c Copyright Sandra Gattenhof, Rebecca Hewitt and Brent...

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TEACHER RESOURCE MATERIALS

FOR

The Trial of the Catonsville Nine

24 – 27 September 2009

Brisbane Festival 2009 Teacher Resource Materials The Trial of the Catonsville Nine

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Teacher Resource Material Writers: Dr Sandra Gattenhof, Rebecca Hewitt and Brent Brown Queensland

University of Technology, Creative Industries Faculty (Drama) with thanks to Holly Reif from Brisbane Festival.

Copyright – © 2009 Sandra Gattenhof, Rebecca Hewitt and Brent Brown.

Brisbane Festival is entitled to use the work for the purpose for which it was

commissioned. Any other reproduction must seek the permission of the

copyright holders. Contact [email protected]


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CONTENTS

Teacher Resource Materials – How to use this Guide 4

Production Information 5

Synopsis 5

Content Suitability 6

Orientating Activities 7

Enhancing Activities 11

Synthesising Activities 14

Sample Assessment Tasks 14

Performance Analysis 16

Writing a Review Pt. 1 17

Writing a Review Pt. 2 18

Resources to Assist in Understanding 19


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TEACHER RESOURCE MATERIALS - HOW TO USE THIS GUIDE Teacher Resource Materials are a guide designed to enhance students’ knowledge about, and responses to, performance experiences. It provides information about the performance, student activities, advice about audience roles and responsibilities, and resources for further investigation by students and teachers. Teacher Resource Materials gives you, the educator, the ability to prepare your students for the process of reading and interpreting a performance whether that is through performance themes, form and style, or design elements. Experience and research indicate that students’ understanding of, and responses to, performance are enhanced through sound educational experiences. This material will help you lead students to discover information, to explore processes, and to respond in critical and creative ways. Because teachers are accountable for how students use time during the school day, time at performances, like time in the classroom, must be justified for educational value. Teacher Resource Materials ensures that learning outcomes for performances are both appropriate and clear. As an educator, you may like to make use of all the activities in this guide to prepare your students to view and unpack the performance. However, Brisbane Festival also understands that your visit to a performance is not a one off event, but forms part of a larger unit of classroom work – an investigation into contemporary theatre, the use of the elements of drama within a theatrical performance, or enabling students to analyze a performance work using the structures of theatre criticism. Therefore you may not wish to use all the suggested activities, but ‘pick and mix’ what is appropriate for your classroom work and your students.


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The Trial of the Catonsville Nine by Daniel Berrigan Venue: Powerhouse Theatre, Brisbane Powerhouse Directed by Jon Kellam Written by Daniel Berrigan “Part of This” Written and Performed by Cameron Dye CAST Daniel Berrigan: Andrew E. Wheeler Phillip Berrigan: Scott Harris Thomas Lewis: Chris Schultz David Darst: Colin Golden George Mische: Corey G. Lovett Marjorie Melville: Patti Tippo Thomas Melville: George Ketsios Mary Moylan: Paige Lindsey White John Hogan: Ethan Kogan Judge: Adele Robbins Movement Direction: Melina Bielefelt & Jon Kellam Suzuki & Movement Training: Melina Bielefelt Scenic Design: Sybil Wickersheimer Lighting Design: Jacqueline Reid Costume Design: Susan Dalian Original Music and Sound Design: Dave Robbins Original Artwork: Okan Arabacioglu Stage Manager: Jacqueline Reid Assistant Stage Manager: Joel Kimmel Technical Coordinator: Mia Torres Associate Director: Melina Bielefelt Synopsis This acclaimed script written by poet priest Daniel Berrigan brings to life the dramatic 1968 trial of two Catholic priests and seven fellow Catholic activists who committed an act of civil disobedience, burning hundreds of draft files they had seized with homemade napalm, to protest the War in Vietnam. The subsequent trial and publicity galvanized the anti-war movement. While condemned as criminals in a court of law, they were hailed as patriots in the streets.


