123095336-Sweet-Charity-Study-Guide.pdf

Sweet Charity

ducational

tudy

uide

T HEATRE U NDER T HE S TARS

800 BAGBY, SUITE 200

H OUSTON, TEXAS 77002

Contains Mature Language

Page 1: Brief History of TUTS

Page 1: Purpose of Study Guides

Page 2: What is Musical Theatre?

Page 2: History of Musical Theatre

Page 3: Elements of Production

Page 4: Stage Diagram

Page 4: How is Musical Theatre Different from Other Media?

Page 4: Why is Musical Theatre Important?

Page 5: Glossary of Terms

Page 6: Theatre Etiquette

Page 7: How A Musical Is Born

Page 8: Review Questions

Page 9: Review Activities

Page 10: Show Background

The Creative Team

Page 11: Character List and Song List

Page 12: Show Synopsis

Page 13: Digging A Little Deeper

Literary Terminology

Discovering the Story

Page 15: Bob Fosse and A New Jazz Dance

Page 16: Get Creative!

a. Two Thumbs Up!

b. Test Your Knowledge

c. You’re The Writer

d. Stars Are Born

Page 17: Word Search Hand-out

Page 18: Word Search Answer Key

Page 19: Crossword Puzzle Hand-out

Page 20: Crossword Puzzle Answer Key

Page 21: Mini Quiz Hand-out

Page 22: Mini Quiz Answer Key

Page 23: PBS’ Stars Over Broadway: Bob Fosse

Page 24: Jazz Dance: A Brief Overview

Page 25: Song Lyrics

Big Spender

I’m A Brass Band

Where Am I Going?

If My Friends Could See Me Now

SECTION ONE: Introduction

SECTION TWO: Musical Theatre 101

SECTION THREE: About the Show

SECTION FOUR: Middle & High School Curriculum

SECTION FIVE: Supplemental Material

able

ontents

Sweet Charity

Educational Study Guide

Theatre Under The Stars

Houston, Texas

Written by

Alicia Hodge

x -- Table of Contents -- Sweet Charity Study Guide

Theatre Under The Stars (TUTS), founded in 1968 by Frank M. Young, is Houston's acclaimed musical theatre production company.

During its 34 seasons, TUTS, one of America's largest non-profit producers of musical theatre, has produced a total of 39 Premieres,

including 11 World Premieres, one U.S. Premiere, three Southwest Premieres, and 24 Houston Premieres.

TUTS' name originates from performing in its first venue, the Miller Outdoor Theatre in Hermann Park. This outdoor setting truly

provided spectators "theatre under the stars." TUTS was the first theatrical organization in Houston to perform free to the public

at the Miller and has since performed there each summer, giving Houston 42 lavish musicals in total. TUTS is the only Houston arts

institution to perform every summer without interruption since the theatre opened in 1968. In July 1999, TUTS set a Miller Outdoor

Theatre all-time attendance record with an audience of 91,000 for Grease.

TUTS established the Humphreys School of Musical Theatre (HSMT) in 1972 as its official training wing. Today, HSMT continues to

provide instruction and stage experience for more than 1,000 students annually. Established with a grant from the Humphreys

Foundation of Liberty, Texas, HSMT trains students, ages four through adult, in acting, voice, dance and musical theatre technique

during school semesters and through on-going workshops. Students perform in a fully-staged end-of-term musical and may audition

for juvenile roles in TUTS' major musical productions.

Purpose of

Study

Guides

TUTS has designed online study guides such as this one to enhance students' theatrical experiences. Using the guide, teachers can

encourage their students to explore both the story and the production elements of the show. Live theater can enrich young peo-

ples’ lives like few other experiences. The study guides contain various discussion questions, projects, and activities that allow

students to engage in literary analysis, historical research, and personal reflection. TUTS' hope is that these young people will be

able to gain a greater understanding and appreciation for musical theatre.

“No child is fully educated or adequately prepared to live

in an increasingly technological world without understanding

the meaning and beauty transmitted by the arts.

”

J.P. Getty Trust

Beyond Creating a Place for Art in America’s School, 1985

1 -- Introduction -- Sweet Charity Study Guide

History of

Theatre

Under

The

Stars

Section

Introduction

The origins of the musicals trace all the way back to story telling ballads. The ballads were stories in songs, passed down orally

from generation to generation. In 1597, Dafne, the first opera emerged. Like ballads, opera told stories through music. However,

opera is written down and performed on stage. And from opera, the operetta, literally meaning "little opera", developed. Relative

to its predecessor, operettas dealt with less serious topics and used more dialogue. Finally, in 1866, the very first musical, The

Black Crook by Charles M. Barras and Giuseppe Operti, was performed in New York. However, American musical theatre did not

establish its own identity until after the turn of the 20th Century.

George M. Cohan--librettist, lyricist, and composer, was a powerful influence in creating a truly native musical art form. Not only

were the settings and characters of Cohan's musicals thoroughly American, but his dialogue, lyrics, and melody had the spirit of

energy and pride that were unmistakably American. Cohan also established some of the procedures governing musical-comedy

writing. Any plot, however improbable, was possible just so long as it could be the frame for songs and dances. For many years,

American musicals were governed by this principle.

However, efforts were made to break loose from the rigid formula. The greatest revolu-

tion in American musical theatre up to that time came in 1927 with Show Boat, by

Oscar Hammerstein II and Jerome Kern. The show featured popular music, such as jazz

and gospel, which separated Show Boat from both operetta and all the musicals before

it. Here was a complete integration of song, humor, and production numbers into a sin-

gle and inextricable artistic entity; a musical with a consistent and credible story line,

authentic atmosphere, and three-dimensional characters.

Then came the first of the Rodgers and Hammerstein masterworks, Oklahoma!, in 1943,

with which musical theatre finally became a significant American art form. According to

Rodgers, "By opening the show with the woman alone onstage and the cowboy beginning

his song offstage, we did more than set a mood; we were, in fact, warning the audi-

ence, 'Watch out! This is a different kind of musical." The national tour of Oklahoma!

ran for an unprecedented ten years, playing before a combined audience of more than

ten million people. In 1955, Oklahoma! was made into a film where it also found great

success.

During the late 1950's and early 1960's, popular music began to change when rock 'n roll

became more mainstream. This trend influenced musicals such as West Side Story

(1957) and Bye Bye Birdie (1960) to feature more popular, contemporary music. Hair in

1968 continued this movement by incorporating rock music with storylines based on the hearts of the younger generation.

And setting a pattern that would redefine Broadway, Cats premiered in 1982, introducing opulent sets, extravagant costumes and

makeup, and over-the-top special effects. The visual spectacle was unlike the painted backdrops and simple costumes seen in the

past. The trend continued with shows like The Phantom of the Opera, Les Misérables, Miss Saigon, and The Lion King.

Then came Rent in 1996, which revolutionized the very concept of musical theatre around the world. Rent blended pop, dance,

salsa, rhythm and blues, gospel, and rock music together to tell its moving tale of hopes and dreams, while also addressing the

serious and controversial issues of homelessness, AIDS, and drug addiction. Rent not only challenged the mainstream, but reinvent-

ed it. Shows following Rent, such as Ragtime (1998) and Wicked (2003), also contained intricate storylines, unique styles of music,

and visual spectacle, while continuing to address social and political issues.

Musical theatre is defined as the presentation of a story using the elements of music, singing, and dance on a stage in front of a

live audience. This art of telling stories either through or with songs dates back to time immemorial. The ancient Greeks included

music and dance in many of their stage comedies and tragedies as early as the 5th Century B.C. Staged in open-air amphitheaters,

these plays featured humor, political and social satire, jugglers, and anything else that might entertain the masses. While these

plays had no direct effect on the development of musical theatre as we know it, they prove that musicals have been around for at

least 2500 years.

2 -- Musical Theatre 101 -- Sweet Charity Study Guide

History of

Musical

Theatre

What is

Musical

Theatre?

Section

Musical Theatre 101

Crew: The set designer creates the locale and period in which the musical occurs.

