Classics On Tour Teacher Preparation Guide · 2020-01-07 · Teacher Preparation Guide: SHERLOCK HOLMES MEETS THE BULLY OF BAKER STREET│ 5 GLT: Our History, Our Future Tom Hanks

Classics On Tour

Teacher Preparation Guide

By David Hansen

Based on characters created by Arthur Conan Doyle

Directed by Lisa Ortenzi

Dear Educator ………………………………………………………………………...................................

A Note to Students: What to Expect at the Theater………………………………………………………..

GLT: Our History, Our Future………………………………………………………………..……………

Playwright’s Note by David Hansen …..…………….…………………………………………………….

About Arthur Conan Doyle …..….…………………………………………….…………………………..

Sherlock Holmes, a biography …………………………………………………………………………….

Play Synopsis ……………………………………………………………………………………………...

Costume Design …………………..…………………………………………………………………….…

Scenic Design ……………………………………………………………………………………………...

Vocabulary & Victorian Slang …………………………………………………………………………….

Coloring Sheet ……………………………………………………………………………………………..

Song Lyrics ……………………………………………..…………………………………………………

Activities:

Mystery Powder! …………………………………………………………………………………..

Capture the Secret File! ……………………………….…………………………………………...

Reveal the Secret Message! ……………………………………………………………………….

Be Your Own Sherlock! …………………………………………………………………………...

Moriarty! …………………………………………………………………………………………..

Discussion Questions ………………………………………...……………………………………………

Addition Resources ………………………………………………………………………………………..

Think Like a Critic! (Grades K—5) …………………………………………..………….…..……………

How To Write a Review (Grades 6—8) …………..………………...……………………..……………....

Common Core …….…………………...…………………………………………….…………………….

Generous Support …………………………………………………………………….…………………....

About Great Lakes Theater ………….…………………………………………………………………….

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Table of Contents

Teacher Preparation Guide

Guide contributors:

Luke Brett, Chennelle Bryant-Harris, Chelsea Cannon, David Hansen

Ayana Spell is School Psychologist for Alamance Burlington Schools, Burlington, North Carolina.

Sidney Edward Paget (1860-1908) was a British illustrator of the Victorian era, best known for his

illustrations that accompanied Arthur Conan Doyle's Sherlock Holmes stories in “The Strand” magazine.

Welcome to Great Lakes Theater’s CLASSICS ON TOUR! Since 1990, GLT has been “bringing the classics to the community,” each spring presenting a professional touring production that visits venues throughout northeast Ohio. Past tours have featured one-act plays from Arthur Miller, George Bernard Shaw, and Anton Chekhov, adaptations of work from Lorraine Hansberry, Sholem Aleichem, and Agatha Christie, as well as original plays from such notable Northeast Ohio playwrights as Eric Coble, Eric Schmiedl, Sarah Morton, and Michael Oatman. For 2020 we are proud to present SHERLOCK HOLMES MEETS THE BULLY OF BAKER STREET, written by GLT Education Outreach Associate David Hansen. Designed for elementary and middle school audiences, this play is inspired by characters created by Arthur Conan Doyle. This touring production is created by the same professional designers who create our main stage productions, directed by members of GLT’s education staff, and performed by local, professional actors. Over the years, the GLT outreach touring program has continued to evolve by incorporating input from audiences who have experienced the tour first-hand. This Teacher Resource Guide was created to provide our partnering teachers greater insight into the production. Features of this resource guide include:

Original reference material

Costume and scenic design renderings

Vocabulary list from the play text

Suggested classroom activities

Discussion prompts

Clearly stated examples of how the outreach tour correlates to Common Core Standards.

We hope you find this guide to be a valuable resource, and that you and your students enjoy the show!

Sincerely,

David Hansen Education Outreach Associate [email protected]

Teacher Preparation Guide: SHERLOCK HOLMES MEETS THE BULLY OF BAKER STREET│ 4

ou may or may not have attended a live theater

performance before. To increase your enjoyment, it

might be helpful to look at the unique qualities of this art

form — because it is so different from movies or video.

The live theatrical performance not only involves the

actors on the stage; it is meant to involve you, the

audience, in ways that film and television cannot. In

truth, although you are sitting in an auditorium and the

actors are on stage, there is very little separating the

audience from the performers. How you react to the play

deeply affects the actors. Something as seemingly trivial

as whispering or playing with your program can distract

them and disrupt the mood and tone of their

performance. Due to the important relationship between

actors and audience members, there are certain, perhaps

obvious, provisions of live theater we wish to call to

your attention.

During the performance, it is important to know that the

taking of pictures, either with or without a flash, is

strictly prohibited. Also, it is essential that all electronic

equipment, including cell phones, music players (even

with headphones), tablets, etc., be completely powered

off once you have entered the theatre. Our

goal is to provide every person in the

audience with the best possible theatrical

experience, so we appreciate your

respectful cooperation during the

performance.

Other differences live theater provides; in

film or video, the camera and editing define

what we will see. In the theater, however,

each of us works as a camera and editor,

choosing his or her personal points of

focus. And for this touring production, you

should know that often we do not use

microphones. As audience members you'll

need to actively listen and "tune in" to the sound of the

unamplified human voice.

As for our scenery and costumes, it might surprise you

to know that these are not necessarily meant to be

realistic. In this production, for example, there are

design elements that are abstract or metaphorical.

The theater's ability to focus on human experience —

distilled through the dialogue and behavior of people

on stage and enhanced by the scenery, costumes, music

and dance — is a centuries-old tradition. Being part of

the communal magic when performer and audience

connect —whether at a baseball game, music concert

or theater performance — cannot be duplicated.

The performance you will see produced by Great

Lakes Theater will happen only once. It is unique and

personal. Though this play will be performed more

than two dozen times, the performance you see belongs

only to you.

We hope you enjoy it, and we'd like you to share your

response with us.

A Note to Students:

What to Expect Experiencing a Play

Y


GLT: Our History, Our Future

Tom Hanks and fellow company member

Bert Goldstein.

