adapted from the award-winning novel by Jason Reynolds

On Your Mark. Get Set.

4.15–5.14.2020 | A PLAY BY IDRIS GOODWIN

L E A R N I N G G U I D E

TABLE OF CONTENTS

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INTRODUCTIONLetter from the Education Department

ON THE STAGEThe World of the Play Putting the Play in Context

OFF THE STAGEStarting PointsCoping with TraumaTalking to Your Class about BullyingArts Integrated ActivitiesConnect with the CastRecommended Resources

AT THE THEATERPlanning Your Visit Directions to the TheaterNeighborhood Bridges

WHAT ELSE IS HAPPENING AT ASC?Summer Trailblazers

ACKNOWLEDGEMENTS

L E A R N I N G G U I D E

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Dear Educators, Parents, and Artists: Thank you for taking the time to explore and use this guide. We hope it helps bring the arts to your kids in a rich and meaningful way.

Adventure Stage Chicago is extremely proud to be the participatory arts program of the Northwestern Settlement. ASC strives to serve the Settlement’s larger mission of disrupting generation poverty by creating productions that connect to three main disruptors: Literacy, Hunger, and this year’s focus, Shelter. Our final show, Ghost, brings our season dedicated to Shelter to a close.

Often, we think of shelter as physical – a place to come in from the cold or hunker down to wait out a storm. However, in this play we see how we as individuals have the capacity to provide shelter for each other through our daily interactions. We see a neighbor offering shelter to a boy and his mother when a situation at home turns violent; a coach sheltering his athlete through mentorship; a team providing shelter to their new teammate in both recognizing his talents and making space for him to talk about trauma in his past.

“Trouble is, you can’t run away from yourself. Ain’t nobody that fast.”

It is human to want to push away our more painful experiences. Many of us would like to run from our mistakes, or defeats, or the moments that make us feel “less than.” For some, running (and sports in general) offers a path to working towards a better version of oneself. Participating in a sport provides tangible goals to work towards, victories to celebrate, and ways to measure and take ownership of personal growth in a specific area. Further, being on a team means having a community to view us as necessary to their success. It’s proof that our existence matters to someone else. But what does it really mean to be part of a team? What commitments are we making to each other? And what does it mean to be the best version of yourself? What about the parts of our lives we can’t fix or are outside our control? Ghost’s journey reminds us that in order to grow we must accept all parts of our lives. We know we have found shelter when we arrive at a place where both our wounds and our gifts are welcomed.

As always, we at ASC seek to provide a path for dialogue between children and adults, students and teachers. We encourage you to use this guide to begin those conversations, tie themes from the play into your curriculum, and follow up after the show by going deeper through activities and discussions. We would love to be included in the conversations the play generates; we encourage you and the young people in your lives to write us letters after the show.

Thank you for being a part of our ASC community – we look forward to seeing you at the theater!

Jamie Macpherson Education Manager, Adventure Stage Chicago

INTRODUCTION

Adventure Stage Chicago

— I can’t run away from who I am, but I can run toward who I want to be.

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Synopsis of the Play Middle schooler Castle Cranshaw, who prefers the nickname Ghost, knows what it means to run like your life depends on it. He’s been running ever since the night his father went to jail for trying to shoot him and his mother. One day his running takes him to the park where The Defenders, an elite middle-school track team is practicing. There, something clicks and Ghost decides to race his way onto the team. After some initial difficulties convincing his mother, Terri, Ghost joins the Defenders where his abilities not only allow him to shine but, more importantly, provide a sense of connection and belonging. Now Ghost has something to run for instead of away from.

However, the past isn’t the only thing that haunts Ghost; he constantly finds himself in trouble at school and is frustrated by his family’s financial struggles. When he makes the mistake of stealing a flashy new pair of track shoes to help him stay the fastest on the team, he finds himself lying and jeopardizing the hard-earned respect of his coach. When Coach Brody discovers what Ghost has done, he suspends Ghost from the team. Ghost must work to make up for his actions if he wants to earn back his coach’s trust and his spot on The Defenders.

An adaptation of the popular novel by Jason Reynolds, Ghost uses humor, wit, and friendship to face traumas of the past.

WORLD OF THE PLAY

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Classism Although Glass Manor (the neighborhood Ghost grows up in) is fictional, issues of classism – particularly in youth athletics – are very real. Economic disparity in different neighborhoods has a direct impact on the types of athletic programs and opportunities available to young people. This spans from the safety and quality of the fields and access to the proper equipment and gear, to reliable transportation to and from practice and games. We see this in Ghost’s jealousy over Lu’s mom being able to come to practices and cheer him on, as well as when he tries to turn his own high tops into running shoes with a pair of scissors. Ultimately this insecurity about his lack of quality gear is what leads to his choice to steal top of the line running shoes from the athletics store.