While some sets are very simple and focus the audience's attention on the show itself,

some are lavish and extravagant providing visual appeal. The head carpenter

responsible for building the actual set. The lighting designer decides where the light-

ing instruments should go, how they should be colored, and which ones should be on at

any particular time. The electrician

implements the lighting designer's work and makes

sure the lights are set properly and safely. The property (props) master is in charge of

obtaining or making and maintaining all props used in the show. He or she also sets the

props in their proper places before the show begins. There is also a flyman, who oper-

ates the flying system (if necessary), and controls the raising and lowering of back-

drops, light set pieces, and the curtain itself. When young performers (18 and younger)

need extra guidance and direction, the child wr

angler helps them through the

rehearsals and production for a smooth and successful show. The stage manager

responsible for the overall integrity of a production. He or she assists the director by calling out forgotten lines during rehearsals,

and “calls the show”, making sure each performance runs as smoothly as possible.

Sound: The sound designer plans the layout of all sound playback and equipment for the show and adjusts the pitch, volume,

duration, and overall quality of the music to meet each specific scene's needs. The sound oper

ator executes the sound designer's

plans and handles the mixing equipment for the show. Music and sound must fit the context in which they are used. The adjust-

ments are made using the soundboard. The sound effects designer is responsible for creating or enhancing sounds distinct from

music and dialogue, such as doorbells or running water.

Costumes and Make-up: The costume designer first researches the setting of the musical. Costumes must be appropriate

for the time period and culture of the show, beautiful and elaborately designed, while also practical enough to all for movement

and dance. He or she then decides which styles and fabrics to use, and draws the costumes in renderings. Through costume fit-

tings, the tailor

adjusts the outfits to fit each individual performer. During dress rehearsals and performances, actors have

dressers to help put on his or her costume. The ensemble or chorus members also have dressers to help them change during quick

character or scene transitions. The make-up artist

is responsible for applying cosmetics to each performer's face and body to

increase visibility, enhance certain features, and modify the actor's look to resemble his or her character. In addition to make-up,

certain roles call for a specific hairstyle. The wig master/mistress obtains the wigs, styles and shapes them, and helps the actors

put them on.

Elements of

Production

3 -- Musical Theatre 101 -- Sweet Charity Study Guide

A musical is much more than the two and a half hour show the audience sees. The production process often takes many months,

even years, to complete.

Creative Team The Cast

The Rehearsal

No musical would be possible with-

out the imagination or inspiration

of its authors. Many times, the idea

for a show grows from an existing

book, play, article, or movie. Other

times, authors write musicals from

an original idea or concept. Once

an idea is developed, composers

and lyricists begin to write the

songs. The music needs to not only

fit the overall tone and pace of the

musical, but also contain lyrics that

help the audience understand the

story and its characters. The chore

ographer designs dance sequences

for the performers. The dances are

intricate movements that allow the

performers to express the meaning

of each song. The director

works

with all of them to help guide the

overall artistic vision of the show.

The director works with the casting

agent to cast both the principal

performers and the ensemble or

chorus members. Each performer

must have a well-trained singing

voice, acting skills, the ability to

dance, and fit the look of his/her

character. These elements are all

evaluated during the audition

process. Actors are asked to bring a

headshot

as well as perform two

pieces, one uptempo song and one

ballad

. Those who are not chosen

for a principal role through the

auditioning process sometimes

become standbys

or understudies,

who take over the part when the

leading actor is unable to perform.

There are also swings, who serve as

backups for ensemble or chorus

members.

The cast will do an initial read-

through of the script, without

singing or dancing, followed by addi-

tional practices with the rehearsal

pianist. The music director or con

ductor teaches and rehearses the

music with the orchestra and is

responsible for the musical aspect of

the production. The dance captain

sometimes together with the chore-

ographer, teaches and rehearses the

dance sequences with the perform-

ers. During rehearsals, the director

coaches the actors' reading of the

lines and emotions and also gives

them their blocking

, line by line,

scene by scene. Next, the cast does

a sitzprobe, where they sit and sing

with the orchestra before incorpo-

rating any staging, scenery, cos-

tumes, or props. Eventually, the cast

does a wanderprobe

, where they

run through the show, including

movements and dancing, while the

orchestra plays. The technical

rehearsal is when the full cast and

crew walk through the entire show,

ensuring every light cue, sound

effect, microphone, etc. works as

planned. This rehearsal is mainly for

the tech staff. The cast and crew

will also go through a dress rehears

al, many times to bring all the dif-

ferent elements (costumes, music,

dance, lights, sound) together.

Audience: At the front of the theater, audience members will see a marquee displaying the name of the show being per-

formed that night. After purchasing tickets at the box office

and entering the theater, audience members will receive a program,

which provides information about the show, actors' biographies, a song listing, characters, scenes, and possibly a synopsis. An usher

escorts them to their seats, which may be in the boxes, orchestr

a, mezzanine, or gallery sections. Each show begins with the

overture and is separated into two acts by a fifteen-minute intermission. At the end of intermission, the entr'acte plays, signaling

the start of Act II. The show ends with the finale or curtain call. Audience members will then give a standing ovation, if they felt

the show was exceptionally good. The house manager oversees all aspects of the audience, including supervising the ushers and

contacting the stage manger about any audience delays for starting the show or ending intermission.

How is

Musical

Theatre

Different

from

Other

Media?

The live theatrical experience not only involves the actors on stage, it also involves the audience in ways that film and television

do not. In reality, although the audience is sitting in an auditorium and the actors are on stage, there is very little separating the

audience from the performers. How the audience reacts to the show deeply affects the actors. Something seemingly trivial like

whispering or unwrapping a piece of candy can distract the actors and alter the mood and tone of their performance. Another dif-

ference of film, video or television is that the camera and editing define what the audience sees. In the theater, however, each

member of the audience works as a camera and editor, choosing his or her personal points of focus. The wonders of movies and

television are remarkable, but often provide an isolated experience. Being part of the communal magic when performer and audi-

ence connect at the theater cannot be duplicated.

Why is

Musical

Theatre

Important?

Musical theatre can help students grow academically, aesthetically and personally. Musical theatre writers, lyricists, and composers

have long looked to literature for their inspiration and subject material. As a result, students have the opportunity to engage in

literary analysis of both the story and its inspiration. Elementary students can begin to explore plot and characters, while junior

high and high school students can delve into theme, symbolism, and historical context.

Students will also have the opportunity to discover how music, dance, lighting, backdrops, etc. contribute to the show. Musical

theatre allows young people to explore the elements of production beyond television and film, and gain a greater appreciation for

the arts.

Musical theatre can bring students together, build confidence and solidarity, and stimulate discussion. Furthermore, with shows

that address political or social issues, musical theatre encourages young people to reflect on these issues, explore alternative

options for action, and build a personal commitment to change.

4 -- Musical Theatre 101 -- Sweet Charity Study Guide

Stage

Performer Point of View

Stage Right

Stage Left

Audience Point of View

House Left

House Right

Stage Diagram

Glossary of

Terms

Author - the writer of a musical script also called the book

Auditioning - to perform in order to get a role in the produc-

tion; usually includes singing, dancing, and reading scenes from

the show

Ballad

- a slow, romantic song for actors to showcase vocal clar-

ity

Blocking

- the specific movements of actors on stage

Box - a separate compartment of seats usually elevated on the

sides of the theater, for the accommodation of VIP's

Box Office

- a booth inside the theater where tickets are sold

“Calling the Show” - the process of calling out the lighting,

sound, and scene-change cues during a performance usually

done by the stage manager

Casting

- the process through which actors are chosen for roles

in the production

Casting

Agent - one who chooses actors for roles in the produc-

tion

Child W

rangler - one who works with child performers

Choreographer - one who designs dance sequences

Composer

- one who writes music

Conductor

- one who directs the orchestra

Dance Captain

- one who teaches and rehearses dance

sequences with the performers

Director - one who supervises the creative aspects and guides

the artistic vision of the production

Dress Rehearsal

- rehearsal in which performers practice with

costumes and props

Dresser

- one who assists performers with their costumes during

dress rehearsals and shows

Electrician

- one who works with the lighting designer to adjust

and operate lighting instruments

Ensemble / Chorus

- a group of singers, dancers, or actors who

perform musical numbers

Flyman - one who pulls the curtain before and after perform-

ances and operates the flying system, if one is used

Gallery

- the section of seats in a theater farthest away from

the stage; separated into front gallery and rear gallery

Head Carpenter - one who builds the sets for the production

Headshot

- a photograph of an actor from the shoulders up and

lists his or her credits on the back

House Left

- the left side of the theater, when facing the stage

(audience's point of view)