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CONTENT SUITABILITY for [NAME OF SHOW] Year Levels 10, 11 and 12 Language Mild level coarse language Sexual References Medium level sexual references Setting 1968 North America

CURRICULUM APPLICATIONS Drama Political Theatre

Documentary Drama English Privileged voice/Reader (audience)

positioning Discourses of War, Law and Religion

Studies of Society and Environment Modern History


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ORIENTATING ACTIVITIES About the Playwright – Father Daniel Berrigan In May of 1968, nine devout Catholic priests and lay followers marched into the Selective Services building in Catonsville, Baltimore, and seized 378 Vietnam War 1-A draft papers. In the car-park outside, they then proceeded to set fire to these drafts with homemade napalm, reciting the Lord’s Prayer as the flames gathered momentum and the police arrived to arrest the group. General public sentiment towards the Vietnam War had started to turn negative by the time of the Catonsville protest, and other political and civil rights movements had come to the fore in America; a month before the burning of the draft papers, Martin Luther King Jr had been assassinated, and protests against the use of nuclear arms was beginning to grow louder. However, to most in middle-America, the Vietnam War was still generally supported. Daniel Berrigan, a Jesuit priest and anti-war political protester, scripted Trial of the Catonsville Nine in 1971, three years after his initial arrest for his involvement in the Catonsville protest. Although he’d been able to evade imprisonment shortly after he was given a three year sentence (earning himself a place on the FBI’s “Top Ten Most Wanted Fugitive” list), he was eventually caught, though released shortly thereafter. Berrigan’s brother, Phillip was also involved and arrested for his participation in the Catonsville protest. The play was produced as a feature film in 1972, and was performed for the first time theatrically in 2009 in Los Angeles. Since the trial of the Catonsville Nine, Father Berrigan has served additional jail time for damaging nuclear warheads and destroying documents with human and animal blood at a General Electric nuclear missile facility. At the age of 88, he still works as a teacher and poet-in-residence at Fordham University in New York. He still actively organises and participates in anti-war, anti-racism and anti-abortion demonstrations and protests.


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Performance Review In order to engage students with the potential themes and performative aspects within The Trial of the Catonsville Nine, have students read the following review from the production’s opening season. Performance Review of The Trial of the Catonsville Nine from the Los Angeles Journal 16 February 2009 by Ed Rampell The mood was set opening night when octogenarian author/activist Gore Vidal rolled up in his wheelchair to Tim Robbins at The Actors’ Gang’s theatre lobby, extending his hand to the troupe’s Artistic Director, intoning the word: “Solidarity.” Inside, in front of the stage, flanked by Robbins and Managing Director Elizabeth Doran, Vidal and another wheelchair warrior, Vietnam veteran Ron Kovic, spoke out against today’s wars before the curtain rose for the evening’s play. The Trial of the Catonsville Nine is a dramatization of one of the most celebrated acts of resistance against the Vietnam War, which Vidal had been a vocal opponent of. Six years ago this February, at a Sunset Blvd. rally Vidal also spoke out against the then-impending invasion of Iraq as part of the largest mass demonstrations in human history. Robbins, too, publicly opposed attacking Baghdad, and so, in a sense we have gone full circle from Indochina to Iraq -- although the imperial swan song unfortunately remains the same. While French students and workers revolted in that merry month of May 1968, two priests, Daniel (Andrew E. Wheeler) and Philip Berrigan (Scott Harris), and seven other Catholic activists forced their way into Local Board 33’s selective service office in Catonsville, Maryland, seized 378 draft files and proceeded to burn the records. The play opens with a pantomiming of this defiant action, while the rest of the production is largely Daniel Berrigan’s free verse dramatization of the court case against the zealous defendants, who came to be called the Catonsville Nine and to help rally the growing movement against the Vietnam War, lending the cause a spiritual dimension. Like Philip, Daniel has been an apostle of nonviolent civil disobedience, a righteous leader fighting the good fight in the prophetic, liberation theology tradition of the “worker priest” movement. Although it is true that Daniel is indeed a poet and writer, he is first and foremost an agitator for social justice and peace - indeed, he’s believed to be the “radical priest” Paul Simon refers to in "Me and Julio Down By the School Yard." So Daniel’s 1971 adaptation of the verbally rich trial transcripts are primarily by an activist interested in persuading audiences with a work of agitprop intended to inform and inspire action, not to entertain. Daniel is a prophet first, priest second and playwright third. A trained bard with a deep dramaturgical background might have been able to