The beautifully renovated Hanna Theatre

Since 1962, Great Lakes Theater (GLT) has brought the world’s greatest plays

to life for all of Cleveland. In 1961, the Lakewood Board of Education

president persuaded a Shakespeare troupe, led by Arthur Lithgow, to make

Lakewood Civic Auditorium its home. The theater that opened its doors on

July 11, 1962 as Great Lakes Shakespeare presented six Shakespeare plays in

rotating repertory. In exchange for free rent, the company provided student

matinee productions. The repertory was expanded in 1965 to include non-

Shakespearean classics as a result of an exchange of productions with

Princeton’s McCarter Theater. The Company outgrew its original home at

Lakewood Civic Auditorium and, in 1982, made the move to the Ohio Theatre

in Playhouse Square, launching the revitalization of downtown Cleveland’s

Theatre District.

In 2001 the Company was searching for a new Producing Artistic Director,

and the Board sought a candidate with well-established business skills as well

as artistic leadership. Charles Fee was selected for his commitment to

Shakespeare and his reputation for building Idaho Shakespeare Festival into a

highly successful regional theater. GLT recommitted itself to its founding core

values: Shakespeare, rotating repertory and an acting company of the highest

caliber. During Fee’s tenure, the company has been recognized for its artistic

excellence, winning the Northern Ohio Live Magazine Award for excellence

in Theater in 2005 after three years of being a finalist, as well as The Free

Times Reader’s Choice Award for Best Performing Arts Group in 2006, and

for eliminating the inherited accumulated net deficit of over one million

dollars.

The Company has also been a revolutionary producing model unlike any other

in America to create cost efficiency and enhance our artistic product. We now

exchange our repertory productions with Idaho Shakespeare Festival (ISF) in

Boise, Idaho and Lake Tahoe Shakespeare Festival (LTSF) in Nevada.

This deep collaboration between independent producing organizations is a first in American theater. With this

visionary model now fully in place, GLT, ISF, and LTSF are able to deepen the artistic quality of the work on our

stages, share our production costs, maximize our resources, and provide nearly year-round employment to our resident

company of artists.

Now, GLT has entered into a new phase, making the historic Hanna Theatre in Playhouse Square the home of the

Company. The renovation of the Hanna Theatre, as well as the creation of GLT’s first endowment fund, is part of our

Re-Imagine A Classic Campaign to ensure GLT’s future. Our new home in the Hanna features a hydraulically

operated thrust stage, a first for this region, and innovative and intimate seating where no seat is farther than eleven

rows from the stage. We believe that this extraordinary theater experience will revolutionize the way Northern Ohio

experiences classic theater.

Great Lakes Theater is one of only a handful of American theaters that have stayed the course as a classic theater.

With a plucky history of bucking economic trends to strive for and nurture the highest artistic quality, it remains a

distinctive and significant cultural resource in an extraordinary American city.

Playwright’s Note by David Hansen


David Hansen

(playwright) has

participated in Cleveland’s

theater renaissance as the

founder and artistic

director of Guerrilla

Theater Company and

Dobama’s Night Kitchen,

as well as an actor and

director at Cleveland Play

House, Great Lakes Theater, Cleveland Public Theatre,

Dobama Theatre, Beck Center and Karamu House. His

produced plays include The Way I Danced With You, About a

Ghoul, Red Onion White Garlic, Rosalynde & The Falcon, The

Vampyres and On the Dark Side of Twilight. Published works

include Double Heart (The Courtship of Beatrice and

Benedick) and adaptations of Agatha Christie’s The

Mysterious Affair at Styles and The Secret Adversary. Solo

performances include And Then You Die (How I Ran a

Marathon in 26.2 Years) and his award-winning work on

stillbirth, I Hate This (a play without the baby). David is

Education Outreach Associate for Great Lakes Theater and a

member of the Dramatists Guild of America. He lives in

Cleveland Heights, the City of Great Writers.

http://davidhansen.org

“Sherlock Holmes Meets the Bully of Baker Street” is the

third mystery play I have written for Great Lakes Theater. I

have written adaptations for two Agatha Christie novels for

previous GLT outreach tours, “The Mysterious Affair at

Styles” and “The Secret Adversary.” However, I was not

actually a big fan of detective stories when I was young! It

was an older brother of mine who was mystery-obsessive. It

was he who introduced me to the likes of Hercule Poirot,

Nero Wolfe, Ellery Queen, and he was quite an expert on

Sherlock Holmes.

When my brother was in middle school, he and eight of his

colleagues even formed a local chapter of the Baker Street

Irregulars (BSI), an international organization of Sherlock

Holmes enthusiasts that has in its time included such

notable members as authors Isaac Asimov and Neil

Gaiman, and even President Harry S. Truman!

One of the more notable things about members of the BSI is

their deep interest in what they call “The Game.” They

believe (or imagine) that Holmes and Watson were not

fictitious and that Arthur Conan Doyle was merely a literary

agent for Dr. Watson. They spend many enjoyable hours

debating and creating a realistic timeline and character

biographies from Doyle’s fifty-six short stories and four

Holmes novels.

For two primary reasons, however, I chose not to adapt one

of Doyle’s stories, but instead to create one of my own. The

first reason is that I wanted to craft a tale with a female

narrator. The second, that so many Holmes tales involve

violent crime, and this is meant to be a play for children.

Having assumed the responsibility of writing a brand new

mystery for such a well-beloved character, I did not wish to

stumble blindly into a chronology so richly mined. I wanted

to create a new story which would not only be enjoyed by a

young audience, but also acceptable to the legion of fans. A

possible, brief adventure about a non-violent crime that

could fit into the established narrative … and Watson

needed to be absent.

In 1962, William S. Baring-Gould published what has come

to be regarded as the definitive “biography” of the world’s

most famous detective, “Sherlock Holmes of Baker Street.”

He writes:

“Watson, in the winter of 1900-01 and the following

spring, was much too busy writing his narrative of "The

Hound of the Baskervilles" to share many cases with

Holmes, but his narrative was in the hands of the

publishers by May of 1901, and he was able to take

part in a case destined to become a classic in the

annals of criminology -- that of the Priory School.”

And so, the adventure of “Sherlock Holmes Meets the Bully

of Baker Street” takes place over the course of a couple of

days in early spring, 1901. For good measure, I even sent

Watson out of the country for a fortnight on a family matter,

and created the character of Vicky, a bright, young woman

of the working classes, who is about to embark on a life-

changing adventure with the world’s first consulting

detective!

http://davidhansen.org/

http://davidhansen.org/


About SIR ARTHUR CONAN DOYLE Sir Arthur Conan Doyle (May 22, 1859 – July 7,

1930) was prolific writer who authored over 200

novels, short stories pamphlets and plays over the

course of his life and is the creator of the captivating

detective, Sherlock Holmes.