House Manager

- one who oversees all aspects of the audience;

responsible for ushers and audience safety

House Right

- the right side of the theater, when facing the

stage (audience's point of view)

Lighting Designer

- one who decides where the lighting instru-

ments should go, how they should be colored, and which ones

should be on at any particular time to affect mood, visibility,

and to showcase costumes and sets

yricist - one who writes the words to a song

Makeup Artist - one who applies cosmetics to a performer's

face and body

Marquee - a signboard projecting over the theater's entrance

Mezzanine

- the middle section of seats in a theater between

the orchestra and the gallery; separated into front mezzanine

and rear mezzanine

Music Director - one who teaches and rehearses the music with

the orchestra

Orchestra - the section of seats in a theater immediately

behind where the orchestra sits

Principal P

erformers - the leading actors, those who portray

the major roles

Progr

- a listing of the order of events, names of the cast

and crew, and other relevant information for the production

Property (Props) Master

- one who manages all items used on

stage that cannot be classified as scenery, electrics or wardrobe

Read-through - the cast reads through the script without move-

ment or music

Rehearsal Pianist

- one who plays the piano for early-stage

rehearsals

Set Designer

- one who creates the scenery for the stage

Sitzprobe - the first rehearsal with both the performers and the

orchestra, with no staging or dancing

Sound Designer

- one who plans and executes the layout of all

sound playback and equipment for the show

Sound Operator - one who handles the sound playback and mix-

ing equipment for the show; works with the sound designer

Sound Board

- a desk comprising a number of input channels

where each sound source is provided with its own control chan-

nel through which sound signals are routed into two or more

outputs; changes the quality of the sound

Sound Effects Designer

- one who creates or enhances sounds

that are not part of the music or dialogue

Standby / Understudy

- one who studies a role and is prepared

to substitute the principal performer when needed

Stage Left

- the left side of the stage, when facing the audi-

ence (performer's point of view)

Stage Manager

- one who is responsible for the quality of the

show's production, assists the director and oversees the show at

each performance

Stage Right

- the right side of the stage, when facing the audi-

ence (performer's point of view)

Swings

- one who is prepared to substitute for ensemble or cho-

rus members who are unable to perform

Tailor - one who alters garments to fit a person's specific meas-

urements

echnical Rehearsal - rehearsal incorporating the technical ele-

ments of a show, such as the scene and property shifts, light-

ing, sound, and special effects

Uptempo Song

- a fast, upbeat song for actors to showcase

dancing and acting ability

Usher - one who guides audience members to their seats

anderprobe - rehearsal in which the performers practice

singing and dancing on stage while the orchestra plays

Wig Master / Mistress - one who obtains and customizes wigs

for performers to wear

5 -- Musical Theatre 101 -- Sweet Charity Study Guide

Some basic theatre etiquette

tips:

1. Do not talk, whisper, sing, or

hum during the performance.

Singing and swaying with the

music or leaning forward in

your seat blocks the view of

those sitting behind you.

2. Do not eat and drink during

the performance. It is distract-

ing to both the performers and

your neighbors.

3. Keep feet on the floor, not

on the seat or balcony in front

of you.

4. Clap after the songs to show

the performers that you are

enjoying the show. Also keep

in mind that performers appre-

ciate enthusiastic applause,

but not whistling or shouting.

5. Appropriate laughter, tears,

and applause are the best ways

to express your feelings about

the performance.

6. Stay until the end of the

show and clap during the cur-

tain call to say "thank you" to

the performers.

7. No electronic devices should

be brought into the theatre,

and please silence all cell

phones, pagers and watches.

oing

heatre!

Some basic theatre etiquette

tips:

1. Do not talk, whisper, sing, or

hum during the performance.

Singing and swaying with the

music or leaning forward in

your seat blocks the view of

those sitting behind you.

2. Do not eat and drink during

the performance. It is distract-

ing to both the performers and

your neighbors.

3. Keep feet on the floor, not

on the seat or balcony in front

of you.

4. Clap after the songs to show

the performers that you are

enjoying the show. Also keep

in mind that performers appre-

ciate enthusiastic applause,

but not whistling or shouting.

5. Appropriate laughter, tears,

and applause are the best ways

to express your feelings about

the performance.

6. Stay until the end of the

show and clap during the cur-

tain call to say "thank you" to

the performers.

7. No electronic devices should

be brought into the theatre,

and please silence all cell

phones, pagers and watches.

oing

heatre!

Some basic theatre etiquette

tips:

1. Do not talk, whisper, sing, or

hum during the performance.

Singing and swaying with the

music or leaning forward in

your seat blocks the view of

those sitting behind you.

2. Do not eat and drink during

the performance. It is distract-

ing to both the performers and

your neighbors.

3. Keep feet on the floor, not

on the seat or balcony in front

of you.

4. Clap after the songs to show

the performers that you are

enjoying the show. Also keep

in mind that performers appre-

ciate enthusiastic applause,

but not whistling or shouting.

5. Appropriate laughter, tears,

and applause are the best ways

to express your feelings about

the performance.

6. Stay until the end of the

show and clap during the cur-

tain call to say "thank you" to

the performers.

7. No electronic devices should

be brought into the theatre,

and please silence all cell

phones, pagers and watches.

oing

heatre!

Use the following page about proper theatre etiquette during performances to copy and print out handouts for your students or

cut along the dotted lines to make reminder cards for students to keep with them throughout the show.

6 -- Musical Theatre 101 -- Sweet Charity Study Guide

How a

Musical

Born

The inspiration for a musical comes from many different places. Authors may conceive an idea themselves, or they might be com-

missioned by a producer to write a musical on a specific subject. Many times, musical theatre draws on material from existing

plays, books, movies, and other sources for a new show.

Screen to Stage: Screen-to-stage musicals are based

on existing movies. Authors adapt the material to fit musi-

cal theatre, possibly adding songs and changing dialogue.

Some examples of successful movie-turned-musicals are

Singin' in the Rain in 1985 (movie 1952), Beauty and the

Beast in 1994 (movie 1991), The Producers in 2001 (movie

1968), and Mary Poppins in 2004 (movie 1964).

Stage to Screen: Stage-to-screen musicals are musi-

cal theatre shows that have been made into movies.

Hollywood filmmakers choose popular musicals to guaran-

tee a hit movie. Though this is not always true, some suc-

cesses include Grease in 1972 (movie 1978), Chicago in

1975 (movie 2002), The Phantom of the Opera in 1988

(movie 2004), and Rent in 1996 (movie 2005).

Original / Concept Musicals: Concept musicals

are built around a single idea rather than a traditional plot.

Once a concept is raised (love, hate, friendships, relation-

ships, etc.), characters can comment on or act out various

aspects of the subject. There is a storyline, but it exists in

order to illustrate the central concept. Some well-known

concept musicals include Company (1970), A Chorus Line

(1975), and Assassins (2004). A revue could fall into this

category, like Swing! (1999) or Radio City Christmas

Spectacular (1933).

Revival / Revisal: While many musicals are revivals,

today is the age of the "revisal", when old musicals are

reinvented in new productions. The new shows usually have

the same basic storyline with revisions to the music and

artistic style. An example is Chicago (1996), which original-

ly premiered in 1975. A revisal is different from a revival in

that revivals make no change to the old production. For

example, Fiddler on the Roof premiered in 1964, and the

same production has been revived in 1976, 1981, 1990, and

2004, usually unchanged from the original.

Workshop Musicals: Unlike traditional musicals, workshop musicals do not have a single author and the plot is not

completely established before the production process begins. These musicals are developed by multiple members of the cre-

ative team through brainstorming sessions or "workshops". Workshop musicals are relatively new and are setting a new trend

for future shows.

Review Questions

1. Name the five types of musicals. Explain the advantages and disadvantages of each one.

2. What are some examples of stage-to-screen musicals? Screen-to-stage musicals?

3. If you were making a screen-to-stage musical, which movie would you choose and why?

4. How are workshop musicals different from all the other types?

5. If you were writing a musical, which type would you prefer to make and why?

7 -- Musical Theatre 101 -- Sweet Charity Study Guide

8 -- Musical Theatre 101 -- Sweet Charity Study Guide

Checking for Understanding

1. What is the definition of musical theatre?

2. How have the ancient Greeks contributed to

musical theatre?

