MM StudyGuide Apr12 1a.indd 1 03/05/2012 17:20media.ticketmaster.co.uk/.../packs/mamma_mia.pdf ·...

MM_StudyGuide_Apr12_1a.indd 1 03/05/2012 17:20

TABLE OF CONTENTS

INTRODUCTION TO THE STUDY GUIDE 1

INTRODUCTORY UNIT

•Teachers’NotestoIntroductoryUnit 2

•Session1:TheStoryandCharactersofMAMMAMIA! 3

•Session2:TheUseofABBASongsinMAMMAMIA! 6

•GCSEMusicandMAMMAMIA! 8

•Worksheet1:SettingtheScenetoMAMMAMIA! 9

•Worksheet2:BeginningofScene4ofMAMMAMIA! 10

•Worksheet3:ExcerptfromScene2ofMAMMAMIA! 11

•Worksheet4:LyricsofABBASongs(1) 12

•Worksheet5:LyricsofABBASongs(2) 13

•Worksheet6:SongAnalysis 14

DRAMA UNIT

•Teachers’NotestoDramaUnit 15

•Session1:SophieAssertsHerself 16

•Session2:DonnaandtheDynamos 18

•Session3:ThePossibleFathers 21

•Session4:GrowingupFatherless 23

•Session5:RosieandTanya 26

•Session6:Sophie’sWhiteWedding 28

•PreparingtoWriteaReviewofMAMMAMIA! 30

•ExtendingWorkwithDramaScriptsintoPerformance 30

•DramaWorksheet1:TheFatherIHadNeverKnown 32

•DramaWorksheet2:RoughNotesforaReviewofMAMMAMIA! 33

REFERENCES 34


1

INTRODUCTION TO THE STUDY GUIDEMAMMAMIA!isthesmashhitmusicalbasedonthehugelypopularsongsoftheSwedishpopsupergroupABBA.Itisthestoryofamother,adaughter,andherthreepossibledadssettothewell-knowncharthitsofABBAfromthe1970sand1980s.Themusicalbringstogetherthethemesofidentity,familyandnostalgiawithamovingstoryandawittyscript.MAMMAMIA!openedinLondon’sWestEndonApril6th1999,the25thanniversaryofABBA’sinternationaltriumphantdebutattheEurovisionSongContestinBrighton.IthasgoneontoachieveglobalsuccesswithproductionsacrosstheworldandstillplaystofullhousesinLondon.

INTRODUCTORY UNIT

TheIntroductoryUnitisdesignedtointroducestudentstothestory,charactersandmusicoftheshow.Itconsistsoftwo40/50minutesessions,tobeundertakenashorttimebeforeatheatrevisit.Thesesessionswillhelpthestudentsunderstandtheshowmoreeasilyinthetheatre.Theunitincludessixworksheets.

TheIntroductoryUnitcanbeusedwithageneralgroupofstudentsoraspartofworkrelatedtoEnglish&DramaorMusic.SuggestionsforworkrelatedtoGCSEMusicspecificationsareincludedintheIntroductoryUnit.

THE DRAMA UNIT

TheDramaUnitsetsoutindetailsuggestionsforworkrelatedtoGCSEDramaspecifications.

Theunitisdesignedasahalf-termmoduleforYear10orYear11GCSEDramastudents.ItoffersmaterialanddetailedsuggestionstohelpstudentsdevelopdramaskillsandtosatisfyAssessmentObjectivesinDrama.ItincludesavarietyofworkrelatedtothethemesoffamilyandidentityinMAMMAMIA!,andaworksheetandsuggestionsforguidingstudentsinreviewingthemusicalafteratheatrevisit.

AtheatrevisittoseeMAMMAMIA!shouldcomeattheendoftheunit.

THE USE OF QUESTIONS

Throughoutthestudyguide‘Q:’–indicatesaquestionfortheteachertoputtothegroup.

COPYRIGHT

ThematerialinthispublicationisprotectedbyLawofCopyright.Alltherightsofpublication,reproduction,transmissionorstorageinanyretrievalsystemarereservedtoLittlestarServicesLimited.Anyuseofthecopyrightmaterialhowsoever,saveonlyforsuchlimitedpermittedfairdealingasprovidedbyCopyright,DesignsandPatentsAct1988,requiresthepriorwrittenpermissionofLittlestarServicesLimited,32-33StJames’sPlace,LondonSW1A1NR.ThereproductionoflyricsisreservedtoBocuMusicandnofurtherphotocopyingcanbemadewithouttheapprovalofBocu.©BocuMusicLtd,1WyndhamYard,LondonW1H2QF.


2

TEACHERS’ NOTES TO INTRODUCTORY UNITThemusicalMAMMAMIA!movesquickly.Itincludesspokendialogue,thesongsofABBA,anddance.Thefollowingsuggestionsarefortwo40/50minutesessions,inwhichstudentsareintroducedtothestory,charactersandmusicoftheshow.

Session1:TheStoryandCharactersofMAMMAMIA!Session2:TheUseofABBASongsinMAMMAMIA!

Thepreparationisdesignedtohelpstudentsfollowtheshowmoreeasilyinthetheatre.

Thesessionscanbeadaptedtothetimeavailable.Forinstance,forSession1,studentscouldbegivenWorksheets1,2&3toreadforhomework.Alternatively,thecharacterscouldjustbeconsideredbrieflyusingWorksheet1,andABBA’ssongsimmediatelyafterwards,usingWorksheets4and5.Inthiswaythetwosessionscouldbecondensedintoone.TeachersofEnglish,ontheotherhand,mightwishtoexpandbothsessionstoconsiderthecharactersandthestructureandmeaningofthesongsmorecarefully.

Resources required

Session1:PublicityleafletsforMAMMAMIA! PhotocopiesofWorksheets1,2&3.

Session2:PhotocopiesofWorksheets4&5. CDplayer CDABBAGold

SeeReferenceSectionfordetailsofCDs,booksandwebsiteforMAMMAMIA!


3

SESSION 1: THE STORY & CHARACTERS OF MAMMA MIA!

INTRODUCING THE SHOW

Havinggivenstudentsdetailsofthetheatrevisit,teachersshouldexplainthattheaimofthetwosessionsistopreparethemforseeingthemusicalinthetheatre–tointroducethemtothestoryandthecharacters,andtolookathowthesongsareused.

SincestudentswillpossiblybeawarethatMAMMAMIA!isbasedonsomeofthebest-knownsongsofABBA,startbyasking:

Q:AreyoufamiliarwithanyofABBA’ssongs?Q:WhichofABBA’ssongsdoyouexpecttohearintheshow?Q:WhatdothewordsMAMMAMIA!meantoyou?

THE PUBLICITY LEAFLET TO MAMMA MIA!

Allowstudentstwoorthreeminutestolookatthis.Thefrontcovershowsayoungwomaninawhitedress.Theunfoldedleafletshowsothercharacters.

Q:Whatdoyouthinkthisarrangementoftheillustrationsismeanttosuggestabouttheshow?Q:Fromtheotherillustrations,whatothercharacterswouldyousayareimportantintheshow?

THE STORY AND THE CHARACTERS

ReadtogethertheintroductiontotheplotofMAMMAMIA!–Worksheet1:SettingtheScenetoMAMMAMIA!.Itdoesnottellthestoryoftheshow,butsetsthesceneforthebeginningofitandforwhathappenssubsequently.

The“...”inthediaryextractsshouldbereadaloudas“dot,dot,dot”.

Checkthatthestudentsunderstoodwhattheyread.Somewordsmaybeunfamiliar.

Q:FromwhatSheilaRowbothamsays,doyouthinkDonnaisatruechildofthesixties?Q:WhydoyouthinkDonnaisdismayedthatherdaughterhasdecidedtogetmarried?Q:Whichdoyouthinkisworse–Sophiereadinghermother’sdiary,orinvitingherthreepossiblefatherstoherwedding?Q:Tencharactersarenamedintheworksheet.Whoarethey?


4

Small group work

Ingroupsofthreeorfour,askstudentstolookagainattheleafletforMAMMAMIA!.Allowthem2or3minutestoseeiftheycannowfitnamestothecharactersillustrated.

The character of Donna

LookatthetwophotosofDonnaonWorksheet1.Oneshowsherinoveralls.Theothershowsherdressedinthestyleofa1970spopstar.

Q:Whichphotodoyouthinkshowsthe‘real’Donna?

The characters Rosie and Tanya

InvitestudentstoreadtheextractfromthebeginningofScene4ofMAMMAMIA!–Worksheet2.Wordslike“tyranny”,“wedlock”,“subversive”and“icon”mayneedexplaining.

