Rabbit Hole (07-08) Resource Guide

8/9/2019 Rabbit Hole (07-08) Resource Guide

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EducatorsResource Guide

2008


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Table of contents

TTABLE OF CONTENTS

ABOUT THE PLAYWRIGHT3

ABOUT THE PLAY.4-5

PRODUCTION: An Interview with Evan Stein..6-7

THEMES TO EXPLORE: Down the Rabbit Hole..8

THEMES TO EXPLORE: The Healing Process...9-10

THEMES TO EXPLORE: The Kennedy Curse.11

REFERENCES...12

AFTER THE SHOW QUESTIONS.13

ACADEMIC STANDARDS..14


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ABOUT THE PLAYWRIGHT

David Lindsay-Abaire is a successful American

playwright, best known for his 1999Broadway hit, Fuddy Meers, and for his 2007Pulitzer Prize-winning play in drama,Rabbit Hole.

Born in 1969, David grew up in a self-described, blue-collar family in Boston,Massachusetts. His mother was a factorymother and his father worked for the Chelseafruit market. Lindsay-Abaire first becameinterested in playwriting as a student at theprestigious New England boarding school,Milton Academy, where he attended classeson an academic scholarship. David later went

on to study theatre at Sarah Lawrence College (Bronxville, New York).After receiving his undergraduate degree, he was accepted into the LilaAcheson Wallace American Playwrights Program at the Juilliard School, wherehe was mentored by Marsha Norman and Christopher Durang.

Citing playwrights John Guare, Edward Albee, Georges Feydeau, and EugeneIonesco as major influences, Lindsay-Abaire describes his works as being filledwith outsiders in search of clarity. He has received commissions from SouthCoast Repertory, Dance Theater Workshop, and the Jerome Foundation.Additionally, he has received playwriting awards from the Lincoln CenterLeComte du Nuoy Fund, Mixed Blood Theater, Primary Stages, and the SouthCarolina Playwrights Festival, to name a few.

Lindsay-Abaires other works include Kimberly Akimbo (2000), Wonder of theWorld(2000), Dotting and Dashing (1999), Snow Angel (1999), The Lil Plays

(1997), andA Devil Inside (1997). Among his most recent projects are writingthe books for the musicals High Fidelity and Shrek.


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ABOUT THE PLAY

PLOT SYNOPSIS:

Eight months after the accidental deathof their four-year-old son, Becca andHowie are struggling to return to theirdaily lives. When Beccas younger (and

perpetually troubled) sister Izzyannounces that she is pregnant, thecouples differing styles of grieving arethrown into sharp relief, as Beccas

desire to escape the constantreminders of her son clash with Howiesattempts to hang on to details of their

little boys past. Alternatively, sad andfunny, Rabbit Holeis a deeply human

look at one familys attempts to cometo terms with the impossible andemerge stronger than before.

ORIGINS:

Rabbit Holewas commissioned by SouthCoast Repertory and first presented at itsPacific Playwrights Festival Reading Seriesin 2005. In February 2006, it received its

Broadway debut with The ManhattanTheatre Club at the Biltmore Theater. Theproduction was directed by Daniel Sullivanand starred Cynthia Nixon, Tyne Daly, John

Slattery, Mary Catherine Garrison, andJohn Gallagher Jr. The play ran for 77performances and was later rewarded with

five Tony award nominations. Since its2006 New York debut, the show has had

successful runs in Boston, Cleveland, St.Louis, and various other U.S. cities.

From left to right: John Slattery, Cynthia Nixon, Tyne Daily and Mary CatherineGarrison in the Manhattan Theatre Clubs 2006 production of Rabbit Hole.


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ABOUT THE PLAY (Continued)

Rabbit Hole Wins thePulitzer Prize for

Drama!

The following is an excerpt from theBroadwayWorld.com article published on

April 16, 2007:

David Lindsay-Abaire's Rabbit Hole has been announced

as the winner of the 2007 Pulitzer Prize in Drama,according to the Pulitzer website. The prestigious awardhonors "a distinguished play by an American author,

preferably original in its source and dealing withAmerican life. [] Lynne Meadow, Artistic Director ofMTC, said, I believe David Lindsay-Abaire is one of thegreat talents working in the American theatre today. Hehas a unique comedic vision that he combines with

poignant and deep dramatic insight. I am deeply proudof MTCs collaboration with David since 1999 andcongratulate him on this prestigious recognition.

