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Matter and Its Properties:

The Science of Stuff

A Musical Play for Kids

Script, teacher’s guide, and audio recordingwith songs and instrumental accompaniment

Book by Lisa AdamsLyrics by Lisa Adams and John Heath

Music by Mike Fishell

Illustrations by Cara Burns Design

Bad Wolf PressSanta Cruz, California

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AcknowledgementsSpecial thanks to the musicians and vocalists who added so much to the recording! All of the instruments were played by Roy and Mike Fishell. Dana Shaw sang on songs, 1, 3, 5, 8, and 9; Lisa Henson sang on songs 2, 6, and 7; and Mike Fishell sang on song 4. Audio mastering by Roy Fishell. Big thanks to Valerie Steele for making sure everyone sang the right words!

A Word About Copyright and Copying• The purchaser is given lifetime performance rights for this play. No royalty

is due as long as the play is used for educational/non-commercial purposes and ticket prices do not exceed $5 each.

• The purchaser is given permission to reproduce ONE copy of this script for each student/actor.

• The purchaser is given permission to reproduce ONE or TWO songs for each student/actor to help them learn solos or small group parts.

• The purchaser is given permission to edit, add to, or omit any portion of the content of this script as needed.

• Unless a site license has been purchased from Bad Wolf Press, the reproduction of any part of the script or audio recording for more than one teacher/director in a school or theater program is strictly prohibited. Each teacher/director involved with the play MUST have a legal copy of the script and audio recording (either individual or site license).

• NO PART of script or audio files MAY BE POSTED ONLINE unless the site is password-protected, and then only to distribute materials to actors.

• Video recording for non-commercial use is permitted. Any shared/posted recordings must include “by Bad Wolf Press” and link to badwolfpress.com.

• These materials may not be read or performed for commercial use without written permission from, and royalty agreement with, Bad Wolf Press.

From the Authors We’ve spent a tremendous amount of time writing this musical, so we hope that you will do the honest thing and avoid illegal copying. Please encourage your friends and colleagues to purchase their very own copies rather than steal from friendly writers such as us.

© 2017 by Bad Wolf Press, LLCAll rights reservedISBN 978-1-886588-67-7BWP 0670 1st Edition

Bad Wolf Press216 Mt. Hermon Road Ste E372Scotts Valley, CA 95066Toll free: 1-888-827-8661www.badwolfpress.com

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1

Character Education & Life Skills • Bullies Anonymous (Grades 3-7) • Character Matters (1-5) • Character Matters II (1-5) • Good Manners (2-6)• Mother Goose’s Character Camp (K-3)• Munchkin Mediation: Conflict Resolution in Oz (3-7)• Social Skills: How to Interact with Human Beings (3-7)• Test-Taking Strategies (2-6)

History and Social Studies • 13 Colonies (3-8) • The American Revolution: 1763-1789 (3-8) • American Symbols (K-4) • California Missions—and More! (2-6) • European Explorers in the New World (3-8) • Friendly Neighborhood Helpers (K-3) • Gold Dust or Bust (2-6)• Government & Citizenship (1-5) • Great Americans of the 20th Century (3-8) • Hatshepsut, Queen of Denial (3-8)• The Incredible Westward Movement (2-6)• Map of the World (10-Minute Mini Collection) (3-7) • Martin Luther King, Jr. (10-Minute Mini Collection) (3-7)• The Texans: Birth of the Lone Star State (2-6)• U.S. Constitution: The Reality Show (3-8) • U.S. Geography (2-6) • U.S. Presidents: Washington to Lincoln (3-8) • We Come From Everywhere (1-5) Holidays• Bad Wolf ’s Holiday Songs for the Classroom (K-2)• The Really Goofy Purim Play (2-6)• The Turkeys Go on Strike (2-6)• The Winter Holiday Show: A Multi-Species Celebration (1-5)

Language Arts• Aesop’s Fables Deluxe (K-3)• Alice’s Adventures with Idioms (2-7)• America’s Tallest Tales (2-6)• Anansi and the Moss-Covered Rock (1-4)• Cinderella: A Modern Makeover (2-6)• Coyote Steals the Summer (1-4)• The Emperor’s New Clothes (1-5) • Expository Writing: Case of the Missing Paragraph (3-8) • Goldilocks and the Three Bears (K-3)• Grammarosaurus (1-4)• Jack and the Beanstalk (1-5)• Little Red Riding Hood (2-6)• Macbeth, the Musical Comedy (4-9+)• Martina y Pérez: A Bilingual Tale (2-6)• Noun and Verb (10-Minute Mini Collection) (3-8)• Pandora’s Socks and Other Fractured Greek Myths (Non-Musical) (3-7)• Pirates from Grammar Island (2-6)• Shakespeare Unshackled (5-9+)• The Tale of the Chinese Zodiac (2-6)• Theseus and the Minotaur (2-6)

Science and Math• Biomes: Animals & Plants in their Habitats (1-5)• Conservation (10-Minute Mini Collection) (3-7)• Earthworms Make America Great (K-3) • The Environmental Show (2-7) • Forces & Motion (Non-Musical) (2-8)• The Garden Show (1-5) • Geology ROCKS! (2-6) • Geometry (10-Minute Mini Collection) (3-7) • It’s Electrifying (2-6) • Life Cycles (1-4)• Mastering Math (2-6)• Matter and Its Properties: The Science of Stuff (2-6)• Name that Internal Organ (3-7)• The Nutrition Show: Hansel and Gretel Eat Right (K-3)• The Oceanography Show: Tide Pool Condos (2-6)• The Rumpus in the Rainforest (1-5)• Vacation on Mars (1-5)• The Weather Show (1-4)

What Other Plays Does Bad Wolf Publish?You can read the first third of any of these plays, listen to sample songs, read reviews, and

learn more about the curriculum, standards, and vocabulary at badwolfpress.com. Click any title or category below to go directly to its web page.

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contact@badwolfpress.comor call us toll-free at

(888) 827-8661

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Table of ContentsMatter and Its Properties Script 4-28Teacher’s Guide 29-42 Introduction 29 Getting Started 30-31 Music 31-32 Casting 33 Costumes 34 The Set 35 Staging 36-37 Rehearsals and Assessment 38 A Four-Week Timetable 39 Emphasis: Making the Words Come Alive 40 Final Performance 40-41 A Last Bit of Advice 41 Curriculum Concepts and Vocabulary-Building in Matter and Its Properties 42Ordering Sheet Music and Other Goodies 43-44

Song List1. “The Science of Stuff ” Class pages 52. “Times Are Pretty Crazy” Guests, Physicists, Chorus 8-9 3. “The Properties of Matter” Architects, Chorus 10-114. “Solid, Liquid, Gas” Superfans, Chorus 14-155. “The Particle Dance” Dancers, Chorus 17-196. “Heat and Cold” The Melting Points, Chorus 21-227. “Condensation, Evaporation” Striker, Aria, Chorus 24-258. “Can the Changes Be Undone?” Bakers, Chorus 279. “The Science of Stuff ” (reprise) Class 28

3

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Matter and Its Properties:The Science of Stuff

Book by Lisa Adams, Lyrics by Lisa Adams and John HeathMusic by Mike Fishell

The duration of the show is about 35 minutes

CHARACTERS:

Floor DirectorChadNinaConcerned Guests (3)Physicists (2)Audience Members (4)Architects (3)Bob, Bonnie, and BabySuperfans (3)Dancers (3)Soap Opera Cast (3)The Melting Points (3)Striker BaldwinAria MarxBakers (3)

and a STUDIO AUDIENCE (CHORUS) composed of all actors who are not playing roles on stage at the time.