Q:WhatsensedowegetofRosie’sandTanya’slives?Q:Dotheyseemarriageandhavingbabiesasnecessarilyimportanttoawoman?Q:Whatdotheyhaveincommonwitheachother?

The characters Bill, Harry and Sam

InvitestudentstoreadtheexcerptfromScene2ofMAMMAMIA!–Worksheet3.

Somewordsandreferencesmayneedexplaining:“Kalahari”,“Indiana”,“HappyWanderer”,“HeadBanger”,“JohnnyRotten”,“Myotherhalf”and“TheGreatWhiteHunter”.

Q:Whatsensedowegetofthecharacters’lives?Q:WhatmemoriesreturntothematDonna’staverna?

IfBill,HarryandSamhaveamixtureofmotivesforreturningtotheislandtheyvisited21yearsago:

Q:Whichoftheirmotivesarepresentorhintedatinthescript?Q:Whatothermotiveswouldyouguesstheymighthave?


5

The character of Sophie

ThelivesofDonna,RosieandTanyamightbesaidtorepresenta1970strendtorejectmarriageasalifeaim.Sophie’swishforawhitewedding(a1990strend)mayormaynotrepresentareturntoit.

Q:Whydoyouthinksomewomeninthe1970sbegantorejectmarriage?Q:WhatdoyouthinkistheappealofawhiteweddingforSophie?

Ingroupsofthreeorfour,talktoeachotherandseeifyoucanagreeontheadviceyouwouldgivea20-year-olddaughterwhowantsawhitewedding.Writeonesentencetosumupwhatyouwouldsay.

Allow10minutes,thenaskgroupstoreadouttheirsentences.

CONCLUDING THE SESSION

AdvisestudentsthatthenextsessionwillbeaboutthesongsofABBAusedintheshowMAMMAMIA!.Session2requirestheCDABBAGold.Morethanlikely,somestudentswillhavetheCDathome,ortheirparentswill.

IfstudentsknowthattheirparentslikeABBA’ssongs,theymightbeinterestedininterviewingthemtofindoutwhichsongstheyenjoymostandwhy.


6

SESSION 2: THE USE OF ABBA SONGS IN MAMMA MIA!Reviewwhatstudentsfoundoutfrominterviewingtheirparents.

ThesessionisdevotedtoconsideringfourABBAsongsusedintheshow.Studentsareaskedtothinkaboutthemeaningssuggestedinthelyricsandthemeaningstheymighthaveifsungbythecharactersconsideredintheprevioussession.

GivestudentsWorksheets4&5:LyricsofABBASongs.

TrackreferencesbelowaretotheCDABBAGold.

“I HAVE A DREAM”

Play“IHaveADream”(Track7),followingthelyricsontheworksheet.

Q:Whydoesthesingervalue“dreams”and“fantasies”?

AskstudentstothinkbacktowhattheylearnedofSophieintheprevioussession.

Q:IfSophiewastosingthissongasshethinksofherpossiblefather,whatmightbeher“dream”–her“fantasy”?Q:Howmightthewords“I’llcrossthestream”applytoSophie?

Playthetrackagain.Askstudentstolistencarefullytothesinger’sphrasingasshesingsthechorusandcompareittothepunctuationgiven.

Q:Doesthesinger’sphrasing(andimpliedpunctuation)suggestaslightlydifferentmeaning?

“MONEY, MONEY, MONEY”

Play“Money,Money,Money”(track9),followingthelyricsontheworksheet.Q:Whatdoesthesingerimagineinthissong?

AskstudentstothinkbacktowhattheylearnedofDonna,RosieandTanyaintheprevioussession.

Q:Isthisreallyasongyouwouldexpectoneofthemtosing?Q:WhatwouldyouhavetosupposeaboutDonnaifsheweretosingthesong?

Playthetrackagain.

“ONE OF US”

Play“OneOfUs”(Track16),followingthelyricsontheworksheet.

Q:Whatisthesingerregrettinginthissong?Q:Forwhatdoesshecriticiseherself?Q:Whatdoessheclaimhaschanged?


7

Adapting the lyrics

FortheshowMAMMAMIA!thewordsofsomeofABBA’ssongshadtobeslightlychangedtosuitthestoryandcharacters.Inthissongthesingercanbemadetoregretsomethingquitedifferentbychangingjustafewwords.

Askstudentstomakethefollowingchangestothelyricsofthissong:

Verse1:line2–deletethefullstopline3–replace“Youwere,Ifelt”with“Becauseofyour”line7–replace“I”with“you”&“you”with“me”line9–replacethelinewith“Howyouhurtme”

Chorus:line23–replace“she”with“you”

Verse2:Omitaltogether.

Arrangesongstructurenowas–chorus,verse,chorus.

Q:Howhasthemeaningofthesongsbeenchanged?Q:Whomightsingthissongintheshow,andatwhatpoint?

“LAY ALL YOUR LOVE ON ME”

Play“LayAllYourLoveOnMe”(track5),followingthelyricsontheworksheet.

Q:Whatisthesingershockedabout?Q:Whatdoesshewantfromherlover?

Bychangingacoupleofwords,thesongcouldbesungbyaman.IfyoudividedthelyricsbetweenSophieandSkysothattheycouldsingthissongtogether:

Q:WhichverseswouldyougivetoSophie?WhichtoSky?Q:Wouldyouhavethemsingallthechorusestogether?

CONCLUDING THE SESSION

CheckwithstudentsthattheynowhaveagoodideawhattheshowMAMMAMIA!willbeabout.Isthereanythingelserelatingtotheshowthattheywouldliketotalkabout?

SeeReferenceSectionforwebsites,booksandvideosrelatingtoABBA’smusicandtotheshowMAMMAMIA!.


8

GCSE MUSIC AND MAMMA MIA!Thewell-knownandcarefullycraftedsongsofABBAareexcellentexamplesofpopularsongs.Theymeritclosestudy.

GCSE Music specifications that require or allow study of popular songs include:

EDEXCEL:AreaofStudy3–Popularsongincontext.Includesexaminingsongsfrommusicals,1920stopresent.

AQA:ThePopularSongSince1960.

WJEC:AreaofStudy4–MusicforStageandScreen.

Listening & appraising

InSession2,listeningtoanddiscussingABBA’ssongsmaybeusefullyundertakeninamusicallymoresearchingway.Thefoursongschosenforconsiderationwerechosenpartlyfortheirmusicalvarietyandeachoffersspecificmusicalinterest.Forinstance,in“IHaveADream”,theuseofchildren’svoicesforthelastrepetitionofverseandchorusandthe‘Greek’soundsuggestedbytheuseofbazoukiandguitaraccompaniment;andin“LayAllYourLoveOnMe”thehymn-likequalityofthemelody,emphasisedbytheuseofelectricorganinawaysuggestiveofthetimbreofachurchorgan.

Byguidingstudentsintheirlistening,themusicalcomplexityofrecordingswillbecomeapparent.Appraisalcouldinclude:

1.Theformofthelyrics–verseandchorus.2.Useofvoiceorvoices:phrasing,pitch,tone,harmonyetc.3.Useofdifferentinstruments.4.Melody,rhythm,tempo,dynamics,texture,introductions,repetitions,riffsetc.

A Song Analysis Worksheet isprovidedforstudentstoanalyseandmakenotesaboutthefoursongs.Teacherswill,however,needtophotocopythelyricsofeachofthefoursongsontothisworksheetandmakethemavailabletostudents.


9

WORKSHEET 1: SETTING THE SCENE TO MAMMA MIA!Donnaandhertwofriends,TanyaandRosie,hadbeeninafeistygirlspopgroup–DonnaandtheDynamos–inthe1970s.InherautobiographyPromiseofaDream–RememberingtheSixties,SheilaRowbothamwrites:

“...classinBritishsocietywaschangingnoticeablyin1967...therelativeprosperityofthepreviousdecade,alongwithlowunemployment,hadresultedinagenerationofyoungworkerswhoweresheddingdeference.Youngworking-classwomenonthepillhadacquiredjustabitmorespaceandconfidencetobreaktherules...andby1967theyweremakingtheirwayinminiskirteddrovesthrough‘SwingingLondon’.Iwasimpressedwhentwoblondesassyindependenttravellersvisitedourhouse.Theyhadjustgoneroundtheworlddancingincages.IwassureIwouldneverhavehadthebottle...”

In1979,beingbookedtosinginanightclubontheGreekmainlandwasforDonnaandhertwoindependent-mindedfriends,achanceforthemtospreadtheirwings,butDonnagotpregnant.TwentyyearsoldanddisownedbyherparentsinEngland,shedecidedtostayinGreece,movingtothesmallislandnearbyandopeningataverna.