Doyle was born to a middle-class family in

Edinburgh, Scotland on May 22, 1859.

His career as a storyteller began in boarding school

where he was known for telling wonderful tales that

endeared him to his classmates. Though his father

was an artist, when Doyle enrolled at the University

of Edinburgh, he chose to study medicine. It was

during this time in school that he not only met other

famous writers like Robert Louis Stevenson (author

of novels like Treasure Island and Dr. Jekyll and Mr.

Hyde) but also Dr. Joseph Bell, one of Doyle’s

professors who would become the inspiration for the

character of Sherlock Holmes. Dr. Bell was a master

at using deductive reasoning to diagnose his

patients’ various illnesses and his skill was so

recognizable that Robert Louis Stevenson himself

could identify Bell’s talents in the character of

Sherlock Holmes.

In fact, many of Doyle’s stories were inspired by

those around him or the adventures he had

participated in. One of this first stories, Captain of

the Pole Star, was written after Doyle’s took a job a

surgeon on a ship.

In the Spring of 1887, Doyle began writing his first

Holmes mystery, A Study in Scarlet, while working

as a doctor in Edinburg. The tale was published later

that year in Beeton’s Christmas Annual. He wrote

the novel in three weeks and it became the first of

four novels and over 50 short stories that feature the

famous investigative duo Sherlock Holmes and Dr.

John Watson.

Though Holmes and Watson caught the attention of

readers, the stories were apparently, not the author’s

favorites. In fact, to rid himself of the Holmes

persona, he

penned The

Adventures of

the Final

Problem in

1893 — the

effect was

disastrous.

Thousands of

readers

canceled their

subscriptions

to The Strand

Magazine.

It would be a

few years

before Doyle

returned to

Sherlock Holmes as he would focus on other

writings featuring his interests in history, science

and spirituality. In 1901, however, Doyle’s

fascination with a local legend in the Devonshire

Moors inspired a new mystery starring Sherlock

Holmes: The Hound of the Baskervilles.

In addition to writing, Doyle also volunteered his

medical skills during the Boer Wars ran for office in

his birthplace of Scotland and travelled the world,

speaking about his writings and beliefs in

Spiritualism.

Sir Arthur Conan Doyle died in England in 1930.

Wilson, Philip K. “Arthur Conan Doyle.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., Nov. 13, 2019 “Arthur Conan Doyle Biography.” The

Biography.com Website, A&E Television Network,

April 2, 2014

“Inscribed Copy of Sherlock Holmes Debut Book for

Sale.” The Telegraph, May 24, 2010

Sir Arthur Conan Doyle in 1914

Photo by Walter Benington

Illustration by Sidney Edward Paget


SHERLOCK HOLMES, a biography Though Sherlock Holmes himself is a work of

fiction, readers have collected information about this

most-famous detective, one who holds the Guinness

World Record of being the most portrayed fictional

character.

Sherlock Holmes was born (according to the

deduction done by his fans) on January 6, 1854.

Much of his personal life remains a mystery, with

the exception that he has a brother, Mycroft. Mycroft

Holmes works for the British Government and is

considered, in Sherlock’s opinion, to be the smarter

Holmes, though Mycroft prefers not to put his

energy into detective fieldwork.

Holmes lives at 221B Baker Street and shares rooms

with his friend, assistant, and confidant, Dr. John

Watson. Baker Street also serves as a place of

business for Holmes and Watson, and initial

meetings with many of their clients often begins

here. He is often called upon by his clients to assist

the police or, in cases of a sensitive nature, Holmes

may be asked to work on cases instead of the police.

Sherlock Holmes is not exactly a friendly man.

Many are put off by his bold and direct nature. Not

one for subtlety, Holmes is well known for being

insensitive and cold. His personality does frequently

come in handy however, as he uses his acute skills

of observation and deductive reasoning to solve

many of his cases. After surveying a room and

gathering evidence, he is a master at creating an

explanation for anything—whether it be who the

culprit is of a masterful crime, to knowing one’s

occupation based on the wrinkles in one’s shirt and a

bit of dirt on one’s left shoe.

On more than one occasion, Holmes remarked,

“When you have eliminated the impossible,

whatever remains, however improbable, must be the

truth.”

In addition to his skills as a detective, Sherlock

Holmes is a master of disguise. The man often uses

costumes and make-up, and assumes impediments to

entrap guilty parties or collect evidence. Watson

himself says, “The stage lost a fine actor [when

Holmes] became a specialist in crime.” While the

stage will never see his marvelous performances,

Sherlock is rewarded with duping others into giving

sensitive information to people they might trust,

such as “an elderly woman” or “a priest”. Without

these disguises, Sherlock would possibly never have

enough information needed to solve the cases.

That being said, there were a few cases that…got

away from Holmes—A Scandal in Bohemia, or The

Adventure of the Yellow Face to name a couple.

Holmes’ unique skill set sometimes caused him to

overthink a reason, or believe that some extravagant

situation happened rather than the simple

explanation.

Sir Arthur Conan Doyle decided after many years, to

have Sherlock killed off. After an epic battle at

Reichenbach Falls with Holmes’ arch nemesis

Moriarty, Sherlock falls off a cliff to his death. The

reaction from readers was unlike anything ever seen

for a work of fiction. People mourned for him. And

because of this, Doyle had Sherlock reappear,

explaining to Watson that he faked his death to “fool

his enemies.”

Play Synopsis (Spoilers!)


London, 1901. A short time after the

death of Queen Victoria. A young woman

named Vicky attempts to pick the pocket of

Sherlock Holmes. He is impressed with her wit and

skill and they part with grudging mutual admiration.

Vicky is one of the older girls who live at an

orphanage, the Shaxper Asylum for Fatherless Girls,

which is dominated by the cruel “Head Girl” Miss

Barnaby, also referred to as “Barney the Bully.”

Barney sings a song about the criminal acts she has

taught her fellow orphans to perform (“Oh My!

How the Money Rolls In!”)

