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PLAY GUIDE
Book by ALLAN KNEE
Lyrics by MINDI DICKSTEIN
Music by JASON HOWLAND
Directed by BOB BAKER

April 30 May 22, 2011
Maclab Theatre


Play Guides Sponsored by:




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About the Play: The Process
Cast and Crew
Biographies
Synopsis of Little Women the Broadway Musical
Louisa May Alcott
Musicals!
Historical References: America in the 1800s
Historical References: America in the 1800s
Glossary
19th Century Fashion
The Play Review
Script Segment #1 (Social Expectations)
Script Segment #2 (Social Expectations #2)
Script Segment #3 (First Love)
Script Segment #4 (Staying True to your Dreams)
Lesson Plans: Gender Roles
Lesson Plans: Thematic Play-Building
Script Segment #5 (Melodrama)
Lesson Plans: Melodrama
Bibliography
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Cast & Crew
Play Guide
(L-R) Lana Sugarman, Shannon Taylor, Melissa MacPherson, Jose Boudreau
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Litle Women is the story of the March sisters: brassy, tomboy-like, aspiring writer Jo; romantc Meg; pretentous
Amy; kind-hearted Beth, learning lessons big and small while their father is away serving as a war-tme chaplain in
1800s Virginia. Louisa May Alcot wrote the novel Litle Women or, Margaret, Jo, Elizabeth and Amy in her own family
home in Massachusets.

The novel was published in two volumes in 1868 and 1869, and is loosely based on the authors own childhood experi-
ences, growing up with her own three sisters. The novels success spurred on sequels by Alcot, and the book has since
become an American classic, adapted in many forms from television to flm to the Broadway musical presented here at
the Citadel.

The storys success is widely atributed to the realistc and heartwarming story of these young sisters, as we follow
them over a few years as they come of age. A strong sense of sisterhood in Litle Women, not unlike the camaraderie
and brotherhood of The Three Musketeers, was a perfect ft for the partcipants of the Citadel/Banf Centre Profession-
al Theatre Company. This romantc, spirited musical version of Louisa May Alcots masterpiece originally ran on Broad-
way in 2005 before touring 30 cites in the contnental United States. The music and adaptaton of the novel by Jason
Howland, Mindi Dickstein and Allan Knee are very faithful to the original literature, focusing on romance, tragedy and
the rising independence of the March sisters.
About the Play: The Process
Play Guide
Shannon Taylor as Jo. Jose Boudreau as Beth.
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JOSE BOUDREAU............................................... Beth, Clarissa
JEREMY CRITTENDEN.......................................... Laurie, Monk
SUSAN GILMOUR.................................................Marmee, Hag
ALANA HAWLEY...................................................Hag, Maid
KRIS JOSEPH.........................................................Braxton
DAVID LEYSHON...................................................Professor Bhaer
JAMES MacDONALD.............................................Mr. Laurence, Monk
DAVID MacINNIS..................................................Troll
MELISSA MacPHERSON........................................Meg, Monk
ERIC MORIN..........................................................Rodrigo
MELISSA OEI.........................................................Hag, Maid
ADRIAN PROSZOWSKI..........................................Knight
JONATHAN PURVIS...............................................Troll
JUSTIN SPROULE...................................................John Brooke, Troll
LANA SUGARMAN.................................................Amy, Rodrigo 2
SHANNON TAYLOR................................................Jo
COLLEEN WINTON.................................................Aunt March, Mrs. Kirk
Director.................................................................BOB BAKER
Assistant Director..................................................BRENDA BAZINET
Music Director.......................................................DON HORSBURGH
Choreographer .....................................................PHILLIP NERO
Set & Costumes Designer......................................LESLIE FRANKISH
Lightng Designer ..................................................MICHAEL WALTON
Sound Designer......................................................MICHAEL LAIRD
Fight Director.........................................................PAUL GELINEAU
Voice, Speech & Text Coach...................................BETTY MOULTON
Wig Designer/
Assistant Costume Designer...................................CORY SINCENNES
Assistant Music Director.........................................RYAN SIGURDSON
Fight & Dance Captain............................................JONATHAN PURVIS
Stage Manager.......................................................MICHELLE CHAN
Assistant Stage Manager.......................................HOLLY CLARK
Apprentce Stage Manager....................................SAM VANSLUYTMAN

The play is approximately 2 hours with one intermission of twenty minutes.