In an article that appeared in The Atlantic, Linda Flanagan writes:

“A two-tiered system of youth sports – one in which the wealthy play on pricey private clubs and the less well-off are limited to uncompetitive community programs – also undermines one of the quieter virtues of team sports: They can be places of organic integration, where economic and racial differences are supplanted by ordinary friendship and the collective desire to win.

“According to data recently released by the Aspen Institute’s Sports and Society program, household wealth is the primary drive for kids’ athletic participation. Compared to their peers whose families make more than $100,000, children ages 6 through 12 whose family income is under $25,000 are nearly three times as likely to be ‘inactive’ – meaning they played no sport during the year – and half as likely to play on a team sport even for one day.”

Read her full article here: theatlantic.com

PUTTING THE PLAY IN CONTEXT

Image source: publicdomainvectors.org

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Albinism In the play, it’s revealed that Ghost ’s teammate and rival, Lu, is albino. Albinism is a rare genetic condition where a person’s hair, skin, and eyes have little to no color. This caused by a defect in one or more of the many genes that produce or distribute melanin, the pigment that gives skin, hair, and eyes their color. As we see with Lu, people of all races and ethnicities can be affected by this condition. Those with albinism also often experience problems with their vision, such as sensitivity to light, strabismus (crossed-eyes), nystagmus (involuntary back-and-forth movement of the eyes), and/or blindness. There are many different types of albinism, though the play (and the book it is based on) do not tell us what type of albinism Lu has. The different types include:

• Oculocutaneous albinism (OCA) – this strand effects the hair, skin, and eye color. There are several subtypes, and depending on which a person has, they may either have white hair and skin, or else very light coloring.

• Ocular albinism – this type is limited to a person’s eyes, and is predominantly limited to men. While the hair and skin and eyes have the normal amount of pigmentation, there is no coloring in the retina (the back of the eye).

• Hermansky-Pudlak syndrome – This type is a rare form of albinism that produces symptoms similar to OCA. However, it’s paired with lung, bowel, and bleeding disorders.

• Chediak-Higashi syndrome – this is another rare form of albinism that’s the result of a defect in the LYST gene. It produces symptoms similar to OCA, but may not effect of all areas of the skin. Hair is usually brown or blond with a silvery sheen. The skin is usually creamy white to grayish. People with this type of albinism have a defect in the white blood cells, increasing their risk of infections.

• Griscelli syndrome – this is a very rare type of albinism, with only 60 known cases worldwide since 1978. Pigmentation-wise, this type may not affect the entire body, but is usually found in combination with immune and neurological problems. Griscelli syndrome usually results in death within the first decade of life.

While there’s no cure for albinism, people affected by the condition can do many things to relieve symptoms and prevent sun damage. Treatment may include:• Sunglasses to protect the eyes from the sun’s ultraviolet (UV) rays.• Protective clothing and sunscreen to protect the skin from UV rays.• Prescription eyeglasses to correct vision problem.• Surgery on the muscles of the eyes to fix abnormal eye movements.

PUTTING THE PLAY IN CONTEXT

Source: healthline.com

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Guinness Book of World Records The Guinness Book of World Records is a reference book, published yearly, that tracks the world records for both human achievements (tallest human being, most tattooed, etc.) and records occurring in the natural world (world’s fastest animal, longest river, etc.). According to the Guinness World Records Timeline, the idea for such a book began in 1951, when Sir Hugh Beaver, Guinness Breweries Managing Director, got in an argument with a friend about which bird was the fastest European game-bird. He realized that there was a need for a book that listed world records for people to be able to settle debates among friends. This idea led him to connect with twin brothers Norris and Ross McWhirter, who ran a fact-finding agency in London. Together, in 1954, the McWhirter brothers and Sir Hugh Beaver released the first-ever edition of the Guinness Book of World Records. The book was widely circulated and enjoyed a tremendous amount of popularity, leading to several reprints. Eventually, the publication settled into a pattern of releasing an updated version around September/October each year. Because of this, the Guinness Book of World Records is currently the best selling copyrighted book of all time. As of the 2019 edition, it is now in its 64th year of publication, published in 100 countries and 23 languages.

