Grease, the musical

BRAND NEW EDUCATION RESOURCE PACK 2007

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BRAND NEW EDUCATION RESOURCE PACK 2007

Created by Helen Cadbury

For Paul Nicholas & David Ian Associates Ltd.

www.greasethemusical.co.uk© 2000 PN & DI Associates. All rights reserved.

ContentsIntroduction 2

The Show 3The Players 3Song by Song Synopsis: Act One 4Song by Song Synopsis: Act Two 5Timeline of Grease 6Rydell High Slang Dictionary 7

Style File 8Growing Up on Grease – 1950s Teen Consumers 81950s American Music 8Dancing 1950s Style 91950s American Fashion 10Picture Resources 111950s American Motors 12Art and Design Activities 13

Backstage Pass 14Who’s Who – The Big Hitters 14In Conversation with the Director and Choreographer 15An Actor’s Life – Siobhan Dillon and Richard Hardwick 16A Stage Manager’s Life – Sharon Hobden 17Wigs and Hair 18Marketing Worksheet: Design a Poster 19Technical Cues Worksheet 20Set Design Activity 21

Follow Up Activities 22Write Your Own Teenage Love Song 22Music Worksheet: Those Magic Changes 24Write a review of Grease 25Further Ideas for Citizenship and Drama 26

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IntroductionWelcome to Rydell High where Grease isalways on the curriculum!

We hope this Education Resource Pack will be a usefulguide to Grease. In each section there are discussionquestions and activities.

The Show gives you information which might beuseful before your visit to see Grease.

Style File includes background resources about thestyles and fashions of the 1950s.

Backstage Pass will enable your students to findout more about the process of creating the show.These pages are particularly suited to BTEC orVocational GCSE Performing Arts Business modules.

Follow Up Activities include Writing a Review andclassroom sessions for Drama and Citizenship.

Curriculum areas and Key Stages are indicated as aguide, but most activities can be differentiated to fitthe needs of students from the top of Key Stage Twoup to and including post 16. The Slang Dictionarypage is not suitable for pupils below KS3.

ImagesPhotos are from the 1978 Paramount Film, thecurrent production and previous productions of thestage show of Grease.

Additional ResourcesGrease Is The Word, the original London CastRecording and Grease, the DVD by Paramount Filmsare both widely available.

Enjoy the show!This pack was created by Helen Cadbury

With thanks to:Paramount FilmsSu NewellMichael Havard-Bilton & Madeleine KayeJacob Todd, Julia McInally & Sarah SeddonThe cast and company of Grease over the years

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The ShowThe Players

Danny: the coolest kid in school, Danny is afounding member of the T-Birds. His aims in life arelooking good, being surrounded by pretty girls and,above all, being cool.

Sandy: new in town, she is a good girl (like DorisDay) but is desperate to fit in with the crowd and findsomeone to love.

Kenickie: Danny’s best friend and leader of the T-Birds, he lives for his car and hanging out with thegang.

Rizzo: top girl in school and leader of the PinkLadies, she does what she pleases and has a hard shellwith a well hidden soft centre.

The T-Birds: Roger, Sonny and Doody may not bethe brightest sparks but they know enough to hangwith the cool guys, learning a lot about girls alongthe way.

The Pink Ladies: Jan, Marty and Frenchie make upthe Pink Ladies and are all devoted to love andromance. Frenchie longs to be a beautician, whilemarriage is the ultimate goal for the others.

Vince Fontaine: local radio star and band leader,Vince wows the girls at the school dance.

Miss Lynch: harassed Head Teacher at Rydell High,she struggles to keep order amongst the kids – but isnot always successful.

Eugene & Patty: the school nerds, always willing tohelp the teachers and get everyone organised, areuniversally disliked by all the ‘cool’ kids. Patty headsthe cheerleading squad and is keen to be Sandy’s‘best’ friend.

Cha-Cha: a great dancer with a bad reputation, shewins the school dance competition with Danny anddistracts him from Sandy.

The Teen Angel: a figment of Frenchie’simagination, he tells her to return to high school asshe is not cut out for beauty school.

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The ShowSong by Song Synopsis -ACT ONE

GPrologue: Sandy

The summer holidays are over for the studentsof Rydell High School and Sandy is trying to fitin to her new school. She’s still dizzy from hersummer romance with Danny Zuko, whomshe met on the beach, while the cats andchicks of Rydell High are all pleased to seeeach other again.

GGrease

Danny and Sandy tell their friends about a certainsummer romance, but what they don’t realise is thatthey are about to be re-united.

GSummer Nights

Despite his happy memories, Danny’s all wrapped upwith his friends and he’s not about to lose hisreputation for playing the field. So when Sandy turnsup, Danny pretends not to know her.

Love is in the air for all the friends: as Doody attemptsto strum a tune, the guys join in, contemplating thefact that they are all growing up.

GThose Magic Changes

The Pink Ladies, the hippest girls in school,reluctantly take Sandy under their wing and invite herto a pyjama party, although hard-nosed Rizzoremains antagonistic towards her.

GLook At Me I’m Sandra Dee

Kenickie has been working all summer to buy a carand although it looks like a heap of old junk, he andDanny persuade the boys it could be a babe magnetand they dream of transforming it.

GGreased Lightnin’

Meanwhile, Sandy wonders if she would fit in better with the cheerleaders, led by squeaky clean Patty, but Dannyturns up and there is an awkward moment of ‘history’between him and Patty. Danny announces he mighttry out for the track team, but is it to impress Patty orSandy?