4

FLEXIBLE CASTING:From 11-40 students. Use as many Superfans, Bakers, Architects, etc. in each scene as desired. One student can easily play several roles if needed, and individual roles can be doubled up. Note that all roles can be played by either boys or girls; see our comments on page 35 of the Teacher’s Guide.

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(CLASS enters and sings)

Well hi, hello, how are you? And welcome to the show We just can’t wait to tell you About the stuff we know. ’Cause we all love to chatter ’Bout the properties of matter We just can’t get enough Of the science of stuff. We love observing liquids When they evaporate. Let’s crank the heat up higher And watch the change of state. Or what great satisfaction From a chemical reaction We’ve all become a buff Of the science of stuff. We’ll put on this show for you And we won’t even sweat But if we do You can bet It’ll be the best condensation yet. Well hi, hello, how are you? And welcome to the show We just can’t wait to tell you About the stuff we know. ’Cause we all love to chatter ’Bout the properties of matter We just can’t get enough Of the science of stuff.

(CLASS takes places. Everyone not in a particular scene/song forms the live studio audience for the program. CHAD and NINA should be on stage at all times, but positioned in a way that they do not get in the way of other performers. FLOOR DIRECTOR should be positioned to make eye contact with CHAD and NINA. More about staging on page 36 of the Teacher’s Guide.)

5

Song 1/10

NOTE: The numbers above refer to the track numbers on the audio recording. The first is the vocal version of the song; the second is the karaoke version.

Instrumentation for SONG 1: Drum kit, synthesizer, bass synth, sampler.

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FLOOR DIRECTOR: And we’re on in… (counts down with fingers, 5-4-3-2-1, then points at CHAD and NINA to cue them)

(FLOOR DIRECTOR exits.)

CHAD: Hello and welcome to The Morning Mishmash with Chad and Nina.

NINA: All this week on The Morning Mishmash we’re exploring a topic near and dear to my heart…the science of stuff.

(CHAD makes a face)

NINA: Chad!! You agreed to stop making that face on the air!

CHAD (sighs): I know. Sorry. But I just want to get back to the things we usually do, like talking to movie stars and making brownies with retired racehorses.

NINA: And we will, Chad. But this one week is dedicated to SCIENCE. And the audience can’t wait to get started, am I right?

(CLASS applauds wildly. You may wish to have someone hold up an “APPLAUSE” sign during all these instances.)

NINA (to CHAD): See? Just give it a chance, will you?

CHAD: Fine.

NINA: Great. Well, now that we have that over with, let’s get on with today’s show. We’re going to start by talking about a little thing called MATTER.

CHAD (cheesily): Matter? Sounds important.

NINA: Oh, it is, Chad. And our first guests today are very concerned that it’s also DANGEROUS. Let’s welcome them to hear their story.

(CLASS applauds. CONCERNED GUESTS enter.)

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GUEST #1: Thank you, it’s great to be here.

CHAD: And it’s great to have you. Tell us why you’re so worried.

GUEST #2: Well, most people have no idea, but this stuff called matter? It’s EVERYWHERE.

GUEST #3: Matter’s in our food, in our drinking water, even in the air we breathe!

CHAD (aghast): Is that true?

GUEST #1: Absolutely, Chad. And we are prepared to do something about it. That’s why we’re here today getting the word out.

(CLASS applauds)

NINA: Can we back up just a minute? I’m not sure everyone in our audience knows what matter even IS. Could you explain it?

GUEST #2: Well..it’s…you know…small particles of…you know… (looks helplessly at other CONCERNED GUESTS)

GUEST #3: It’s kind of hard to explain.

NINA: Let’s bring on some physicists to help us out.

(CLASS applauds. PHYSICISTS enter.)

PHYSICIST #1: Thank you, Nina. (to GUESTS) And thank YOU for bringing up these concerns.

7

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PHYSICIST #2: Yes, it’s important that we address scientific misconceptions before they spread and make people panic.

GUEST #1: We’re good at panicking!

PHYSICIST #2: We know.

GUEST #2: What do you mean, misconceptions?

PHYSICIST #1: Well, you are right that matter IS in everything.

GUEST #3 (to ALL): SEE? Even the scientist says so!

PHYSICIST #2: But matter is not dangerous. It’s simply the “stuff ” that’s makes up everything in the whole universe.

GUEST #1: Wait…are you saying that all of this matter is NOT harming us?

PHYSICIST #1: Far from it. It’s making us what we are!

CONCERNED GUESTS:Times are pretty crazyThere’s matter everywhereIt’s in the food you eatIt’s in the clothes you wearTake an evening bath and you’ll find matter on your toeThat sneaky matter follows you no matter where you go.

Times are pretty crazyThere’s matter everywhereIt’s in your uncle’s beard(Though please try not to stare)Matter’s in the air you breathe and in the kiss you blewDon’t look now but there is matter standing next to you!

8

Song 2/11

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PHYSICISTS:But it’s OK, it’s OK, it’s OK you know

Everything is made of matterMatter’s in everythingCan’t get enoughOf that physical stuffThat gives the world its zing.

Times are not that crazyMatter’s just the sameIt’s always been aroundThe world’s claim to fame.The universe is made of it; thank goodness this is trueWithout it there would be no me and there would be no you!

Yeah it’s OK, it’s OK, it’s OK you know

GUESTS, PHYSICISTS, and CLASS:Everything is made of matterMatter’s in everythingCan’t get enoughOf that physical stuffThat gives the world its zing.

Yeah it’s OK, it’s OK, it’s OK you knowYeah it’s OK, it’s OK, it’s OK you know!

(GUESTS and PHYSICISTS exit.)

CHAD: Phew! Well that’s good news. I was definitely heading into panic mode.

NINA: Let’s take a question from the audience.

(AUDIENCE #1 stands)

AUDIENCE #1: If matter is in everything, why isn’t everything the same? Are there different kinds of matter or something?

NINA: To explore that excellent question, let’s bring out our next guests.

9

Instrumentation for SONG 2: Banjo, mandolin, acoustic guitar, tuba, harmonica, siren whistle, 2 flutes, bass drum, knee slaps, tambourine, organ.

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10

(CLASS applauds. ARCHITECTS enter.)

ARCHITECT #1: Thanks, Nina. I never thought small-town architects like us would get to go on a famous talk show!

CHAD: Architects? I thought today’s show was about science?

ARCHITECT #2: It turns out that building houses has a lot to do with science.

CHAD: Really? Are you sure?

ARCHITECT #3: It came as a surprise to us, too.

NINA: So tell us what happened.

ARCHITECT #1: Well, the crux of the matter—get it, the CRUX of the MATTER? HA!—is that different kinds of matter have different properties.

CHAD: I’ve always wanted to have a lot of different properties.

ARCHITECT #2: Actually, Chad, what she means is that matter comes in different shapes and sizes and has different qualities.

ARCHITECT #3: Some things are soft; some are hard. Some things are flexible; some are rigid.

ARCHITECT #2: And you have to consider the properties of an object before you know how to use it.