Source: The Guinness World Records Timeline

First Lady Michelle Obama leads a group of 400 kids to help break the Guinness World Records title for most people doing jumping jacks in a 24-hour period, Oct. 11, 2011. ( Official White House Photo by Chuck Kennedy )

PUTTING THE PLAY IN CONTEXT

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Usain Bolt Usain St. Leo Bolt is a retired sprinter, widely known as “the fastest man on Earth.” He was born the 21st of August 1986 in Sherwood, Content, Jamaica, and now resides in the capitol of Kingston.

Bolt holds 19 world records in the Guinness Book of World Record. Most notably, he is the world record holder in the 100-meter, 200-meter and the 4x100 meter-relay. He is an eight-time gold medalist, and the only sprinter to win 100-meter and 200-meter races three Olympics in a row (208, 2012, and 2016). His fame has earned him the nickname “Lighting Bolt”, as well as such awards as Track and Field Athlete of the Year, Laureus World Sportsman of the Year (four times), and BBC Overseas Sports Personality of the Year.

In 2017, he retired from Track and Field, and after a brief stint playing professional soccer in Australia, he announced in 2018 his “sports life is over.” Bolt now focuses his energy in humanitarian efforts and marketing his business venture as co-owner of the Bolt scooter company. In addition, he has a clothing line with Puma, a range of signature watches with Hublot, a restaurant chain called ‘Tracks & Records,’ a shaving company Champion Shave and an insole company Enertor.

Track and Field

Track and Field made up a large part of the Olympics of Ancient Greece, and has been part of the modern Olympics since 1896. The name is derived from the circular running track that the races take place on, and the field inside it where the majority of the throwing and jumping events take place. The events in track and field include: foot races (sprinting, hurdles, middle- and long-distance, and relay races); jumping events (high jump, long jump, triple jump, and pole vaulting); and throwing (discus, hammer, javelin and shot put). There are also “combined” or multi-events such as the pentathlon and decathlon where athletes must compete in multiple areas. Track and Field is both an individual and team sport, where athletes are working to improve their own race times, but their scores are what determines the team’s overall success.

PUTTING THE PLAY IN CONTEXT

Source: usainbolt.com Usain Bolt, Anniversary Games, London 2013” by J. Brichto is licensed under CC BY-SA 3.0.

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Jason ReynoldsJason Reynolds has written several books, including Ghost and the rest of the Track Series. He was born December 6th, 1983, in Washington, D.C. He is a poet and author of young-adult literature. He published his own first novel, When I Was The Greatest, in 2014. Reynolds has received many awards for his writing, including the Coretta Scott King/John Steptoe Award for New Talent, the 2016 Kirkus Prize, the 2017 NAACP Image Award for Outstanding Literary Work for Youth/Teen, and a Newberry Honor award for Long Way Down (2017), a novel written in verse.

When asked about what inspired him to write Ghost, Reynolds said Ghost ’s story came from the lived experience of a good friend of his (who gave him permission to write about in a fictional setting). In regards to why he chose to use running as the central focus of the series, he said: “There’s running from things—which we learn to do very young—and running towards them. Running from yourself. Running from your community. Those are all things I wanted to explore.”

PUTTING THE PLAY IN CONTEXT

Source: Interview with Isabella Biedenharn Visit Jason Reynolds’ website to learn more about him: jasonwritesbooks.com

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Inquiry Questions At ASC, we start every performance with a question for the audience. We ask them to keep that question in mind as they watch the show. We return to the question afterwards, allowing students, teachers, and parents to share observations and draw connections to their own lives. We encourage you to prepare your students for their field trip by investigating some of the following questions:

• When a place feels unsafe, how can we make it feel like home again?

• How can we re-learn to trust others after someone close to us tries to hurt us?

• What are the benefits of belonging to a group or a team?

• Why is it important to set goals for ourselves?

• How can we work to be the “best version” of ourselves when certain things are beyond our control?

• What are the benefits of developing a specific practice or discipline?

• How can the decisions we make affect where we end up? How can anger, pride, or jealousy keep us from getting what we want in life?

• What does it feel like to run towards something rather than away from something?

Themes

STARTING POINTS

Family

Shelter

Trauma

Honesty

Economic disparity

Inter-generational relationships

Self-discipline and goal setting

Running

New Beginnings

Facing one’s fears

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At the beginning of the play, Ghost experiences an incredibly traumatic event when his father tries to attack him and his mother. According to the National Council for Behavior Health, “individual trauma results from an event, series of events, or set of circumstances experienced by an individual as physically or emotionally harmful or life-threatening with lasting adverse effect on the individual’s functioning and mental, physical, social, emotional, or spiritual well-being.”