Theislandcanbereachedbyboatfromthemainlandbutissosmallitisvisitedonlybythemostdiscerningoftourists.Still,thetavernahasenabledDonnatomakealiving–theresultofhardworkandherresilientpersonality.Hertavernaisenjoyedbyvisitorsandlocalsalike.Apparently,Donnahasnotneededorwantedamantomakeherlifefeelcomplete.Shehasmanagedalone,bringingupherdaughterSophieontheisland.

Nowitis1999andtoDonna’sdismay,Sophie,nowalsotwenty,isinsistingonmarryingSky,ayoungmanrecentlyarrivedfromLondonwhohasbeenhelpingwiththetaverna.Sophiewantsaperfectwedding–awhiteweddingwithherEnglishfriendsAliandLisathereasherbridesmaids,andTanyaandRosie,whosheregardsasheraunties.Sophiealsowantsherfathertogiveherawaybuthermotherhasalwaysrefusedtotalkabouthim.Thefactis,DonnaisnotsurewhoSophie’sfatheris.

Findinghermother’sdiaryfor1979,Sophiereadsofhermother’sbriefloveaffairswiththreemen–Sam,HarryandBill.Realisingthatoneofthemhastobeherbiologicalfather,shewritestoallthreeinvitingthemtoherwedding–inDonna’sname.Theyagreetocome,butonlySophieknowsthis.TheshowbeginswithSophietellinghernewlyarrivedfriendsAliandLisawhatshehasdoneandshowingthemhermum’sdiary.ThisiswhatDonnahadwritten:

July17thWhatanight!Aftertheshow,Samrowedmeovertothelittleisland.Wedancedonthebeachandkissedonthebeach,and...

August4thWhatanight!IwasstillfeelingdepressedaboutSambutaftertheshow,Billrentedamotor-boatandItookhimovertotheisland.Onethingledtoanotherand...

August15thWhatanight!Harryturnedupoutoftheblue,soIsaidI’dshowhimtheisland.Imustneedmyheadexaminedbuthewassosweet,Icouldn’thelpitand...


10

WORKSHEET 2: BEGINNING OF SCENE 4 OF MAMMA MIA!RosieandTanya,arrivingontheislandontheeveofSophie’swedding,havebeenwelcomedbyDonnaandSophieandaresettlingthemselvesintoDonna’sroomattheTaverna.Rosieisawriterofbooksoncooking.Tanyaisa‘womanoftheworld’whohasmadeacareeroutofmarryingastringofwealthymen.Neitherhavechildren.

Donna’sroomischeerfulandcomfortableandcrammedwiththedetritusoftwenty-oddyearsontheisland.Thereisadressingtableandamirror.AtrunkwiththeDynamos’oldstagecostumesisunderDonna’sbed.Rosieflipsacointodecidewhogetsthebedorthelilo.

T:Heads.

R:Oh!

It’stails.RosiegivesTanyathelilo.Tanyaattemptstoblowitup.

R:Blow,don’tsuck...!

T:(Throwsthelilotothefloor.)Let’sseewhatyou’rewearingfortheweddingthen?

Rosieholdsupapairofbaggyshorts.

T:You’rejoking!

R:(Allinnocence.)What?...ohasif?!

T:Well.Youcouldhavebeenmakingsomesortofstatementonthetyrannyofwedlock.

R:You’dknowmoreaboutthatthanme.

T:Ohdarling,you’llmeetMr.Right.

R:Ihave.Ido...andalltheywantistosettledownandhavebabies.Nothanks.

T:No...childrencanbecomesuchsubversivelittlesods!Imean,who’dhavethoughtthatDonna,aniconoffemaleindependence,wouldhaveadaughtergettingsplicedattwenty?

R:Whiteweddingsaretrendy.

T:What’swrongwiththesekids?Doyourememberthosetee-shirtsweusedtowear:‘marriageisaninstitution’.

R:‘...forpeoplewhobelonginaninstitution...’

T:Girlstodayseemtothinkthatawoman’sgreatestachievementisgettingaman.

R:You’vehadthreehusbands.

T:Irestmycase.

R:(Findingthetrunkunderthebed.)Ooh,look.

T:OhmyGod!

ReproducedbykindpermissionofCatherineJohnson


11

WORKSHEET 2: BEGINNING OF SCENE 4 OF MAMMA MIA!Arrivingtogetherontheboatfromthemainland,Bill,SamandHarrywalkupfromthejettyandstopatDonna’staverna.

H:Irememberanoldhuthere–Iwasdreadingbeddingdownwiththegoats.

B:Givemegoatsbeforecamels.TherewasthistimeintheKalahari,thesunwasbeatingdown...

S:...Sorrytointerruptyou‘Indiana’,butthepointis–thisismytaverna...Ibuiltit!Well,Idesignedit.Drewuptheplans–what?–twenty-oneyearsago...?Ican’tbelieveshe’sactuallygoneandbuiltthebloodything.

H:Who?

S:Donna,whoelse.ThisissomethingIscribbledonthebackofamenu–Ihadnoidea...

B:Howdoyouknowit’syours?

S:Buildingsarelikebabies.Youalwaysknowyourown.

B:Iwouldn’tknowanythingaboutbabies.I’vebeenlivingoutofarucksackformostofmylife.

S:The‘HappyWanderer’eh?

H:(ToBill.)Doyouthinktheislandwillinspiresomeprose?

B:Ibloodywellhopeso.WhenIgottheweddinginvite,Isoldmyeditorapieceon‘ChildhoodHauntsRe-visited’.

S:Youwerebornhere?

B:Ah,no...IwasbornandraisedinMelbourne,Australia,butmymother’sGreek.No,theonlytimeIcametoGreecewasavisittomyGreat-Auntonthemainlandandthatwastwenty-oneyearsago.

Alittlelater,aftertheybrieflymeetSophie,Samtakesupthiscomment-

S:Twenty-oneyears?Youknow,thisisbeginningtofeellikeaset-up–hey,Bill–here’sastoryforyou.Threemen

–strangers–receiveaninvitationtoawedding.Theyareinvitedtoaplacetheyhaven’tbeentofortwenty-oneyears,byawomantheyhaven’tseenfortwenty-oneyears...whyaretheyhere?

B:That’snotbad...OK,Harry–what’syourstory,eh?What’stornyouawayfromtheBankofEngland?

H:Oh,isthisaninterview?OK,wellforme,Donna’sinvitationbroughtbackmanyhappymemories.(Spottingaguitarhangingonthewall.)GordonBennett!

B:Isthataquote?

H:No,no,Iknowthisguitar!HB–‘HeadBanger’,that’swhattheycalledmeinthosedays–andDS–DonnaSheridan–Iboughtthisforher!TenquidandmyJohnnyRottentee-shirt–sonowwhosaysI’manunadventurousoldstick-in-the-mud?

S:Whosaysthat?

H:Myotherhalf.Abighouse,afastcarandaseasontickettoChelseaisn’tenoughforsomepeople,isit?TheywantTheGreatWhiteHunter,too.Well,Icandospontaneity.That’swhyI’mhere.Donnaknewmywildside.Iwasonmysixth-formtriptoPariswhenwemet,andIjustfollowedhertoGreece–spontaneously...

ReproducedbykindpermissionofCatherineJohnson


12

WORKSHEET 4: LYRICS OF ABBA SONGS (1)

I HAVE A DREAM

Ihaveadream,asongtosingtohelpmecopewithanything.Ifyouseethewonderofafairytale,youcantakethefutureevenifyoufail.

Ibelieveinangels,somethinggoodineverythingIsee,IbelieveinangelswhenIknowthetimeisrightforme.I’llcrossthestream,Ihaveadream.

Ihaveadream,afantasy,tohelpmethroughreality.Andmydestinationmakesitworththewhilepushingthroughthedarknessstillanothermile.

Ibelieveinangels,somethinggoodineverythingIsee,IbelieveinangelswhenIknowthetimeisrightforme.I’llcrossthestream,Ihaveadream,I’llcrossthestream,Ihaveadream.

Ihaveadream,asongtosingtohelpmecopewithanything.Ifyouseethewonderofafairytale,youcantakethefutureevenifyoufail.

Ibelieveinangels,somethinggoodineverythingIsee,IbelieveinangelswhenIknowthetimeisrightforme.I’llcrossthestream,Ihaveadream.I’llcrossthestream,Ihaveadream.

MONEY, MONEY, MONEY

Iworkallnight,IworkalldaytopaythebillsIhavetopay.Ain’titsad,andstillthereneverseemstobeasinglepennyleftforme,that’stoobad.`

SoinmydreamsIhaveaplan,ifIgotmeawealthymanIwouldn’thavetoworkatall,I’dfoolaroundandhaveaball.