Holmes, fearing for the safety of the young woman

he has recently met, tracks her to the Asylum where

he encounters Barney. He encourages Vicky to meet

him at 221B Baker Street.

Vicky joins Holmes at Baker Street and accepts his

offer to chronicle his adventures. Soon after they are

visited by Sir Arthur Dean Cloony, Private

Secretary to King Edward VII, who wants Holmes

to search for a missing portrait of the late Queen.

Vicky and Holmes visit the painter, Alma Tadema-

Lawrence (“The Artist”) who shows them the studio

from where the painting was stolen. Holmes and

Vicky notice clues, including a glove she had knit

for Annie, a small girl at the orphanage.

Apparently having solved the crime, they return to

the Shaxper and confront Barney. At the same time,

Scotland Yard searches the building and locates the

painting. Barney is arrested, and Inspector Lestrade

provides Holmes with a message from the King, an

invitation to the unveiling ceremony for the portrait.

Vicky explains to the audience that while Edward is

king, he has not yet been coronated. (“On the Day

King Edward Gets His Crown On”)

Attending the unveiling at the National Portrait

Gallery, Vicky and Holmes meet George, the Prince

of Wales. Holmes informs him that the painting is

an apparent forgery, and accuses Sir Arthur Dean

Cloony of having arranged for Barney to steal the

forgery while he sold the original to an overseas

buyer. Sir Arthur confesses.

Back at 221B Baker Street, Prince George visits to

offer a reward for solving the crime. Vicky requests

that Barney be freed from prison, while Holmes

suggests Vicky be offered passage to the United

States, a place she had expressed a dream of seeing.

Sir Arthur makes a brief return to lament his fall

from grace. (“Broken Down”)

Barney visits 221B to thank Vicky, promises

reformation, and gives her a surprise gift. Vicky

confronts Holmes with his numerous verbal abuses

and he apologizes … and they make one last

surprising discovery! Illustration by Sidney Edward Paget

This synopsis includes the solution to the mystery!


COSTUME DESIGN by Zachary Hickle

Vicky Sherlock Holmes Miss Barnaby

Alma Tadema-Lawrence Inspector Lestrade

Sir Arthur Dean Cloony Annie George, Prince of Wales


SCENIC DESIGN by Alison Garrigan

The set is a periaktoi (from a Greek word

meaning revolving) a multi-sided device used for

displaying and rapidly changing theatre scenes.

National Portrait Gallery 221 Baker Street (exterior)

221B Baker Street

(interior, above)

The Shaxper Asylum for

Fatherless Girls (right)


Vocabulary found in The Bully of Baker Street

Accomplice one associated with another especially in

wrong doing

Appraise to set a value on: to estimate the amount

of work

Ascendancy governing or controlling influence:

domination

Bohemian a person (such as a writer or artist) living

an unconventional life

Connoisseur expert, especially one who understands

the details.

Garish offensively or distressingly bright

Ghastly terrifyingly horrible to the senses

Lenient a mild or tolerant disposition or effect:

not harsh, severe or strict

Penury a cramping and oppressive lack of

resources (such as money)

Pudding any kind of dessert

Recompense to give something by way of compensations; to pay for

Reformation a change for the better

Solvents a usually liquid substance capable of dissolving

Tinderbox a metal box for holding tinder and usually a flint or steel for striking a spark

Turpentine a flammable solvent derived from the resin of trees

Unrepentant not feeling or exhibiting shame or remorse

Victorian Era Slang

Blimey an expression of surprise

Carriwitchet a hoaxing or riddling question

Chuckaboo an expression of endearment

The morbs a feeling of depression

“The man-mans” members of the Royal Family

Twit an insult; someone thought to be a of low intelligence


Thousands of words and phrases in existence in 1870 have

drifted away, or changed their forms, or been absorbed,

while as many have been added or are being added.

- “Passing English of the Victorian Era” by J. Redding Ware (1909)

Coloring sheet illustration by Luke Brett

www.greatlakestheater.org


Music Hall!

Music Hall is a form of entertainment which was

extremely popular in England during the Victorian

Era, featuring comedy performances and rousing,

boisterous songs. Subject matter for music hall songs

could be thought unsuitable for “respectable”

audiences, focusing on and making light, as they often

did, on subjects such as poverty, crime and

inappropriate social behavior.

Each of the songs performed in today’s performance

were written in the late 19th and early 20th centuries,

though some of the lyrics have been adapted to suit

the plot of the play.

For example, we use the song “Oh my! How the

Money Rolls In,” which uses the traditional Scottish

melody for “My Bonnie Lies Over the Ocean,” to let

Miss Barnaby describe the illegal activities committed

by her young charges.

If you and your students learn the chorus, we’d love for you to join in during the performance!

“God Save the Queen” (or King, depending on the reigning monarch) is the national anthem of the United Kingdom, composer unknown. The tune may be recognizable to American children, as it is the same we use for “My Country, ‘Tis of Thee.”

God Save the Queen God save our gracious Queen Long live our noble Queen God save the Queen Send her victorious Happy and glorious Long to reign over us God save the Queen

Oh My! How The Money Rolls In! Formerly: “My G-d! How the Money Rolls In” (traditional) To the tune of “My Bonnie Lies Over the Ocean” Revised lyrics by the playwright

Young Annie steals fruit from the corner Which Sylvia sells in the square Then brings all the pennies she’s made up I’ll give her back one as her share! CHORUS Rolls in, rolls in, oh my how the money rolls in, rolls in! Rolls in, rolls in, oh my how the money rolls in!

Young Darla she sneaks into houses Takes all of the silver and plate Her talents have grown exponentially And the darling sweet robin’s just eight CHORUS Then Vicky’s so good a pickpocket She makes bank and I won’t pull her hair If you think that’s no way of living Who told you that living is fair? CHORUS

Song Lyrics

Queen Victoria


The Artist Written and composed by A. J. Mills and B. Scott (1902) Revised lyrics by the playwright

I’m an artist that soon will be framed in the Portrait Gallery That is to say, my pictures high upon the wall will be My subjects are poetic, my style is quite aes-thetic My pictures seem to cast a spell, but strange to say they never sell CHORUS Take my word I’m very, very clever But I really don’t know why I’m living in a garret, my style is eighteen carat And you’ll want to buy my pictures when I die I’m an artist that soon will be there, I have finally got access I’m most eccentric, always wear a fringe up-on my dress When reporters pursue me and start to inter-view me I tell them I don’t order steak, my jewelry all is fake CHORUS

On the Day King Edward Gets His

Crown On Written and composed by Harry Pleon & Mark Lorne (1902)

There’s a good time coming soon for the family On the day King Edward gets his crown on Parading up and down the Strand, all of us you’ll see On the day King Edward gets his crown on Auntie’ll be dressed in khaki, ribbons all down her back We can’t afford to buy new clothes, but loyalty will not lack Ma’s going to patch up father’s pants with a piece of Union Jack On the day King Edward gets his crown on CHORUS Up and down the Strand, up and down the Strand Wait until you hear the trumpet sound Shouting Hip Hooray, all the blooming day When our good King Edward’s crowned!