ARCHITECT #1: We learned this the hard way.

ARCHITECTS:Bridges made of metalBuildings made of woodWhat a lack of visionIn my neighborhood!

No one’s trying gumdropsNo one’s using hatsNo one’s stacking weasels To use as roofing slats.

Song 3/12

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So I went to city council and I showed my blueprints thereComplete with liquid sidewalks and highways made of hairThey took a look and praised me for my creativityAnd then they rolled my blueprints up and gave them back to me.

Properties of matterProperties of matterHelp us figure out what an object can doProperties of matterWill it bend, absorb or shatter?Properties will tell us what an object can do.

Now I’ve learned my lessonProperties are keyLike hardness, strength and textureAnd flexibility

So now I build more wiselyWith bricks and boards and dirt.I save the hats for wearing,The gumdrops for dessert.

ARCHITECTS and CLASS:Properties of matterProperties of matterHelp us figure out what an object can doProperties of matterWill it bend, absorb or shatter?Properties will tell us what an object can do.Properties will tell us what an object can do.

(ARCHITECTS exit.)

CHAD: Wow. Whoever said “mind over matter” never tried building a gumdrop house, am I right?

NINA: Words of wisdom, Chad. Now let’s move on to today’s Power Question: What are the three states of matter?

CHAD: That answer and more…after this word from our sponsor.

11

Instrumentation for SONG 3: Drum kit, bass guitar, four-piece string section (bass, cello, viola, violin), electric guitar, acoustic guitar, Hammond B3 organ, four-piece horn section (tenor saxophone, trombone, 2 trumpets)

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(BOB, BONNIE, and BABY enter. BABY sits on the ground playing with toys.)

BONNIE: Are your child’s toys driving you CRAZY?

BOB: All those fancy parts always breaking?

BONNIE: All those awful sirens and songs giving you a headache?

BOB: What you need is to get back to basics.

BONNIE: With Bob & Bonnie’s Building Blocks of the Universe.

(BONNIE holds up one or several small blocks. These can be actual blocks, or dice, or any other cube-shaped objects. The important thing is that they should appear to have nothing on them.)

BOB: “Normal” blocks are covered with DISTRACTING letters and pictures.

(HE holds up a normal block and gives it to BABY, who can’t stop looking at all the sides.)

BONNIE: Studies show that “normal” blocks make babies feel bad about themselves for not being able to read.

(BABY starts to cry.)

BOB: But Bob & Bonnie’s Building Blocks of the Universe are pure creative fun!

BONNIE: Your baby can build a variety of objects, take them apart, and build something else.

(SHE gives BABY the plain blocks; BABY looks overjoyed and starts to build.)

BOB: In the same way that matter has been built since the beginning of the universe.

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BONNIE: With the same particles combining to make different objects.

BOB: Think about it. Doesn’t your child deserve better than some loud, flashing, fragile toy that destroys his or her self-esteem?

BONNIE: Get back to basics—

BOB: —and we mean BASICS—

BONNIE: —with Bob & Bonnie’s Building Blocks of the Universe!

(BOB, BONNIE, and BABY exit. FLOOR DIRECTOR enters.)

FLOOR DIRECTOR: And we’re back in… (countdown and cue)

(FLOOR DIRECTOR exits.)

CHAD: Welcome back to The Morning Mishmash with Chad and Nina. Now let’s see who wants to answer our Power Question.

(AUDIENCE #2 and #3 raise their hands. When called on, THEY can stand.)

CHAD (calling on AUDIENCE #2): Thanks for playing. Here’s the question: What are the three states of matter?

AUDIENCE #2 (nervously): Um, um, um…is it Illinois, Tennessee, and Rhode Island?

NINA: No, I’m sorry, that’s not it.

AUDIENCE #3: How about calm, joyful, and angry?

NINA: I’m afraid not.

CHAD: Anyone else?

(NO ONE volunteers.)

13

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SUPERFAN #1 (jumping up): Can we give it a try?

SUPERFAN #2 (jumping up too): We know the answer!

CHAD: For those who don’t know, these Superfans are here for the taping of every episode, and they know a little about just about everything.

SUPERFAN #3 (jumping up): Actually we know a LOT about just about everything.

NINA: Okay, Superfans. If no one else wants to try, the question is yours to answer. What are the three states of matter?

SUPERFAN #1: Solid!

SUPERFAN #2: Liquid!

SUPERFAN #3: Gas!

SUPERFANS: Solid, liquid, gas These are states you can’t bypassThey take up space And all have mass Solid, liquid, gas. Solid, liquid, gas Yeah these states are all first class You want a state You can’t surpassSolid, liquid, gas. A solid, well, it’s solid It likes to keep its shape You won’t find solids flowing Or trying to escape.

14

Song 4/13

Instrumentation for SONG 4: Acoustic guitar, mandolin, string bass, finger snaps

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A liquid though is tricky It changes shapes and flows It fits in its container No matter where it goes.

Solid, liquid, gas They’re states you can’t bypassThey take up space And all have mass Solid, liquid, gas. Solid, liquid, gasYeah these states are all first class You want a state You can’t surpassSolid, liquid, gas. A gas is mighty mellow With no shape of its own It flows and fills containers Wherever it is blown. But gases are free spirits Their sails are unfurled Let them out of their container And they’re off to see the world. Solid, liquid, gasThey’re states you can’t bypassThey take up space And all have mass Solid, liquid, gas. Solid, liquid, gas Yeah these states are all first class You want a state You can’t surpassSolid, liquid, gas.

(SUPERFANS sit.)

15

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CHAD (brightly): Solid, liquid, gas. Great! Well that’s the end of that. Let’s get back to celebrity llama gossip…who’s got the season’s cutest alpaca?

NINA: We’re only halfway through the show, Chad! Aren’t you dying to get INSIDE all this matter and understand what makes a solid a solid…a liquid a liquid?

CHAD: And a gas a gas?

NINA: YES! Exactly!

CHAD: Nope. I know everything I need to know. I’ve got a SOLID reputation, LIQUID assets, and a truly GASSY…uh, personality.

NINA (icily): Indeed.

CHAD: Come on, Nina! I don’t want to talk about stuff that’s too small to see. I can’t picture it.

NINA (triumphant): Well Chad, our next guests are going to change all that. I’m thrilled to welcome the Atomic Dancers to the show.

(CLASS applauds; DANCERS enter.)

CHAD: So tell us where we might have seen you dance. Films, mostly? Music videos?

DANCER #1: Well, no.

CHAD: Flash mobs? Hey, were you the ones waltzing with the raw turkeys last Thanksgiving? I loved that video.

DANCER #1: No, I’m afraid that wasn’t us. Our dancing tends to be a little more…educational.

CHAD (perplexed): More educational than waltzing turkeys?

DANCER #2 (tenderly): You know, Chad, we heard what you said just now. And we want you to know you’re not alone.

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CHAD: What do you mean?

DANCER #3: Many people suffer from Particle Visualization Syndrome.

CHAD: They DO?

DANCER #2: Sure. Rashes, fainting, heart palpitations…just at the mention of a molecule. It’s all quite common.

DANCER #1: But tragic. And that’s why we formed the Atomic Dancers.

DANCER #2: We demonstrate microscopic concepts at a size comfortable for the average PVS sufferer.

CHAD: How…thoughtful.