Money,money,money,mustbefunnyinarichman’sworld.Money,money,money,alwayssunnyinarichman’sworld.Aha,aha.AllthethingsIcoulddoIfIhadalittlemoney,it’sarichman’sworld.It’sarichman’sworld.

Amanlikethatishardtofind,butIcan’tgethimoffmymind.Ain’titsad,andifhehappenstobefreeIbethewouldn’tfancyme,that’stoobadSoImustleave,I’llhavetogotoLasVegasorMonaco,andwinafortuneinagame,mylifewillneverbethesame.

(repeatsecondversetwice)

WordsandMusicbyBennyAnderssonandBjörnUlvaeusBypermissionofBocuMusicLtd


13

WORKSHEET 5: LYRICS OF ABBA SONGS (2)

ONE OF US

Theypassedmeby,allofthosegreatromances.Youwere,Ifelt,robbingmeofmyrightfulchances.Mypictureclear,ev’rythingseemedsoeasy,andsoIdealtyoutheblow,oneofushadtogo.Nowit’sdiff’rent,Iwantyoutoknow.

Oneofusiscryin’,Oneofusislyin’inherlonelybed.Staringattheceiling,wishingshewassomewhereelseinstead.Oneofusislonely,oneofusisonlywaitingforacall.Sorryforherself,feelingstupid,feelingsmall,wishingshehadneverleftatall.

Isawmyselfasaconcealedattraction.Ifeltyoukeptmeawayfromtheheatandtheaction.Justlikeachild,stubbornandmisconceiving,that’showIstartedtheshow,oneofushadtogo.NowI’vechangedandIwantyoutoknow.

(repeatsecondverse)

LAY ALL YOUR LOVE ON ME

Iwasn’tjealousbeforewemet,nowev’rywomanIseeisapotentialthreat,andI’mpossessive,itisn’tnice,you’veheardmesayingthatsmokingwasmyonlyvice.Butnowitisn’ttrue,noweverythingisnewandallI’velearnedhasoverturned,Ibegofyou:

Don’tgowastingyouremotion,layallyourloveonme.

Itwaslikeshootingasittingduck,alittlesmall-talk,asmileand,baby,Iwasstuck.Istilldon’tknowwhatyou’vedonewithme,agrown-upwomanshouldneverfallsoeasily.IfeelakindoffearwhenIdon’thaveyounear,unsatisfiedIskipmypride,Ibegyoudear:

Don’tgowastingyouremotion,layallyourloveonme.Don’tgosharingyourdevotion,layallyourloveonme.

I’vehadafewlittleloveaffairs,theydidn’tlastverylongandthey’vebeenprettyscarce.Iusedtothinkthatwassensible,itmakesthetruthevenmoreincomprehensible.‘Causeev’rythingisnew,andeverythingisyou,andallI’velearnedhasoverturned,whatcanIdo?



WordsandMusicbyBennyAnderssonandBjörnUlvaeusBypermissionofBocuMusicLtd


WORKSHEET 6: SONG ANALYSISGroup: _________________________ Song title: _________________________ Date recorded: ______________

L CISUMSTNEMURTSNISECIOV/ECIOVSCIRY

14


15

TEACHERS’ NOTES TO DRAMA UNITSuggestionsaregivenforahalf-termunitofsix1 hoursessionsofpracticaldrama,relatingtothemesofidentityandfamily,andbasedoncharactersandsituationsfromtheplotofMAMMAMIA!.Theyprovideavarietyofwaysofworking,suitableforYears10or11studentstakingGCSEDrama.Theseincludehot-seating,teacher-directedwhole-groupwork,small-groupimprovisationsandworkingwithdramascripts.

Teachersmaywishtoselectfromthesesessionsandtoadaptwhatissuggestedtotheirownpreferredwaysofworking.

WorksetoutintheDramaSessionsfollowsbroadlythesequenceofworkinSession1oftheIntroductoryUnit.Worksheets1,2and3oftheIntroductoryUnitareneededfortherelevantDramaSessions.Thesixdramasessionscould(ifteacherswish)befollowedwithSession2fromtheIntroductoryUnit–TheUseofABBASongsinMAMMAMIA!.

SeeingMAMMAMIA!inthetheatreshouldideallybetimedtocoincidewiththeendofthehalf-termunit.

AdviceonpreparingstudentstowriteatheatrereviewofMAMMAMIA!isgiven.Aworksheetisincluded–DramaWorksheet2:RoughNotesforaTheatreReview.

The use of questions

Throughtheunit‘Q:’–indicatesaquestionfortheteachertoputtothegroup.

Questionshavebeenchosencarefullysothatstudentscansharetheirunderstandingsandpreparetheirthinkingforthetasksthatfollow.Itisobviouslyhelpfulifstudents’ideascanberecordedsothattheyhavethemtoreferto–eitherontheboardoronlargesheetsofpaper.

Addressing fatherlessness

Thisisoneofthemainfocusesoftheunit,especiallyinSession4.Forsomestudentsofsingle-parentfamiliesitmaybeasensitivesubject.Nevertheless,studentsarelikelytowelcomethesubjectreceivingseriousattention.Itisanopportunityforthemtoexchangetheirthoughtsandexperienceaboutfatherlessness(orindeedaboutmotherlessness)andtohavethemvalued.


16

SESSION 1: SOPHIE ASSERTS HERSELFInformstudentsthatinthenextsixweekstheywillbeworkingonthemesrelatedtoMAMMAMIA!–andparticularlyonthethemesofidentityandfamily.

InthissessionthefocusisonprovidingstudentswithachancetoexploreDonna’srefusaltospeakofSophie’spossiblefathers.

Drama tasks

1.Sophieassertsherself2.Questioningteacher-in-roleasDonna3.Sophie’sinvitationletterstoherpossiblefathers

Resources needed

PublicityleafletsforMAMMAMIA!CopiesofWorksheet1:SettingtheScenetoMAMMAMIA!

INTRODUCTORY UNIT – SESSION 1

StartbylookingatthepublicityleaflettoMAMMAMIA!.ReadWorksheet1:SettingtheSceneforMAMMAMIA!,andbrieflydiscussthequestionsrelatingto“TheStoryandtheCharacters”.

The“...”inthediaryextractsshouldbereadaloudas“dot,dot,dot”.

DRAMA TASK 1 – SOPHIE ASSERTS HERSELF

Referback(Worksheet1)tothesentence:“...toDonna’sdismay,Sophie,nowalsotwenty,isinsistingonmarryingSky,ayoungmanrecentlyarrivedfromLondon...”

Q:WhatdoyouthinkDonnaisprobablymostconcernedabout?Q:Whatdoestheword“insisting”suggesttoyou?

The task:

Workinpairs.SophiehasjusttoldhermumsheisgoingtomarrySky.OneofyouactasSophie,oneasDonna.Donna’sjobistopersuadeSophiethattherearemoreimportantthingsthangettingmarried.Usethisasyourstartingpoint:

Donna:“Ijustdon’tunderstandwhyyouwanttogetmarried.Awhitewedding?!”

Allowstudents10minutestoworkonthis.ThenaskthemtoselectoneminutefromtheirimprovisationsthatwillforcefullyillustrateSophie’sandDonna’sdifferentpointsofview.Theyshouldthenpresentthis.

Reviewing the drama:

Q:WhichofthealternativestomarriagethatDonnaputtoSophiedidyouthinkwerereasonableones?Q:IfDonnamadeanymistakeinherapproachtoSophie,whatwasit?


17

DRAMA TASK 2 – HOT-SEATING DONNA

ReadagaintheextractsfromDonna’sDiaryfor1979–Worksheet1.

Q:Whatdoeshermum’sdiaryrevealtoSophie?Q:HowdoyouthinkSophie(20yearsold)islikelytofeelwhenshereadswhathermotherwrote–e.g.amused,horrified,upset,angry,thoughtful,touched?

Wearetoldthatsometimeafterreadinghermum’sdiary,Sophiewritestoherthreepossiblefathers,invitingthemtoherweddinginhermum’sname.Wearenottoldifsheconfrontedhermumaboutherdiaryornot,butlet’sassume,forthesakeofargument,thatshedid,sayingnothingaboutthelettersshehaswrittenandposted.

Q:IfSophieweretoconfronthermumafterreadingherdiary,howwouldshebegin?AgreeanopeningsentenceforSophie.Itcouldbeonelike:“Mum,whydidn’tyoutellmethatyoudidn’tknowwhomyfatherwas?”