For Ghost, we see that this single night’s events have profound long-term effects on his well-being and day-to-day life. There are little examples referenced, such as the movies Ghost and Terri choose to watch each night, as well as his panic attack when he gets trapped in Mr. Charles’ back shed. Though Ghost initially is very reluctant to talk about his father, with the help of Coach Brody, he comes to understand the importance of dealing with that trauma rather than trying to run away from it.

Trauma can feel like a lonely and overwhelming place to be. It is especially important for young people who have experienced trauma to know that they are not alone in their feelings, and that caring adults are available to be a support to them. A number of resources and programs are available to young people who experienced trauma, either minor or major:

The Child Trauma Academy is a not-for-profit organization based in Houston, Texas working to improve the lives of high-risk children through direct service, research, and education. They recognize the crucial importance of childhood experiences in shaping the health of the individual, and ultimately, society. By creating biologically-informed child and family respectful practice, programs, and policy, CTA seeks to help maltreated and traumatized children.

Changing Minds: This website provides resources that will teach you about the science of childhood trauma, and how supportive practices can make a world of difference.

The Illinois Childhood Trauma Coalition sponsored the Look through their Eyes campaign, which offers information about childhood trauma and informative resources, including books and videos. It’s an unfortunate truth – childhood trauma exists. If you’re like most of us, the very phrase “childhood trauma” automatically strikes a note of fear. No one wants it to happen and no one wants to see trauma in a child they love. Unfortunately, childhood trauma does happen. But there is hope. You can do something to prevent, identify and overcome trauma for your child. It all starts when you “Look through their Eyes.”

Urban Youth Trauma Center (UYTC) is a SAMHSA funded Treatment Service Adaptation Center and a member of the National Child Traumatic Stress Network. The program is meant to promote and disseminate comprehensive, integrated, and coordinated care for multi-problem, high-risk youth affected by trauma and community violence.

In addition, several schools are starting to implement strategies for addressing and coping with trauma during the school day. For resources on integrating trauma-informed techniques into the classroom, visit: parentcenterhub.org or safesupportivelearning.ed.gov

COPING WITH TRAUMA

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Talking to Your Class About BullyingWhile Ghost isn’t a play specifically about bullying, there are moments in the show where our protagonist is harassed for being poor. In the scene in the lunchroom, Brandon makes fun of Ghost for where he lives, what he’s wearing, even about where his mother works. What’s striking about this scene though, is that Ghost isn’t afraid of his bully. This isn’t a story of a boy overcoming his fear and standing up to his tormentors. Ghost knows that he isn’t worth his time. But what makes Ghost mad is that these are things he can’t change. He has no control over where he lives, or fact that dinner is usually leftovers his mom brings home.

Fast forward to the principal’s office, post fight. The principal is weary of incidents like these. He’s looking at the immediate problem in front of him, and the file on his desk that proclaims Ghost is a “bad kid.” But in reality, we know this fight didn’t start in the lunchroom- it stretches back for much longer. As Ghost says to his principal, “Well what would you have done? If somebody talked about you every day. About your name. About you being poor and where you come from, about your mama… You ain’t never been pushed before, to the point you just couldn’t take it?”

After seeing the show, as a class, discuss this scene. Some potential questions you might ask your students:

• What does Principal Marshall think this fight was about? Does Ghost agree?

• Was Ghost justified in his actions for fighting back? Why or why not?

• Imagine you are the Principal. How would you handle the situation, knowing it’s your responsibility to uphold the rules of the school?

• Does this scene seem realistic to you? What about it does, or what would need for it change to make it more realistic?

COPING WITH TRAUMA

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As a class, use this activity to explore Ghost’s point in an embodied manner.

1. Choose two volunteers. Have them create a frozen picture of the moment right before the start to a fight. It should be a dynamic pose, but they should be able to hold it without falling or giggling. Also they should refrain from actually making contact with each other, for safety.

2. Ask the other students to come up with a backstory – what is the relationship between these characters, and why are they fighting?

3. Once the backstory has been decided, ask students in the audience, what was the moment directly before the two characters started fighting?

4. Have two new students to come up and tag the other actors out. Then ask them to make a frozen picture of what was happening right before the fight.

5. Again, ask the audience to imagine what led up to the moment they are looking at now. Be specific - the danger may be for students to offer up suggestions of things that are off topic. Push students to stay focused on the fight - where did this fight spring from? What drove the characters to want to fight each other?

6. Repeat this process a few iterations. Don’t be surprised if the characters backstories start to emerge and both become sympathetic.

7. Reflect –

• How did the frozen pictures change as we worked backward?

• Did we learn anything new about the characters?

• Where does a fight actually come from?

• Were there moments where someone could have stepped in early sooner?