GRydell Fight Song

The friends all meet up on the football field andromance blossoms between Roger and Jan.

GMooning

Rizo and Kenickie start arguing. Sandy appears withthe school nerd Eugene, and Danny once again failsto hide his feelings for her from his friends. Theschool dance is the hot topic of conversation, and aseveryone tries to secure their date, Danny asks Rizzoout. Act One ends with a celebration of friendship.

GWe Go Together

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The ShowSong By Song Synopsis - ACT TWO

Local DJ Vince Fontayne is hosting the High SchoolHop where everyone is strutting their stuff.

GShakin’ At The High School Hop

Jan gets a big break singing in the talent contest,while Sandy is missing out as she is stuck at homewith a head cold.

GIt’s Raining On Prom Night

Danny and Kenickie swap dates just before the dancecontest and Danny goes on to win with Cha-Cha,champion dancer.

GBorn To Hand Jive

Meanwhile, Sandy is all alone and facing up to thefact that she still loves Danny.

GHopelessly Devoted To You

Things aren’t working out too well for Frenchie either,so she calls on her Teen Angel for some advice.

GBeauty School Dropout

Danny takes Sandy to a drive-in movie and it’s goingwell until he makes a move on her and then takes ittoo far. She storms off and leaves him wonderinghow to get it right.

GSandy

The atmosphere is sour when the gang all meet up atthe garage. Sandy is hoping to see Danny, and Rizzothinks she may be pregnant. The two have a row andSandy’s sympathy for Rizzo is brushed off.

GThere Are Worse Things I Could Do

Sandy knows she has to make some changes.

GLook At Me I’m Sandra Dee – reprise

Everyone gets the shock of their lives at Sandy’stransformation.

GYou’re The One That I Want

Rizzo’s pregnancy turns out to be a false alarm,the mood is up and everyone can celebratebeing young and in-love.

GFINALE

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Grease Fact:In 1978 You’re The OneThat I Want spent 9 weeks at the top ofthe charts, followed by 7 weeks for Summer Nights.


The ShowTimeline of Grease

1970At a cast party, Jim Jacobsand his friend WarrenCasey come up with theidea of a show featuringmusic from the 1950s,the golden age of Rockand Roll. Jacobs decidesit should be about thekids he went to highschool with. Soonafter, Casey is firedfrom his job and so

with time on his hands, he sitsdown at his typewriter and Grease is born.

5th February 1971Jim Jacobs and Warren Casey mount their firstproduction of Grease in an experimental theatre inChicago. With a non-professional cast of 18 and abudget of only $171, the “four night only” run playsto full houses of 120 each night, and then the run isextended again and again…

14th February 1972Grease opens in New York, off-Broadway at the EdenTheatre. It receives seven Tony nominations after theproducers threaten to sue the awards committee forsaying off-Broadway shows can not be nominated.The show moves onto Broadway proper and goesfrom strength to strength.

1971/ 1972A national tour of Grease crosses the US and Canadawith a seventeen year old called John Travolta playingDoody, the nerdy kid who idolises Danny.

1973The first London production opens at the NewLondon Theatre with a then unknown Americanactor, Richard Gere, as Danny Zuko and Stacey Greggas Sandy, followed by Paul Nicholas and Elaine Paigein the lead roles.

1978John Travolta hits the big time playing Danny Zukoopposite Olivia Newton John as Sandy in the smashhit film from Paramount Pictures.

1993David Gilmore directs and Arlene Phillipschoreographs the London production of Greasewhich opens at The Dominion Theatre, starring CraigMaclachlan as Danny Zuko. This version has playedever since in London, on tour in the UK and acrossthe world.

1997Grease goes on a UK tour starring Shane Richie and then Ian Kelsey as Danny.

1999After 6 successful years, the London production of Grease closes at the Cambridge Theatre.

2007Grease re-opens in London at The Piccadilly Theatre,starring Danny Bayne as Danny Zuko and SusanMcFadden as Sandy (both winners of the ITVprogramme Grease Is The Word).

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Grease Fact:

The first scene to be

written was the girls’

pyjama party scene


The ShowRydell High Slang Dictionary

Cats and Chicks: guys and girls, but kittens are alsogirls, as in “throw your mittens round you kittens”

Foam Domes: or falsies, something to make a girl’sbust look bigger

Fongoole or fongulo: Italian-Americanisedmispronunciation of the phrase "Va'a fare in culo".The nearest printable English equivalent is “up yours!”

Hand-jive: a dance where everyone lines up andfollows a sequence of hand movements in time to themusic

Hickey: a red mark on the skin, otherwise known asa ‘love bite’

Hop: a dance or school disco

Jive: Jazz slang from the 1930s and 40s. Thelanguage of “swing” came to mean everything thatwas hip, including a dance and musical style of thesame name.

Jocks: athletes, from the term jockstrap

Neat: terrific

Prom Night: a dance party or disco to mark the endof high school, now common in the UK too (possiblybecause of the wide influence of Grease and otherAmerican teen movies)

I play it coolAnd dig all jive

That's the reasonI stay alive.

By Poet Langston Hughes

Who’s Who? Research ActivityThe six famous fifties icons listed below all get a mentionin the script of Grease. What were they famous for?Choose one of them to research and feed your findingsback to the group, or write a short piece about them fora 1950s retro magazine.ElvisDebbie Reynolds (and who was her famous daughter?)Sandra DeeRicky NelsonShelly FarbaresDoris Day

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Style FileGrowing Up on Grease:1950s Teenage Consumers

For Jim Jacobs the word “grease” seemed exactly theright title for his show about 1950s teenagers. Until1950 the term “teenagers” had barely been heard of.There were children, who briefly became youths andthen at eighteen were considered adults, winning thefull legal responsibilities of adulthood at twenty one,by which time many were married or on the way tobeing married and raising a family.