Arrangechairsinasemi-circle,achairfacingthesemi-circleforteacher-in-roleasDonna.StudentsallinroleasSophie.TheycanquestionDonnainanywaytheywish.Onerule–onlyonestudentatatimecanspeak,andtheymust,ofcourse,speakasSophie.

InvitesomeonetobeginwithSophie’s‘openingsentence’.

ThisisanopportunityforstudentstochallengeDonna.Itisalsoanopportunityforteacher-in-roleasDonnatohintatthehurt,shameandangerDonnamayhavekepthiddenalltheseyears,atherparents’rejection.FruitfulpointsofviewforDonnatotake:

•Whathappenedallthoseyearsagoissounimportant.•Doesitmatterwhoyourfatherwas?•Menarejustspermdonors.•Wouldyoubeanybetteroffknowingwhoyourfatherwas?•How?Whatdifferencewoulditmaketoyou?

NB:MaleteachersmightwishtoactinroleasapossiblebrotherofDonna’s,makinganunexpectedvisittotheislandandansweringSophie’squestionsabouthermother.


Q:Arestudentssatisfiedwithhowteacheractedinrole?Q:HowwillquestioninghermotherhaveleftSophiefeeling?

Written work – Sophie’s invitation letters to her fathers:

WhenSophiefindshermother’sdiaryfor1979,shewritestoherthreepossiblefathers,invitingthemtoherwedding–inhermother’sname.Ithasbeen21yearssincetheylastsawDonna.

ComposetheletterthatSophiewritesinhermum’sname–DonnaSheridan–toBill,HarryorSam,tomakesuretheywillcometoherwedding.

Thelettersareimportantfor,andwillbeneededin,DramaSession3.


18

SESSION 2: DONNA & THE DYNAMOSInthissessionthefocusisonexploringDonna’sbackground,andespeciallyDonna’sparentsdisowningofher.AdvisestudentsthatthefollowingsessionswillbeusedtolookatSophie’sfathersandhowshemightdealwithmeetingthem.

Drama tasks

1.Donna’sfeistiness2.Posingfortheprize3.Donnaasksforherparents’help

Resources needed

CopiesofWorksheet1:SettingtheScenetoMAMMAMIA!

DRAMA TASK 1 – DONNA’S FEISTINESS

ReadagainthefirstsentenceofWorksheet1:SettingtheScenetoMAMMAMIA!,andtheextractfromSheilaRowbotham’sautobiography.

Q:InwhatwaysdoesSheilaRowbothamsuggestyoungpeoplegrowingupinthe1960sweredifferenttotheirparents?Q:Whatdoyouunderstandbytheword‘feisty’?Q:Cananyofyourememberbeing‘feisty’aboutsomethingrecentlyathomeoratschool?Q:Isbeing‘feisty’somethingthatpeoplegenerallylikeinayoungwoman?

NB:FEISTY‘TheConciseOxfordDictionary’givesthesemeaningsoffeisty:aggressive,exuberant,touchy.TheBloomsbury‘DictionaryofModernSlang’gives:spirited,toughandassertive,quarrelsome.ThelatterpointsoutthatalthoughthewordlookslikeYiddish,itisinfactasouthernAmericandialectword.TheBloomsbury‘DictionaryofWordOrigins’statesthatthewordisderivedfromthenowobsoleteEnglishverbfist=fart.In16thand17thcenturyEngland,afistingdog(literallya‘fartingdog’)wasthenameappliedcontemptuouslytoa‘mongrel’or‘cur’.Thiswaseventuallyshortenedtofeist,andthewordfeistywasborn(mongrelsbeingnotoriouslycombative).

Let’slookatwhatDonna’s‘feistiness’attheageofsixteen,mighthavemeantforherrelationshipswithboys.

Q:Wouldher‘feistiness’havecomemoreintoplayinacquiringaboyfriend,managingone,or‘dumpingone’?Q:WhatmightDonnahavewantedtoconfrontaboyfriendabout?

The task:

Workifpossible,inmale-femalepairs.OneofyouactasDonnaattheageofsixteen.Theotherastheboyfriendshehashadforsomeweeks.Donnaisfedupwithsomethinghehasbeendoingornotdoingandhasmadeuphermindtoconfronthim.Decidewhatitissheisgoingtoconfronthimabout,thenexploreindramahowshedoesthisinthe‘feisty’wayweknowisDonna’sstyle.

Allow10-15minutes,thenaskstudentstopresentoneminuteoftheirimprovisationstoshowtheoutcomeoftheconfrontation.


Q:Howhardwasitacting‘feisty’inthesesituations?Q:WouldDonnafeelpleasedwithherselfafterconfrontingherboyfriendasshedid?Q:Wouldthisbeagoodlearningexperienceforboys?


19

Drama Task 2 – Posing for the prize

Remindstudentsthat“DonnaandhertwofriendsRosieandTanyahadbeenafeistygirlspopgroup–DonnaandtheDynamos–inthe1970s”.Itmeansthattheymusthavebeenteenagerswhentheystartedsingingasagroup.

Q:Whatgirlvocalgroupsarepopularatthemoment?Q:Aretheywhatyouwouldcall‘feisty’?

The task:

SupposeDonnaandherfriendsRosieandTanyawinfirstprizeinalocaltalentcompetitionwhentheyaresixteen.HowmighttheyposeasthefeistyDonnaandtheDynamosforaphotowiththeirprize?

AskforthreevolunteerstoactasDonna,RosieandTanya.Q:Howwouldthegirlswanttostandiftheyareproudoftheir‘feistiness’?

Defineastageareawithstudents’chairsfacingitinasemi-circle.Takeadvicefromtheaudienceforthevolunteers’posture,gesture,directionofgaze,andexpressions.Itisessentialthatthisexpressesstronglytheir‘feistiness’.Wheneveryoneishappywithhowitlooks,askthegrouptofreezeforthephoto.


Q:DoyouthinktheDynamos’parentswouldhavebeenhappyandproudoftheirdaughters’success?Q:Wouldtheylikethephotowhenitispublishedinthelocalnewspaper?


20

DRAMA TASK 3 – DONNA ASKS FOR HER PARENTS’ HELP

Remindstudentsthatin‘SettingtheScenetoMAMMAMIA!’nomentionismadeofDonnahavinganycontactwithhermumanddadinBritain,orwithanyotherrelatives,aftersettlinginGreece.WearenottoldhowharditwasforDonna,asinglemum,settlingonaGreekislandattheageoftwentyin1979.AllwearetoldisthatDonna’sparents‘disowned’her.

Let’ssupposethatDonna–atwenty-year-oldyoungwoman–wentbackhometoBritaintotellherparentsthatshewaspregnant.

Q:Whydoyouthinkshewouldhavewantedtotellherparents?Q:HowwouldDonna’sparentsfeelatfirsttoseetheirdaughteragain?Q:Whatdoes‘disowned’mean?

The task:

Ingroupsofthreeorfour,withoneofyouasDonnaandtherestasherfamily,explorehowDonnatellsherparentssheispregnant.Asanexperiment,seehowthedramaworksifDonna’sparentsremaintotallysilentafterDonnatellsthemsheispregnant.

Allowstudents10minutes,thenaskgroupstodecideandpresentthemostimportantoneminuteoftheirwork.


Q:Wasitdifficultstayingsilent?Q:WhatdiditforcethepeoplewhoplayedDonnatodo?Q:Diditmakeforstrongdrama?

Written work:

ThinkoftheworkyouhavejustdoneasDonna.WritethelyricsforasonginwhichDonna,reflectingonherrelationshipwithoneofherpreviousboyfriends,addresseshimdirectly;oralternatively,expressesherpainandhurtatherparents’rejection.


21

SESSION 3: THE POSSIBLE FATHERSInthissessionthefocusisonprovidingstudentswithachancetobuildabroaderpictureofSophie’sthreepossiblefathers.Thesessionalsoservesasanintroductiontomakingsenseofadramascript.

Drama tasks

1.Usingadramascript2.Ahappymomentremembered3.AcceptingDonna’sinvitation

Resources needed

CopiesofWorksheet3:ExcerptfromScene2ofMAMMAMIA!

StartwithstudentsreadingtheirinvitationlettersthattheywroteasSophie–invitingoneofherpossiblefatherstoherwedding.

DRAMA TASK 1 – USING A DRAMA SCRIPT

Givestudentscopiesofthescript–Worksheet3:ExcerptfromScene2ofMAMMAMIA!

Q:Whohaslookedatadramascriptbefore?Q:Twokindsofinformationareindicatedinthescript.Canyouseewhattheyare?