• Think back to the scene from the play – what new thoughts do you have about Ghost and Brandon’s fight?

ON YOUR FEET ACTIVITY

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Adaptation of a Text

Objective: By adapting a short section of Jason Reynold’s Ghost into a dramatic scene – as well as analyzing Idris Goodwin’s adaptation of Ghost for Adventure Stage Chicago – students will gain a practical understanding of the adaptation process and the benefits of using each medium to tell a story.

Key Questions:

• What makes a novel different than a play script? What are the strengths/limitations of each medium?

• What aspects must a playwright consider when adapting a story for the stage?

• How does bringing a story to life change the audience’s perspective of the story?

Common Core Standards:

ELA Literature: Integration of Knowledge and Ideas (CCSS.ELA-Literacy.RL. 6.7; 7.7;8.7, , 87; 8.7)

Compare and contrast a written story, drama, or poem to its audio, filmed, staged, or multimedia version, analyzing the effects of techniques unique to each medium (e.g., lighting, sound, color, or camera focus and angles in a film)

ELA Literacy (CSS.ELA-Literacy.CCRA.SL.1) Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

Materials Needed:

Paper Pencils Copy of Jason Reynolds’ Ghost Rehearsal Space

ACTIVITY

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Procedure:

Prior to the fieldtrip:

1. Either as a class or as homework the night before, read Chapter Two of Jason Reynold’s novel Ghost where Ghost encounters the Defenders for the first time and decides to race Lu for a spot on the team.

2. Divide the students up and ask them to discuss the section of the book. What are the key moments in the plot? What are the moments of action versus the thoughts that are running through Ghost’s head that he shares with the reader?

3. Have the students get on their feet and create a series of three frozen pictures (tableaux) that illustrate this scene. Tell them everyone must be in each picture, but not everyone needs to be a human character. Encourage the use of different levels and mid-action poses. Ask them to rehearse these until they can be recreated exactly from memory, flowing in slow motion from one to the next in sequence.

4. If time allows, you may pause here and have students share their work with their peers. Ask students to point out what they notice; what aspects did that group decide were important to communicate with their audience; what are common images versus different ones; etc.

5. Have students bring their three frozen pictures to life in a scene. Ask them to write down the script of what each character is doing and saying. You may need to pause here and discuss what writing dialogue in a script looks like:

Max: Hi, Robin, how’s it going?

Robin (sadly): Not so well. I lost my dog.

Max (worried): Oh no! (takes Robin’s hand) Come on, let’s go look for him!

(They Exit)

6. Have students rehearse these and prepare to perform for their peers. If it helps students feel more comfortable, it’s fine for students to carry a copy of their lines, in a “stage reading” style of performance.

7. Have students perform for each other. After each scene, discuss as a class the different choices this group made when adapting the novel into a scene. What are commonalities that come up in each script? What did they do differently? How did this group bring the story to life, and show the moments of running? How did they choose to convey the thoughts in Ghost’s head?

ACTIVITY

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Post Field Trip

1. After seeing Ghost at Adventure Stage Chicago, have the students rejoin their groups and discuss the adaptation they just saw onstage, paying particular focus to the scene you worked on in class. How did the playwright, Idris Goodwin, go about adapting the scene? How did the director and actors decide to stage it in this production? Did the choices of the actors and playwright work for you as an audience member? Why, or why not?

2. Individually, or as homework, have students write about the different adaptations. Ask them to reflect on their experiences both as playwrights and as audience members.

Evidence of Understanding:

Both the scripts and written reflections will serve as evidence that students engaged with the task of analyzing the use different mediums for telling a story.

ACTIVITY

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Pass the Ball

Objective: Students will develop skills of collaboration, communication and strategy as they work together to keep a ball aloft, passing it back and forth without preplanning its movements.

Key Questions:

• What are useful strategies for accomplishing the task of keeping the ball in the air as a group?

• What are the challenges involved in working together?

• What tools do we have as a group that we don’t alone?

• What does effective teamwork look like? What does it require of the individual?

Common Core Standards:

SEL 2 A – Recognize the feelings and perspectives of others.

SEL 2 C – Use communication and social skills to interact effectively with others.

Materials Needed:• Ball, ideally soft/plush or rubber and not larger than a volleyball

• Wide open playing space

ACTIVITY

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Procedure:

1. Have students stand in a circle, and ask them to see how many consecutive passes they can complete as a group, without the ball touching the ground. Students must send the ball across the circle by striking it gently up in the air and over to their peers; they may not catch or hold on to the ball.