Theatre critics Ben Brantley (The New York Times),Karen D'Souza (San Jose Mercury News), RohanPreston (Star Tribune), Haverford College professorKimberly W. Benston and playwright Paula Vogel

selected this year's Pulitzer Prize for Drama.

Established in 1917 in honor of journalist/publisherJoseph Pulitzer, the Pulitzer Prize honors high

achievement in 21 journalism and arts categories,including History, Fiction, Poetry, and Music; the Dramacategory was founded in 1918. The 2006 Awards have

also marked the first time that the Pulitzer for Dramawas considered for plays that opened between March2nd and December 31st (rather than the previous timespan of March 2nd to March 1st).

Past Notable Winners:

2004-2005: Doubt by John

Patrick Shanley

1992-1993:Angels in

America: MillenniumApproaches by Tony Kushner

1986-1987: Fencesby

August Wilson

1977-1978: The Gin Game by

D.L. Coburn

1964-1965: The Subject was

Rosesby Frank D. Gilroy

1954-1955: Cat on a Hot Tin

Roof by Tennessee Williams

1948-1949: Death of a Sales-

man by Arthur Miller

1937-1938: Our Town by

Thornton Wilder

1927-1928: Strange Interlude

by Eugene ONeill

1917-1918: Why Marry?by

Jessica Lynch Williams


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PRODUCTION SPOTLIGHT

Q & A with

Pittsburgh Public TheatersMaster Electrician

Evan Stein

What is the role and function of the

Master Electrician in theatricalproductions?

The Master Electrician is the liaison betweenthe Lighting Designer (and his/her designideals) and the Technical reality and physical

limitations of what can actually beaccomplished on stage, with respect to lightingand electricity. An LD might explain whateffect s/he is trying to create and leave it up tomy team to use the resources available to us to

create the desired aesthetic. Additionally, Iprogram the lighting control consoles toexecute lighting effects over time duringperformances. I am also the department head of the team of Electricians working on a

particular production.

What made you choose this as a career?

I have been interested in theater and specifically Lighting Design for as long as I can

remember. I found my love for the arts when my family, and four other families attendedSunday matinees at Point Park Theaters Playhouse Junior series. After the show, all theneighborhood kids would come back to my basement to reenact the play that we had just

seen. Since then, I graduated from Penn State with a BFA in Theater Arts and have workedaround the region as a Production Manager, Lighting Designer, Theater Consultant andElectrician.

How much of a hand do you get in plotting the lighting schemes? How closely do

you work with the lighting designer on productions? What is your relationship likewith him or her?

The Lighting Designer relies on the M.E. to understand his/her intentions and has to trustthat the M.E. can implement the intentions of the lighting design effectively. A good M.E.can read the light plots and paperwork that the L.D. submits and implement them as speci-fied. I try to go beyond the paperwork and understand what the L.D. is trying to accomplish

with light. By doing this, I can anticipate technical snafus that we might run into during thetechnical process and have alternative scenarios available just in case.


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PRODUCTION SPOTLIGHT (Continued)

There is a tremendous amount of pre-production work for you, but what happensonce the show moves into performance? What is your role then? Are you there

every night to execute lighting cues?

Yes, I run the lighting for every performance (8 shows per week). I also begin the advancepreparation for the next show, often before the current production is officially open.

Why do you think lighting is such an important element in a production? Do you

think it plays a part thematically or is it merely there to affect mood?

Lighting is absolutely one of the most important elements of a production! In addition to the

obvious need to see whats happening on stage [visibility], theatrical lighting also affects theaudiences inclination to believe whats happening on stage (for example, that the scene isactually happening at night in a forest, or at noon on a rainy day) [plausibility]. The way thatlight creates highlights and shadows on the scenery and actors affects the aestheticcomposition (the stage picture), and the way that lighting makes the audience feel and

respond to the scene [mood] are also very important elements of the Lighting Design.

What do you find most interesting about your job?

Good lighting designs communicate an unbelievable amount of information to the audience.It is amazing and thrilling for me to be able to create such a frighteningly realisticthunderstorm that the audience fears for their safety, or paint the most breathtakingly calm,romantic summer evening on stage that might bring the audience to tears. Creating these

effects, while working collaboratively with the other departments involved in our productions(sound, scenic, wardrobe, props, and paints) is more rewarding than anything else I couldever dream of doing.

What is your most memorable moment from working in theater?

I think that all of my memories are unique.