Cast & Crew
Play Guide
Book by
ALLAN KNEE
Based on the novel by LOUISA MAY ALCOTT
Music by
JASON HOWLAND
Lyrics by
MINDI DICKSTEIN
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Cast & Crew
Play Guide
JOSE BOUDREAU Beth, Clarissa
Jose most recently played Mme. Gaudet in The Three Musketeers on the Maclab Stage. Last season at the Citadel she
played Belle in Disneys Beauty and The Beast. Having been a partcipant in the Citadel/Banf Theatre Program, Jose is
honored to be working amongst some of the best talent in Canada. A graduate from The Randolph Academy for the
Performing Arts, some of her favourite theatre credits include Maria/Liesl understudy in The Sound Of Music for Mirvish
Productons; Maria Elena in The Buddy Holly Story for Confederaton Centre; Neifle in The Decameron Workshop for
Berkeley Street Theatre; featured performer in such productons as The Golden Mickeys, Twice Charmed, Disney Dreams
and Hercules aboard the Disney Magic for Disney CruiseLine and Canadian Explosion for Stage West. Shout out to Bruce
and the Talent House gang! A heartelt thank you also goes out to my loving family, my friends and Michael for their
endless support and encouragement! Bon spectacle!
JEREMY CRITTENDEN Laurie, Monk
Jeremy was last seen playing Planchet in The Three Musketeers on the Maclab Stage. Recent credits include The
Stranger in The Life Inside for The Belfry Theatre; Coneybear in 25th Annual Putnam County Spelling Bee for The Belfry
Theatre/Arts Club; Mathew in Altar Boyz and Bobby in Cabaret for the Arts Club and Man 1 in The World Goes Round.
He is the winner of three Ovaton Awards and has been nominated for two Jessies. A graduate of the Citadel/Banf Cen-
tre Professional Theatre Program, Jeremy sends love to his fanc JM and their dog, Sebastan.
www.jeremycritenden.ca
SUSAN GILMOUR Marmee, Hag
Susan was most recently seen at the Citadel playing Mme. De Lannoy in The Three Musketeers and as The Drowsy
Chaperone last season. Other Citadel credits include her one woman show I Dreamed a Dream, Man of La Mancha,
Oliver! and The Beggars Opera. Other theatre credits include Les Misrables for Imperial Theatre (New York), Royal
Alexandra/Princess of Wales Theatres (Toronto), Pantanges Theatre (L.A) and Asian/African tour; Broadway and Be-
yond for Town Hall (New York); Into the Woods, My Fair Lady and The Threepenny Opera for Stratord Festval; Rob Roy
at the Edinburgh Festval; Cats and Sylvia for Theatre Aquarius; Pelagie and Larrys Party for Canadian Stage/Natonal
Arts Centre; Joseph and the Amazing Technicolor Dreamcoat for Calgary Stage West/Drayton; Guys and Dolls and Kiss
of the Spiderwoman for St. Lawrence Centre; Evita for TheatreCalgary/Drayton/Neptune Theatre; Anything Goes for
Drayton; Man of La Mancha for Neptune Theatre and Anne of Green Gables for Charlotetown Festval.