2. Students must also keep score together, counting aloud as a group. Every time the ball hits the ground, they must start over. As an added challenge, only one student may touch the ball at a time. If two people hit it together, they must also start over their count.

3. After a few tries, pause the game and ask students to reflect:

a. What is working?

b. What tools/strategies are you employing that are helping you achieve your goal of getting a higher score?

c. What could be improved upon? What strategies will you use to accomplish this?

4. Select 2-3 new strategies to incorporate into the process and begin the game again. You may stop and repeat this part of the process as often as desired; especially if the students seem frustrated with each other or if their process begins to level off and they keep getting stuck around the same number of hits.

5. As a post-discussion, ask students to pair up and reflect together on their experience:

a. What was it like to work together as an entire class to achieve a specific goal?

b. What did you observe about your class’ efforts during this process?

c. Which strategies did you feel worked best?

d. What were moments that were challenging during this process, and how did the class respond?

e. What can we learn from playing games like this?

ACTIVITY

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Goal Setting

Objective: Students will engage in the process of mapping out a goal they want to achieve. Through writing, they will develop tools to help them map out the steps and challenges of reaching their goal, and measurements to assess their progression throughout the process.

Key Questions:

• Why do we set goals?

• Why is it important to be specific when setting goals?

• How can we plan for reaching a goal, and why does this help in achieving it?

Common Core Standards:

SEL 1C – Demonstrate skills related to achieving personal and academic goals.

CCSS.ELA-Literacy.CCRA.SL.2 – Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

Materials Needed:• Paper

• Pen

ACTIVITY

Image source needpix.com

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Procedure:

1. Have students brainstorm a list of 3-4 goals they’d like to accomplish. These can be in any area of their life, as well as short-term or long-term, from a skill they’d like to master or something they’d like to make happen. If students seem stuck, some prompts might include: habits they’d like to form or break; a career goal; a challenge to overcome, etc. Also, remind students of the world records Ghost references throughout the play; some of these accomplishments are very specific, like the number of sunflower seeds one person can eat.

2. Ask your students to narrow down their list to one goal and ask them to re-write it, getting as specific as possible. For example, “getting better at running” for Ghost becomes “running the 100-meter dash in under 10 seconds” or perhaps “learning to cook” might turn into “learning to make cookies from scratch.”

3. On a new piece of paper, (or in a template provided), have students rewrite their new iteration of their goal on the top of the page.

4. Below the goal, have students outline steps that reaching this goal will require.

5. In pairs, have students share their goals with each other. Taking turns, ask them to identify up to three obstacles that they see might hinder their partner’s ability to reach a goal. Writing these down on the page, have them together brainstorm possible strategies for overcoming said obstacles.

6. In closing, have students go back to working alone and have them brainstorm three people who they view as potential allies in achieving their goal. The help these people offer can be in the form of a mentor or coach, a blogger whose videos might serve as instruction or inspiration, or just a friend/family member who will cheer them on.

Extension:

Collect the students’ action plans (or make a photocopy of them) and save them until the end of the semester or the end of the year. Passing them back to students, they can reflect on their progress with these goals.

ACTIVITY

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Adventure Stage Adventure Stage creates theatrical performances for young people, and we deeply value their insights and reactions. We welcome your students to engage with us by writing letters or sharing artwork, photos, or videos with the cast of the show. We always look forward to getting their feedback, and read through every piece we receive!

You and your students have several ways to get in touch. Students can reach out individually via social media outlets:

Instagram: @adventurestagechicago

Twitter: @adventure_stage

Facebook: www.facebook.com/adventurestage

Students can hand-write or type letters to the cast and send them to:

Email: ascletters@gmail.com

Mail:Adventure Stage Chicago

1012 N Noble St.

Chicago, IL 60642

We will respond to all student correspondence that arrives before the show closes!

Tips for Students: • Make sure your first name and school is on your artwork, photo, video or letter!

• Ask the cast at least one question – they love to talk about the show!

• Share your experience of watching the show!

• You and your friends can pick different actors so that every cast member gets letters, artwork and/or media.

• Send in your letters, artwork, and media as soon as you can so we have time to respond!

We may post letters, artwork, videos, and photos to our Instagram, Twitter, or Facebook pages.

CONNECT WITH THE CAST

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Books Ghost – Running. That’s all that Ghost (real name Castle Cranshaw) has ever known. But never for a track team. Nope, his game has always been ball. But when Ghost impulsively challenges an elite sprinter to a race –and wins– the Olympic medalist track coach sees he has something: crazy natural talent. Thing is, Ghost has something else: a lot of anger, and a past that he is trying to outrun. Can Ghost harness his raw talent for speed and meld with the team, or will his past finally catch up to him?