From the early morning load-ins (the processof loading set pieces into the theater space)and the late-night load-outs, to the rewardsof experiencing a perfectly executedsequence of cues, to covering up a mistake

backstage so the audience doesnt realizewhats happening (it happens more than youmay think), every memory that I have of my

experience in show business is priceless in its

own right.

Evan Stein has been the Master Electrician at

Pittsburgh Public Theater since Fall 2006.Evan running lighting cues at PPT


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THEMES TO EXPLORE

DOWNTHE

RABBIT HOLE.

DOWN

THERABBITHOLE...

The title of David Lindsay-Abaires play may bring to mind Lewis Carrolls Alice,who disappeared down a rabbit hole into a world turned upside-down. UnlikeRabbit Holes Becca, however, Alice awakens in the lap of her sister to realize itwas all just a dream. In addition to this allusion to Alice, the play makes two moredirect references to its title.

Becca, the grieving mother, invokes the plays title in a late scene. Jason, the teen-ager who drove the car that killed her son Danny, has sent her a science fictionstory he had written for the schools literary magazine, in attempt to comfort herand atone for the accident. The story recounts a scientist who discovers a warrenof holes riddling the universe, portals to an endless series of parallel universes.When the scientist dies, his son goes searching for him through these rabbitholes, as Becca calls them, in the hope that if there are an infinite number of uni-verses, in at least one of them he will find his father alive and well. Danny hopesBecca may find solace in the thought that her son lives on elsewhere.

The richest and perhaps darkest allusion, however, comes from another rabbit ref-erence in the play. Its brief, but telling: Beccas mother Nat is helping her daugh-ter clean the toys and books out of Dannys room when Nat comes across an oldcopy of The Runaway Bunny, Margaret Wise Browns childrens book of a littlebunny that wants to run away. But the bunnys mother says, If you run away, I

will run after you. For you are my little bunny. The bunny says he will become afish and swim away, or a bird and fly away, or a boat and sail away. But hismother patiently replies to every threat that she will always be there for him. Themotherly promise of reassurance has made the book a classic, but Becca, who im-plicitly made the same vow to her child, now must bitterly face the reality that theone to whom she promised permanence is no longer there.

Article courtesy of the Goodman Theatre


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THEMES TO EXPLORE

THE HEALING PROCESS:Dealing with Bereavement in Rabbit Hole

David Lindsay-Abaires play explores the lives of a family afterhaving recently lost 4-year-old Danny in a tragic accident. The

remaining family members are left to struggle with both aseemingly insurmountable amount of grief, and the desire tomove forward with their lives. Nicole Martorana from theHuntington Theater writes that plays approach tobereavement is in keeping with contemporary psychological

findings, emphasizing that the process is unique to the

Individual, rather than some kind of universal experience.

Becca and Howie, Dannys mother and father, are the perfectexamples of how human beings deal with their grief

differently. Becca attempts to cope with her sadness bypurging their home of her sons possessions, whereas Howiewants to keep everything in the house intact, almost like a

memorial to Danny. Undoubtedly, both parents areexperiencing tremendous grief, but they demonstrate it withconflicting actions.

There are different stages to the grieving process, and no two

individuals experience these stages in the same fashion.Bereavement is an ongoing processit has no set timetable,

no concrete set of rules. It is an individualized journey that allpeople must travel in order to find their own understanding,peace, and solace.


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THEMES TO EXPLORE

FIVE STAGES OF GRIEF by Elizabeth Kbler-Ross

Although it was stated in the previous page, that the process of death andbereavement is an individualized journey, there are several markers thatmost people experience while grieving. In 1969, psychiatrist, Dr. ElizabethKbler-Ross, described what she called The Five Stages of Grief in herbook, On Death and Dying. Kbler-Ross not only applied these stages todeath, but to any form of a catastrophic personal loss (career, income,freedom, divorce, etc.) The psychiatrist claimed that the steps do notnecessarily follow the order below, nor are all the steps experienced by allpeople; however, most individuals will move through at least a few of the

stages. The Five Stages of Grief has become a popular model forcounselors and mental health professionals who deal with grievingpatients regularly. Below are the stages that Kbler-Ross identified:

1. Denial: The initial stage: It cant be happening.2.Anger: Why me? Its not fair.

3. Bargaining: Just let me live to see my child graduate.4. Depression: Im so sad, why bother with anything?5.Acceptance: Its going to be OK.