DANCER #3: It really is. And now, using the magic of dance, we will show you how the particles move in solids, liquids, and gases.

NINA: Let’s give them a hand!

(CLASS applauds and DANCERS take the floor.)

DANCERS:We’ll do the particle danceWe’ll put your mind in a tranceYou can applaud in advanceFor this here particle dance

We’ll show how particles moveYes we’ll get into their grooveThere’s just no way to improveThe way these particles move

Particles in solidsStrongest bondsParticles in solids Strongest bonds

17

Instrumentation for SONG 5: Sampler, bass guitar, Wurlitzer electric piano, Hammond B3 organ, three-piece horn section (tenor saxophone, trombone, trumpet), harmonica, Technics 1200 turntable.

Song 5/14

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18

We huddle close togetherWe vibrate in placeIn every kind of weatherWe always embrace.

We’ll do the particle danceWe’ll put your mind in a tranceYou can applaud in advanceFor this here particle dance

We’ll show how particles moveYes we’ll get into their grooveThere’s just no way to improveThe way these particles move

Particles in liquidsWeaker bondsParticles in liquidsWeaker bonds

We step apart a littleIt’s space that we need We slide around each otherAnd increase our speed.

We’ll do the particle danceWe’ll put your mind in a tranceYou can applaud in advanceFor this here particle dance

We’ll show how particles moveYes we’ll get into their grooveThere’s just no way to improveThe way these particles move

Particles in gasesWeakest bondsParticles in gasesWeakest bonds

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We separate completelyWe fly around freeWe’re glad to do our own thingWe’re fast as can be

We’ll do the particle danceWe’ll put your mind in a tranceYou can applaud in advanceFor this here particle dance

We’ll show how particles moveYes we’ll get into their grooveThere’s just no way to improveThe way these particles move.

(DANCERS exit.)

NINA: We’ll be back with today’s musical guest and more of your questions…after this short break.

(SOAP OPERA CAST enters.)

NARRATOR: Today on All My Atoms…heat has once again come between Angelina and Rufus…

RUFUS: I need some space, Angelina.

ANGELINA: No, Rufus! I want to be close again. I want to be solid!

RUFUS (darkly): We’ll never be solid again. Not in this burning heat.

ANGELINA: Oh Rufus, don’t give up! It will pass. We’ll be cool again!

RUFUS: I don’t know.

ANGELINA: Believe it! Even if we move apart for a while, we’re still the same particles deep down.

RUFUS: I hope so, Angelina. I hope so.

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20

NARRATOR: Will Rufus and Angelina stay together…or will the heat continue to drive these desperate particles apart? Find out this afternoon on All My Atoms.

(SOAP OPERA CAST exits.)

CHAD (to NINA): I can’t believe All My Atoms is still on.

NINA: I know! It seems like the same drama has been going on for billions of years.

(FLOOR DIRECTOR enters.)

FLOOR DIRECTOR: And we’re back in… (countdown and cue)

(FLOOR DIRECTOR exits.)

CHAD: Welcome back. Let’s give a big hand to a band who needs no introduction…The Melting Points!

(CLASS applauds; THE MELTING POINTS enter.)

MP #1: Thanks so much. [City name] truly has the best fans in the world! And it’s great to see you again, Chad and Nina.

CHAD: Likewise! You’ve put out a new album since you were here last.

MP #2: Yes, and we’re really proud of it.

NINA: This might be just a crazy rumor, but is it true that your album was inspired by the soap opera All My Atoms?

MP #3: Yes, ma’am. It’s so cheesy it’s COOL.

MP #1: Little-known fact: We stream every episode to our tour bus.

MP #3: Yep! After a concert we just change into our jammy-jams and snuggle up with our favorite show.

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MP #2: We love how it looks at relationships from a really micro level, you know?

(CHAD puts his head in his hands.)

NINA: You heard it here! Let’s give a big hand to The Melting Points as they play their hit single, “Heat and Cold.”

(CLASS applauds. THE MELTING POINTS take their positions on stage, starting close to each other and moving apart as the song starts.)

THE MELTING POINTS:It’s not you, it’s meI’m just so hot, you seeIt’s not that I don’t careJust need to get some airI’m boiling hot with lots of energy.

Heat makes particles move apart;Solids change to liquids and gases.Cold makes particles move in close;Gases change to liquids and solid masses…Liquids and solid masses.

(MELTING POINTS start to move back together, shivering, rubbing hands, etc.)

Can I come back in?How chilly it has been!Don’t mean to cramp your styleBut can I stay awhile?I’m freezing cold so sit by me again.

I’m the same, oh yes sirreeI’m only moving differentlyCool things down, I’m sluggardlyWarm things up, I’m wild and free!

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Song 6/15

Instrumentation for SONG 6: Drum kit, bass guitar, 3 electric guitars, organ.

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22

MELTING POINTS and CLASS:Heat makes particles move apart;Solids change to liquids and gases.Cold makes particles move in close;Gases change to liquids and solid masses…Liquids and solid masses.Liquids and solid masses.

(THE MELTING POINTS exit.)

NINA: That was just wonderful. Art inspired by art inspired by science!

CHAD: Yeah. Wonderful. Are we going to have any other celebrities on the show today?

NINA: Be patient, Chad.

CHAD: Are we going to make home decorations out of pine needles or cereal?

NINA: BE PATIENT, CHAD! Right now we need to take an audience question.

(AUDIENCE #4 stands.)

AUDIENCE #4: Yes, thank you. So the song said that a substance can turn from a gas to a liquid to solid and back again. Can you give me an example?

(SUPERFANS jump up.)

SUPERFAN #1: Sure can, my friend! When liquid water reaches its freezing point, it turns to ice—a solid.

SUPERFAN #2: And you can turn ice back to water by heating it up.

SUPERFAN #3: And if you boil the water, it evaporates and turns into a gas—water vapor.

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SUPERFAN #1: Solid!

SUPERFAN #2: Liquid!

SUPERFAN #3: Gas!

AUDIENCE #4: Ohhh! Now I get it—thanks!

SUPERFAN #1: You know there’s actually a fourth state of matter.

SUPERFAN #2: It’s called plasma.

SUPERFAN #3: But we’ll save that lesson for later in the week.

(SUPERFANS and AUDIENCE #4 sit.)

CHAD: Thanks, Superfans. I’m glad someone knows this stuff.

NINA: And now it’s the moment Chad’s been waiting for. Please help me welcome Striker Baldwin and Aria Marx, here to talk about their new superhero movie!

CHAD: All right! That’s more like it!

(CLASS applauds; STRIKER and ARIA enter, waving to fans. STRIKER is serious and dramatic the whole time; ARIA is bubbly.)

ARIA: Oh my gosh, thank you! We’re so excited to be here!

STRIKER (deadpan): Yes, we’re extremely excited.

23

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ARIA: Our new movie is called H-2-WHOA. Get it? Get it? Get it? Get it?

STRIKER: They get it. This movie has a bit of everything. Action. Romance. Special effects.

ARIA: And—BONUS!—it’s scientifically accurate.

CHAD (slapping his leg): Ha ha, good one!

ARIA: Oh, I’m not joking, Chad. Scientists wrote the script…real-life ones.

STRIKER: Aria is right. I insisted upon it. I’m a very serious actor, you know.

ARIA: Striker and I play teeny-weeny superheroes. We get to save the world on, like, a microscopic level!