3. How did George M. Cohan shape the

American musical?

4. Which was the first show to not follow

Cohan's formula? How was it different?

5. What do West Side Story, Bye Bye Birdie, and

Hair have in common?

6. How has Cats contributed to broadway?

7. What is the significance of Rent?

8. What are the three differences between

musical theatre and television or film?

9. How can musical theatre help people grow

academically? Artistically? Personally?

10. Name the eight major elements of produc-

tion and summarize each one.

11. What are four major theatre etiquette tips?

Review

Questions

The following questions are intended to help students learn the basics of musical theatre. These may be used for class discussion

or given as homework and written assignments.

Critical Thinking

1. What do you think are some major differ-

ences between ancient Greek theatre and

musical theatre as we know it today?

2. How did West Side Story, Bye Bye Birdie, and

Hair reflect young people's attitude in the late

1950's - 1960's?

3. What do you think Jonathan Larson, the

writer of Rent, hoped to accomplish by

addressing the issues seen in the musical?

4. The actors perform the same show each

night, but how could you make the experience

unique and personal to you?

5. What do you hope to gain from experiencing

musical theatre?

6. Is there one element of production that is

more important than all the others? Explain

your answer.

7. The audience does not participate in the

making of the show, so why are they important

to a musical production?

8. If you were to teach a child how to behave

at the theater, what would you tell them?

Review

Activities

9 -- Musical Theatre 101 -- Sweet Charity Study Guide

The following activities and projects are intended to encourage students to further their understanding of musical theatre, and

may also be used for class assignments or take-home projects.

E VOLUTION

OBJECTIVE

To learn the major shows throughout the histo-

ry of musical theatre

ACTIVITY: Have students create a timeline of the major

musicals (Show Boat, Oklahoma, West Side Story, Bye Bye

Birdie, Hair, Cats, Rent, Ragtime, Wicked). They can draw

or find and cut-out pictures to represent each one.

MATERIALS: Construction paper, crayons/markers/colored

pencils

I NSPIRATION

BJECTIVE:

To learn how historical context has affected

and inspired musical theatre, and develop research and

public speaking skills

CTIVITY:

Have students choose a musical to research and

then create a presentation of how the show reflects the

times in which it was created, including historical figures

and relevant social or political issues. Encourage students

to watch videos of the show, study song lyrics, and

research the time period in which the musical was written.

Suggested Shows: Oklahoma, West Side Story, Bye Bye

Birdie, Chicago, Annie, Rent

E VERYONE’ SAS TAR!

OBJECTIVE

To learn the elements of production in musical

theatre, stimulate imagination, develop teamwork skills,

and build self-confidence

ACTIVITY: As a class, choose a story and act it out, incorpo-

rating music with real or homemade instruments. Suggested

Stories: Hansel and Gretel, Little Red Riding Hood, Three

Little Pigs, Johnny Appleseed, Rapunzel, Rumpelstiltskin

MATERIALS: Homemade or real instruments, props (optional)

D EBATE

OBJECTIVE: To learn the differences between various

media, develop public speaking and verbal expression

skills, and encourage self-expression

CTIVITY:

Divide the class into three groups and have each

group choose a form of media (ex. television, movies, or

theatre). Then have the groups debate on which medium is

the best. Make sure students support their claims with spe-

cific benefits and limitations of each medium.

rade

Show

Background

Sweet Charity, based on Federico Fellini's screenplay for Nights of Cabiria, is a musical choreographed and conceived by Bob

Fosse, with music by Cy Coleman, lyrics by Dorothy Fields, and book by Neil Simon. The original production directed by Fosse

opened on January 29, 1966 on Broadway at the Palace Theatre, and ran for 608 performances. It starred Gwen Verdon, John

McMartin, Helen Gallagher, Thelma Oliver, James Luisi, Arnold Soboloff, and Sharon Ritchie. The production was nominated for 12

Tony Awards, winning only one, for Fosse's choreography.

The 1969 film version of Sweet Charity, also directed and choreographed by Fosse, starred Shirley MacLaine and McMartin, recre-

ating his original Broadway role, as Charity Hope Valentine and Oscar Lindquist. The movie also included Chita Rivera, Paula Kelly,

Stubby Kaye, Barbara Bouchet, Ricardo Montalban, and Sammy Davis. The movie was notable for costumes by Edith Head, and also

the filming and editing of the dance sequences, most famously “Hey, Big Spender” and “The Rich Man’s Frug”.

Sweet Charity was revived on Broadway in 1986 starring Debbie Allen as Charity. It won four Tony Awards for Best Revival, Best

Featured Actor in a Musical (Michael Rupert), Best Featured Actress in a Musical (Bebe Neuwirth), and Best Costume Design

(Patricia Zipprodt). The most recent revival of the production was in 2005 starring television and film star Christina Applegate. It

opened on Broadway at the Al Hirschfeld Theatre on May 4, 2005. The show was nominated for many Tony awards including Best

Revival of a Musical and Best Actress in a Musical for Appelgate. The show ended its Broadway run on December 31, 2005, after

playing 279 performances. This production is part of the national tour of the 2005 Broadway revival which began in September

2006.

10 -- About the Show --Sweet Charity Study Guide

The Creative

Team

Section

About The Show

Bob Fosse

Choreography By

Bob Fosse, born June 23, 1927, was an American musical theater

choreographer and director. His career in dance began at an early

age when his father taught him ballroom dancing. Fosse began his

dance training at the Frederick Weaver Ballet School where he

learned tap and acrobatic dancing, and was the only male enrolled.

In 1946, he worked as a choreographer in his first two Broadway

shows, The Pajama Game (1954), in which he first met Gwen

Verdon, and Damn Yankees (1955). Fosse developed a jazz dance

style that was immediately recognizable, exuding stylized move-

ments. Fosse earned many awards for his works. Among them were

a Tony Award for Pippin, the Academy Award for Directing for

Cabaret and an Emmy Award for Liza with a Z. He was the first per-

son to win these three most important awards in the same year.

Fosse died on September 23, 1987.

Cy Coleman

Music by

Cy Coleman, born June 14, 1929, was an American composer, song-

writer, and jazz pianist. Coleman was a child prodigy who gave

piano recitals at Steinway Hall, Town Hall, and Carnegie Hall

between the ages of six and nine. Before beginning his fabled

Broadway career, he led the Cy Coleman Trio, which made many

recordings and was a much-in-demand club attraction. Coleman's

winning streak as a Broadway composer began when he collaborat-

ed on Wildcat (1960), which marked the Broadway debut of Lucille

Ball. In the late 1970s, he collaborated on I Love My Wife (1977)

with Michael Stewart and On The Twentieth Century (1978) with

Betty Comden and Adolph Green. In 1980, Coleman served as pro-

ducer and composer Barnum, which introduced Jim Dale and Glenn

Close. In 1990s, Coleman composed The Will Rogers Follies (1991)

and The Life (1997). Coleman died on November 18, 2004.

Dorothy Fields

Lyrics by

Dorothy Fields, born July 15, 1905, was an American librettist and

lyricist who wrote well over 400 songs for Broadway musicals and

films. She had great talent to match colloquial every–day speech to

complex scores, and was one of the first successful Hollywood and

Tin Pan Alley female composers or librettists. Her career as a pro-

fessional songwriter took off in 1928, when Jimmy McHugh, invited

her to provide lyrics for him. They would team up until 1935. After,

Fields started to write lyrics for films and to collaborate with com-

poser Jerome Kern. With Kern, she worked on the movie version of

Roberta, and also on their greatest success, Swing Time. The song

"The Way You Look Tonight" earned the Academy Award for the Best

Song in 1936. In the 1940s, she teamed up with her brother,

Herbert Fields, with whom she wrote the books for Let's Face It,

Something For The Boys, and Mexican Hayride. They also wrote the

book for Annie Get Your Gun. Fields died on March 28, 1974.