ALANA HAWLEY Hag, Maid
Alana was most recently seen playing Constance in The Three Musketeers on the Maclab Stage. She is a graduate of the
Birmingham Conservatory for Classical Theatre Training, the U of A BFA Actng Program, Tarlington Training (flm/T.V.)
and The Speech Studio (Speech Arts and Drama). Past theatre credits include Dorcus in The Winters Tale, Grace in Bar-
tholomew Fair and Princess of France in Loves Labours Lost for Stratord Shakespeare Festval; Queen Elizabeth in
Richard III and Viola in Twelfh Night for Birmingham Conservatory; Zanda in The Clink and Flaminia in The Double In-
constancy for Studio Theatre; Flora in 27 Wagons Full of Coton, Regan in King Lear and Kity Packard in Dinner at Eight
for the U of A Drama Department; Third Witch in Macbeth and Ophelia in Hamlet for PGTW. Musical theatre credits
include Oliver! for Prince George Playhouse and Grease for the St. Albert Childrens Theatre. She has enjoyed working
with artsts from across the country, partcipatng in the New Plays Festval with Theatre BC and partaking in the Na-
tonal Artsts Program at the 2005 Canada Games.
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Cast & Crew
Play Guide
DAVID LEYSHON Professor Bhaer
David was recently seen on the Maclab Stage as Rochefort in The Three Musketeers. Most recent credits include Sky
Masterson in Guys and Dolls for Chemainus Theatre Festval; This Could be Love for Lunchbox Theatre and Evelyn
Strange for Vertgo Theatre. Other credits include My Mothers Lesbian Jewish Wiccan Wedding for Mirvish; An Ideal
Husband for Theatre Calgary; Litle Shop of Horrors for Persephone Theatre; A Christmas Carol for the Grand Theatre;
Hamlet, The Taming of the Shrew and Alls Well that Ends Well for The Stratord Festval; seven seasons with The Shaw
Festval, including roles in The Importance of Being Earnest, The Cassilis Engagement, Major Barbara, Misalliance and
High Society; Blood Brothers for Theatre Aquarius; The Mystery of Edwin Drood for Vertgo Theatre; Cinderella for Globe
Theatre and The Fantastcks for Theatre Calgary.
JAMES MacDONALD Mr. Laurence, Monk
James most recent appearance at the Citadel was as De Treville and Bonacieux in The Three Musketeers. His other
Citadel actng credits include A Christmas Carol, Blackbird, Pride and Prejudice, Measure for Measure, Amadeus, Ein-
steins Gif (Sterling Award), Wit, To Kill a Mockingbird, The Importance of Being Earnest, Othello and Of Mice and Men
(Sterling Award). Elsewhere, his credits include the ttle roles in Macbeth and Henry V for the Freewill Shakespeare
Festval, as well as appearances at most of Canadas major regional theatres. James is also an artstc associate at the
Citadel, where over the past six years he has directed Billy Bishop Goes to War, As You Like It, Julius Caesar, The Blonde,
the Brunete, and the Vengeful Redhead, Fire (Dora Award), Shining City, Vimy (Sterling Award), Equus, I am My Own
Wife and Stones in his Pockets. Elsewhere James directng credits include Julius Caesar for the Stratord Shakespeare
Festval, The Old Ladies for the Shaw Festval, and seven productons for the Freewill Shakespeare Festval, where he
was artstc director for fve years. James is the Program Director for the Citadel/Banf Centre Professional Theatre Pro-
gram. Next season at the Citadel, he will direct God of Carnage.
DAVID MacINNIS Troll
David is excited to be returning to the Citadel to be part of the Robbins Academy Professional Theatre Program and the
two amazing shows that are part of that The Three Musketeers and Litle Women, the Broadway Musical. Recent thea-
tre credits include The Liars for Shadow Theatre; The Litle Dog Laughed for University of Alberta; i google myself for
Northern Light Theatre; A Christmas Carol for the Citadel Theatre and The Seed Savers for Workshop West Theatre. Da-
vid has writen two one-man shows which both premiered at the Edmonton Internatonal Fringe Theatre Festval:
Secondhand Sneakers & The Hundred-Mile Hump (2009) and The Sandkeeper Canto (2010). Film and television credits
include Heartland; The 4400; Stargate: Atlants; Stargate: SG-1; Surviving Disaster; Dead Like Me, Santas Slay, Like Mike
2 and Ginger Snaps III. David is a graduate of the University of Albertas BFA Actng Program.