CHAD (slaps forehead): I quit. I quit!

NINA: Ignore him. Tell us more about the film!

(ARIA and STRIKER stand and sing.)

In this awesome movieI play a water drop.I’m on a secret missionTo make it to the top.

I jump into a stockpotI’m fighting frozen peasThe water starts to boilI’m soaring with the breeze!

CondensationEvaporationItty bitty matter on the big big screen.CaptivatingIlluminatingScientific marvels in every scene!

Song 7/16

Instrumentation for SONG 7: Drum kit, bass guitar, 2 electric guitars, acoustic guitar, piano, organ, handclaps, tambourine.

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You don’t mind a spoiler?This part makes me proud.The chilly air surrounds meI’m caught up in a cloud.

I’m turned into a raindropOooh, it’s so intense!I’m tumbling down in freefallThis scene is all suspense.

Like any good character, mine transformsThe changes are profoundBoiling, freezing, melting pointsTurn my life around.

STRIKER, ARIA, and CLASS:CondensationEvaporationItty bitty matter on the big big screen.CaptivatingIlluminatingScientific marvels in every scene!

(THEY exit. CHAD is lying on the floor curled up into a ball.)

NINA (pokes him): Chad. Chad! Get up! The show isn’t over!

CHAD (moans): Go on without me. I’m not cut out for this.

NINA: Sure you are. Science is a part of everyday life! Just embrace it. If movie stars can do it, so can you.

CHAD (peeking out): You think so?

NINA: I know so. Be strong. Be like Striker and Aria. I know you can do it. (to CLASS) Come on, guys, do we think he can do it?

(CLASS applauds and CHAD pulls himself up.)

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CHAD: Thanks, everyone. I guess science is nothing to be afraid of. It’s about time I got with the program.

NINA: I’m proud of you, Chad. Are you up for welcoming our last guests for today?

CHAD: I think so. Are they going to show us how to make shampoo out of leftover cupcake frosting?

NINA: No, Chad.

CHAD (sighs): Okay, fine. Science it is. Please give a hand to the bakers of Sugar Bomb Bakery!

(CLASS applauds; BAKERS enter.)

NINA: Tell us your story.

BAKER #1: Well, it all started when we decided to sell our pre-made cake batter.

BAKER #2: We had to make sure the cakes would turn out right. So we baked them and tasted them.

BAKER #3: They were delicious! But when we tried to turn them back into batter, we ran into a huge problem.

CHAD: What happened?

BAKER #1: We couldn’t!

BAKER #2: We tried heating them, freezing them, crumbling them up, adding water…nothing worked.

BAKER #3: We learned that some things can’t go back to their earlier state once you’ve changed them.

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BAKERS:If you give an egg a crack It’s not ever going back Once you’ve baked or boiled it on your range. Now that egg is cooked inside There’s no way it can be UNfried And that’s called irreversible change. Take a lump of candle wax Heat it and watch it relax Soon it’s just a puddle, ain’t that strange? Let it sit and cool and then Look, it’s candle wax again! And that is called reversible change. Can the changes be undone? That’s the thing to learn Once the changes have begun Is there no return? Can the changes be undone? Or once you spin them are they spun? Changes can be fun But can they be undone? Some things you can melt or freeze Change them up just as you please Then turn them back to how they were before. Other things like burning wood Once they’ve changed they’ve changed for good And they’ll be something new evermore.

BAKERS and CLASS:Can the changes be undone? That’s the thing to learn Once the changes have begun Is there no return? Can the changes be undone? Or once you spin them are they spun? Changes can be fun But can they be undone?

(BAKERS exit.)

Song 8/17

Instrumentation for SONG 8: Drum kit, upright bass, 3 acoustic guitars, Mellotron, marimba, Hammond M3 organ, piano.

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CHAD: Well that’s it for today on The Morning Mismash with Chad and Nina.

NINA: We’ll be back tomorrow and all this week with more about the Science of Stuff!

CHAD: And this time I’m actually looking forward to it.

(FLOOR DIRECTOR enters.)

FLOOR DIRECTOR: That’s a rap!

(NINA and CHAD high-five.)

(CLASS stands and sings:)

Well hi, we’re done, how are you? We hope you liked the show!It was so fun to tell you About the stuff we know. ’Cause we all love to chatter ’Bout the properties of matter We just can’t get enough Of the science of stuff. We put on this show for you We didn’t even sweat But if we hadYou can bet Woulda been the best condensation yet. Well hi, we’re done, how are you? We hope you liked the show It was so fun to tell you About the stuff we know. ’Cause we all love to chatter ’Bout the properties of matter We just can’t get enough Of the science of stuff.

THE END

Song 9/18

Instrumentation for SONG 9: Drum kit, synthesizer, bass synth, sampler.

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29

Teacher’s Guide

IntroductionMatter and Its Properties: The Science of Stuff is a musical play designed to be performed by elementary school classes, particularly by students in the second through sixth grades. The older students will of course do a more polished job, but please don’t be afraid of having your younger students perform this show. They’ll have a great time (this is not your regular school play) and their parents will have a ball.

In fact, one of the really nice things about this musical play is the response you’ll get from parents. You’ll find them grateful for the opportunity to see their child perform in a truly fun show full of melody and wit. Indeed, rumor has it that some parents have so thoroughly enjoyed the performance that they have had to have the smiles surgically removed from their faces in order to be taken seriously at work.

If you’re an experienced producer of classroom shows, then Matter and Its Properties will be a snap. If you’re new to this sort of thing, relax! Putting on a play is a wonderful experience for your kids, and it’s a heck of a lot easier than you probably think. This introduction is designed to provide you with all the necessary tips for a smooth and joyous production. We consulted teachers whose classes have performed our shows and asked them what they wished they had known before they started. We listened carefully, and now it’s all here for you.

Even if you can’t sing or play an instrument! Honest! We know a teacher who has successfully produced a number of musicals in her classes without singing or playing a note (she’s very shy). All you have to do is move your lips! Remember, the audio recording demonstrates all the songs.

Doing a little script-tease

We strongly suggest that you do not send home copies of the script with each student. The problem is that the parents will read the script and when they come to watch the play, well, they’ll already know what to expect. We think your best bet is to copy only the lyrics and dialogue for your actors. Let Mom and Dad help their child learn their parts, but give your parents the gift of being pleasantly surprised when they see the performance.

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Getting StartedFigure on about a month from first introduction to final performance. This may sound like a lot of time, but most of the days you won’t work for very long, perhaps just singing a few songs together. We have an example of one reasonable timetable on page 39. We suggest that you play the recording of the show for several days before you start singing songs. Then after the kids get the hang of the songs, you can sing them whenever the class has a few extra minutes. When you get around to casting and staging the show you’ll need more time again. You’ll also want to schedule additional time for the creation of sets, props, and costumes (if you decide to use them—see our advice below).

Lately educators have been talking about teaching “across the curriculum,” that is, using large projects and themes to connect the various skills and subjects to be studied. Matter and Its Properties is ideal for this since you can easily connect your study of interpersonal skills and character education with art, music, theater, and reading under the guise of a fun show.