Studentsmay,ofcourse,alreadybefamiliarwithstagedirections(italics)anddialogue(normaltype).

Preliminary reading:

Askforvolunteerstoreadthescript.

Checkthatstudentsunderstoodeverything.Thereareanumberofwordsandphraseswithwhichstudentsmaybeunfamiliar.Studentsshouldwriteexplanatorynotesontheirscriptsasthesearediscussed.

Second reading:

Askfordifferentvolunteerstoreadthescriptagain.Suggestthatthistimetheyshouldtrytoputwhateverexpressiontheythinkisneededintotheirreadingofthewords.

Q:WhatdothecharactersrecogniseatDonna’staverna?Q:WhatdoesSambegintosuspect?

DRAMA TASK 2 – A HAPPY MOMENT REMEMBERED

In1979whenBill,HarryandSamwereyoungmen,theyeachfoundthemselveshavinganicetimeholidayinginGreece–atimewhentheywerepresumablycarefree,whenallhopesanddreamsseemedpossibletorealise.TheyeachmetDonna.Theyeachhadabriefloveaffairwithher.Nowtwenty-oneyearslater,theywillbefortyorso,aswillDonna,andmostlikelytheywillnowhaveallsortsofresponsibilities.Perhapsinsomeways,thingshavenotworkedoutthatperfectlyforthem,becauseintherealworldtheyneverdo.WhatBillandHarrysayinthescriptsuggestsasmuch.


22

Thequestionis:whathappymemoryofthatholidayinGreececomestoBill’s,Harry’sorSam’smindwhentheyopenandreadtheinvitation?

Q:Whatmomentmighttheypicture?

•Sittingonthebeach,watchingthesunsetwithDonna?•HoldinghandswithDonnaatacafé?•HelpingDonnadryherhairafterswimming?

The task:

Ingroupsoftwoorthree,oneofyouineachgroupactingasBill,SamorHarryasayoungmanoftwenty,constructapicture–afrozenmoment–ofthehappymemorythatcomesbacktoyouwhenyoureadDonna’sinvitation.OneofyoumayneedtoactasDonna,orwhoeverelseisinthis‘happymoment’.Decideifyouaresittingorstandingandwhatyouaredoinginyourfrozenmoment.Whenyouhavedonethat,bringthefrozenmomenttolifewithonesentenceeach.Thenfreezethemomentagain.

Allow10minutes,thenaskgroupstopresenttheirfrozenmomentswithaddedsentences.

DRAMA TASK 3 – ACCEPTING DONNA’S INVITATION

AskstudentstolookagainattheexcerptfromScene2ofMAMMAMIA!

Q:WhatsensedoBillandHarrygiveusoftheirpresentlives?Q:AndSam?

Thinkofthisstatement:“That’sit!I’vehadenough.I’vegotthisinvitationtoGreece.I’mgoing.”

Q:Whatfeelingdoyouthinkwouldbebehindsuchastatement?Q:TowhommightHarryaddressit?AndBill?Sam?

The task:

Workinginthesamegroupsasbefore,recreatethesituationthatcausesSam,BillorHarrytomakethisstatement.OneofyoutoactasBill,SamorHarry.Theothersaspeopleintheirlives.

Allow10minutes,thenaskgroupstoshowthesituationstheycreated.


Q:DoyouhaveabetterunderstandingofthecharactersBill,HarryandSam?Q:Hastheworkwehavedonechangedyourunderstandingofthescriptinanyway?


23

SESSION 3: GROWING UP FATHERLESSInthissession,thefocusisonhelpingstudentstoexploresomeofthepossiblerepercussionsofbeingbroughtupbyoneparent,andofmeetinganabsentparentforthefirsttime.

Drama tasks

1.Beingmadetofeeldifferent2.MeetingthefatherIhadneverknown3.GettingSkytounderstand

Resources needed

CopiesofDramaWorksheet1:TheFatherIHadNeverKnownThelettersstudentswroteinDonna’snameAsmalltableAcup,saucerandspoon

AdvisestudentsthatinthissessiontheywillbelookingatthesituationofSophie–thedaughterofaveryindependentlymindedsinglemum,whonowwantstogetmarriedtoSky.RemindstudentsoftheletterstheywroteasSophietoeachofherthreepossiblefathers,invitingthemtoherwedding–inhermother’sname.

DRAMA TASK 1 – BEING MADE TO FEEL DIFFERENT

ReadAnneBoston’saccountofherfifthbirthdayatschool–DramaWorksheet1.

Q:HowisAnnemadetofeel?Q:Whatisthethinkingbehindthesister’sannouncement?Q:HowisAnne’smumgoingtofeelifAnnereturnsfromschoolintearsandtellsherwhatthesistersaid?

The task:

Workinpairs.OneofyoushouldactasAnne’smum.Oneaseitherthesisterwhoisheadoftheschoolorthepriestwhoadvisesher.Anne’smumwantstomakesurethatwhathappenedneverhappensagain.Explorehoweasyordifficultitisforhertogetthesisterorpriesttoacceptthatwhatwassaidwasthoughtlessandhurtful.

Allowstudents10minutes,thenaskthemtopresentthemostimportantoneminuteoftheirwork.


Q:Isthissortofsituationlikelytohappennowadays?Q:Doyouhaveanycommentstomakeonthiswork?


24

DRAMA TASK 2 – MEETING THE FATHER I HAD NEVER KNOWN

ReadPaulPalmer’saccountof“TheFatherIHadNeverKnown”–DramaWorksheet1.

Q:Atwhattimesdidthewriterwishhisfatherhadbeenthere?Q:Howdidhefeelaboutmeetinghisfather?Q:Whathappenedwhenhedidmeethim?Q:HowdoyouthinkPaul’sfatherfeltaboutmeetingthesonhehadneverknown?

AskstudentstothinknowofSophie’ssituation.Shehaswritteninhermother’snametoherthreepossiblefathersandBill,HarryandSamhavearrivedontheisland.Let’ssupposeSophiehasseenthembriefly,andlet’ssupposeshehassentanotetoBillfirst,askinghimtomeether,notatDonna’stavernabutatacaféearlyinthemorningwhensheknowsfewpeoplewillbeabout.WeknowthatBillmayalreadyhavebeguntoguessthatSophieishisdaughter.

Defineanactingspaceandarrangechairsinahalf-circlearounditsothatstudentscanactastheaudience,observingandgivingadvice.AskforavolunteertoactasSophieandsomeonetoactasBill.Placethesmalltableandtwochairsonstage.PlacethecupandsauceronthetabletoactasthecoffeeBillhasordered.IfBillhasarrivedearlyandhasbeenwaitingforSophiefor15minutes:

Q:Howwillhebefeeling?Q:Whatmighthebedoing?Q:Howmightheusetheletterfrom(supposedly)Donna?

NowaskthestudentwhohasvolunteeredtoactasBilltoproceedwithacting–asBillwaitingforSophietoarrive–andtokeepthisgoingaslongashecan.Review.Repeatifnecessary.

Q:IfSophiearriveslateforhermeetingwithBill,whatdoesthissuggestaboutwhatsheisfeeling?Q:HowshouldSophieenter?Q:HowshouldBillgreetSophie?

ItisimportantthatstudentsareaskedtothinkaboutSophie’sentry,bothtogivethestudentsactingguidelinesastohowtheyshouldact,andtobringoutthefullpotentialdramaofthesituation.

Askthestudentstotryoutwhathasbeensuggested.Ifstudentsagreethatthisworkswell,repeatthedrama,beginningwithBillatthetablewaiting,followedbySophie’sentry.


25

Taking the drama further:

Fromthispoint,thedramacouldgoinseveraldirections.ForinstanceifitisSophiewhospeaksfirst,doesshestartbysaying:

•“Youknewmymothertwenty-oneyearsago,didn’tyou?”•“AreyoufeelingasterrifiedasIam?”•“Canyoutellmewhathappenedbetweenyouandmymotherallthoseyearsago?”

Shouldtheyatfirstbetongue-tied,andthenstarttalkingsuddenlyatthesametime?AgreewithstudentshowSophiemightbestbegin.Askthetwoactorstotryoutwhathasbeensuggestedasastartingpoint,andtoseeiftheycancontinue.Allowthistogoasfarasseemsdesirable,thenstopthedrama.Taketheaudience’sadviceastohowthedramamightcontinue,orfinishhere.


Q:WhatwillSophieprobablyhavebeendoing(likePaulPalmer)whileshehasbeentalkingtoBill?Q:WhatmightsheaskBilltoagreetobeforetheyleave?