After the war a new range of consumer goodsbecame available as teenagers had spending power,either because they had jobs of their own or becausetheir parents were enjoying America’s new prosperity.Television, cinema, magazines and music were alldeliberately targeted at this age group, who began tocarve out an identity of their own, in stark contrast tothe culture of their parents. In Grease, Jacobs andCasey created a community of teenagers whichfunctions entirely separately from the adult world.

Greasy Food: The DinerThe burger palace is typical of the cheap restaurantswhich were popular across America in the 1950s. Thediner was the predecessor of the fast food outlets wehave today. Usually pre-fabricated buildings orconverted railroad carriages (the original diners werenot stationary, they were actually dining cars on therailway) 1950s diners often used steel panels, tiledfloors and chrome trim. They served what would nowbe considered an unhealthy menu of burgers, friesand various milkshakes, ice creams and sundaes.

Greasy HairOily quiffs held up with brill cream were the hairstyleof choice for “greasers”- the leather jacket and bluejean clad rebels of teen America. In the UK thenearest equivalent was the “teddy boy” who took a

similar amount of care in his appearance andcompeted with his mates to achieve the biggest,most luxurious quiff. For more information of what’sinvolved in recreating the 1950s hair for Grease go toBackstage Pass: Wigs and Hair.

Cool Custom CarsMore grease and motor oil involved here, see StyleFile: 1950s American Motors for further informationon icons of American motor design.

1950s American Music

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VINCEBEFORE I WAS BORN LATE ONE NIGHTMY PAPA SAID EV’RYTHING’S ALL RIGHT THE DOCTOR LAUGHED WHEN MA LAY DOWN WITH HER STOMACH BOUNCIN’ ALL AROUND ’CAUSE A BE-BOP STORK WAS ’BOUT TO ARRIVE AND MAMA GAVE BIRTH TO THE HAND JIVE

The DJThe term was invented in America in the 1930s fromthe word “disc” (record) and “jockey” which wasslang for someone who operated a machine. Theywere the kings of the airwaves through the 1940sand early 50s, when every American home had aradio.

Who Invented Rock and Roll?The phrase “Rock and Roll” was attributed toAmerican Radio DJ Alan Freed, but he did not actuallyinvent it. There are examples of it being used as farback as the 1920s in song lyrics by Ella Fitzgerald,Cab Calloway and others. It was a useful term formarketing Rhythm and Blues (R&B), previouslyconsidered an African American musical style, toyoung white audiences.

RockabillyRockabilly is a term that was also coined in the 1950sto describe music which was a cross between R&B andhillbilly music (the old folk music of white America).

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Curriculum Links: History, Historical andSocial Context for Performing Arts/Drama

Curriculum Links: Music, MusicTechnology, Media Studies Level: KS3/4/5


Doo-WopSeveral songs in Grease employ Doo–Wop ornonsense lyrics. Jacobs and Casey had fun parodyingsome of the excesses of this style, particularly in WeGo Together.

WADDA WADDA YIPPITY BOOM DE BOOM CHANG CHANG CHANGITY CHANG SHOO BOPTHAT’S THE WAY IT SHOULD BE, WAH-OOO YEAH!

An earlier example of Doo-Wop can be found in DizzyGillespie’s 1947 hit “Oop Boop Sh’Bam” which wasfull of meaningless sounds used to mark the beatsand create a vocal background. In the 1930s, soundslike “boo-wop, boo-wop” were used by vocal groupsto imitate the horn sections of jazz bands.

Dancing 1950s style

Thousands of American teenagers watched the hitshow ‘American Bandstand’ in their living rooms andlearnt to copy the amateur studio dancers. Newstyles of dance began developing both on and offthe screen, and soon high school dances across thecountry were moving to the steps of Rock and Roll.The Bandstand dancers called it Fast Dance as itemployed a six count pattern (two tap-stepsfollowed by a rock step). These moves wereconstantly being adapted throughout the 1950s.

Cha Cha: The Cha Cha has a triple-step movementand is believed to have come from Cuba, as adevelopment of the slow tempo “Mambo”.

Jive: A six count swing dance that is open toimprovisation.

Lindy Hop: Sometimes described as the grandfatherof both Rock and Roll and modern swing, the LindyHop was named after Colonel Lindbergh's flightacross the Atlantic. It originated at the Savoyballroom in Harlem in the 1930's. It is a partner dancewhich brings together improvised African dance andthe eight count structure of European styles.

Jitterbug: A ballroom style swing with a triple steppattern.

The Twist: In repressed and segregated 50sAmerica, white girls were not supposed to wiggletheir hips, and it certainly wasn’t going to be shownon prime time TV. Chubby Checker’s recording ofThe Twist was specifically tamed down for AmericanBandstand, as the original version from the Swing Erahad required a lot more hip action.

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ActivityIs Vince Fontayne typical of a 1950s DJ? Researchthe history of disc jockeys to the present day andsee how they have evolved.