MELISSA MacPHERSON Meg, Monk
At the Citadel, Melissa has appeared as Milady de Winter in The Three Musketeers, Courageous, as Babete in Disneys
Beauty and The Beast, Julius Caesar, Noises Of and the Citadel/Theatre Calgary co-producton of Disneys Beauty and The
Beast. Other credits include The Woman in Black for Theatre Network; Litle Shop of Horrors and Gentlemen Prefer
Blondes for Mayfeld Theatre and Macbeth, Richard III, As You Like It and Much Ado About Nothing for Freewill Shake-
speare Festval.
KRIS JOSEPH Braxton
Kris was most recently seen playing Athos in The Three Musketeers on the Maclab Stage. His recent credits include A
Christmas Carol, Mother Courage, The Changeling and Macbeth for Canadas Natonal Arts Centre; The Turn of the Screw
and Airport Security for Gruppo Rubato; The Pillowman for Vision Theatre; How The Other Half Loves and Doubt for
Gladstone Productons; A Midwinters Dream Tale for Company of Fools; Facts for Great Canadian Theatre Company and
three seasons with the St. Lawrence Shakespeare Festval (appearing in Macbeth, Measure for Measure, Taming of the
Shrew, As You Like It and more). Kris is a four-tme Rideau Award nominee, and shares a Rideau with Patrick Gauthier
for co-writng The Churchill Protocol, which appeared at the Edmonton Fringe in 2007. He currently lives in Otawa, but
was born in Swif Current and raised in Lloydminster, Edmonton and Regina.
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Cast & Crew
Play Guide
ERIC MORIN Rodrigo
Most recently at the Citadel, Eric appeared as DArtagnan in The Three Musketeers. Previously at the Citadel, Eric ap-
peared in Disneys Beauty and The Beast. Most memorable credits include the bad boy Luke in Angelwalks 2010 Dora-
nominated producton of Altar Boyz; Fred and Young Scrooge in A Christmas Carol for Silvermist Productons; three sea-
sons with Smile Theatre; Lt. Brannigan in Guys and Dolls for Port Hope; Rif/Baby John in West Side Story for The Grand
Theatre; The Boyfriend, Annie Get Your Gun, Pirates of Penzance and The Music Man for Drayton Entertainment; Iachimo
in Cymbeline at The Royal Welsh College and the ttle role in Richard III and Jason Shermans world premiere Enemies at
Ryerson. Eric is a graduate of the distnguished Ryerson Theatre School Program, is a recipient of the Alan Lund Scholar-
ship Award and atended the Royal Welsh College of Music and Drama as an exchange student where he had the oppor-
tunity to take part of a Master Singing Class with Stephen Sondheim. Many thanks to the Banf Centre and the Citadel for
their treless commitment and passion towards fostering and further developing my talent. Much love to Mom, Dad and
Adam.
MELISSA OEI Hag, Maid
At the Citadel, Melissa was most recently seen as Queen Anne in The Three Musketeers. A natve Vancouverite, Melissa is
a graduate of Studio 58 and Langaras Film Arts Program. Favourite roles include Lady M in Macbeth for Kaleidoscope;
Miss Adelaide in Guys and Dolls for Studio 58; Ado Annie in Oklahoma! for TUTS and various roles with Carousel Theatre
where she has worked as an actor and a teacher for the past four years. Melissa is the recipient of the Antony Holland
Scholarship, Aida Broadbent Award, OVATION award for Outstanding Newcomer and Best Actor at the 2010 Unlock the
Vault Film Festval. Much love to Gaelan for his unending support.