Broken Down

Written and composed by Harry Clifton (1868)

Once I'd money plenty, And friends too, by the score, Then fortune smiled upon me, And no-one passed my door; Now I'm poor and lonely, And not worth half-a-crown, No-one seems to know me, I'm completely broken down! CHORUS I wander through the world, And meet with many a frown! No-one seems to notice me, Because I'm broken down

Song Lyrics

BROKEN DOWN (CON’T.)

Our immortal Shakespeare Says, 'All the world's a stage, And every man must play his part.' From childhood to old age; And when I think of days gone by, How, I was made the tool Of rogues and sharps, 'tis then I know 'My part has been the fool!' CHORUS


Activities

Mystery powder!

Using your detective skills, analyze four mystery powders and reveal their true identities! Use your deductive

reasoning, experimenting with chemical reactions and your senses, but be careful — no tasting! These could

be poisonous!

Ingredients: baking soda (A), cornstarch (B), granulated sugar (C), table salt (D)

Students can work in partnerships or individuals sharing materials at each table.

Materials needed:

Small paper bowls: 4 bowls per group

Paper plates: 1 for each student

Small paper cups: For water, vinegar, and iodine

Markers: Dark colored, 1 for each student

Container of water

White vinegar

Iodine solution (optional, does stain skin)

Pipettes: 10-15 per table (or similar tool)

Disposable gloves (optional)

Paper to write down observations and guesses on ingredients.

Set Up: (For easier clean up, place newspaper /other mater ial on tables before beginning activity.)

Place 4 paper bowls labeled A-D on each table.

Place a small amount of the mystery ingredients into each bowl, making sure each bowl is properly

labeled and set in order clearly marked A-D.(1 powder per bowl)

Place a paper plate and a dark-colored marker on tables for each student.

Place a cup or two with water at each table (Have cups with vinegar and iodine readily accessible)

Have roughly 3 pipettes per student on the tables.


Activities

Activity:

The students should use the marker to split the plate into quarters and label each quarter A-D (This

can be part of prep as well!)

The students should use a plastic spoon to scoop a small amount of each powder onto their plates

into the correct sections.

Have students make observations of each powder. (What does it feel like? Look like? Smell like?)

Have the students write down their observations.

Have students take a pipette and place a small drop of water onto each powder. What happens to

the powder? Does it dissolve? Become creamy? Have the students record their observations.

Repeat the same steps with vinegar and iodine (optional). Does the powder fizz with vinegar

causing a chemical reaction? Does it change colors with the iodine? Use these observations to

reveal which powder is which!

HINTS:

Baking Soda: Dissolves with water, chemical

reaction to vinegar!

Cornstarch: Creamy with water, turns purple with

iodine!

Salt: Dissolves with water, dissolves with

vinegar!

Sugar: Shiny crystals, becomes syrupy with

liquid.



Activities

Capture the secret file!

Set-up: Split your class into two “detective squads”. Each squad has a confidential file that contains high-

profile information containing the secrets between England and the USA. You will need an open area for

“territories”. The bigger the better, cafeterias, common rooms with obstacles such as furniture and shelves is

helpful. Weather permitting, large open fields or playgrounds are also sufficient.

Materials: 2 large Manilla envelopes marked “CONFIDENTIAL” on the front, preferably written in two

different colored markers to establish the difference between detective squads. **(As an added bonus, have

each student write down a creative confidential secret message on a slip of paper and add them to the

envelopes prior to the activity beginning. Once the activity has ended, feel free to reveal those secret messages

out loud!)**

The goal of each detective squad is to steal the secret file from the other squad and bring it back to their side

without getting tagged! Anyone who is on the other squad’s side, and is tagged by a member of that squad,

MUST go immediately to the holding area. To be saved from the holding area, someone from your detective

squad must make it all the way to you without being tagged, and then must walk you back with one arm raised

in the air to your own detective squad’s

side.

You can only save one person from the

holding area at a time, and both saver and

the one saved must walk back to their

own side before getting back in the game

(no breaking away to steal the file!).

Each time a squad successfully steals the

file and brings it back to their side, have

the squads switch sides.

Use different strategies to distract the

other detectives, and make sure to

practice safe tagging!



Activities

Reveal the Secret Message!

Materials:

Watercolor paint set (one per table)

Paintbrushes (One per student)

White crayons (One per student)

White blank paper

Have the students use a white crayon to write a positive secret message to another classmate. Then have

students swap papers and use the watercolor to paint the paper and reveal the secret message! The watercolor

paint will stick to the paper and resist the white crayon marks!

Be Your Own Sherlock!

Materials:

White paper, pencils and markers for detective portrait

Masking tape

Construction paper

Various found recyclables (paper towel rolls, water bottles, egg cartons, etc.)

Scissors

Hole punch

String

We have all imagined ourselves as secret agents at one point or another. Now you get to be one! Have the stu-

dents draw a portrait of themselves as a detective. What are the differences between every-day you and detec-

tive you? Have the students think of the perfect detective gadget. Then use everyday recyclables to craft and

design a model of that gadget. The more planning put into the construction of it, the more detail the gadgets

will have! Have fun!


Activities

Moriarty !

Setting: An extravagant party! (Make sure to have music playing to

help set the tone!)

Each student will be playing the role of Sherlock Holmes, with the

exception of one. One student will be chosen secretly as Moriarty by

the teacher. The goal of Moriarty is to put everyone to sleep without

getting caught.

The party has begun! Students will mingle and move around the room

at the party. As they go about the room, students should begin to shake

one another’s hands. If two Sherlock’s shake hands, nothing happens!