Neil Simon

Book by

Neil Simon, born July 4, 1927, is an American playwright and

screenwriter. He began his career as a TV comedy writer and is the

author of over forty Broadway plays since 1961, ranging from

humorous, lighthearted plays of the 1960s (Barefoot in the Park,

The Odd Couple) to darker, more autobiographical works in 1970s

and 1980s (Chapter Two, the Eugene trilogy featuring Brighton

Beach Memoirs, Biloxi Blues, and Broadway Bound). Simon also con-

tributed librettos to such hit musicals as Sweet Charity, Promises,

Promises, and They're Playing Our Song. His plays are known for

their family-based New York settings, where world-weary characters

use one-liners to hide often-fractured psyches. Simon's second wife

(of four) was actress Marsha Mason, who starred in several of his

plays and movies. Simon has won several Tonys and other awards

for his work, including a Pulitzer Prize for Drama for Lost In Yonkers

in 1991.

A Brief

Show

Overview

11 -- About the Show -- Sweet Charity Study Guide

Charity Hope Valentine - a true origi-

nal, eternal optimist and an unlucky

romantic and she has a heart tattooed

on her left arm

Charlie - Charity’s boyfriend at the

beginning of the story

Fan-Dango Ballroom Dancers

(Helene, Nickie, Carmen) - Charity’s

cynical co-workers at the Fan-Dango

who never believe Charity’s far-

fetched stories

Vittorio Vidal - An Italian film star

who befriends Charity

Ursula - Vittorio Vidal’s beautiful mis-

tress

Oscar Lindquist - A shy, panicky tax

accountant who falls in love with

Charity

Daddy Johann Sebastian Brubeck -

The leader of an unorthodox church

which holds its meetings in an under-

ground car park

Character List

descriptions

Song

List

Act I

Overture

You Should See Yourself

Big Spender

Charity’s Soliloquy

Rich Man’s Frug

If My Friends Could See Me Now

Too Many Tomorrows

Act II

There’s Gotta Be Something More

I’m The Bravest Individual

The Rhythm of Life

A Good Impression

Baby, Dream Your Dream

Sweet Charity

Where Am I Going?

I’m A Brass Band

I Love to Cry at Weddings

I’m the Bravest Individual - reprise

12 -- About the Show -- Sweet Charity Study Guide

Act I

The Overture fades away, and a spotlight lands on a girl carrying a shoulder

bag. She has a heart tattooed on her left arm. The girl is the gullible

Charity Hope Valentine. Charity is waiting in the park to meet her

boyfriend, who is a married man whom she hopes will be her fiancé when

he divorces his wife. While she gushes over his good looks, Charlie looks

himself over not returning the sentiments (You Should See Yourself). She

fantasizes about a wonderful married life. Passing by a lake, Charity sug-

gests that he throw something into the water for good luck; instead of a

coin, he pushes Charity into the water and steals her purse.

At the Fan-Dango Ballroom, Charity explains to her girlfriends that she let

another man take advantage of her. The night at the dance hall begins (Big

Spender), but Charity has run off. She vows never to fall for the wrong man

again (Charity's Soliloquy).

Out on the street, Charity finds herself caught up in a fight between

Vittorio Vidal, the famous film star, and Ursula, his mistress. When Ursula

refuses to go back into the Pompeii Club with Vittorio, he promptly asks

Charity, who jumps on the proposal (Rich Man's Frug). He spends most of

the evening preoccupied with Ursula, and Charity calls her girlfriends to

prove that she is out with Vittorio. By the end of the evening, Charity

faints from all the night's excitement. Vittorio takes her back to his apart-

ment to recover. There Charity admits that she is a taxi dancer due to 'the

fickle finger of fate'. She is totally taken with Vittorio and his fame, as she

asks for a signed photograph. When Vittorio leaves the room to retrieve

some props from his old movies, Charity thinks how her friends would be

proud and envious that she is spending the evening with Vittorio (If My Friends Could See Me Now).

Just as Charity decides to make a move on Vittorio, Ursula arrives to interrupt, and Charity ends up being ushered into a closet for

the rest of the evening. Vittorio expresses his love to Ursula, while Charity peeks her head out of the closet (Too Many

Tomorrows). In the morning, Vittorio lets a humiliated Charity out of the closet.

Charity's girlfriends are shocked to learn that Vittorio did not give her money for the evening. Nickie, one of Charity's best friends,

tells the girls she is not going to be in this crummy job for the rest of her life (There's Gotta Be Something More). That evening

Charity visits the local YMCA to try and meet new people. She gets stuck in an elevator with an unmarried and claustrophobic tax

accountant named Oscar Lindquist, whom she tries to encourage to be brave (I'm the Bravest Individual).

Act II

Oscar is interested in Charity, and he invites her to attend church. The Rhythm of Life Church is holding a rather unorthodox meet-

ing in an underground car park. Its congregation includes people down and out on their luck (The Rhythm of Life). Later, Oscar

proposes another date (A Good Impression). On the subway home, he tries to guess Charity's job - she's a bank teller. Charity lies

and says yes. She begins to fall for Oscar and fantasizes about a future with him (Baby, Dream Your Dream). Oscar dubs her 'Sweet

Charity'.

Two weeks later, Oscar and Charity are still seeing each other. She still has not told him what she does for a living. At Coney

Island, Oscar and Charity get stuck again this time on the parachute jump. Unlike the last time, he is the calm one and she is

scared - scared that she is starting to depend on him. Oscar comforts her (Sweet Charity). Charity loses her nerve to tell him the

truth.

On a slow night at the Fan-Dango Ballroom, Charity is finally disgusted by the whole business and quits (Where Am I Going?). Later,

Charity meets Oscar, and she admits to the truth about what she does for a living. Oscar confesses that he already knew the truth,

after following her one night to the ballroom. He forgives her, and Charity is ecstatic when he proposes to her (I'm A Brass Band).

At the Fan-Dango Ballroom, all her co-workers and friends surround Charity to celebrate her forthcoming marriage (I Love to Cry at

Weddings). Finally, Charity will live happily ever after…or will she? (I'm the Bravest Individual - reprise).

Show

Synopsis

13 -- Middle & High School Curriculum -- Sweet Charity Study Guide

The following questions are intended to encourage students to go beyond the surface of the play by engaging in literary analysis

and outside research. These may be used to prompt class discussions or be given as written assignments.

Section

Digging A

Little

Deeper

Middle & High School Curriculum

Plot: refers to the arrangement of the events in a story

that each follow plausibly from one to the next to create

a logical order

Exposition: devices by which critical elements of the

plot, often involving back-story, are not directly depict-

ed, but instead are presented through dialogue (or lyrics)

by either characters or a narrator; information is often

crucial for the audience to understand the story's action

Rising

Action: refers to the period after the exposition

and after a conflict has been introduce to a story's plot;

Climax

: a point of a story's highest tension or drama

alling Action: a series of events in a story that follow

the climax which serve as a conclusion of the story

Resolution: the end of a story in which all conflicts are

resolved, creating normality for the characters or

release of tension and anxiety for the audience

Subplot

: refers to a series of connected actions within a

story that functions separately from the main plot and

may connect to it either in time and place or thematic

significance. Often involves the supporting characters in

a story

Protagonist

: the character that is the central figure of a

story and his or her attitudes and actions are made

clearest to the audience. Also characterized by an abili-

ty to change or evolve

Antagonist

: the character, group of characters, or entity

that represents the opposition against which the protag-

onist or other characters must contend with

iterary

erminology

Discovering

The

Story

1. Describe the main plot of the story in a brief para-

graph. Next, identify a subplot, and summarize it and its

relationship to the main plot.

2. Using the synopsis (pg. 12), categorize important

moments of the story into rising action, the climax,

falling action, and the resolution. Briefly explain why you

chose each moment.

3. Become familiar with the meaning of exposition. In

Sweet Charity, what information was given that helped

you understand the action of the story? In what ways did

the show communicate this information? If the informa-

tion were not given, how hard would it have been to

understand the plot?

4. Describe Charity’s role as the protagonist in Sweet

Charity. How does Charity evolve by the story’s end? In

what ways does she not evolve? Explain why you agree or

do not agree with the statement: Charity is a heroine.

5. What character or groups of characters could be con-

sidered an antagonist in Sweet Charity? Identify the char-

acters they are in conflict with and the nature of the

conflict.