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take the court’s transcripts and turn the words into theatrical action to be performed on the boards. This was far easier with that other celebrated sixties’ court case, the Chicago 7/8, which was filled with many moments of low comedy, thanks largely to the Yippie antics of Abbie Hoffman and Jerry Rubin, and moments of high drama provided in particular by Bobby Seale, whose demands to represent himself led, unbelievably, to the Black Panther being bound and gagged by the judge. But the Catonsville Nine’s courtroom proceedings had neither the vaudevillian panache or Shakespearian tragedy of their Chicago brethren’s trial. Whereas Daniel’s closing words after the verdict is pronounced are: “This is the greatest day of our lives,” Rubin, with his usual pop cultural flair, likened being one of the Chicago 7/8 defendants to “winning the Academy Award” of activism. A key commandment of writing for stage and screen is: “Don’t tell me; show me.” The playwright needs to bring the words alive with passion and action. Daniel, however, is more interested in delivering a sermon of the stage that will move the audience to take action against evil, and his rewriting of the trial transcripts results in a play that seems at times to be talky. But having said that, what wonderful words they are, spoken with great passion and conviction, clarion calls Americans so desperately need to hear today -- and one may add, words expertly delivered by The Actors’ Gang. The dialogue, at times, is poetic, tackling the great moral questions of existence that are the basis of all great art. The ethereal Daniel asks: “What would it mean to be a Catholic” in 1968 America. At times, it’s as if the words tumble off of angels’ tongues or Gabriel is sounding his horn. Philip tells the court the Nine took action “to bear witness, first by blood, then by fire.” Much to the chagrin of the beleaguered judge (Adele Robbins) the various defendants try to explain how different facets of Washington’s foreign and domestic policy – the CIA overthrow of Guatemala’s reformist Arbenz government (which led Che Guevara to join Castro’s guerrillas), the apartheid-like treatment of blacks at home, you name it – drove them to their civil disobedience. But nothing is more moving than the description of napalm, the burning jelly that indiscriminately burnt women and children, as well as Viet Cong. Stepping into the lion’s den, Daniel declares that the defendants acted “to save the innocent from death by fire.” Another member of the Nine declares: “I wanted to let people live.” One of the two female defendants explains: “I want to celebrate life, not death.” The Catonsville Nine were true Christians, not the phony kind that had backed George W. Bush and his bloodthirsty wars. (A difference between Vietnam and Iraq is that Pres. Lyndon Johnson claimed he was fighting communists. Bush’s main rationale for attacking Iraq was those fictional Weapons of Mass Destruction that never materialized. Whether one agreed with LBJ or not, at least it was true that there were indeed communists in Indochina.) If you want to see real Christians, look no farther than the Berrigan brothers and their acolytes, not those phony baloney backers of Sarah Palin and John McCain, who has made a career out of being a war criminal, attacking a country that never posed a military threat to our borders.


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Sibyl Wickersheimer’s set design literally sets the stage for this play: a huge flag hangs from the ceiling, with a parachute behind it. (Wait till you see what these “un-Americans” do with Old Glory!) The sparse set’s seats, etc., are sometimes suggestive of a courtroom, at other time of the pews of a church, which is what one suspects the Berrigans hoped to turn the courthouse into, as they bore witness against the war machine and its lackey, the judicial system. The skilled, tireless actors perform admirably in multiple roles, alternating between playing defendants, witnesses, attorneys, prosecutors, et al, as the ensemble troupe rousingly brings alive a history that is, alas, still very much with us. For this reason, The Trial of the Catonsville Nine remains very topical and a must see, as the war in Iraq drags on and the Obama administration plans its Afghan surge, while beefing up military spending. In its agony, ecstasy and glory, The Trial of the Catonsville Nine dares to remind us that at the core of the Judeo-Christian ethic is the edict that, from Hanoi to Baghdad to Kabul to Gaza, “thou shall not kill.” Source: http://www.losangelesjournal.com/new/articles-view-17-738 Focus Questions: 1. Given the apparent themes within the play, how do you think this performance will appeal to a contemporary Australian audience? Are the themes of war still relevant in our society? 2. Do you think that The Trial of the Catonsville Nine has the potential to change the audiences’ perceptions in regard to the American legal system? Think of who the audience for this performance season will be and our own Australian legal system.