Reflection Activity:Ask your students to reflect on a time in their lives when they have experienced loss. It doesnot necessarily have to be a death; rather, it can be a friend moving away, a parent losingtheir job, etc. Have them address each stage that they experienced by writing down theirthoughts (what they were thinking during the actual event) on a piece of paper. Afterwards,ask for volunteers to share what they wrote. Did they experience all five stages? What order

did they follow? How long was the entire process?

Going FurtherBreak your students into groups of four or five and ask them to create tableaus (frozen

pictures) of what each stage felt like to the person experiencing it. Share with the class.


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THEMES TO EXPLORE

THE KENNEDY CURSE:An American Familys PersonalTragedies

During the birthday party scene in RabbitHole, Howie and Nat discuss a timeline ofevents that details a cultural myth knownas the Kennedy Curse. This curse refersto a series of tragic events that happenedto the famed Kennedy family over theyears. Accidents and deaths occur in allfamilies, but due to the high level ofpublicity, it seems as if the Kennedy clanreceived more than a generous amount ofmisfortune. Some believe that there is acertain karmic trade-off for the fame,power, and fortune that they acquired,thus resulting in the numerous tragedies.The most notable tragedies were theassassinations of brothers John F. Kennedyand Robert F. Kennedy, and the death ofJohn F. Kennedy, Jr. who perished in aplane crash in 1999.

Who is Aristotle Onassis?

Along with the Kennedy Curse, AristotleOnassis is also referenced in Rabbit Hole.Aristotle was the most famous Greek ship-

ping magnate of the 20th century. Onassiswas originally married to Athina Livanos,but later wed Jacqueline Kennedy after the

death of JFK. Aristotle had two childrenAlexander and Christina. In 1973, at theage of 24, Alexander was killed in a plane

crash. Aristotle died a mere two years afterhis son at the age of 69. It is rumored that

Aristotle never recovered from the death ofhis son, and lost his desire to live. Somecontribute this fact to his early death in

1975. How does this father/son dynamicrelate to the story in Rabbit Hole?

Aristotle Onassis


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REFERENCES

WANT TO LEARN MORE?Check out these resources!

On the works of playwright David Lindsay-Abaire:

To read more about David Lindsay-Abaire and his plays, visit theNew Dramatists website at:

http://www.newdramatists.org/david_lindsay_abaire.htm

On Elizabeth Kbler-Rosss Five Stages of Grief:

On Death and Dying by Elizabeth Kbler-Ross. Routledge, 1973.

On Grief and Grieving: Finding the Meaning of Grief Through theFive Stages of Lossby Elizabeth Kbler-Ross. Simon & SchusterLtd, 2005.

An Empirical Examination of the Stage Theory of Griefby Paul K.Maciejewski, PhD. JAMA, February 21, 2007-Vol 297, No. 7.

On the Kennedy Curse and Aristotle Onassis:

The Kennedy Curse: Why Tragedy Has Haunted Americas FirstFamily for 150 Years by Edward Klein. St. Martins Griffin, 2004.

The John F. Kennedy Presidential Museum and Librarywww.jfklibrary.org

Ari: The Life and Times of Aristotle Socrates Onassis by PetersEvans. Summit Books. 1986.


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AFTER THE SHOW QUESTIONS

The following are questions to consider after seeing the

performance of Rabbit Hole:

What is the significance of the plays title? What is the metaphor of therabbit hole? What changes when one goes down the rabbit hole? What haschanged for each character in the play?

How do the shows technical elements (i.e. set, costumes, sound,lighting) aid in telling the story of Rabbit Hole?

How has Dannys death changed each character? Additionally, how has hisdeath changed the relationships between the characters?

It is apparent that Becca and Howie are struggling to make theirrelationship work. What are the challenges they face in stayingtogether?

Compare Beccas grief for Danny to Nats grief for her son, Arthur. How dideach lose her son? How is their grief similar? How is it different?

Referring to the Five Stages of Grief, where is each character in thegrieving process? What is different about each characters ways ofcoping with his or sadness?

How will each character go on with his or her life? Speculate what you thinkeach character will be like in 5 or 10 years? How will time affect thecharacters and their longing for Danny?