6. Become familiar with the meaning of resolution. In

Sweet Charity, what is the resolution of the story? How is

it unlike traditional endings to similiar stories? How did

the ending make you feel? Write a paper discussing how

and why you would change the ending. If you think the

real ending was right, explain why you feel this way and

take into consideration the other events in the story.

7. What is the defnition of a subplot? In Sweet Charity,

what is the main subplot? In what ways does it effect the

main plot of the story? Is this the only subplot? If not,

discuss the others as a class.

8. Charity’s full name is Charity Hope Valentine. As a

class, discuss and come up with a definition for each of

these three words. Then, write a paper that explains how

Charity displays charateristics fo each word through her

actions and dialogue. It might be helpful as well to read

over the lyrics starting on pg. 22.

9. What is the symbolism of Charity’s heart tattoo? How

does it end up being significant to the story?

10. How are Charity’s relationships with Vittorio Vidal

and Oscar Lindquist similiar? In what way does she help

each of them?

Bob Fosse and

New

Jazz

Dance

14 -- Middle & High School Curriculum -- Sweet Charity Study Guide

Bob Fosse is a choreographer who pushed the dancer's body

beyond self-evident limits in a pursuit of a new sensual style of

jazz dance that somehow managed to be elegant even when

teasingly perverse, innocent when sophisticatedly dynamic, and

joyous even when streaked with cynicism.

Fosse received a good deal of training from Jack Cole, one of

the most prominent choreographers in Hollywood. Flamboyant,

jazzy, and highly exotic, Cole's choreography had the audacity

to be extravagant in its time, so Fosse was instinctively drawn

to it. Fosse, however, outstripped Cole, becoming a greater

teacher and choreographer than he himself was a dancer--not

because he could not express what was stored in his imagina-

tion, but because his own physical appearance did not admit

him to the top echelon of screen or stage virtuosos such as

Astaire, Kelly, O'Connor, or Gower Champion. So, unable to

achieve what he wanted for himself, he set out to create other

stars and to show other dancers how to attain the highest emo-

tional charge, the wittiest razzle-dazzle, the most alluring and

tender softshoe, and explosive cabaret numbers.

The Fosse signature is immediately recognizable. It takes form

most typically through dancers in black bowler hats, black tops

and tights, and white gloves, as they begin with shoulder rolls,

pelvic thrusts, and knees, elbows, and wrists bent at unlikely

angles. Finger snaps and the tiniest toe movements and slides

assist syncopation (in the music), and as the dancers slink and

slither, do knee slides and awesome back extensions, they

segue into the distinctive Fosse idiom: bandit positions, broken

doll legs and torsos, sway backs, crane positions, tea-cup finger

semaphores, and drip positions.

Now all this sounds lifeless on the page, but it is not so on

stage. There Fosse’s work burts into life, demonstrating its free

enlargement on vaudevillean and burlesque roots and earlier

choreographic styles. But it was not sheer enlargement. But

Fosse created a new expression, a new language that has man-

aged to survive parody.

The Crane: Fosse

never lked his balding

head, his hunched

shoulders or his

turned in feet, so he

made his own imper-

fections fun to watch

using graceful dances

moves.

The Drip: An

iconic Fosse

move. Named in

the thought that

pouring water

over the top of

person’s head

would drip down

the arm and

down the bent

leg.

The Rake: A favorite Foss move from “I

Wanna Be A Dancin’ Man”. The image of an

angled torso, leg turned out, one hand

dropped from the wrist, and the other touch-

ing the brim of a bowler hat could not say

“Fosse” more clearly.

The Stack: The dancer in front sits

on the middle dancer who is sitting

on the dancer in back who is sitting

on a chair with their legs out to the

side. The optical illusion typifies the

playful wit Fosse incorporated into

his work.

Pictures and dance move info

from St-Louis Post-Dispatch

Linkage: The middle dancer, seemingly locked in place by the

outer two dancers, slowly leads them forward that drives

downstage in a body roll

Steam Heat: A move from The Pajama Game the

first show Fosse choreographed. Features bowler

hat, teacup fingers, slung-over torso, and broken-

leg dolls. The leg stance, a pigeon-toed, turned-in

version of ballet’s second position is quintessential

Fosse. He attributed it as “elegant yet broken at

the same time.”

Bob Fosse

The Dance Moves

Sweet Charity Word Search

Charity Hope Valentine Fickle Finger of Fate Fosse

Optimist Big Spender Vittorio Vidal

Fandango Ballroom Taxi Dancer Oscar Lindquist

The Rhythm of Life Rich Mans Frug Brass Band

Heart Tattoo Pompeii Club Elevator

Coney Island Bravery Wedding

V X O P Q R L A D I V O I R O T T I V O Y

F W T H E R H Y T H M O F L I F E A Y K F

I K H D Y F K L X I C N F C S A E C N A O

C Y A E C B W G I N D D E W N T X T N R G

K D S X L R T R V F E H O I R G M D E U R

L F H B R A V E R Y A I T Y Y H A I R A C

E V A B L S A X M R P T B N C N U F J E U

F R R K E S Q E H X I A V F G E S E T A Y

I H H A J B B Y V Y R X O O P N U C E U P

N F E E K A S V N A T D B S A A E I Y O B

G R A N K N P O E R W A S M S B H R M P O

E L R W S D E U A N L T H T R Y S P B N S

R M T G C E B K U L L C S N D N E R P I C

O P T I M I S T R S I A M C R I C U R X A

F E A D N A R O K R V D Y F I P W E S U R

F O T T V L O U P C N E M C J M D L E C L

A B T H E M T Y K A M X L W N N N E L A I

T Y O J L V M A L C B U G B E L I T E U N

E W O Q E K G S N V B B D P E W B A V R D

T S E S O P I O L E R O S T C R H R A Y Q

E S S D Y Y K H U X Y G R E I F G S T G U

H O X C E C S T A X I D A N C E R A O Y I

F A B N T G L A D B E V S J A K B K R J S

A P O A H J A S R L D E M W H I Y T D D T

X C H A R I T Y H O P E V A L E N T I N E

Sweet Charity Word Search Answer Key

V X O P Q R

L A D I V O I R O T T I V O Y

F W T H E R H Y T H M O F L I F E A Y K F

I K H D Y F K L X I C N F C S A E C N A O

C Y A E C B W G I N D D E W N T X T N R G

K D S X L R T R V F E H O I R G M D E U R

L F H B R A V E R Y A I T Y Y H A I R A C

E V A B L S A X M R P T B N C N U F J E U

F R R K E S Q E H X I A V F G E S E T A Y

I H H A J B B Y V Y R X O O P N U C E U P

N F E E K A S V N A T D B S A A E I Y O B

G R A N K N P O E R W A S M S B H R M P O

E L R W S D E U A N L T H T R Y S P B N S

R M T G C E B K U L L C S N D N E R P I C

O P T I M I S T R S I A M C R I C U R X A

F E A D N A R O K R V D Y F I P W E S U R

F O T T V L O U P C N E M C J M D L E C L

A B T H E M T Y K A M X L W N N N E L A I

T Y O J L V M A L C B U G B E L I T E U N

E W O Q E K G S N V B B D P E W B A V R D

T S E S O P I O L E R O S T C R H R A Y Q

E S S D Y Y K H U X Y G R E I F G S T G U

H O X C E C S T A X I D A N C E R A O Y I

F A B N T G L A D B E V S J A K B K R J S

A P O A H J A S R L D E M W H I Y T D D T

X C H A R I T Y H O P E V A L E N T I N E

Sweet Charity Crossword Puzzle

Hint: If you are having trouble, refer to the About the Show, Creative Team, Story Synopsis, Character List, Song

Lyrics, and Supplemental Materials sections of the study guide for help.

Down: Across:

1 She played Charity in the original production

1 Christina __________ played Charity in the recent

revival

2 If My _________ Could See Me Now 2 Charity literally wears this on her “sleeve”

3 Hey big __________ 3 A choreographer famous for his sleek style

4 A bumbling tax accountant who has

claustrophobia

4 Charity’s job

5 She is Vittoria Vidal’s mistress 5 Charity says she has her job because of this

6 Charity gets pushed into the ____ by Charlie 6 Charity’s middle name

7 One of the famous dance numbers by Fosse in

Sweet Charity.