Curriculum Links:Dance, Performing Arts


Style File1950s American Fashion

aInfluencesThe styles of 1950s fashion have their roots in thepost war period. After the shortages and austerity ofthe Second World War, when fabric had beenrationed, a lavish use of material burst onto thescene. In 1947 the French designer Christian Diorpresented a collection featuring a fitted jacket with anipped in waist and full calf length skirt, which usedmeters of fabric. Life magazine called it “The NewLook”. In the film of Grease, Sandy’s early look of afitted blouse under a light weight cardigan with a fullskirt underneath is an adaptation of “The New Look”which found favour with American and Europeanwomen. The fullness of the skirt could be furtheremphasised by large petticoats made from layers ofnylon or starched paper.

In America, and later in Britain,other influences began to dilute theDior style, such as sportswear. The“windcheater” jackets worn by thePink Ladies were based on men’swork jackets and gym shoes wereworn by young women instead ofheels.

After 1956, the continental “chic”look became popular, with shorthaircuts and simple lines. Influencedby stars such as Audrey Hepburn andLeslie Caron, it included simple blacksweaters and slim trousers. Rizzostands out as a truly modern girl withher short hair, tailored shirt dress andfigure hugging skirt.

MenThe rebel look, as worn by movie stars James Deanand Marlon Brando, consisted of denim jeans, whichhad made the transition from work wear to fashiononly a decade earlier, and leather jackets. Thiscontrasted with the attire of the more conventionalyoung men who wore a jacket and shirt like theirfathers – or the sportswear worn by the ball playing“jock“.

HairDuring the 1950s, women’s hairstyles weretransformed from the simple, smooth pony tail to theultra “done” look of the beehive. It was the era wherehairdressers and beauty salons really took off -Frenchie wasn’t the only one trying to capitalise onthe new found leisure spending of the Americanpublic. For more information of what’s involved inrecreating the 1950s hair for Grease, go toBackstage Pass: Wigs and Hair.

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Curriculum Links: Art, Design Technology -Textiles, BTEC Performing Arts/TechnicalTheatre/Costume. Level: KS3, KS4, BTEC


Style FilePicture Resources

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Style File1950s American Motors

The 1950s saw the birth of the jet age, whenadvances in aeroplane design inspired normallymundane family cars to begin sprouting wings andfins and extra tail lights to imitate jet engines. Newtechnologies enabled curves and forms which hadnot been possible before.

The sweeping lines of body work and slick chromedetailing were replicated in designs for everydayhousehold items such as toasters, hair dryers andcoffee percolators.

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This car could be one cool piece of machinery. Why this car could be:AutomaticSystematicHydromatic

Why it’s Greased Lightnin’!

Curriculum Links: Art and Design,Design Technology


Style FileArt and Design Activities

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Design Technology Activity• Research the elements of 1950s car design, for example fins, jet engine shaped

rear lights and the line of the bodywork.• Adapt them for your own design, showing how you would use modern methods to

create a 1950s retro-look car.• As part of your portfolio, collect images of modern cars which use elements of

1950s styling.

Art Activity: Greased Lightnin’ Pop Art• Look at the pop art painting Whaam! (Roy Lichtenstein 1963).• Research into the jet inspired shapes of the 1950s and early 60s for preliminary

sketches.• Create your own pop art painting, with at least two frames, showing the

transformation of the T- bird’s car, Greased Lightnin’.• Let you imagination run wild on how the car might turn out!• Extension activity: what happens next? Can you create an extended cartoon strip

featuring Greased Lightnin’?

Costume Design• Design your own outfits for the Pink Ladies. Research the period details of

shoes, belts, trousers or skirts. Make a scrap book of pictures, fabric swatches andcolours before you create your final costume drawings.

• Bring Sandy up to date – if she was a modern teenager, how would she be dressedwhen she first comes to Rydell High? How would you transform her for “You’reThe One That I Want”? Create two contrasting costume drawings, describing whatkind of fabrics you would use.


Backstage PassWho’s Who: The Big Hitters

Who? The Job The Brief Biog

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Jim Jacobs andWarren Casey

David Gilmore

Arlene Phillips

Terry Parsons

Andreane Neofitou

Writers

Director

Choreographer

Designer

Costume Designer

Jim has worked as an actor and writer, while Warren wasa teacher, then an actor and songwriter. Jim and Warrenco-wrote the book, music and lyrics for Grease. Togetherthey also wrote Island Of The Lost Co-Eds, a musical satireof the B-movies of the 1950s. Jim has gone on to co-author several plays and musicals. Sadly Warren died in1988.

David has directed more than a dozen West End shows aswell as many shows in Australia. His original production ofGrease ran for six years in London. He has directedmusicals, straight plays, Shakespeare and comedy and healso directed Jamie Oliver’s performances in England andAustralia.

Arlene created the dance group Hot Gossip and since thenher choreography has been seen in theatre, feature films,concert arenas, television, music videos and commercials.A few of her theatre choreography credits include Grease,The Sound of Music, We Will Rock You, Starlight Express, andthe US touring productions of Joseph and Jesus ChristSuperstar. Arlene appears as a judge on BBC1’s hugelypopular Strictly Come Dancing and she judged the follow-up series Strictly Dance Fever. In 2007, together withBruno Tonioli from Strictly Come Dancing, they created anew BBC1 show DanceX.

Terry has designed thirty seven productions in the WestEnd. As well as his famous design for Grease, he has alsodesigned for hundreds of musicals, pantomimes andstraight plays. His most unusual job was creating aspectacular version of Arabian Nights in the desert forthree thousand guests at the birthday of an Arab sheikh.

Andy has created costume designs for numerous WestEnd shows, including Les Miserables and Miss Saigon, andhas also worked for many years at The Royal ShakespeareCompany. Internationally her credits include New York’sMetropolitan Opera, Miss Julie in Athens and CameronMackintosh’s new version of Martin Guerre in the UnitedStates.


