibilities for aligning your study of our production to each standard.

Standard 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art. Write a review of the production using domain-appropriate terminology; develop

a class rubric for effect theatrical presentations

Standard 1.2 History of the Arts and Culture: All students will understand the role, development, and influence of the arts throughout history and across cultures. Discuss the representation of social issues (class, politics, etc.) in the play;

research how the historical period affected the writer’s work; compare the play to work from other historical periods.

Standard 1.3 Performing: All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art. Perform a monologue or scene from the play; participate in a classroom

workshop that develops the physical and technical skills required to create and present theatre.

Standard 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. Participate in a post-show discussion of elements such as physicality and creating

motivated action; discuss the relationship between play text and production design.

MeeTing The coMMon core STAnDArDSIn 1996, the New Jersey State Board of Education adopted the Core Curriculum Content Standards that set out to clearly define what every New Jersey student should know and be able to do at the end of their schooling. The Shakespeare Theatre of New Jersey is committed to supporting teachers by ensuring that our educational programs are relevant to the evolving standards of modern education.

Viewing a performance at The Shakespeare Theatre of New Jersey and participating in the post-performance discussion can serve as a powerful springboard for discussion, writing, and other outlets for higher-order thinking. On this page, you will find suggestions for ways to align your study of our production to each standard.


The acclaimed Shakespeare Theatre of New Jersey is one of the leading Shakespeare theatres in the nation. Serving approximately 100,000 adults and young people annually, it is New Jersey’s largest professional theatre company dedicated to Shakespeare’s canon and other classic masterworks. With its distinguished productions and education programs, the company strives to illuminate the universal and lasting relevance of the classics for contemporary audiences. The longest-running Shakespeare theatre on the East Coast and the seventh largest in the nation, The Shakespeare Theatre celebrates its 55th anniversary in 2017.

The Company’s dedication to the classics and commitment to artistic excellence helps set high standards for the field. Nationwide, the Theatre has emerged as one of America’s most exciting companies under the leadership of Artistic Director Bonnie J. Monte, who has been with the company since 1990. It is one of only a handful of Shakespeare Theatres on the East Coast, and in recent years has drawn larger and larger audiences and unprecedented critical acclaim. The opening of the intimate 308-seat F.M. Kirby Shakespeare Theatre in 1998, provided the Theatre with a state-of-the-art venue with excellent sightlines, and increased access for patrons and artists with disabilities.

The company’s 2017 Main Stage Season features five productions presented in the F.M. Kirby Shakespeare Theatre from May through December. Each summer, an Outdoor Stage production is also presented at an open-air amphitheatre nestled in a hillside on the campus of the College of Saint Elizabeth in nearby Florham Park. The Theatre is proud to have launched into its second half-century with a brand new support facility housing all its administrative and technical shops, as well as a new rehearsal hall, classroom spaces, and extensive costume, property and scenic inventory in the nearby town of Florham Park.

In addition to being a celebrated producer of classic plays and operating Shakespeare LIVE! (one of the largest educational Shakespeare touring programs in the North East region), The Shakespeare Theatre is also deeply committed to nurturing new talent for the American stage. By providing an outstanding training ground for students of the theatre, and cultivating audiences for the future by providing extensive outreach opportunities for students across New Jersey and beyond, The Shakespeare Theatre is a leader in arts education and professional training. For additional information, visit our web site at www.ShakespeareNJ.org.

The Shakespeare Theatre of New Jersey is a member of ArtPride, The Shakespeare Theatre Association, Madison Cultural & Arts Alliance, and is a founding member of the New Jersey Theatre Alliance.

About The Shakespeare Theatre of New Jersey

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The F.M. Kirby Shakespeare TheatrePhoto © Andrew Murad, 2008

The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. Additional major support is received from Bank of America, The Merrill G. and Emita E. Hastings Foundation, The Geraldine R. Dodge Foundation, The F.M. Kirby Foundation, The Edward T. Cone Foundation, The Shubert Foundation, CTW Foundation, The Blanche & Irving Laurie Foundation, and The Samuel H. Scripps Foundation, as well as contributions from other numerous corporations, foundations, government agencies and individuals.

Support for the Theatre’s education programs is provided in part by The Allergan Foundation, The Investors Foundation, Johnson & Johnson, PSE&G, The Provident Bank Foundation, and the Turrell Fund.

It’s a Wonderful Life: A Live Radio Play · their own concerns and to expand the theatre-going...

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