DRAMA TASK 3 – GETTING SKY TO UNDERSTAND

RemindstudentsofSky–theyoungmanSophieisgoingtomarry.AskthemtothinkaboutSkymakingthisstatement:“Sophie,we’vebeenoverthisathousandtimes.Youdon’tneedyourdad.I’mhere.”

Q:WhatdoesthissuggesttoyouaboutSky?Q:IfSophiehasjustmetBill,howwillshebefeeling?

The task:

Workinpairs.OneofyouactasSophie,theotherasSky.SophieisgoingtotellhimofhermeetingwithBill.WhoeveractsasSkyshouldrespondwiththestatementabove.ExplorehowSkydealswithSophie’sfeelings,andtheeffectthishasonSophie.

Allowstudents10minutestoworkonthis,thenaskthemtopresentthemostimportant1minuteoftheirwork.

Reviewing the work of the session:

Q:Whatdoyouthinkabouttheworkwehavedoneaboutfathersandfatherlessness?Q:Whichpartsdidyoufindmostinteresting?


26

SESSION 5: ROSIE AND TANYAInthissession,thefocusisonprovidingstudentswithachancetobuildaviewofthecharactersRosieandTanya.Thesessionalsoservesasafurtherintroductiontowhatisinvolvedininterpretingadramascript.

Drama tasks

1.Workingwithadramascript2.RosieandTanyaremember3.WritinginvitationletterstoRosieandTanya

Resources needed

CopiesofWorksheet2:BeginningofScene4ofMAMMAMIA!Paper&pens

DRAMA TASK 1 – WORKING WITH A DRAMA SCRIPT

Preliminary reading:

AskstudentstolookatWorksheet2–BeginningofScene4ofMAMMAMIA!

Q:Whatinthelayoutissimilartothedramascriptwereadintheprevioussession?Q:The‘stagedirections’thistimecontainmoreinformation.Whatkindisit?

Askforvolunteerstoreadthescript.Therewillbesomewordsandphraseswithwhichstudentswillbeunfamiliar,andthemeaningofsomepartsofthedialoguemaynotbeimmediatelyapparent.Checkthesefirst,then:

Q:WhatsensedowegetofTanya’sandRosie’slives?Q:Whatdotheyfeelaboutmarriageandhavingbabies?

Second reading:

Pointoutthatwordscanoftenmeandifferentthingsdependingonhowtheyaresaid-forinstanceRosie’sfirst“Oh!”

Q:WhatdoesRosiemeantoexpresswhenshesays:“Oh!”Q:Howthenwouldshesaytheword?

Applythesamequestionstothephrase:“What?...oh,asif?!”Q:Canyouseeanyotherwords,phrasesorsentencestowhichwecouldusefullyapplythesamequestions?

Askforfreshvolunteerstoreadthescriptagain–thistimetryingtoreadthewordswiththekindofexpressionagreed.

Reviewing the script reading:

Q:Whathasbeeninvolvedininterpretingthedramascriptsofar?


27

DRAMA TASK 2 – ROSIE & TANYA REMEMBER

WhatitisthatRosietakesoutofthetrunkunderDonna’sbedandholdsup?

Q:Ifitisacostumethatoneofthemwore,whenwouldtheylasthavewornit?Q:WhichspecificmomentofthattimeinGreecein1979mightthecostumeremindthemof?

NB:Discussingthislastquestion,askstudentstothinkabouttheimplicationsofDonnagettingpregnantinGreece,whiletheyweresingingthereas‘DonnaandtheDynamos’.

The task:

ThisisasimilartasktothatinSession3–toconstructafrozenmomentrepresentingamemory.

Ingroupsoftwoorthreeorfour,constructapicture–afrozenmoment–ofthememorythatcomestoTanya’smindwhenRosieholdsupthecostume.Whenthishasbeendone,agreeononesentenceforeachcharactertobringthefrozenmomenttolife.

Allow10minutes,thenaskgroupstopresenttheirfrozenmomentsandsentences.

Reviewing the work of the session:

Checkwhatstudentsfeeltheyhavegainedfromtheworkofthissession.

WRITING TASK – SOPHIE’S INVITATION LETTERS TO ROSIE & TANYA

AskstudentstothinkoftheirworkonRosieandTanyaintheabovesession.

Q:IfSophieknowsRosieandTanyawell,whatwillsheexpectthemtothinkofhergettingmarried?Q:Howthenwouldshebeginaletterinvitingthemtoherwedding?

The task:

ComposetheletterthatSophiewritesinvitingRosieorTanyatoherwedding,takingintoaccountwhatsheknowsofthem.


28

SESSION 6: SOPHIE’S WHITE WEDDINGInthissession,thefocusisonstudentsusingtheirunderstandingsofthemaincharacterstoconstructapieceofwholegroupdrama–amomentinSophie’sweddingceremony.

Drama tasks

1.Afrozenmomentinthemarriageceremony2.Thecharacters’‘secondthoughts’

Resources needed

CDPlayerCDof‘ABBAGold’

BeginbyaskingstudentstoreadtheirinvitationletterstoRosieandTanya.

Explainthatthissessionwillbedevotedtosettingupapieceofdramainvolvingthewholegroup.Itwillusealloftheunderstandingsofcharactersthatstudentshavebuiltupovertheprevioussessions’workonMAMMAMIA!.

DRAMA TASK 1 – A FROZEN MOMENT IN THE MARRIAGE CEREMONY

Askstudentstolistentothelyricswhileyouplaythesong“IHaveaDream”(track7“ABBAGold”).

Q:Whydoesthesingervalue“dreams”and“fantasies”?Q:IfSophiehasafantasypictureofherwedding,ofwhichmomentoftheceremonywillitbe?

Defineastageareawithstudents’chairsfacingitinasemi-circle.

InvitestudentstoactasSophie,herfriendsAliandLisa,Donna,RosieandTanya,Sky,Sam,BillandHarry,Sky’sbestman,andSky’sandSophie’sotherfriends–youngmenandwomenwholiveand/orworkontheisland.

Takeadvicefromotherstudentsobservingastheaudience,about:

•wherecharactersshouldstandinrelationshiptoeachother•whatcharacterswillbefeeling•whatposture/gesturesandfacialexpressions(includingdirectionofgaze)willreflecteachofthecharacters’feelings

Thiswilltakealittletimetoworkoutanditwillbenecessarytotakeeachcharacter,orpairsofcharacters,inturn.Whenfinallythestudentaudienceishappywiththemomentpictured,doacountdownandaskthecharacterstoholdfora‘frozenmoment’theirpositions,postures,gesturesandexpressions.


29

DRAMA TASK 2 – THE CHARACTERS’ ‘SECOND THOUGHTS’

Discussion:

Q:WhathashappenedtoSophie’smumDonnainthismomentwehavepictured?Q:Whatthoughtsmightoccurtoeachcharacteratthismoment?

Takeeachcharacterinturn.Recordassentencesstudents’ideasforcharacters.Numberthesentences.

Havethegrouprehearsethesentences.Thenrecreatethe‘frozenmoment’oftheweddingceremony,witheachcharacterspeakingtheirthoughtsinturn.

Reviewing the work:

Q:Wasthiseffectivedrama?Q:Whatcouldwehavedonetomakeitmoreeffective?

Reviewingthehalf-termunit:

Q:WhathaveyoulearnedfromtheworkonMAMMAMIA!?Q:Whatdoyourememberasthemosteffectivepieceofdrama?Q:Ifyoucouldgobackintime,whatwouldyouadviseSophietododifferently,ifanything?


30

PREPARING TO WRITE A REVIEW OF MAMMA MIA!ItisimportanttopreparestudentsforwritingatheatrereviewofMAMMAMIA!.Thiscanbebestdoneby:

1.Readinga‘good’theatrereviewanddiscussingwhatmadeit‘good’.Examboardssometimessupplyexamples,andteacherswillnodoubthaveexamplesofpreviousstudents’reviews.A‘poor’reviewmightalsobeconsidered.

2.Studentsshouldbeaskedtoconsiderallthethingstheywillwanttowriteaboutinareviewandachecklistagreed.Theyshouldbeencouragedtomakeroughnotesontheshowassoonaspossibleafterit.DramaWorksheet2:RoughNotesforaTheatreReviewisforthispurpose.

EXTENDING WORK WITH DRAMA SCRIPTS INTO PERFORMANCEThefollowingissuggestedforWorksheet2:BeginningofScene4ofMAMMAMIA!.SimilarworkcanbeundertakenwithWorksheet3:ExcerptfromScene2ofMAMMAMIA!.