Backstage PassIn Conversation With Director David Gilmore andChoreographer Arlene Phillips

Q: What makes Grease such a special show?

DAVID: Its verve and energy and such toe-tappingtunes.

ARLENE: This show has the hottest dancers in townand the best singer-actors with voices that everyonewill wish they owned.

DAVID: The casting is inspired.

ARLENE: It’s been fun teaching the company todance – they weren’t all dancers but they’ve beeneager to learn.

DAVID: The set and costumes have been designedby Terry Parsons and Andreane Neofitou, who aretwo of the most talented people in the business, andthey’ve achieved wonders.

Q: How do you create a 1950s feel for a 21stCentury show?

ARLENE: We’ve done a lot of research into the 1950s.

DAVID: What we are giving the public is what theythink that they remember, because the past was notactually how people remember it now. If we put the

past on stage now it would be greyer and duller andsmaller. What we have done is to show the past in adistorting mirror – it’s bigger, better, livelier andfunnier than the reality.

Q: How have you been influenced by the filmof Grease?

DAVID: I saw the film once. The film re-defined thestage show for all time. You have to take that intoaccount.

ARLENE: The film is part of my life. I’ve watched itmany, many times with my daughter, Alana. It’s a lotof fun. One is aware that Grease is now part of a cultand the audience is expecting what they know.We’re hoping that this production will inspire themto keep the cult going.

Q: Have you had any help from Jim Jacobs?

DAVID: Jim has come over and made changes to thescript to enhance what was already there – we’vedone that together.

ARLENE: There were some changes made to thescript for a 21st Century audience.

Q: Is there anything you would like to add?

ARLENE: I’ve loved working on this production. It’sgreat to do a show with lots of dancing in it.

DAVID: Grease doesn’t have a message. It gives youa flavour of being a teenager in the 1950s – whenRock ‘n Roll and putting grease in your hair were themost important things in life. If people come along tothe show and take it on that level then we’ll givethem a party. In fact, if you come out of the theatrefeeling that you’ve been to the best party in town,then we know that we’re getting it right.

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Backstage PassA Day In The Life Of AnActress – Siobhan Dillon

On this bright mid-November morning, after a lovelyrelaxing Sunday off, I start my busy week ahead witha cup of jasmine tea and a huge bowl of cinnamonporridge (very Rock n’ Roll!). I jump onto a very over-crowded London tube and arrive at my singinglesson. We work on Sandy’s songs from Grease (as Iam her understudy) and also work on songs toimprove my vocal versatility and range, which Ibelieve is very important for me as I haven’t reallygiven enough time to mastering the art of singing!Next location – acting workshop – fun! I leave myacting improvisation class filled with enthusiasm,strength and courage – as well as with a spirituallyclearer focus. Hungry again I stop by a salad bar formy favourite duck and cucumber salad wrap and fruitsmoothie – lovely! Now, off to the theatre…

‘All cast members to the stage please to commenceyour physical and vocal warm-up’ is the message forus all blasted out of every speaker throughout thetheatre – everyone scurries about, pulling legwarmers and dance trainers on. I grab my bottle ofwater and head towards the stage.

Down the stairwell the atmosphere is alive andelectric with echoes of giggling and gossiping friendssharing stories of their weekend activities and antics!We bounce down more flights of stairs than any of uscare to think about - which are certainly easier goingdown than climbing back up at the end of theevening!

After the curtain has gone down at the end of theshow, having left the stage high on adrenalin, legswobbling underneath me like stacks of jelly, I can’thelp but think how much hard work it all is, but whenyou take your bow in front of a huge audience full ofsmiling faces and when you can feel the enjoymentoverflowing onto the stage where you and your teamare standing, that’s when it all becomes much, muchmore than just a job!

A Day In The Life Of An Actor– Richard Hardwick

Actors are notorious for getting up late and I’m noexception to the rule. I’m not a morning person atall. This stems from our working hours and finishinglate at night.

I normally rise about 10am and straight away have apint of water. Hydration is essential, especially if youare singing as well. Then I’ll have some bran forbreakfast and another pint of water. At the momentI only use a tiny amount of milk as the less dairy thebetter. Dairy products produce a singer’s worstnightmare – phlegm. So cut down on the dairy.Then I’ll watch some TV, usually The News and turnon the computer. I use as much of my free time aspossible to pursue other interests. I write, run aTheatre & TV production company and teach inhospitals. As an actor the more creative interests youhave the better. Then it’s off to the gym (four timesa week) and into the theatre.

Again, I’ll have a pint of water as soon as I get into mydressing room, then head down for a 15 minutevocal and 15 minute physical warm-up. We usuallyhave a little break at this point to catch-up with eachother and visit friends in other dressing rooms, butonce we get the half hour call I get ready. Shower,hair, make-up, costume, water and down to the stagebefore beginners call.

Once the show’s over I go to the pub, maybe outwith friends or straight home. I’m usually home by11.30pm and go to bed by 2am. I’m a night owl, butlots of actors get home and then let their bodyunwind for an hour or so. Pint of water by the bedand maybe a few pages of a book, then lights out.

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Backstage PassA Day In The Life Of A StageManager – Sharon Hobden

Today we have an understudy rehearsal. Thecompany are rehearsing at 2:30pm so the StageManagement team are in at 2pm. Our job is to makesure that the stage is ready for the company andcreative department when they arrive. We make surethat the Iron (safety curtain) is out, lights are on, thestage is swept and the rehearsal keyboard is set. Wethen set any props and furniture that may berequired. Once the cast arrive we make sure that wehave everyone required for the rehearsal. TheResident Director or Dance Captain will take therehearsal.