Continue to move about the party.

If Moriarty shakes a Sherlock’s hand, Moriarty will squeeze that

detective’s hand, secretly letting that Sherlock know they have been

dosed with a powerful sleeping draught. However, the sleeping

draught takes 10 seconds to be activated. (This piece is impor tant,

as to not give away Moriarty’s identity too quickly). Once their hand

has been squeezed twice by Moriarty, they should continue moving

around the party shaking hands while counting to ten silently. At the

end of the 10 seconds, the sleeping draught will hit and the detective

will immediately fall asleep, dramatically (and safely) falling to the

floor.

The other Sherlocks should begin thinking about who Moriarty is. If

someone wants to make an accusation, they must whisper their guess to the

teacher. However, if that detective is incorrect, they immediately fall asleep as well! Each detective only has

one guess. Once a detective guesses cor rectly, the teacher will pause the game and reveal the villain.

Then it is time to start over with a new Moriarty!

Sources:

http://www.pegames.org/full-length/capture-the-flag/

http://www.brit.co/text-resist-watercolor-cards/

http://www.excelligence.com/secret_message.pdf



Discussion

Questions

Discussion questions prepared by Ayana Spell, School Psychologist. Suggested for use following

students’ attendance at a performance of Sherlock Holmes Meets the Bully of Baker Street.

Student Objectives: To come up with and understand the definition of bullying. To understand ways to address

bullying in their lives. To understand and cope with feelings around being bullied.

Bullying on Baker Street:

Guiding questions:

Ask the students “What is bullying?” Write their responses on the board or a poster. Come up with a

classroom definition of bullying.

Ask the students how bullying makes them feel Write their responses on the board or poster.

What made Mr. Holmes a bully? What were some unkind things that he said?

Potential Answers:

Calling Ms. Hudson too old.

Calling Vicky “Watson” even though that’s not her name and even after she told him she doesn’t like it.

Saying mean things about people’s clothes.

Being mean to everyone and making fun of them.

Insulting Vicky for being poor and for not reading.

What made Barney a bully?

Potential Answers:

Abusing the girls.

Calling Vicky a nasty girl.

Telling her she would never be good at anything.

Why did Vicky not stand up to Barney when she was saying those mean things?

She said she gets confused and she has a hard time thinking of what to say.

Has there been a time when you couldn’t stand up to a person who was bullying you?

Why or why not?

Barney apologized to Vicky. Has there been a time when you apologized to someone you hurt? If not why?

Vicky stated that she was skeptical of Barney’s “reformation” when she apologized. Does anyone know what

word means?

Reformation means making changes with the intention of making things right or fixing things.

Has anyone ever had to reform or change their behavior whenever they were doing something mean or

harmful? Why or why not?


Discussion

Questions

Bullying on Baker Street (con’t.):

Vicky mentioned “Gaslighting.” The definition of gaslighting is when someone hurts someone else but lies to them

and tells them it didn’t happen. This makes the person who was hurt start to think they are going crazy or they start

to doubt themselves. An example of this is when a classmate says some mean hurtful things to you. When you bring

it up to them they tell you it didn’t happen and that they never said that. You then start to question if it happened at

all.

Has there ever been a time when someone hurt you and pretended it didn’t happen. How did that make you

feel? Do you think gaslighting is another way to bully someone?

Have you ever had someone ignore your feelings when you tried telling them how you felt? If so, how did that

make you feel?

Bullying on your street:

Potential Activities:

Ask the class to write/ draw about a time when someone was mean/bullied them. Ask them to write about how it felt.

Materials: pencils, paper, coloring pencils.

When they finish invite the students to share (if they are comfortable) their stories and drawings.

Please note: Teachers should be on the lookout for potential stories that may involve further investigation. Follow

up with student support services (School Social worker, School Counselor, or School Psychologist). Such stories

may include an adult that may be harming them or who has harmed them, a student in the class who is currently

bullying them, stories involving self-harm or potentially dangerous situations.

Ask the Students how they think they can prevent bullying. After the discussion, watch a video from this link:

https://pacerkidsagainstbullying.org/how-can-you-help/how-you-can-help-videos/

Episode 29 for elementary students

Episode 31 for middle and high school students.

After the video, as a class, come up with rules regarding bullying in the classroom. Have students take pledge:

“I pledge to: Speak Up when I see bullying, Reach Out to others who are bullied, and Be A Friend whenever I

see bullying.”

https://pacerkidsagainstbullying.org/how-can-you-help/how-you-can-help-videos/


Discussion

Questions

Bullying on your street (con’t.):

For younger students (K-1): Have different activities (puzzles, games, blocks whatever is in the classroom) on

each table. On each table write a sign that says “no brown eyes, black shirts, blue pants etc.” Each sign should be

different. Have the children rotate in small groups to each table. The students who have the characteristic on the sign

(such as a red shirt, etc.) can’t sit at that table or partake in the activity (blocks, etc.) and have to go to another

station. Have all the students rotate through the activity (at least 5-10 minutes at each station) At the end of the

activity come back together.

Materials: signs, toys, games, preferred activities etc.

To debrief:

Ask the students how the activity made them feel? Did anyone feel upset, happy, sad? Etc.

Ask them how it felt to be left out of an activity that hey wanted to do. Do they think it was fair that they were

excluded from an activity because of how they looked or what they were wearing.?

Ask them what they would do if a bully wouldn’t let someone play with a group of their friends.

Ask them what they would do if a bully made fun of someone or themselves for what they were wearing or how they

looked. What should they do?

Mention the opposite of bullying is doing acts of kindness for other people. Finish by going around and

asking the students about the time they did something kind for someone else.

Run through scenarios about bullying (feel free to include your own). Number the corners of the room and

allow students to pick a corner corresponding to a response to each scenario. Corner 1: response 1, Corner 2:

response 2, Corner 3: response 3 Corner 4: something else/open option. Once the children have taken a position, ask

a few in each position why they chose that response and some of its advantages and disadvantages. Allow those

children who chose the open corner to explain how they would respond.

Materials: Signs (1, 2, 3, 4) for the corners.

A new student started at your school this week, and he is having trouble fitting in. Some of your friends have been

laughing behind his back. What would you do?