7 She’s the _________ Orchestra

8 Charity and Oscar get trapped in one of these.

8 A Fosse dance move reminiscent of a fountain or

a waterspout.

9 Sweet Charity is based on Nights of _______

9 Charity often says “Without love, life has no

_______.”

10 Charity goes to the __________ Club 10 Run to the __________ or to Washington Square

3 4

Sweet Charity Crossword Puzzle Answer Key

A P P L E G A T E

H E A R T P

N I E

V E

O B F O S S E N

E N S D

R D

U C E

D S R

T A X I D A N C E R

O S R A

N U L K

F I C K L E F I N G E R O F F A T E

I A N

C D

H O P E Q

M U

C L

H I L A D E L P H I A

N O S B V

S M T I A

F P R

T H E D R I P

P U R P O S E I O

U I A R

G I

R O N X

Sweet Charity Mini Quiz

1. What year did Sweet Charity open on

Broadway?

a. 1964

b. 1965

c. 1966

d. 1967

e. 1968

2. What is the setting of the story?

a. 1950s, Brooklyn

b. 1960s, Brooklyn

c. 1950s, New York City

d. 1960s, New York City

e. None of the above

3. Who is Cy Coleman?

a. Composer of Sweet Charity

b. Writer of Sweet Charity

c. Lyricist of Sweet Charity

d. Choreographer of Sweet Charity

e. He played Oscar in the original

Broadway production of Sweet

Charity

4. Where does Charity work?

a. At Coney Island

b. In a doctor’s office

c. At a bank

d. The Pompeii Club

e. The Fan-Dango Ballroom

5. What does Charity have tattooed on her arm?

a. Her name

b. A heart

c. A butterfly

d. A rose

e. She doesn’t have a tattoo

6. Who pushes Charity into the lake at the

beginning of the story?

a. Vittorio Vidal

b. Oscar

c. Charlie

d. Herbert

e. Her friends Nicky and Helene

7. Why does Vittorio ask Charity to accompany

him to the Pompeii Club?

a. He thinks Charity is beautiful

b. He feels sorry for Charity

c. He and Charity are dating

d. Charity begs him to let her go

e. He and his mistress have an argument

8. Where does Charity meet Oscar Lindquist?

a. In an elevator

b. In a closet

c. At the park bridge

d. In a church

e. The building where Oscar works

9. Why does Oscar break up with Charity?

a. He finds someone else

b. He has to move out of town

c. He cannot forget about Charity being

a taxi dancer

d. He wants her to get a new job and

Charity refuses

e. He does not like Charity’s friends

10. Which of the following expressions does

Charity use in the story?

a. Without love life has no purpose

b. I wear my heart on my sleeve

c. The fickle finger of fate

d. Both C and B

e. Both A and C

Sweet Charity Mini Quiz Answer Key

1. C

2. D

3. A

4. E

5. B

6. C

7. E

8. A

9. C

10. E

23 -- Supplemental Materials -- Sweet Charity Study Guide

PBS’ Stars Over Broadway:

Bob Fosse

Section Five: Supplemental Materials

Director-choreographer Bob Fosse forever changed the way audiences around the world viewed dance on the stage and in the film

industry in the late 20th century. Visionary, intense, and unbelievably driven, Fosse was an artist whose work was always provoca-

tive, entertaining, and quite unlike anything ever before seen. His dances were physically demanding of even the most highly

trained dancers, full of joyous humor as well as bleak cynicism -- works that addressed the full range of human emotions. Through

his films he revolutionized the presentation of dance on screen and paved the way for a whole generation of film and video direc-

tors, showing dance through the camera lens as no one had done before, foreshadowing the rise of the MTV-era of music video

dance.

Robert Louis Fosse was born in Chicago, Illinois, on June 23, 1927. Bob was the youngest of six children and quickly learned to win

attention from his family through his dancing. It was not long before he was recognized as a child prodigy. His parents sent him to

formal lessons, where he immersed himself in tap dancing. A small boy who suffered from nagging health problems, he neverthe-

less was so dedicated that by the time he reached high school, he was already dancing professionally in area nightclubs. After high

school, Fosse enlisted in the Navy in 1945. Shortly after he arrived at boot camp, V-J day was declared, and World War II officially

came to an end. Fosse completed his two-year duty and moved to New York City.

For the next seven years, Fosse went through two rocky marriages with dancers Mary Ann Niles and Joan McCracken, all the while

performing in variety shows on stage and on television. He had a few minor Broadway chorus parts, but his big break came with his

brief appearance in the 1953 MGM movie musical Kiss Me Kate. Fosse caught the immediate attention of two of Broadway's

acknowledged masters: George Abbott and Jerome Robbins.

Fosse's first fully choreographed show was 1954's The Pajama Game. Directed by Abbott, the show made Fosse an overnight success

and showcased his trademark choreographic style: forward hip-thrusts; the vaudeville humor of hunched shoulders and turned-in

feet; the amazing, mime-like articulation of hands. He often dressed his dancers in black and put them in white gloves and der-

bies, recalling the image of Charlie Chaplin. He incorporated all the tricks of vaudeville that he had learned -- pratfalls, slights-of-

hand, double takes. Fosse received the first of his many Tony Awards for Best Choreography for The Pajama Game.

His next musical, Damn Yankees, brought more awards and established his life-long creative collaboration with Gwen Verdon, who

had the starring role. With her inspiration, Fosse created a stream of classic dances. By 1960, Fosse was a nationally known and

respected choreographer, married to Verdon (by then a beloved Broadway star) and father to their child Nicole. Yet Fosse struggled

with many of his producers and directors, who wished him to tone down or remove the "controversial" parts of his dances. Tired of

subverting his artistic vision for the sake of "being proper," Fosse realized that he needed to be the director as well as the choreog-

rapher in order to have control over his dances.

From the late 1960s to the late 1970s, Fosse created a number of ground-breaking stage musicals and films. Before Fosse, dance

was always filmed either in a front-facing or overhead view. In his 1969 film version of Sweet Charity (Fosse's 1966 stage version

was based on an earlier movie by Italian director Federico Fellini; the film was commissioned by Universal Studios after the suc-

cess of the stage version) and in later works, Fosse introduced unique perspective shots and jump cuts. These film and editing

techniques would become standard practice for music video directors decades later.

His 1972 film Caberet was based on Christopher Isherwood's stories of pre-Weimar Germany. Articles on the film appeared in all the

major magazines. Photos appeared on the covers of Time and Newsweek. The film was Fosse's biggest public success and won eight

Academy Awards. Fosse's Pippin(1972) became the highest earning Broadway show in history, as well as the first Broadway show to

advertise on national television. Pippin was awarded five Tony Awards for the 1972-73 season, one of them given to Fosse for best

direction and choreography. Fosse staged and choreographed a variety show special for NBC starring Liza Minnelli, Liza With a Z,

which brought Fosse an Emmy Award and made him the first person to ever win top honors in three entertainment mediums in the

same year -- stage, film, and television.

Two stage musicals followed: Chicago (1975) and Dancin (1978). During rehearsals for Chicago, Fosse suffered a heart attack. He

survived and used much of that traumatic experience in 1979 in his semiautobiographical dance film All That Jazz. Two other

films, Lenny (1974) and Star 80 (1983), were not the popular successes that his other shows had been. Big Deal Fosse's last musi-

cal, was also poorly received. After a rehearsal for the revival of Sweet Charity, Fosse suffered a massive heart attack and died on

the way to the hospital. Fosse's contribution to American entertainment continued after his death via show revivals and dance

classes. His most prominent contribution was through the body of his work recorded on film and video.

Adapted from PBS.org

24 -- Supplemental Materials -- Sweet Charity Study Guide

Jazz Dance:

Brief

Overview

Jazz Dancing History

The term “Jazz Dance” has been used to describe a forever-changing form of popular and creative dance movement ever since the

1920s. It represents our popular culture, and as the culture changes, so does the appearance of jazz dance. Jazz dance has char-

acter and the ability to make changes as a main fragment. It is this element that allows itself to shed its skin and take up another

for every passing era. This means that the social dances of the 1920s like the Charleston and Black Bottom are known as jazz

dances, but so are the theatre dances of choreographer Bob Fosse. The style of Fred Astaire comes from jazz dancing, as well as

many dances by the modern dance choreographer Alvin Ailey. The shortened sounds of tap dancing can be considered as jazz danc-

ing, but so can the body popping movements of break-dancing. The common subject binding these obviously different things

together is rhythm, or to be more exact, rhythm that is composed in African influences.