It is our responsibility to make sure that the showlooks the same as it did on Opening Night. Wetherefore have to maintain the props and with theMaster Carpenter and his team, the set.

At 4:30pm the Lighting Department turn on thelighting rig and check that all the lights are workingand are pointing in the right place. If any are notworking, they will repair or replace them.

At 5pm the Stage Management team begin their pre-set for the evening show. We have two automatedpieces of scenery, the large CS (centre stage) truckwhich in Act I has The Bleachers on it and Act II TheBurger Bar, and The Band Truck. We start by runningeach of these pieces to US (up stage) and DS (downstage) to make sure that they are working correctly.The two ASM’s (Assistant Stage Managers) set out allthe props that are needed for the show. The DSM(Deputy Stage Manager) types up the coveringarrangements for the evening performance. This willinclude information on who is on holiday, sick orinjured and who will be covering them. The DSMthen distributes this information to the otherbackstage departments.

At 5:15pm The Stage Crew arrives to begin their pre-set. It is their job to rearrange all of the set andfurniture pieces to their starting positions for theshow. On our show they have to take the burger bar

off the central truck and replace it with the bleachersseating, they then arrange the SL (stage left) and SR(stage right) wings. Finally the stage is swept andmopped and the keyboard set for the vocal warm-up.

At 6:15pm The Company arrive for their physical andvocal warm-ups. It is the job of the DSM to makesure everyone is present. The warm-ups usually finisharound 6:40pm. There is then time to rehearse anychanges for the evening’s show. Meanwhile theASM’s are doing a shout check of the wings andstage. This involves one of them reading a list ofitems required and the other checking that they arethere.

At 6:55pm (The Half Hour Call) I open the house.This means I call in the flying pieces needed tocomplete the pre-set, ask Lighting to put up thelights and Sound to play the pre-show music. WhenI am happy that all is ready I let the Front Of HouseManager know that it is clear to “Open the House”and let the audience in.

At 7:10pm The DSM calls the Quarter Hour Call. Thislets everyone involved with the show know that theyhave 15 mins before they need to be ready. He willalso announce any covering arrangements.

At 7:20pm The DSM calls the 5 Minute Call. Asbefore everyone now knows that they have 5 minutesuntil they have to be ready.

At 7:25pm The DSM calls Beginners. This Call letseverybody who has to do something at the start ofthe show know that they must come to the stage ortheir starting positions.

At 7:30pm or when the Front Of House Manager tellus that the audience are seated, we begin the show.This is always a great moment, as the band begin andwe are off. During the show there is one ASM in theSR wing and one in the SL wing and they make surethat everything runs smoothly, that the cast are readyfor entrances, that the crew are ready for scenechanges and deal with any problems that arise. AsSM I move from wing to wing making sure all is well.I am responsible for everything that happensonstage. I watch all the scene changes to make surethat nothing goes wrong. All the SM team, the

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flyman, Sound op, LX op and Followspot op’s are on“cans” (headset communication with each other) sothat if anything does go wrong we can decide whatto do quickly. The DSM “calls” the show. He has acopy of the script which he has marked up with allthe lighting, sound and stage cues. He then tells eachoperator when to do their cues.

The Interval is a very busy time for us. We have a lotof scenery to move around in order to prepare Act IIand only 20 minutes to do it in. The first time weattempted this change in the Technical Rehearsal ittook 1 hour 40 minutes, now it takes us 15 minutes.It involves a lot of team work.

9:45pm The show finishes. We tidy a few things upand I write the Show Report. This includes runningand playing times for the performance as well asinformation on who operated and understudies thatwere performing. I then note anything thathappened that was different from what the Directorwanted. This is then e-mailed. Our day is over. Wewill be back tomorrow to do it all again.

Backstage PassWigs and Hair

The Wigs Mistress has a veryimportant role in creatingthe perfect 1950s look.Each wig is made tomeasure. To get an exactfit, clingfilm is wrappedaround the actor’s headand their hairline isdrawn on. Sticky tapeis then added overthe clingfilm tocreate a mould oftheir head.

The wigs are constructed and coloured byoutworkers, usually using Asian hair as it is thestrongest. The Wigs Mistress and her assistant thencut and style the wigs, remembering to leave a littlehole in the front for the microphone. All the wigs inGrease use human hair except the “Beauty School”girls who wear acrylic wigs.

Before each show the actors pin orglue their wigs inplace and theWigs Mistress ison hand to checkeverything looksright. During theperformance sheand her assistantwork backstage,keeping the wigs tidyand helping with anychanges. The mosthectic times are thechanges for “BeautySchool Dropout” andSandy’s finaltransformation. Afterthe show they need to care for and re-style the wigsready for the next day.

Fortunately the men all look after their own hair, butonly after they have had lessons in quiff combing!

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Curriculum Links: BTEC Performing Arts,Technical Theatre, Performing ArtsBusiness


Backstage PassMarketing Worksheet: Designyour own poster for Grease

CHECKLISTImage: does it grab people’s attention? What does itsay about the show? What colour scheme suits theshow? The Marketing Department for Grease oftenuse a pink background, however you couldexperiment with something different.Graphics: what style do you want to use for thetext? Does it fit with your image? Is it easy to read?Information: what does your poster need to tellpeople? Remember, your objective is to encouragepeople to buy tickets and come to the theatre, sothink about what they need to know.