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ENHANCING ACTIVITIES Understanding different perspectives The Trial of the Catonsville Nine presents one perspective of events. This exercise is designed to allow students to explore the way in which different perspectives produce different reactions from individuals. Students begin this exercise standing in a circle. One student volunteer stands in the middle of the circle. This student volunteer then creates an exaggerated freeze frame using all parts of the body, including the face. Firstly, students in the circle are to recreate the image of the volunteer student. Each student should emphasis all aspects as much as possible. Students should then relax and observe each recreation one by one. Enforce to students that there is no wrong answer and that any differences in their positions are the whole point of the exercise. Discuss with students the differences in their images and the reasons why such differences exist. Once this discussion is complete, ask the volunteer student in the middle of the circle to resume their freeze frame and ask the students in the circle to create a new freeze frame that encapsulates their response to the image. Again, discuss with students any differences that arise in their responses and the reasoning behind such differences. Understanding Documentary Drama Students are to form two concentric circles with equal numbers. Students in the inner circle are Student A and students in the outer circle are Student B. Student A is to tell Student B a story from a community disaster or event. This event might be a thunder storm, drought, robbery, local sporting win or wedding. Student B is to listen to the story paying particular attention to the detail of the story, including who, what, when, where and why. The students in the outer circle (students B) are to rotate clockwise four positions so that they have a new partner. Student B is to then re-tell the story presented by their original partner. Remaining true to the story is of vital importance, but it is also necessary for the student to engage their audience when re-telling the story. ENGLISH Understanding Discourses Enhancing the learning of features of the text-type and of the Discourses and issues presented and represented in The Trial of the Catonsville Nine necessitates formal, structured classroom discussion. This discussion, which can take the form of classroom roundtables, structured debates, or responses


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through electronic media (i.e. blogs, podcasts, discussion forums on secure school servers, etc), can serve as a good means of formative assessment of students’ understanding of the text in its original and contemporary context (i.e. that it is a script formed from court documents, written and originally performed during the Vietnam War, now being performed in Brisbane in 2009) and of how discourses, individuals and events have been constructed through language choices. In enhancing the affective objectives of the syllabus, it is important to provide other visual, auditory and electronic sources (e.g. photographs, video footage, etc.) to provide a multiplicity of perspectives. Discourses operant in The Trial of the Catonsville Nine:

• Religious discourses – how are Christians and Catholics represented in this text? To what extent are the religious beliefs of the Catonsville Nine privileged or marginalised in the text? What evidence, from the text, do we have to believe that the attitudes, values and beliefs of the Catonsville Nine would be privileged or marginalised by religious institutions in 1968?

• Legal and nationalistic discourses – how do the prosecutors use and interpret language to represent and misrepresent the Catonsville Nine? To what extent is the law being conflated with American values? Why do the Catonsville Nine make the distinction between breaking a law and committing a crime?

• Political discourses – how does the selective editing of the court transcripts present the values, attitudes and beliefs of the American government? How does the prosecution attempt to represent the Catonsville Nine?

Text types and meaning

• Court transcripts – what meaning can a reader construct from the entire unedited court transcripts?

• Audio recordings of court proceedings – how is meaning changed by hearing the voices of the relevant parties?

• The script – what has been changed or left out in the shaping of the script? How does this change the representations of the parties involved? Which values, attitudes, and beliefs are privileged through the selective construction of this script from the court transcripts?

If the original, unedited court transcripts can be found, it will be interesting for students to compare them to the narrative as retold in the script to identify if the selection and shaping of the script as a text has excluded or minimized any other perspectives or voices.


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MODERN HISTORY

Enhancing the Study of The Trial of the Catonsville Nine in the Modern History/SOSE Classroom

Although the main focus of The Trial of the Catonsville Nine is primarily on the actual courtroom proceedings, there are several inquiry topics for the Modern History classroom which would fit within studies of the themes of Studies of Conflict, the individual in history, and Studies of Change. While exploring the involvement of Australia and other western nations in the Vietnam War is obviously hinted at, the play also discusses other historical conflicts and events, the study of which would enhance, and be enhanced by, student understanding of Trial of the Catonsville Nine. These include:

• Humanitarian efforts in countries in conflict (especially in Southern/Central America, Africa, South-East Asia and Oceania)

• Participation, endorsement and condemnation of war by religious institutions

• Public sentiment and legislation supporting or preventing democratic protest.