The Roots of Theatrical Jazz Dance

The next major change in vernacular dance with the advent of ragtime music and ballroom dancing after 1910. Before 1910, there

were only two types of songs, happy or sad. During this decade, black composers were writing songs whose lyrics specified how to

do a dance. Many animal dances, partly inspired by African animal dances, swept ballrooms. Some of these dances were the Turkey

Trot, the Bunny Hop, the Monkey Glide and the Chicken Scratch. Irene and Vernon Castle created the Turkey Trot for the Broadway

show The Sunshine Girl. The raid of ballrooms with vernacular inspired dances set the stage of the same process to happen on

Broadway.

Basic Jazz Dance Concepts

Arm Swing and Snap: Swing your left arm forward in front of your body. Your head follows the same motion. When you are about

to swing your arm back down, snap your fingers.

Jazz Hands: Stretch your fingers wide apart and extend your arms out to the side with a sharp bend in the elbow going inward,

palms facing forward.

Flat, Low Level: Stand upright with your knees bent and feet a little bit apart with your arms parallel at your sides. Step forwards

with your right foot without lifting it off of the ground. Next the left foot.

Grapevine: Step to the side on the right foot with a slightly bent knee and your foot turned out. Step to the front on your left foot

with a slightly bent knee and your foot turned out. Step to the side on your right foot with a bent knee and your foot turned out.

Step back on your left foot with a bent knee and your foot turned out.

Step Ball Change: The foot in the back is on tiptoe (left), and all of the weight is in the front. Then you transfer your weight to

the back making your back foot flat, and at the same time, raise the heel of the front foot.

Jazz Square: Start with your feet parallel, and your arms out to the sides. Cross your right foot in front of the left foot with a

straight right leg. Step back with the left foot, with a relaxed knee. The torso faces the front. Step to the side on right leg with

relaxed knee. The left leg steps to the front, forward of the right leg with relaxed knee.

Learn more from these books about Jazz Dance and its History:

Jazz Dance Today by Larraine Person Kriegel and Kim Chandler-Vaccaro

Jump Into Jazz by Minda Goodman Kraines and Esther Kan

Jazz Dance by Marshall and Jean Stearns

Luigi’s Jazz Warm Up: And Introduction to Jazz Style & Technique by Luigi

Jazz Dance: The Story of American Vernacular Dance by Marshall Winslow Stearns

Frank Hatchett’s Jazz Dance by Frank Hatchett, Nancy Myers Gitlin

25 -- Supplemental Materials -- Sweet Charity Study Guide

BBiigg

SSppeennddeerr

- Hey, fellow. Can I talk to you for a second?

What's the harm in a minute talk?

- Hey, good looking, I like your hair!

- Hey, mister, you got a cigarette for me, huh?

- Oh, sir, you speak French.

- Parlez vous Français?

- Hey guy do you wanna dance?

A little dance won't hurt ya!

- Guy do you wanna tango,

it always take two for tango.

- Ooh, you're so tall!

- Let's have some fun!

- Sssssssssss...

The minute you walked in the joint,

I could see you were a man of distinction,

A real big spender,

Good looking, so refined.

Say, wouldn't you like to know

What's going on in my mind?

So, let me get right to the point,

I don't pop my cork for ev'ry guy I see.

Hey, big spender, spend...

A little time with...me...me...me!

Do you wanna have fun?

Ssssssssssss...

How's about (fun) a few laughs?

I can show you a...good time...

Do you wanna have fun...fun...fun?

How's about (fun) a few (fun) laughs (fun)

Laughs (fun) laughs

(I can show you a...)

(fun) laughs (fun) laughs

(good time)

Fun, laughs (good time)

Fun, laughs (good time)...Ssssssssssss...

What did you say you are?

How's about a ...(laugh)

I could give you some...

Are you ready for some...(fun)

How would you like a...

Let me show you a ...(good time)

Hey, big spender...

The minute you walked in the joint,

I could see you were a man of distinction,

A real big spender.

Good looking, so refined.

Say wouldn't you like to know

What's going on in my mind?

So, let me get right to the point,

I don't pop my cork for every guy I see.

Hey, big spender,

Hey, big spender!

Spend...a little time with ...me!

Fun...Laughs...Good Time!

How about it paly?...Yeah!

Song

Lyrics

II’’mm

BBrraassss

BBaanndd

Charity:

Someone loves me!

Someone loves me,

My heart is beating so fast.

All kinds of music is pouring out of me,

Somebody loves me at last!

Now...

I'm a brass band,

I'm a harpsichord;

I'm a clarinet!

I'm the Philadelphia Orchestra,

I'm the Modern Jazz Quartet!

I'm the band from Macy's Big Parade.

A wild Count Basie blast!

I'm the bells from Saint Peter's in Rome

I'm tissue paper on a comb...

And all kinds of music

Is pouring out of me 'cause...

Somebody loves me...at last!

Chorus:

She's a brass band,

She's a harpsichord,

She's a clarinet!

Charity:

That's me!

Chorus:

She's the Philadelphia Orchestra,

She's the Modern Jazz Quartet!

She's a brass band,

She's a harpsichord,

She's a clarinet!

She's the Philadelphia Orchestra,

She's the Modern Jazz Quartet!

She's the band from Macy's Big Parade

A wild Count Basie blast!

She's the bells from Saint Peter's in Rome

She's tissue paper on a comb...

Charity:

Somebody loves me...at last!

26 -- Supplemental Materials -- Sweet Charity Study Guide

WWhheerree

AAmm

GGooiinngg??

Charity:

Where am I going?

And what will I find?

What's in this grab-bag that I call my mind?

What am I doing alone on the shelf?

Ain't it a shame,

No one's to blame, but myself...

Which way is clear?

When you've lost your way year after year?

Do I keep falling in love

For just the kick of it?

Staggering through the thin and thick of it,

Hating each old and tired trick of it.

Know what I am,

I'm good and sick of it!

Where am I going?

Why do I care?

Run to the Bronx, or Washington Square,

No matter where I run I meet myself there,

Looking inside me, what do I see?

Anger and hope and doubt,

What am I all about?

And where am I going?

You tell me!

Where am I going?

Why do I care?

Run to the Bronx, or Washington Square,

No matter where I run I meet myself there,

Looking inside me, what do I see?

Anger and hope and doubt

What am I all about?

And where am I going?

You tell me!

Song

Lyrics

(continued)

IIff

MMyy

FFrriieennddss

CCoouulldd

SSeeee

MMee

NNooww

Charity:

Tonight at eight you shoulda seen

A chauffeur pull up in a rented limousine!

My neighbors burned! They like to die!

When I tell them who is gettin' in and goin' out is I!

If they could see me now,

That little gang of mine,

I'm eating fancy chow

And drinking fancy wine.

I'd like those stumble bums to see for a fact

The kind of top drawer, first rate chums I attract.

All I can say is "Wow-ee!

Looka where I am.

Tonight I landed, pow!

Right in a pot of jam.

What a set up! Holy cow!

They'd never believe it,

If my friends could see me now!

If they could see me now,

My little dusty group,

Traipsin' 'round this million dollar chicken coop.

I'd hear those thrift shop cats say:

"Brother, get her!

Draped on a bed spread made from three kinds of fur."

All I can say is, "Wow!

Wait till the riff an' raff

See just exactly how

He sign this autograph."

What a build up! Holy cow!

They'd never believe it,

If my friends could see me now!

If they could see me now

Alone with Mister V.,

Who's waiting on me like he was a maître d'

I'd hear my buddies saying:

"Crazy, what gives?

Tonight she's living like

The other half lives!"

To think the highest brow,

Which I must say is he,

Should pick the lowest brow,

Which there's no doubt is me!

What a step up! Holy cow!

They'd never believe it,

If my friends could see me now!

What a step up! Holy cow!

They'd never believe it...

They'd never believe it,

If my friends could see me now

Hi, girls it's me, Charity!