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Curriculum Links: BTEC Performing Arts,Technical Theatre, Performing ArtsBusiness


Backstage PassTechnical Cues Worksheet

The lighting operator will have a list of numberedlighting cues to work from. They take their cues fromthe DSM (Deputy Stage Manager) who is “on thebook”, i.e. following the script in the wings. In theextract below they take their cues from the MusicalDirector to ensure the lights change exactly on theright beat. Most lighting cues will be pre-programmed into the computerised lighting board.

Using the key below, write out in full the bold lines todescribe what the DSM is instructing.

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Curriculum Links: BTEC/GCSE PerformingArts/Drama Technical Theatre

DSM: SBY LX Q110 to 114, SPOTS, PYROS AND FLY Q12Each operator should then acknowledge the SBY so that the DSM knows that everyone is ready to carryout their Q.

Music: Dancing interlude

Chorus: Lightnin’ LX Q110 (on MD downbeat)Lightnin’ LX Q111 (on MD downbeat)Lightnin’ LX Q112 (on MD downbeat)

Kenickie: Anybody want a ride? LXQ113 (on MD upbeat at end of line)

Chorus: Lightnin’ (actors hold long final note as car drives off SL and music plays) LX Q114, SPOTS, PYROS AND FLY Q12 (on MD cut off)

The last cue is for the change between scenes. This is what happens when each of these cues happen.LX Q114 goes to DBO, SPOTS go off, PYROS go off DS, FLY Q12 brings in mid-stage sky cloth for nextscene.

KeyDSM Deputy Stage ManagerLX LightingQ CueSPOTS FollowspotPYRO Big indoor fireworksFLY Item of scenery suspended above the stageMD Musical DirectorDownbeat When the MD moves his conducting baton vertically down to show the first beat in a barUpbeat When the MD moves his conducting baton vertically up to show the beat before the first

beat in a barSL Stage LeftCut off When the MD signals in one gesture for the musicians to stop playing at the same timeDBO Dead Black OutDS Down Stage


Backstage PassSet Design Activity

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Curriculum Links: Art and Design, BTEC Performing Arts/Technical Theatre/Set Design.Level: KS3, KS4, BTEC

• Gather research about the look of the 1950s from books, the internet or resources supplied by your teacher and start to make a scrapbook of shapes, colours and items of set (e.g. cars,furniture, decorations for the school dance).

• Think about the size and shape of the stage you will use, for example if it is the school stage,measure it so that your drawings are to scale. Theatre models are normally done on a scale of 1:25.

• Choose a particular scene from Grease and create a drawing which is a “bird’s eye view”, showingthe shape of the stage and where items of set are placed.

• Now think about the background - how will you design a backdrop that will suit the other visualelements on stage?

• Create you own model box by turning a shoe box on its side and painting or lining it in black.Then make a scaled down set to fit inside, using the same shapes and colours you would chooseif it were full scale.

Doodle pad for set design ideas


Follow Up ActivitiesWrite Your Own Teenage Love Song – even if you’re not a musician

Where to beginStart by listening to love songs that you like - what isit about them that rings true? What is the structure ofthe story they tell? Grease is like a long extended lovesong; boy meets girl but then boy messes it up bytrying to be cool, girl’s heart is almost broken but inthe end girl makes boy see that she’s worth it, andthey fall in love all over again. There is a happybeginning, a middle where it all goes wrong and ahappy ending. Of course your song might not have ahappy ending - that’s up to you. What do you wantto tell the world about how it feels to be a teenagerin love?

The TitleSome song writers begin with the title or a phrasethat sticks in their mind and demands to be writtenabout. Start keeping a notebook: all good writers,whether they are lyricists, poets, novelists orplaywrights, keep a notebook and pen with them atall times. In the back of your book write down anyinteresting phrases you hear or see, look in thenewspapers and listen to people on the bus. Lookthrough your list and see if there is one that standsout. Ask yourself some questions about your title - theanswers will be the lines of your verses.

Here’s an example: “You’re the one that I want” –Why? “Cause I need a man”

How do you feel about that? – “I got chills they’remultiplyin”

If your song is a duet like this one, then you need tothink about the conversation the two people are

having – it won’t be full of the usual padding we putinto real life conversations as they haven’t got timefor that in a four line verse.

The StructureThis will vary, but an average pop song of three tofour minutes in length will follow a form somethinglike this: verse/chorus/verse/chorus/bridge/verse/chorus or intro/verse/chorus/verse/chorus/bridge/instrumental/outro. From the 1950s onwards thestructure of popular songs went through manychanges as “rules” were broken, however listenerstoday still have certain expectations, so make sureyou understand the building blocks. Remember thatin musical theatre the instrumental section andchorus may be longer to allow for dance routines.

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Curriculum Links: GCSE/GNVQ/BTECMusic, Performing Arts


PitfallsIf you are not a musician and would like someone elseto set your lyrics to music, be careful that you don’tget hung too up on writing verse with a perfectrhythm and rhyme structure. It is often moresatisfying for the listener if you can come up withsome unexpected rhymes, like the example belowwhich uses irony in the lyrics as well.

BABY, DON’T SWEAT ITYOU’RE NOT CUT OUT TO HOLD A JOBBETTER FORGET ITWHO WANTS HER HAIR DONE BY A SLOB?NOW YOUR BANGS ARE CURLED,YOUR LASHES TWIRLED,BUT STILL THE WORLD IS CRUELWIPE OFF THAT ANGEL FACE AND GO BACK TO HIGH SCHOOL

Try writing the lyrics to fit an existing tune so thatyour structure and rhythm will sound right! Then takethe tune away and give the words to your friendlymusician to compose a tune to fit. Don’t, under anycircumstances, tell him or her what your starting tunewas, as that will have too much influence. Stand backand see what she or he comes up with and youshould be amazed by the end result. On the nextpage is a worksheet to start you off, featuring thesong Those Magic Changes from the show.