In-class study of the script or performance of The Trial of the Catonsville Nine will necessitate evaluating the script as a source, as per the General Outcome of forming historical knowledge through critical inquiry: how reliable, relevant or representative is the script as a source? What undermines/supports its reliability? How is its value as a source challenged by other primary/secondary sources of the trial?

In-class study and formative assessment on student understanding can be undertaken through teachers observing and interacting with student attitudes and values towards the events of the Catonsville protest or the reliability of sources in presenting the events as they truly happened.


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SYNTHESISING ACTIVITIES Thinking, talking about, and responding to the performance After viewing the performance a discussion with students is needed to unpack the form, style and content of the performance. The following questions will provide a basis for discussion to occur. The questions may be tackled individually, in small groups or whole class discussions. DRAMA: Proposed Forming Task: Students are to select a contemporary political incident and write a didactic script, incorporating a range of research and current events. Proposed Presenting Task: Students are to select a segment from The Trial of the Catonsville Nine and present a planned, rehearsed and polished showing. Proposed Responding Task: Director Jon Kellam asks the question; if engaging in theatre as an artist or an audience can inspire transformation? Students are to write an analytical essay that discusses The Actors’ Gang’s manipulation of the dramatic languages, in an attempt to mobilise the audience to generate social change using political theatre as its medium. Dramatic elements manipulated could include: Elements of Drama: Symbol, Focus and Language. Styles and their Conventions: Political Theatre Context: Historical, Cultural and Political Skills of Performance: Acting, Directing, Dramaturgy and Scriptwriting ENGLISH Proposed written (persuasive/reflective) task The play The Trial of the Catonsville Nine privileges the values, attitudes and beliefs of its protagonist, Father Daniel Berrigan, in the representation of the aims of the American government and legal system. However, in telling this story, important perspectives and opinions have been diminished, silenced, or entirely excluded. In-role as an investigative journalist, you will identify an individual who has been marginalised or silenced in The Trial of the Catonsville Nine, and in the format of a feature article, you will present an in-depth interview with this individual in an attempt to present another perspective on these historical events. MODERN HISTORY Proposed Modern History assessment (written research tasks) Written research tasks related to the content and social context of the play The Trial of the Catonsville Nine can address the three General Objectives of the Modern History Syllabus (2004). In consultation with teachers, students


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can develop inquiry questions and hypotheses according to the unit of work in which the study of this play and the events detailed therein are located, fulfilling the criteria of planning and using an historical research process. The focus of the questions can also be influenced by the ethos or system of the school (e.g. a Catholic school may wish to focus upon the Catholic identity and philosophies of the Catonsville Nine). Suggested questions may include, but are not limited to:

• To what extent have religious organisations influenced or participated in anti-war and pro-democracy movements and protests?

• What role did broadcast and print-media play in changing public opinion about America’s/Australia’s involvement in the Vietnam War?

• To what degree did civil disobedience and protest have an impact on America’s/Australia’s involvement in the Vietnam War?


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PERFORMANCE ANALYSIS OF THE TRIAL OF THE CATONSVILLE NINE One basis for taking students to view live performance is to enable students to analyze a play in performance. They will therefore need some prior exposure to concepts of theatre analysis. One way of doing this would be to provide them with a range of written resources that explore theatre from a variety of perspectives. These may include: The ‘Theatrical Review’ Whilst the ‘Theatrical Review’ may not strictly speaking be a form of pure theatre analysis, it is nonetheless a way of enabling students to gain an understanding of a particular reviewers’ perspective. These will also introduce them to the idea of making critical judgments. Production Company Notes Many theatre companies now produce extensive notes for students on their various productions. These notes often include interviews with the director, designers, and actors and are aimed at providing students with an insight into the collaborative nature of theatrical production. The Program Many programs also include material on the play – a review, an interview with the director and may provide a source for some additional material for the students. Magazines/Newspapers There are a number of theatrical magazines that provide some level of analytical response to theatrical performance. The Internet The Internet is rich in a variety of theatre resources, but there are few websites dedicated to the specifics of current theatre performances in Australia. One site which does have a variety of contemporary reviews is http://www.stageleft.com.au The following worksheet from Queensland Studies Authority Sourcebook Module titled Spotlight on Script will help students to structure information post-performance in readiness to write a performance review.