Now, relax and have some fun. We’ve written this show so you can get out of it what you want. If you choose to work very hard, managing every detail—go ahead! Really! You’ll probably have a high quality performance. But make sure that’s the level of activity and stress you’re comfortable with. Don’t let the parents turn this into a Broadway production. You can also choose to be low-key about it all. Tell yourself that these are just kids, your audience isn’t paying fifty dollars a ticket, and you won’t have a perfect show. You’ll stay more relaxed and enjoy the experience. It just depends upon your own personality and the students themselves. No matter how you approach this show, remember it’s the process that is important for the students’ education: the reading, creating, singing, thinking, and developing self-esteem that go into learning the show are the real point to the final performance anyway. There’s no reason you shouldn’t have as much fun doing all this as your students!

Is Matter and Its Properties an opera or a musical?

And what’s the difference, anyway? According to our dictionary, in an opera most or all of the story is sung, but in a musical the dialogue plays the more important role. Beyond that, musicals tend to be written in a popular style while operas are supposed to be “artistic.” In truth, there’s no meaningful distinction and you can call this show whatever you like without offending us. (Our own expression for this show is “a stunning piece of contemporary American theater.” Go figure.)

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Here’s a bit of time-tested advice if you’re new to this type of musical production: get another teacher at your school to put on Matter and Its Properties at the same time. You can share sets and costumes and bounce ideas off one another. Your classes can watch each other rehearse and the students can give feedback to their peers. This process has proven to be a great aid to novice directors, and students learn a lot by participating in the assessment and development of the show (more on this later). (Note: Under the Bad Wolf Copyright arrangement, you can copy this script all you want for your students. Your fellow teachers, however, will need to purchase their own copy —hey, who wouldn’t want their own copy?—if they are putting on the show at the same time.)

Some teachers like to have as much parental help in the classroom as possible; others prefer to work with the kids without interference. Wherever you fall on this continuum, you’ll probably find it useful to ask for a certain amount of help. Be sure you send a parents’ letter at the onset of the project. Include performance dates and tell exactly what sort of assistance you’ll be looking for. If putting on plays is new to your school, you may want to outline some of the educational advantages as well. (See our web site for a template you can use!)

Music (and the enclosed audio recording)

The audio recording is a teaching tool for helping your children learn all the songs. The first recorded version features some talented musicians singing the songs with dazzling musical accompaniment. The second version of the show has just the accompaniments to all the songs. We strongly encourage you to make a backup CD or computer file of the audio recording in case it gets lost or damaged. You can also purchase replacements from Bad Wolf Press.

We suggest you introduce the music to your class by playing the recording during a class work session. You might do this several times, starting well in advance of your actual rehearsal of the show. The music will seem easy and familiar when your students finally begin to sing the songs. Have all your students learn all the songs. This is much more fun for the class, and it will give you great flexibility in casting and substituting for absent performers.

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32

Ready for some controversy? The easiest way of getting older students to learn the show is probably to copy the script and give it to them. Some teachers, however, like the students to learn the songs by ear without looking at the script. They play the songs for a week or so during class, and then play the version of the recording without the words. (You’ll be surprised how well students respond to the challenge of singing along!) Other teachers like to display the lyrics on a screen or monitor—or even on large sheets of paper. This can be a lot of work, but if you have the downloadable version of the play, you can cut and paste the lyrics from the PDF into PowerPoint or similar program. (Hint: you can do the same if you want to edit the script—just cut and paste the text into a word processor and make the necessary changes before distributing the script to students.) All of these methods have produced successful shows. Using the “ear-only” method may make for more polished performances with primary grade children, but you may decide that your students’ reading skills will improve if they spend more time looking at the words.

You can perform the show to great applause by simply using the accompanying audio recording. You’ll want to get a volunteer to be in charge of the CD player/iPod/etc. It’s very important that this be the same person throughout the rehearsals and the final performance. The volunteer needs a script and

lots of practice with the class. If you can’t find a parent, then try to snag an older student. Don’t try to handle this yourself—you need to keep your eyes on the students and be free to solve problems as they occur.

If you have access to the right equipment you can manufacture copies of the entire recording. Please don’t! It’s strictly illegal, absolutely immoral, and government tests indicate it is probably fattening. Really, we expect better things from someone as nice as you. (Did you see our Official Policy on fair use, photocopying and audio duplication on the second page? It’s a masterful blend of tact, threat, and blatant begging, so maybe this would be a good time to review it.) What you can do is provide one or two songs to each student to help them learn solos or small group parts. They can sing along with the recording daily. This kind of repetition really helps!

Using a musicianIf you know of a parent or other community member who might be willing to play piano or guitar, contact them early. Play them the audio recording and show them the samples of music on page 43 of this book to be certain they are comfortable with it (to order the sheet music for Matter and Its Properties, contact the publisher—flip to the back of this book). Another option is to hire a professional. You may find someone to work for less than you’d think—even starving musicians like to help the schools. Maybe you can get some money from your school PTA. Regardless of who your musician is, paid or not, be sure to schedule at least one rehearsal with them before the performance. Your students will need to get used to the sound of a live player, and the musician needs to learn the cues and get a sense of what the children sound like.

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33

CastingMatter and Its Properties was originally written to be performed by a class of from eleven to thirty kids, but the show is very flexible. How many Concerned Guests? How many Bakers? Three? Five? Experiment a bit, keeping at least one strong singer in each group. We recommend that you don’t create groups with more than seven students, or the stage begins to look and sound like a rugby scrum. And kids can play more than one part too!

We suggest waiting until the last week or two before you pick specific children for each part. We don’t recommend a formal audition. Instead, let various children experiment with different roles and try out different combinations. Perhaps a few friends will discover they enjoy singing “Properties of Matter” together. Or perhaps several children will express interest in being in a band (doesn’t everyone at some point?). Our one recommendation is that if you choose to have soloists, be sure to pick actors who can sing loudly enough to be heard over a possibly noisy audience.

As you know, some children are a little shy about performing and especially about singing in public. (The lyricist intentionally swallowed his history book in the third grade in order to be excused from singing “I’ve Got A Hammer” in front of the class.) You might want to ask if there are any children who would prefer a speaking part instead of a singing one. Respect their fears, but if you provide regular opportunities for performance you’ll be pleased to see your students gain confidence.

Eventually, of course, you’ll need to make a choice and probably a student or two will feel hurt by the selection. We have attempted to write in as many parts as possible and to spread the singing roles evenly throughout the cast, but somebody is still bound to be disappointed. Try to help them understand that the selection in no way reflects poorly on them. If you put on more than one performance each year you will be able to give different children the opportunity to have a “starring” role.

Learning About Musical InstrumentsYou will notice that at the beginning of each song in the script we’ve included a little box that lists the instruments used in the recording of that song. This is a great chance for your students to start to learn to recognize the sounds of different musical instruments. You can play the audio recording and have the students pick out the different sounds. Your students may want to do some research: what’s a bass synth, for example?

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34

If you’re not an experienced director, keep costumes, sets and staging as simple as possible.

CostumesYou don’t really need any costumes, but most kids (and certainly most audiences) like them. However there is a very real danger that some parents will start competing with each other to provide the fanciest costumes. We suggest that when you first tell parents about the play, explain that the costumes will be designed by you and the class, and so please don’t send in any costume without asking you first. Try to be firm on this.

In general, the fancier the costumes, the more self-conscious the performers— and the quieter they will sing. Make sure what they wear is comfortable, especially the hats (which, unless they fit perfectly, tend to be very distracting). Keep hats, wigs, and beards to a minimum. When in doubt, simplify!