Patina – Patina, or Patty, runs like a flash. She runs for many reasons—to escape the taunts from the kids at the fancy-schmancy new school she’s been sent to ever since she and her little sister had to stop living with their mom. She runs from the reason WHY she’s not able to live with her “real” mom any more: her mom has The Sugar, and Patty is terrified that the disease that took her mom’s legs will one day take her away forever. And so Patty’s also running for her mom, who can’t. But can you ever really run away from any of this? As the stress builds, it’s building up a pretty bad attitude as well. Coach won’t tolerate bad attitude. No day, no way. And now he wants Patty to run relay… where you have to depend on other people? How’s she going to do THAT?

Sunny – Sunny is just that—sunny. Always ready with a goofy smile and something nice to say, Sunny is the chilliest dude on the Defenders team. But Sunny’s life hasn’t always been sun beamy-bright. You see, Sunny is a murderer. Or at least he thinks of himself that way. His mother died giving birth to him, and based on how Sunny’s dad treats him—ignoring him, making Sunny call him Darryl, never “Dad”—it’s no wonder Sunny thinks he’s to blame. It seem the only thing Sunny can do right in his dad’s eye is win first place ribbons running the mile, just like his mom did. But Sunny doesn’t like running, never has. So he stops. Right in the middle of a race. With his relationship with his dad now worse than ever, the last thing Sunny want to do is leave the other newbies—his only friends—behind. But you can’t be on a track team and not run. So Coach asks Sunny what he wants to do. Sunny’s answer? Dance. Yes, dance. But you also can’t be on a track team and dance.

Lu – Lu was born to co-captain the Defenders. Well, actually, he was born albino, but that’s got nothing to do with being a track star. Lu has swagger, plus the talent to back it up, and with all that–not to mention the gold chains and diamond earrings—no one’s gonna outshine him. Lu knows he can lead Ghost, Patina, Sunny and the team to victory at the championships, but it might not be as easy as it seems. Suddenly, there are hurdles in Lu’s way—literally and not-so-literally—and Lu needs to figure out, fast, what winning the gold really means.

RECOMMENDED RESOURCES

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Diary of a Track and Field Titan by Shamini Field In illustrated diary format, the hilarious tale of a boy whose dad tries to turn him into a track and field star. Marcus Atkinson is nine years old, and good at math and computer games. Not sports! His dad’s latest crazy idea is for him to try track and field. Even worse, it’s not just “track” and “field”—there are 10 events! If he can’t master one sport, how can his dad think he’ll be good at 10?

Breathe, Annie, Breathe by Miranda Kenneally Breathe, Annie, Breathe is about a girl named Annie who happens to hate running. But as a means of working through grief and guilt over a recent breakup that was followed by the death of the boy she broke up with, she’s going to run in a marathon he had been preparing for to honor his memory. Through her training, Annie begins to fall for a new boy and maybe running is much more to her than a physical activity.

Jesse Owens “I Always Loved Running” by Jeff Burlingame In 1936, in front of 110,000 spectators at the Olympic Stadium in Germany, Jesse Owens blew away the competition in the 100-meter final to claim the title of “World’s Fastest Man.” He won the gold medal in front of Germany’s brutal dictator, Adolf Hitler, defying the Nazi leader’s racist ideology. Owens won three more gold medals at the Olympics and returned to the United State’s a hero. Author Jeff Burlingame explores the life of one of the greatest and most influential athletes in American history, from his humble childhood to his legacy on and off the track.

Ultimate Sports Heroes – Usain Bolt: The Fastest Man on Earth by John Murray ‘Usain was confident. After all, he’d been rewriting the record books of athletics history for a decade.’ 9.58 seconds was all it took for Usain Bolt to blaze his way into the history books, with a 100-meters world record that shocked the world. But when Usain was little, he preferred cricket to running. No one knew that the tall, skinny boy from a small town in Jamaica would go on to become ‘The Lightning Bolt’ – the fastest man ever.

Watch Jason Reynolds discuss Ghost on PBS’s The Great American Read: pbs.org

RECOMMENDED RESOURCES

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We want your trip to ASC at the Vittum Theater to go as smoothly as possible! Here’s an idea of what to expect during your field trip.

SEATING REQUESTS: Seating for our shows is prearranged based on special seating needs and the ages of the students. Please call 773.969.5573 before your arrive if we need to accommodate members of your group with hearing, vision, or mobility impairments.