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PHOTOCOPY RESOURCE WRITING A REVIEW – PART 1 Here are some questions you may want to consider when you are thinking about a play in production. Use drama terminology when jotting down ideas. What is the title of the play and what expectations does this set up?

Who wrote it? When was it written? Was it written for a particular purpose? What were the circumstances under which it was written (for example, in response to an incident or event, for a commission, in collaboration with a youth theatre company)?

What is the theme? Does the play have a particular message or several messages?

What is the plot (in as few words as possible)?

Is it set in another time or place? When? Where? How did that impact on the staging? Costume? Make-up?

How did the venue and performance space affect the staging? What was the set like and how did that support the play and the performances?

How did lighting/sound/media support the production? Were there any special effects?

Were all the actors believable in their roles? Could you see and hear them? Did you feel any connection with them? Did any stand out?

What style would you say this play belongs to? What aspects of the style could you see?

What form or structure did the play follow? Was there a clear pattern to the tension?

What contributed to the mood of the production? How was this managed and changed throughout the production?

What struck you about the roles, relationships and language?

Did the production highlight any elements or conventions of drama in unusual ways? How? Why?


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WRITING A REVIEW – PART 2 The following information and activities are drawn from Centre Stage (2000) by Mathew Clausen pp. 88-89. The flowchart may assist students in the writing phase after viewing a performance. After watching a performance, you will have quite a strong sense of whether or not a performance was effective. This is usually reinforced through feelings of whether or not you were engaged, moved, excited or disinterested. Using the words from the reviewers and interviewer as well as students’ own impressions and understandings, undertake an analysis the performance according to the following categories and questions. This could be done in written or oral form. PLOT This is the actual action that happens on stage. Try to reduce the whole story into a brief paragraph that includes all the main events. DISCUSS THEMES AND ISSUES Outline the themes and issues that your feel were important in the play. The themes and issues carry the message of the play and are important in helping the audience gain meaning from the performance. ANALYSE CHARACTER OBJECTIVE AND MOTIVATION Describe and analyse the characters. To find the character’s objective, ask yourself the question: What does the character want to achieve by the end of the play? To find the character’s motivation, ask yourself the question: Why does the character want to achieve their goal? EVALUATE THE PERFORMER How well did the actors use body language to express their character? Were their movements and gestures appropriate for their character? How well did they use their voice to express character and deliver lines? How focused did they seem during their performance? How convincing did the performer seem in their portrayal of their character? COMMENT ON THE USE OF PRODUCTION ELEMENTS Were the costumes suitable for the characters? How did the choice of colours and designs suit the overall look of the performance? Was the set an effective use of space? Was the set easy for the actors to manoeuvre about? In terms of colour and layout, did its design enhance the performance? Did the signs and symbols used within the production enhance meaning? Was special lighting used at any time for a particular effect? Did the use of live or recorded sound enhance or detract from the performance?


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RESOURCES TO ASSIST UNDERSTANDING In Print Berrigan, D. (1970). The Trial of the Catonsville Nine. Boston: Beacon Press. De Benedetti, C. (1990). An American Ordeal: The Antiwar Movement of the Vietnam Era. Syracuse, NY: Syracuse University Press. du Plessex Gray, F. (1970) “Profiles: Acts of Witness”. New Yorker, 14 March. Hammond, W., and Steward, D. [Eds.] (2008). Verbatim: Contemporary Documentary Theatre. London: Oberon. McNeal, P. (1992). Harder than War: Catholic Peacemaking in Twentieth- Century America. Brunswick NJ : Rutgers Univ. Press. Meconis, C. (1979). With Clumsy Grace: The American Catholic Left, 1961- 1975. New York: Seabury Press. Stinson, M and Wall, D. (2005). Dramactive – Book 2. North Ryde: McGraw Hill Australia On the Web The Actors’ Gang http://www.theactorsgang.com/ The Catonsville Nine http://c9.mdch.org/ http://www.youtube.com/watch?v=l3SHRc-NTrk All Internet address (URLs) given were correct at the time of research and printing. However, due to the dynamic nature of the Internet, some addresses may have changed, or sites may have ceased to exist. No responsibility for any such changes can be accepted by either the writers or Brisbane Festival.

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