The easiest way for an actor to “become” a character is to wear a simple sign around his/her neck with the appropriate label (e.g. “Architect”) and/or a decorated baseball cap or t-shirt. An easy way to unify the cast visually is to have everyone wear a black t-shirt, or assign a different color to each scene/group.

Few props are required for this show. Bob, Bonnie, and Baby need some regular toy blocks as well as simple cubes that have nothing on them (you could use regular blocks or dice for this part, and paint them so that nothing shows). Other than that, you can use a prop or two to identify characters (clipboards for the Physicists, a headset for the Floor Director).

The good news is that the audience will accept whatever you do, as long as it doesn’t distract them from what’s going on in the play. It’s all up to you, of course, but again, we think your life will be happier, and the show just as good, if you keep this as simple and easy as possible.

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35

The SetYou don’t really need a set to put on a successful performance, so don’t worry. We think the show can best be performed on a bare stage or in your classroom. (If you have access to an auditorium or stage, you will have a bit more flexibility.) If you want to make a “stage” so the audience can see better, you can put students’ tables together.

Matter and Its Properties does not need to have a “realistic” setting. That is, the action occurs in the mysterious place of theatrical convention, so there’s no need for distinct backgrounds for each scene. The action takes place in a television studio. You can have the students paint a backdrop with the title of the show on it and some images of the scentific concepts in the show. However you set it up, remember that all songs must be sung to, and dialog directed at, the audience with the actors in the front, middle part of the stage. See our sample stage setup on page 37.

By all means have the kids do most of the set-planning and building—it’s a great art project. If you can get some grown-up assistance the whole thing will flow smoothly and your kids will have a wonderful time. Once everything is ready they’ll feel a real sense of pride and ownership.

Blending Genders

Do not feel bound by gender in your casting of these or any parts. All the parts in this show can be played by boys or girls or any combination; you will simply need to change some pronouns. And don’t hesitate to add actors or double up roles if that works best for the size of your class. Nina and Chad have a lot of lines; you can add more hosts and split up the parts that way. If you’re concerned about soloists, then have two or three kids play a part. This is theater, and no one in the audience will mind once they understand the convention.

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36

StagingWhether you have access to a “real” stage or are performing in a classroom with a constricted space, we recommend that you keep all the actors on the “stage” at all times. You can have the students sit down on the floor or on chairs until it is their turn to perform. These actors form the chorus for the show—the studio audience for The Morning Mishmash with Chad and Nina—and sing on every song, so they need to be present and facing the audience at all times.

On the next page there is an aerial view of this kind of setup in a classroom. You’ll notice that the kids’ chairs are being used by the audience (which is also probably sitting in front of the chairs as well as standing in back).

We’ve also positioned the students in groups on the stage, with Nina and Chad off to one side. This is just one possibility. You’ll need to experiment with this. The challenge is to place the students so they are not in the way when they are not performing, so they can get where they need to be easily during the show, so they can move about during their “numbers” as they need to, and so they can be heard when they sing. Here are a few ideas we’ve gathered from teachers who have performed our shows:

❖ Most of the action of the play—the singing, narration, and movement—should take place at the front of the stage. The audience cannot see or hear clearly what’s going on in the back.

❖ Make certain that when the students sing and speak they are facing the audience. They can move around, look at each other, do whatever you want before and after their song, but they must move to the front of the stage and face the audience when it is their turn to talk or sing. They can stand side by side, or the taller ones can be behind the shorter ones, or those in front can sit down—whatever you like—but their mouths should be turned towards the front.

❖ Don’t put all the actors and groups of actors in straight lines. This is not very exciting and too regimented—the stage begins to look like a face off between the British and the colonists in the Revolutionary War. Bunch them together in different formations as they wait for their moment to “star” at the front of the stage.

The Joys of Tape

You will want to mark the spots on the stage where students are to stand and/or sit throughout the performance. These “marks” can easily be set out with painter’s (removable) tape on the floor. Mark where soloists, small groups, and the chorus will stand during each scene. This will keep everyone in place and make your job of managing thirty energetic actors much easier.

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37

❖ Don’t have the students “dance” while they are singing. Making music of any kind while moving is extremely difficult for anyone of any age to do. Moreover, the students are likely to turn away from the audience during their dance, and that, you will remember, is a no-no.

❖ And you’ll notice we keep writing “dance” instead of dance. Isn’t that annoying? The point here is that you don’t have to choreograph a Broadway number and the students don’t have to know anything about formal dance. We want you to think of this as an opportunity for MOVEMENT. What we’re after, and the audience is craving, is some visual excitement to match the musical fun. No need to get fancy. When in doubt, think silly and simple.

Painted Backdrop

Teacher (on a chair or desk)

Audience

Students (seated on �oor or chairsas studio audience/Chorus)

Performers for each scene

Chad and Nina

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38

Rehearsals and AssessmentAfter the students have learned the songs and the show has been cast, you will need to start teaching them where to stand and how and when to move. You will also need to work on individual songs, and especially on their behavior when they are NOT on center stage. Don’t worry about the quality of the performance when you begin. Remember, this is all part of the learning process, so take advantage of the opportunities for teaching and assessment. Again, teachers have come up with a wonderful variety of ways to make rehearsals a central part of their students’ learning. Here are some of their tips:

❖ Don’t panic. Rehearsals early on, and even up to the day of the performance, can be quite rough. The kids will pull through when it counts.

❖ Each day ask the students to give suggestions on improvement: What can everyone do to make the show better?

❖ Ask the students to self-evaluate as well: How did I do my job? How can I do better next time? (This can be done verbally or in writing.)

❖ It is best to have a couple dress rehearsals so students can get used to them. Do these in front of an audience so students learn to project.

❖ Video-record a rehearsal and have the students analyze it. What was good? What could have been done better? This is a very valuable tool. When the students see themselves fidgeting and fooling around, when they can’t hear themselves sing, they will discover for themselves what they need to work on.

❖ Ask a student audience to think like a director and then write anonymous comments. It’s surprising how helpful these comments can be. Third-Grade Kids Recommend the Following:

* Everyone has to work together as a team. * Cast members don’t need to give directions to others while on stage. It’s distracting. Let the person have some “wait” time and the teacher will help get them back on track.* Don’t worry about making a mistake. The audience probably won’t pick it up.* Use expression.* Don’t talk or play while on stage.* Background needs to sit still and be quiet so as not to be distracting.* Pay attention.* Wait for the audience to stop clapping before speaking again.

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A Four-Week Timetable

Week One

1. 20 minutes a day listening to songs

Week Two

1. 20 minutes a day listening to and singing the songs2. Review curriculum connections with class. 3. Maybe move to the songs a bit

Week Three

1. 30 minutes a day singing songs, moving around2. Read script together, taking turns with different parts.3. Plan physical production: costumes (if using), props, staging.4. Halfway through the week, ask students to write down or tell you the parts they most want (in order) and make your selections by the end of the week.

Week Four

1. One hour daily2. Get the play on its feet where you will be performing.3. Use masking tape to mark where students will be (you can color code).4. Perform for another class and invite that class to write reviews.5. Video-record the rehearsals/performances so your students can see and hear what they’re really doing.6. Do more performances for other classes. Aim for at least three performances in front of kids before performing for families.7. Perform for families. Don’t worry, it doesn’t have to be perfect.8. Don’t worry, it doesn’t have to be perfect.9. Don’t worry, it doesn’t have to be perfect.