The TempoPop songs are usually written in 4/4 time; one, two,three, four. As a lyricist you need to be aware of that,but don’t get hung up about it. Set the tempoaccording to the mood of the song - fast if it’senergetic or angry, mid tempo for a good solid popsong or slow for a sad song or a ballad.

DefinitionsVerse: The verses all have the same melody butdifferent lyrics. The verse lyrics give us informationabout the situation, emotions or people in the song.

Chorus: The chorus is the section in which bothmelody and lyrics are repeated. In the chorus you willusually find the “hook” of the song - this is themelody which will buzz around in people’s heads fordays after they have heard it. The title may well bethe words that go with the hook. The title of the songalmost always appears in the chorus section and maybe repeated two or more times.

Bridge: Also known as the middle eight. The bridgehas a different melody, lyrics and chord progressionfrom the verse or chorus. It provides a break from therepetition of verse and chorus and is sometimes anemotional turning point.

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Inspiration To Get You Started: 5 Top Love Songs Through The AgesAll these songs have different structures. See if you can work out what they are.

Love Me TenderLet’s Get it OnTeenage KicksI Will Always Love YouBreathe

Can you name the year and artist of these songs? What are your top five love songs?


Follow Up ActivitiesMusic Worksheet: Those Magic Changes

Doody is getting to grips with the ingredients of agood love song as he struggles to work out whatchords to play at the opening of “Those Magic

Changes” – listen to it on the original cast recordingand look at this extract, which shows the openingverse before the “magic change”.1. Write your own lyric to this short section

of melody.2. In pairs, compose a new section of music

to fit your lyrics.3. Advanced composers can try to work out

what comes next. Can you continue the melody line? When you’ve had a stab at it, listen again to the cast recording and see if you had a similar idea or did you create something entirely new?

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Curriculum Links: GCSE music


Follow Up ActivitiesWriting A Review Of Grease

To write a review, watch the show carefully and writenotes during the interval or after the play – we askthat you do not write notes during the performance.What do you see and hear on the stage and in theaudience when you are waiting for the play to begin?To work out what effects are being created in theproduction, ask yourself these practical questions andthink about why these choices have been made:

The Set• what is your first impression of what you see?• what shapes, levels and colours are being used? • how does the set hide or reveal the actors?• how are the different locations and scenes in the

show demonstrated?

Costume• what colours and styles are being used, and

what do they tell us about the historical period of the show?

• compare different costumes, for example Sandy’s look at the beginning and her transformation for “You’re The One That I Want” or the difference between Kenickie and Eugene’s costumes.

• How does costume help define a character?

Lighting• what colours and shades are being used to

create time of day or location or mood? • what levels of brightness are being used?• think about angles of light - who is well lit and

who is in shadow?• when do the lights change?• what atmosphere and emotions are suggested

by the lighting?

The Performers• how does each actor create their character

through the way they move?• how effective is the transition from speech to

song – can you give an example of a point in theshow where this happens?

• how do the performers use the set?• how do the performers relate to the audience –

and when does this change?• which performances do you find the most

convincing? Why? Which performances do youfind less convincing? Why?

• how do the dances affect the mood of the show?

And lastly how does Grease make you feel?

“Grease doesn’t have a message…it gives a flavour ofbeing a teenager in the 1950s – when Rock n’ Rolland putting grease in your hair were the mostimportant things in life..” David Gilmore, Director

Do you agree or disagree? What are the differencesand similarities for teenagers today? If you wrote amusical about your lives, what would it celebrate?

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Curriculum Links: GCSE/GNVQ levelDrama/Performing Arts

Write notes here


Follow Up ActivitiesFurther Ideas for Citizenship and Drama

Bridge the Gap(Citizenship – extended project)

Interview people you know - grandparents, familyfriends or local residents who were teenagers in the1950s. What do they remember of the hair andfashions of the time? Find out where, in your localarea, did dances takes place.

Re-create a 1950s dance in your school and ask localresidents to help you choose the music. Invite themto the “hop” and alternate the playlist between1950s and modern dance music. See what you canlearn from each others’ dance styles.

Follow The Story(Drama – three sessions)

What do you think happens next to the characters ofGrease?

1. In small groups choose four or five characters and create a scene which shows them ten yearson. Plan and rehearse.

2. Polish and perform your scenes to the group. 3. Follow the performance with a spontaneous

improvisation where everyone meets up for a ten year reunion, dancing to the hits of their teens and talking about their lives. Depending on the size and ability of the group, this could be managed as a whole class improvisation.

4. Extension activity to explore how to create characters of different ages: a whole class improvisation as in (3) but at a signal from the teacher everyone travels forward in time ten years. Let each period play for a minute or so, then flash forward again until you reach the present day (average age of characters is now sixty six).

Grease Day

Why not have a “Grease Day” as a charity fundraiser?Everyone pays a pound to come as their favouritecharacter from the show. The teachers can join in too!Decorate the school hall to resemble Rydell High andeven the tannoy announcements could be authentic.Raise additional funds from sponsored Rock n’ Rolldances and tallest beehive and best kept quiffcompetitions. The possibilities are endless and there’sa lot of fun to be had for your school’s chosen goodcause.

The End

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Documents

Grease, the musical