1. Join in, he’s not your friend so you don’t have to worry about him.

2. Tell your teacher that your friends are saying mean things to him.

3. Offer to be his friend and invite him to play with your friends to help him fit in.

4. Something else (open corner).


Discussion

Questions

Someone shoves you and wants to fight you. You want to stick up for yourself, but you don’t want to get into a

fight. What would you do?

Hit them back and fight them.

Tell a teacher.

Refuse to fight them and try to talk to them.

Something else (open corner).

The meanest kid at school thinks it’s fun to tease you every chance she gets. You’re afraid she’s going to hurt

you, and you’re starting to hate school. What would you do?

1. Stop going to school

2. Hit her before she hits you.

3. Talk to a teacher or parent and tell them what is going on.


You hear that someone you thought was a friend has been spreading a cruel and untrue rumor about you.

What would you do?

1. Nothing. You must have done something wrong to make your friends act like that.

2. Start calling them names and threaten them.

3. Speak to your parents or teacher and tell them what is happening.


You sent a mean text about a kid who bullies to a friend, and your friend forwarded it to others. It eventually

got back to the kid. What would you do?

1. Nothing. Just pretend you didn’t do it.

2. Apologize to the kid and admit that it was you.

3. Lie and blame your friend for the original text.


Your older sister or brother keeps hitting and kicking you when nobody is looking and tells you that if you tell

anyone she / he will just hurt you more. What should you do?

Tell your parents or teachers about what is happening.

2. Ask your friends at school to help you in fighting her / him.

3. Tell her / him that it hurts and to stop doing it.



Discussion

Questions

You’ve been teasing one of your friends because he or she is really bad at reading and writing and you noticed

that recently he/she has started to sit alone. Once you noticed tears in your friend’s eyes. What should you do?

1. Nothing, he / she was probably just having a bad day and it has nothing to do with

2. Stop teasing your friend and ask him / her about why he / she was crying

3. Tell you friend that you won’t tease him / her in front of anyone anymore but that he / she really is stupid and he /

she should get some extra lessons.


A group of kids in your class are spreading hurtful rumors about you by sending text messages around. Many

kids now won’t play with you or even speak to you. Even your friends are starting to think they may be true.

What should you do?

1. Nothing. No-one will believe you if everyone thinks the rumors are true.

2. Start spreading bad rumors about the other kids.

3. Tell everyone the rumors are untrue.


You notice one of your friends is teasing and making fun of the younger children in the summer camp. Your

friend has started taking things from them as well. What should you do?

1. Tell the camp leaders what is happening without

letting your friend know.

2. Help your friend in taking things from the younger

children in case he/she starts to take things from you.

3. Tell your friend that you think that what he/she’s

doing is wrong and that they should leave the younger

children alone.


Ask each child to trace their hand on a colored piece of

paper and cut it out. They should think of one person for

each finger whom they can turn to for support if they are

being bullied (e.g. friend, parent, teacher, school

administrator, police, counselor, sibling). Ask children to

explain the supporters they have named.

Materials: paper, pencils, colored pencils, markers,

crayons, etc.



Additional

Resources

Sherlock Holmes

Sir Arthur Conan Doyle

The Official Site of the Sir Arthur Conan Doyle Literary Estate https://www.arthurconandoyle.com/ The Baker Street Irregulars The first Sherlockian literary society https://bakerstreetirregulars.com/ Junior Sherlockian Society Activities and stories and membership for young readers of the Sherlock Holmes Adventures. http://juniorsherlockian.com/

Sherlockian.net

https://www.sherlockian.net/

Sherlock Holmes Museum

http://www.sherlock-holmes.co.uk/home.htm

Victorian/Edwardian England

The Virtual Victorian Walk

www.museumoflondon.org.uk/victorianwalk

Poverty in Victorian England

https://www.hiddenlives.org.uk/articles/poverty.html


https://www.arthurconandoyle.com/

https://bakerstreetirregulars.com/

http://juniorsherlockian.com/

https://www.sherlockian.net/

http://www.sherlock-holmes.co.uk/home.htm

http://www.museumoflondon.org.uk/victorianwalk

https://www.hiddenlives.org.uk/articles/poverty.html

THINK LIKE A CRITIC!

SUGGESTED FOR GRADES K—5

Teacher Preparation Guide: SHERLOCK HOLMES MEETS THE BULLY OF BAKER STREET │ 27

This is your students’ opportunity to express their thoughts

and opinions about the performance of Sherlock Holmes Meets

the Bully of Baker Street that they just saw!

Invite them to think about their experience and answer the

following questions:

1. What is the name of your school?

2. Have you ever seen a play before?

3. Would you recommend this play to your friends?

4. Do you think it is important for people to see plays? Why or why not?

5. Was the story of Sherlock Holmes Meets the Bully of Baker Street clear to you?

6. Did you learn something from this play that you did not expect to learn?

7. What was your favorite part of the performance? What did you like about it?

8. Did you have a least favorite part of the performance? Why?

9. Were there any additional aspects of the show that stood out to you (i.e. music, costumes, jokes, etc.)? What

did you like most about those aspects of the

show?

10. Would you like for Great Lakes Theater to

perform at your school again next year?

Great Lakes Theater

Attn: Education Department

1501 Euclid Ave. ste 300

Cleveland, OH 44115

Mail your reviews to the Education Department

at Great Lakes Theater!



HOW TO WRITE A REVIEW

SUGGESTED FOR GRADES 6 — 8

MORE HOW AND LESS WHAT

A theater review is not a book review, you do not need to summarize what happens. Provide the necessary background

so the reader knows the name of the play and the basics of what kind of play it is, and then move into your commentary.

You do not need to explain WHAT the play is, instead write about HOW successfully it was presented.

THE ACTOR NOT THE CHARACTER

You can disapprove of the decisions a character makes, but how well did the ACTOR perform the role? Was their

behavior appropriate to the part as written? Feel free to share your opinions, comparing or contrasting their work with

other actors with whom you are familiar.

WHAT IS DIRECTION?

Maybe you have heard of a “director” in theater or film, but do you know what they do? It is not a director’s job to tell

the actors how to say every line, but they are the person responsible for creating the general mood and concept for the

production. What was your impression of the production as a whole? Was it too funny for a serious play? Or not

amusing enough for a comic play? Use words to reflect back to the director how successful the production is as a whole.