Staging the scene:

Definea‘stage’areawithstudents’chairsarounditinasemi-circle.AskstudentstoadvisewhatshouldbeonstagetorepresentDonna’sbedroom,usingwhateverishandytostand-infortheitemsofbedroomfurniture.Positiontheitemsasstudentsthinkbest,takingintoaccounttheneedforanactingspacefrontofstageforRosieandTanya.

Pointoutthatthisstagedesigncanbedrawntoscaleasafloorplanongraphpaper.Thiscanthenbeusedtoreinstatetheitemsoffurnitureexactly.

Blocking Rosie’s and Tanya’s moves:

Explainthatworkingoutactors’positionsandmovesiscalled‘blockingthescene’.

InvitetwostudentstoactasRosieandTanya.Askthemtostandintheactingarea.Forthetimebeing,theywillneedtohavetheirscriptsintheirhandsandsomeactionswillneedtobemimed.Thefollowingquestionswillneedtobetakeninturn:

Q:Whereshouldtheybestandingwhenthelightscomeuptostartthescene?Q:Willtheyhavesuitcases?Whowillhavethelilo?Q:WhatdoesitmakesenseforthemtodobeforeRosietossesacoin?Q:WhenshouldRosiestartunpackinghersuitcase?

Q:HowlongshouldTanyaspendtryingtoblowupthelilo?Q:ShouldTanyabeginunpackinghersuitcase?When?Q:WhenandhowdoesRosiefindthetrunk,pullitout,andopenit?

Askthetwostudentstotrymimingtheseactions(difficultwithscriptsintheirhands!)astheyworkthroughthescript.


31

Reviewing the work:

Q:Weretherestagedirectionsforeverythingwedecidedtheactorsshoulddo?Q:Whatworkstillremainsfortheactorstodotoarriveatapolishedperformance?

Further work:

Ifstudentswishtotryoutamorepolishedperformance,theymustdosomeworkontheirowni.e:

•learnthewordsfortheircharacter•undertaketoprovideprops–e.g.2suitcasescontainingafewclothesetc.

Written work:

Askstudentstomakeagroundplanofthestageareaongraphpaperwithitemsoffurnitureplacedexactlyastheywereusedanddrawntoscale.

Markthegroundplanwithcrossestoindicatetheactors’firstpositions,then,witharrows,theirmoves.


32

DRAMA WORKSHEET 1: THE FATHER I HAD NEVER KNOWNAnne Boston

OnmyfifthbirthdayanannouncementwasmadeatmorningprayersbyoneofthetwosmallportlysisterswhorantheschoolwheremybrotherandIwerepupils.ItwasAnne’sbirthday,saidMissGalley,andtodayeverybodymustbenicetomebecause“Annedoesn’thaveadaddy”.

From“GrowingupFatherless”byAnneBoston.In“Fathers:ReflectionsbyDaughters”editedbyUrsulaOwen,Virago,1983.

Paul Palmer

WhenIwalkedintotherestaurant,Iknewimmediatelyitwashim.HelookedolderthanI’dimagined.TheonlyimagesI’dhadofhimwerecrinkly,yellowingphotosfromthelate1960s.Hewastallerthanmeandlookedannoyinglyfit(hispassionishorses).HisBarbourjacketwaswellworn,hisshoesspotless.Thiswasmyfather.

Face-to-face,thequestionsIhadpreparedtoaskhimevaporated.Acliché,Iknow,butwordstrulyfailedme.Herewasaman,charming,elegant,witty,affluent–andalltoohuman.Nottheogre,the“callousbastard”,Ihadconjuredupinmyyouthfulmindinplaceofanythingtangible...

Toanyoneobservingus,theconversationwasrelaxed,informal.Wemighthavebeenabossandhisyoungerunderlingcatchingafewpintsatlunchtime.Butbeneaththesurface,Iwonderedifhefeltasterrified,asgrippedbyaknotinthestomach,asIdid...

Iwasbroughtupanonlychildhere,inLondonandEssex.Butalwaysatthebackofmymindwasthisdistant,anonymousfigure:myrealfather.ThemanwhowasnottherewhenIscoredmyfirstrugbytryaged10,nevertheretodropmeatschoolforthebeginningofterm,nottherewhenIgraduatedfromOxford,nottherewhenImarriedmywife...

Overlunch,Ifoundmyselfexamininghimlikealaboratoryspecimen.Hishands,thegreyinghair,thefacialfeaturesandmannerismsthat,Ihadbeentoldbyfamilyfriends,wereidenticaltomine...

Sowetalked.Andaswedid,awholeuncharteredlifeopenedupbeforeme.Agrandfatherwasaschoolmasterataboys’boardingschool,andhehadoncebeeninthe“oldIRA”.Ittookmeaminutetocometotermswiththis.“TheIRA?”Ispluttered.“Yes,butitwasverydifferentthen,”myfatherreplied.“ThiswasIrelandinthe1920s.Itwasmorelikeaguerrillawar.EveryonewasRepublicanthen.”

Andsoitwenton.AcousinhighupintheDublinliteraryscene,relativesinvolvedinallaspectsofIrishpoliticallife.AsIlearnedaboutthesefacelesspeople,Ifeltstrangelycomforted:therewasafamilyoutthere,aclubofwhichIwasnotamemberbuttowhich,bybirth,Ibelonged.AndIfoundmyself,againstallexpectations,laughingatthestories.

From“TheFatherIHadNeverKnown”,byPaulPalmer,LondonEveningStandard–19thMarch2003.


Production:

Date:

Theatre:

TYPE OF THEATRE

SONGSCHARACTERS

Donna:

Rosie:

Tanya:

Sophie:

Sky:

Sam:

Bill:

Harry:

THOUGHTS/FEELINGS ABOUT THE SHOW

33

DRAMA WORKSHEET 2: THEATRE REVIEW – ROUGH NOTES


34

REFERENCESBOOKS

ABBA – THE NAME OF THE GAME byAndrewOldham,TonyCalder&ColinIrwin.PanBooks,1996.AnaccountofABBA’sgenesisandprogressasapopgroup.Includesdiscography.

FATHERS – REFLECTIONS BY DAUGHTERS EditedbyUrsulaOwen,ViragoPress,1983.

ABBA GOLD: GREATEST HITS Musicarrangedforvoice,pianoandguitar.WisePublications,1992.

FROM ABBA TO MAMMA MIA! TheOfficialBookbyAndersHanserandCarlMagnusPalm.

CDS

ABBA GOLD: GREATEST HITS No.517007-2.PolarMusicInternational2002.

MAMMA MIA! ORIGINAL CAST RECORDING No.543115-2.PolydorLtd.(UK)1999.

VIDEOS/DVDS

ABBA – THE WINNER TAKES IT ALL – THE ABBA STORY UniversalPictures,1999.IncludesextractsfromrehearsalsandextractsfromMAMMAMIA!.

Runningtime:90mins.

WEBSITES www.mamma-mia.com–OfficialwebsiteforMAMMAMIA!www.abbasite.com–OfficialABBAwebsite.GivesbiographiesofABBAmembers,historyofthegroupetc.

CREDITS AND ACKNOWLEDGMENTS

MAMMAMIA!StudyGuidewrittenbyMichaelColey-SmithwithMAMMAMIA!extractsbyCatherineJohnsonandadditionalmaterialbySheilaRowbotham,AnneBostonandPaulPalmer.

MAMMAMIA!StudyGuidedesignbyDewyntersMAMMAMIA!OriginalLogoDesign©LittlestarServicesLimitedPhotographyof2011LondoncastbyBrinkhoff/MögenburgIHAVEADREAM©1979byUNIVERSAL/UNIONSONGSAB(Sweden)MONEY,MONEY,MONEY©1976byUNIVERSAL/UNIONSONGSAB(Sweden)ONEOFUS©1981byUNIVERSAL/UNIONSONGSAB(Sweden)LAYALLYOURLOVEONME©1980byUNIVERSAL/UNIONSONGSAB(Sweden)

ThereproductionoflyricsisreservedtoBocuMusicandnofurtherphotocopyingcanbemadewithouttheapprovalofBocu.©BocuMusicLtd,lWyndhamYard,LondonWlH2QF.

AllRightsReserved.ReprintedbyPermission.AllinformationcontainedinthisStudyGuideiscorrectasofApril2012.Allrightsreserved.Unauthorisedreproductioninwholeorinpartofthispublicationotherthanforeducationaluseby


MM StudyGuide Apr12 1a.indd 1 03/05/2012 17:20media.ticketmaster.co.uk/.../packs/mamma_mia.pdf ·...

Documents

Transcript of MM StudyGuide Apr12 1a.indd 1 03/05/2012 17:20media.ticketmaster.co.uk/.../packs/mamma_mia.pdf ·...