Individual License for Mike Wendling, purchased on 10/25/2017. This is copyrighted material. Contact badwolfpress.com for additional licenses.

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Emphasis: Making the Words Come AliveOne of the challenges in putting on children’s plays is to get your students to treat the lyrics and dialogue as language, to speak and sing in natural rhythms. The key is to have the students emphasize the right words and syllables. Kids often sound great when they’re singing but terrible during dialogue. You need to model speaking with expression. Have them analyze their lines for action words—exciting words that make the lines come alive. Then show them how to stress these words to bring out the meaning. Scenes always work best when the actors know which words need to be stressed. Again, we suggest video-recording a rehearsal so students can discover what they really sound like.

Final PerformanceYour most important performance will probably be for the students’ parents and families. There is a trade-off in setting the time. More people can come if you do it in the evening, but the problem is that you’ll have to go back to school and all your kids will have to remember (and be able) to return. Many teachers perform only during regular school hours.

If you’re new to this you might be a bit nervous. Remember that the parents are there to watch their children and they’ll be pleased with almost anything. When it comes out well, you’ll be a star. If it comes out wonderfully, you’ll be nominated for Teacher of the Century. As we suggested above, we strongly urge you to do a number of informal performances (dress rehearsals) for other classes. You might start with younger kids, since they tend to be easily impressed. Then move up to the students’ peers and older kids. Since the shows are informal it’s okay to stop the action if the kids are having some problems. The main thing is to let them get used to performing. Don’t worry if your musician (if you have chosen to use one) isn’t available for every performance—just use the audio recording.

If Something Goes Wrong: Ignore it!

Tell your students that if something goes wrong, they should continue with the play as though nothing was amiss. It won’t help to stop and tell fellow actors what to do.

Individual License for Mike Wendling, purchased on 10/25/2017. This is copyrighted material. Contact badwolfpress.com for additional licenses.

41

During the show you should be in clear view of the students. You’re there to help the kids remember what they need to do and encourage them when they do well. You can cue all group singing and mouth the lyrics to help keep the class together. If some of the lyrics seem difficult to memorize, you may want to hold up signs with key words or pictures to remind the kids what comes next. Some teachers just go ahead and sing along on the group songs.

Print up a program, and don’t forget the invitations to the parents. A cast party is traditional after the last performance of a play. The kids will really enjoy it and it will provide a great chance for the parents to talk with one another and congratulate themselves for managing to arrange such a wonderful teacher for their kids. (This may sound flippant but we’ve heard people say things like this at every post-performance party we’ve attended. There’s nothing like a genuinely good school play to fill parents with joy and gratitude.)

Last Bit of AdviceWhen you’re learning to cook, you follow the cookbook to the letter. If the recipe calls for 1 1/2 cups of fresh smelt, you put in 1 1/2 cups of fresh smelt. Later, after you gain some confidence, you loosen up and take some chances. The same thing happens with putting on a play—after a few tries, you’ll be spicing up the show at every turn. We’ve tried to give you an accurate and workable recipe for a really fun show, but feel free to do anything that seems best for you and your class. And if you have any great ideas, or even good ones, please contact us so we can include them in the next version of this show.

Turning on the Applause Sign

The audience wants to applaud, but it needs to be told when it’s the right time to clap. Since you have no applause sign, the actions themselves of the student actors must say loudly and clearly, “Okay, we’re done with the scene, you can applaud now.” To convey this message to the audience, the performing students need to do two things: they must stop all movement, and they must face the audience. If they start moving the second they finish the song, the audience will not know the scene is completed. Finally, don’t be afraid to clap yourself at the right moment. The students deserve it, and the audience will follow your lead. This is especially important after the very first song. If those watching the show understand at the beginning that they are allowed and expected to show their appreciation, they will continue to do so throughout the show.

Individual License for Mike Wendling, purchased on 10/25/2017. This is copyrighted material. Contact badwolfpress.com for additional licenses.

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Curriculum and Vocabulary-Building in Matter and Its Properties

Key Concepts

Matter and Its Properties refers to and reinforces students’ familiarity with the following:

❖ What matter is❖ Properties of matter and why they are important❖ Composition of objects from particles, which can be combined in different ways to make new objects with potentially different properties❖ States of matter (solid, liquid, gas)❖ Arrangement of particles in each state❖ Changes in state❖ Boiling, melting, freezing points❖ Evaporation and condensation❖ Reversible and irreversible change

Scientific Terms, Concepts, and References

evaporation condensation observe matter particle physicist properties irreversible changemolecule bonds atom / atomic micro / microscopic vibrations melting point boiling point freezing point solid liquid gas chemical reaction plasma substance water vapor reversible change mass space

General Vocabulary-Building

mishmash misconception flexible “crux of the matter” unfurl blueprints bypass “mind over matter”surpass liquid assets flash mob heart palpitationsstockpot sluggardly stream (v.) “it’s not you, it’s me” captivating illuminating marvels “cramp your style”suspense intense transform “get with the program”evermore profound zing slatrigid trance spoiler freefall

Individual License for Mike Wendling, purchased on 10/25/2017. This is copyrighted material. Contact badwolfpress.com for additional licenses.

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The Complete Vocal Score for Matter and Its Properties: The Science of StuffThe written music for this show is available from Bad Wolf Press in lead sheet format: the melody, words, and chord symbols.

This compilation includes all the songs for Matter and Its Properties and is highly suitable for musicians on the go. It is absolutely necessary if you plan live musical accompaniment of the show.

Individual License for Mike Wendling, purchased on 10/25/2017. This is copyrighted material. Contact badwolfpress.com for additional licenses.

1But Wait...There’s More!

Complete Your Collection

Can’t get enough of this play? We don’t blame you. You can also purchase sheet music (printed or downloadable) and extra/replacement audio recordings (CD or digital download). Just visit our web site, send in a purchase order, or use the order form in our catalog.

Discounts

We offer money-saving site licenses and school packs for entire grade levels or schools. See our web site or catalog for more details.

Though you are not required to buy scripts or audio recordings for students, they are available at half-price as long as at least ten books or CDs are purchased in one transaction. We will ship all the materials to the same address. It’s the perfect and inexpensive way for a teacher to put high-quality literature and music into young impressionable minds. Contact us to order!

The fine print: this offer is for student use only. Teachers/directors may purchase copies at regular retail price only. We are cheerfully making this show available to students at a price barely above cost. Please don’t take unauthorized advantage of our simple-mindedness and turn us into just another crestfallen and cynical team of songwriters squeezing the last nickel out of the innocent children of America.

To order from Bad Wolf PressIf you have any questions about ordering from Bad Wolf Press, please contact us at any of the addresses or numbers listed below. Be sure to check out our web site for tips on producing plays, as well as partial scripts and songs from all our shows.

Have you any ideas or suggestions regarding musicals? Let us know so we can alert the rest of the civilized world!

Please contact us at: Bad Wolf Press 216 Mt. Hermon Rd Ste E372 Scotts Valley, CA 95066 Toll Free: 1-888-827-8661 badwolfpress.com

Individual License for Mike Wendling, purchased on 10/25/2017. This is copyrighted material. Contact badwolfpress.com for additional licenses.