Abstract painting byElizabeth Sanderson

entitled:

DOWN THE RABBITHOLE


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ACADEMIC STANDARDS

Pittsburgh Public Theaters production and resource guide fulfills

the following Pennsylvania Academic Standards:

READING, WRITING, SPEAKING AND LISTENING1.1 Students will identify, describe, evaluate, and synthesize the essential ideas of

the text.1.3 Students will analyze and interpret the play based on literary elements and

devices, dramatic themes, and the use of language.1.4 In post-show activities students can compose dramatic scenes where they work

to construct dialogue, develop character, and outline plot.1.6 Students listen and watch a selection of dramatic literature, analyze and

synthesize the many elements of drama, and respond to post-show talkbacks

and discussions with Public Theater staff, teachers, classmates, and studentsfrom other school districts.

SCIENCE AND TECHNOLOGY3.2 Students can critically evaluate the status of existing scientific theories such as

string theory and worm holes.

HISTORY8.1 Students understand and analyze chronological thinking and historical

interpretation by placing the era of the 20th and 21st century North America inthe context of human history.

8.3 Students identify and evaluate the political and cultural contributions of the

Kennedy family to United States History.8.4 Students evaluate the significance of Aristotle Onassis and the economic,

political, and cultural contributions he made to world history.

ARTS AND HUMANITIES9.1 Students experience the production and performance techniques of

professional theater. Students consider the cultural and historical contextof the play. In post show talkbacks, discussions, and writing assignments,students are encouraged to describe the various elements of the work,evaluate the play critically and aesthetically, and consider the social impactof the work.

FAMILY AND CONSUMER SCIENCES11.2 Students will assess the relationship of family functions to human

developmental stages. Students will evaluate the effectiveness of usinginterpersonal communication skills to resolve a conflict.


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Join the fun in our Summer Youth Classes!

Go to www.ppt.org/content/education.cfm for more information.

Acting Workshop: Scene Study Ages 1317 June 1627This popular twoweek workshop features some of The Publics best guest artists as instructors and will focus on the actors character development, objectives, subtexts, and scene work. As always, experienced andnew actors are welcome; dedication and enthusiasm are the only prerequisites. Class meets from 10:00 amto 3:00 pm, Monday through Friday. Instructor: Amy Landis $275

Playwriting Ages 1317 June 23 July 11

This threeweek introductory course is composed of intensive writing exercises that illuminate the basic tenets of playwriting and screenwriting. Students ages 13 to 17 will be encouraged to find the dramatic connections between their work and their personal experiences. This course culminates in a reading of the students work by a company of professional actors. Class meets Monday, Wednesday, and Friday from 10:00

am to 1:00 pm. Instructor: Rob Zellers $225

Acting Workshop: Making It Real Ages 1012 June 30 July 11How does an actor make it real? How do you make the audience believe you? Students are guided throughan exploration of the basic skills of acting addressing these questions. Inclass exercises in improvisation,character development, and movement will help students find truthfulness in the art of acting. Class meetsMonday through Friday, 10:00 am to 1:00 pm. Instructor: Kristen Link $225

Acting Workshop: Shakespeare Intensive

Ages 1317 July 14August 1If you are interested in learning more about classical acting, this class is for you. The focus, as always, will beon character development with additional work in vocalization and movement. Students approach Shakespeare from an actors perspective, using the text and verse to develop character. Class meets Mondaythrough Friday from 10:00 am to 3:00 pm and culminates in an actual performance of one of the works ofWilliam Shakespeare. Instructors: Lisa Ann Goldsmith and Amy Landis $325

This Resource Guide was created by Kristen Link, Education & Outreach Coordinator with contribu

tions by Evan Stein, The Huntington Theatre Company, The Goodman Theatre, and Oregon

Shakespeare Festival.

Pittsburgh Public Theater would like to thank our 20072008 Education and Outreach Partners:

American Eagle Outfitters, Amsco, Inc, a subsidiary of ESB Bank, Anonymous, Bayer Foundation, Bridges & Company, Inc., Henry C. Frick Educational Fund of the Buhl Foundation, Columbia Gas of Pennsylvania, Common

wealth of Pennsylvania, Dominion Foundation, Eden Hall Foundation, The Grable Foundation, Highmark BlueCross Blue Shield, Huntington National Bank, Levin Furniture, McFeelyRogers Fund of The Pittsburgh Foundation, NexTier Bank, Oregon Metallurgical Corporation, an Allegheny Technologies Subsidiary, Pittsburgh PostGazette, The Techs , and University of Pittsburgh Medical Center .

Tell us what you think!

Questions or comments may be sent to Kristen Link at:

[email protected]

Rabbit Hole (07-08) Resource Guide

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