DON’T FORGET THE DESIGN

The set you see and the sounds you hear are also unique to this one production of this play. Describe what you see and

hear, but also be sure to make clear how successful these designs are in telling the story of the play.

IN CONCLUSION …

While it is not necessary to give a “thumbs up” or “thumbs down,” your concluding sentence should summarize your

impression of the production as a whole.

THEATER REVIEWS IN THE NEW MEDIA

Reviews in news websites may be 1000 words, or they may be as

brief as 300 words. Can you write a one-page review? Can you write

a 100 word review to post on Facebook? Do you think you could

create a 280-character review that sums up the production for posting

on Twitter?

CCSS.ELA:LITERACY.SL.9:10.1.D Respond thoughtfully to diverse

perspectives, summarize points of agreement and disagreement, and, when

warranted, qualify or justify their own views and understanding and make

new connections in light of the evidence and reasoning presented.

Great Lakes Theater

Attn: Education Department

1501 Euclid Ave. ste 300

Cleveland, OH 44115

Mail your reviews to the Education Department at

Great Lakes Theater

http://www.corestandards.org/ELA-Literacy/SL/9-10/1/d/

KIND OF ACTIVITY KIND OF LEARNING STANDARDS

Discussion Collaborative learning

Critical thinking

Reasoning

Intellectual openness

Communicating orally

:English Language Arts Standards: Speaking and Listening

CCSS ELA:Literacy.SL 9:10.1:2 (Comprehension and

Collaboration and Presentation of Knowledge and Ideas)

:English Language Arts Standards:Language CCSS

ELA:Literacy. L 9:10.3 (Knowledge of Language) and CCSS

ELA:Literacy. L 9:10.4 (Vocabulary Acquisition and Use)

:English:Language Arts Standards:College and Career

Readiness:Anchor Standards for Reading CCSS

ELA:Literacy. CCRA.R.7:8 (Integration of Knowledge and

Ideas)

:Ohio Drama/Theatre Standards: Responding/Reflecting

(RE)

Writing exercises Communicating in writing

Synthesizing and applying knowledge

Critical thinking

Reasoning


Readiness:Anchor Standards for Reading CCSS

ELA:Literacy. CCRA.R.7:8 (Integration of Knowledge and

Ideas)


Readiness:Anchor Standards for Writing CCSS ELA:Literacy

CCRA W.1:6 (Text Types and Purposes and Production and

Distribution of Writing)

:Ohio Drama/Theatre Standards: Responding/Reflecting

(RE)

Movement exercises

Collaborative learning

Team building

Practical application of learning

Pattern recognition

:English Language Arts Standards: Speaking and Listening

CCSS ELA:Literacy.SL 9:10.1 (Comprehension and

Collaboration)

:Ohio Drama/Theatre Standards: Producing/Performing

(PR)

Common Core Correlation Between Outreach Tour and Common Core Standards



NOTES


C L A S SI C S O N T O UR I S A L SO PR E SE NT ED

T HR O UG H T H E G E NE R O U S S UP P OR T O F :

G R E A T L A K E S T H E A T E R The mission of Great Lakes Theater, through its main stage productions and its education programs, is to bring the pleasure, power and relevance of classic theater to the widest possible audience. Since its inception in 1962, programming has been rooted in Shakespeare, but the company’s commitment to great plays spans the breadth of all cultures, forms of theater, and time periods, including the 20th century. GLT’s commitment to classic theater is magnified in the education programs that surround its productions, its matinees for student audiences and its in-school residency program developed to explore classic drama from the theatrical point of view. A not-for-profit theater company that performs six productions annually, including A Christmas Carol, Great Lakes Theater performs in the Hanna and Mimi Ohio Theatres at Playhouse Square.

The George Gund

Foundation

The Nord Family Foundation

The Nord Family Foundation, in the tradition of its founders, Walter and Virginia Nord, endeavors to build community through support of projects that bring opportunity to the disadvantaged, strengthen the bond of families, and improve the quality of people’s lives.

The Nord Family Foundation is interested in programs that strengthen families and improve public service. Grants are awarded in the fields of health and social services, education, arts and culture, and civic affairs. High priority is given to programs that address the needs of economically or socially disadvantaged families. Projects that attack root causes of social problems are also of special interest.

The Foundation awards grants in several geographic areas, but most are made to organizations within Lorain County, Ohio or projects that will have an impact there. Grants that specially address the Foundation’s mission and themes are also made in Cuyahoga County, Ohio; Denver, Colorado; Columbia, South Carolina; Boston, Massachusetts; and very selectively to national organizations.

CLASSICS ON TOUR supporters

ABOUT GREAT LAKES THEATER

Charles Fee, Producing Artistic Director

The mission of Great Lakes Theater, through its main stage productions and its education programs, is to bring the pleasure, power and relevance of classic theater to the widest possible audience.

Since the company's inception in 1962, programming has been rooted in Shakespeare, but the company's commitment to great plays spans the breadth of all cultures, forms of theater and time periods including the 20th century, and provides for the occasional mounting of new works that complement the classical repertoire.

Classic theater holds the capacity to illuminate truth and enduring values, celebrate and challenge human nature and

actions, revel in eloquent language, preserve the traditions of diverse cultures and generate communal spirit. On its mainstage and through its education program, the company seeks to create visceral, immediate experiences for participants, asserting theater's historic role as a vehicle for advancing the common good, and helping people make the most joyful and meaningful connections between classic plays and their own lives. This Cleveland theater company wishes to share such vibrant experiences with people across all age groups, creeds, racial and ethnic groups and socio-economic backgrounds.

The company's commitment to classic theater is magnified in the educational programs (for both adults and students) that surround its productions. Great Lakes Theater has a strong presence in area schools, offering an annual series of student matinees and, for over 30 years, an acclaimed school residency program led by teams of specially trained actor-teachers.

1501 Euclid Avenue, Suite 300 • Cleveland, Ohio 44115 • Tel. (216) 241-5490

greatlakestheater.org

http://www.greatlakestheater.org

Documents

Classics On Tour Teacher Preparation Guide · 2020-01-07 · Teacher Preparation Guide: SHERLOCK HOLMES MEETS THE BULLY OF BAKER STREET│ 5 GLT: Our History, Our Future Tom Hanks