ARRIVAL: Please arrive between 10:00 – 10:15 am; our shows begin promptly at 10:30. Buses should pull in front of the theater at 1012 N. Noble Street. Remain on your bus until a member of our staff comes to greet you and your students. We will then lead your group into our lobby for a short speech about our theater and the performance you are about to see.

PERFORMANCE: A member of our staff will show your group to their seats. Shows run approximately 60 minutes and include a post-show discussion. The entire even usually lasts around 90 minutes. We ask that all members of your group remain in the theater until the performance and discussion are over. If you must leave before the discussion, please let us know in advance.

LUNCH: Unfortunately, we do not have space available for students to eat lunch in the theater or at the Settlement.

DEPARTURE: At the conclusion of the performance and Curtain Conversation, we dismiss the audience school-by-school in order to reduce confusion. Staff will lead you down the stairs to your busses, which will be waiting for you on Augusta Blvd. in the bus lane in front of Rowe Middle School.

DIRECTION TO 1012 N. NOBLE ST.

FROM THE NORTH Take the Kennedy East (90/94 toward Indiana) to the Division St. exit. At the end of the exit ramp, take a right on Division St. and follow it to Ashland Ave. Turn left onto Ashland and follow it one light to August Blvd. Turn left onto August toward Noble St. (next light). Turn left onto Noble St. Arrive at the theater on left.

FROM THE SOUTH Take the Dan Ryan West (90/94 toward Wisconsin). Exit at Milwaukee/Augusta. At the end of the exit ramp, continue west on Augusta Blvd. one block to Noble St. Turn right onto Noble St. Arrive at the theater on the left.

FROM THE WEST Take the Eisenhower East (290 toward the Loop) to the Dan Ryan West (90/94 toward Wisconsin). Exit at Milwaukee/Augusta Blvd. one block to Noble St. Turn right onto Noble St. Arrive at the theater on the left.

IMPORTANT INFORMATION

BOOKING INFORMATION

Ghost

April 15, 16, 21, 24, 29, 30 May 1, 5, 6, 7, 13, 14

CPS: $7 | Non-CPS: $8

All performances begin at 10:30 am.

Groups receive ONE FREE chaperone ticket for every TEN student tickets purchased.

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Bring an ASC TEACHING ARTIST into your classroom! The Neighborhood Bridges Residency Program is a comprehensive storytelling and creative drama program designed to help children develop their critical literacy skills and to transform them into storytellers of their own lives.

Through theatre games, storytelling, improvisation, reading, and creative writing, students develop their ability to write, speak, and think critically. Neighborhood Bridges helps young people grapple with complicated issues, conflicts, and questions found in today’s diverse, changing society.

Participating Classrooms receive:

Partnership: 24 residency hours over the course of 12 weeks.

Exposure: Tickets and transportation to a single ASC performance and the opportunity to present the students’ learning at the Vittum Theater.

Resources: Learning Guide, Promptbook, lesson plans, and supplies.

WORKSHOPS

ASC offers pre and post show workshops for our productions. These Common Core connected theater workshops use storytelling, critical literacy, and creative drama to deepen your students’ experience at our theater.

For more information regarding Neighborhood Bridges or Workshops, contact:

TOM ARVETIS | Producing Artistic Director Education@adventurestage.org | 773.969.5550

NEIGHBORHOOD BRIDGES

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What Else is Happening at ASC? Summer Trailblazers!

Adventure Stage Chicago’s Trailblazers ensemble is a unique mentoring program that pairs young people (9-16) with professional theater artists to create an original performance. Thirty Chicago youth take part in a free 8-week summer camp with Adventure Stage. Camp dates will be available late spring, 2020.

Applications for campers and Junior Counselors open in the Spring. Visit adventurestage.org for more information.

UP NEXT AT ASC

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Acknowledgements

ASC Thanks:

THANK YOU

CHICAGO DEPARTMENT OF FAMILY AND SUPPORT SERVICES • COM ED • ILLINOIS ARTS COUNCIL AGENCY • THE MACARTHUR FUND FOR ARTS AND CULTURE AT PRINCE • PAUL M. ANGELL FAMILY FOUNDATION • POLK BROS. FOUNDATION • RBC WEALTH MANAGEMENT • SEARLE FUNDS AT THE CHICAGO COMMUNITY TRUST

BASED ON THE BOOK GHOST, BY JASON REYNOLDS ORIGINALLY PUBLISHED IN 2016 BY ATHENEUM USED WITH THE PERMISSION OF PIPPIN PROPERTIES, INC.

LEARNING GUIDE MATERIALS BY JAMIE MACPHERSON, SARAH FRASCO

GRAPHIC & COVER DESIGN BY VIVID VALENTINE DESIGN