JUSTIN SPROULE John Brooke, Troll
Justn was most recently seen as Aramis in The Three Musketeeers on the Maclab Stage. Originally from Winnipeg, Justn
has spent the last 10 years working in Western Canada. Some favourite stage credits include The Wild Party for Pint Size
Tall Productons; Death of a Salesman for Winnipeg Jewish Theatre; Maria Rasputn Presents for Forte Musical Theatre;
Go Back For Murder for Vertgo Theatre; Equus and A Christmas Carol for the Citadel Theatre and A Midsummer Nights
Dream and Comedy of Errors for The Shakespeare Company. Recent screen credits include Mon Ami for TrueHype Pro-
ductons; Desolate for Grant Productons; World War Geek for WWG Productons; Hamlet; but you didnt hear it from me
for JCA Communicatons; Pie Day for Anctl Inc.; The Ridge for Ridge Productons and Passchendaele for Passchendaele
Films Inc. Voice credits include The Law of Ueki, Hunter x Hunter and Behind the Curtain. Justn is a graduate of the BFA
actng program in Edmonton. Justn would like to thank Bob Baker and the Citadel for this wonderful experience and his
family for their contnued support.
ADRIAN PROSZOWSKI Knight
Adrian was most recently seen at the Citadel as King Louis in The Three Musketeers. Selected credits include playing Sam-
my in Blood Brothers for the Thousand Islands Playhouse; several seasons with Shakespearean troupe A Company of
Fools (Otawa); Michael in Unity 1918 for Theatre Aquarius; Rad in 1,000 Cranes for Carousel Players; Goldfsh A and Fido
the Pup in Desperate Housepets for the 2005 Summerworks Festval, 2006 Toronto Fringe and Louis in Michel Marc Bou-
chards Heat Wave for Sudbury Theatre Centre. Adrian is a graduate of George Brown Theatre School, trained in modern
dance with Le Group de la Place Royale (Otawa) and is Artstc Director of Theatreworks Productons (Toronto, Ontario).
Adrian thanks his family and friends for their support.
JONATHAN PURVIS Troll, Fight & Dance Captain
At the Citadel, Jonathan was most recently seen as Jussac in The Three Musketeers. He currently resides in Calgary, Al-
berta where he graduated from the Mount Royal University actng program. Other Citadel credits include Disneys Beau-
ty and the Beast and The Forbidden Phoenix. On the Calgary stage, Jonathan has recently been seen in Loves Labours
Lost with the Shakespeare Company; Dying City at the Motel Space; Dirty Roten Scoundrels and Beauty and the Beast for
Theatre Calgary; Gnomes and The Princess and the Peabrain at the Calgary Fringe and Almost, Maine, a Jeezum-Crow
producton, and FLOP! with Quest Theatre. He has also performed The Forbidden Phoenix at LKTYP Theatre in Toronto
and MTYP Theatre in Winnipeg. Jonathan also dedicates extensive study to dancing, gymnastcs, martal arts, stage com-
bat, singing, and acoustc guitar. Jonathan would like to thank Mom and Dad for always pushing him forward and being
there when he needed them.
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Cast & Crew
Play Guide
LANA SUGARMAN Amy, Rodrigo 2
At the Citadel, Lana was most recently seen as Clouet and Betane in The Three Musketeers. Selected theatre credits
include The Waves for HarleyDog Productons; Ebenezer Scrooge: A Carol for Christmas for SilverMist Productons;
Measure for Measure, The Taming of the Shrew, As You Like It and The Merchant of Venice for St. Lawrence Shake-
speare Festval; A Midsummer Nights Dream for Alchemy; Romeo and Juliet and Othello for Classical Theatre Pro-
ject; Emily Elizabeth in Cliford the Big Red Dog (US tour) and four diferent productons of The Vagina Monologues.
Lana is a graduate of Sheridan College and Red Deer College. Much love to her sisters and the incredible creatve
family she became a part of in January. Upcoming for Lana is Macbeth with Drifwood Theatre.
SHANNON TAYLOR Jo
Shannon was most recently seen at the Citadel as Mme. Gallard in The Three Musketeers. Having recently spent her
summer performing in PEI, she is thrilled to explore the west coast, although Toronto is her home base. Selected
theatre credits include Johnny Belinda and Pygmalion for The Montgomery Theatre; the English language premiere
of Michel Marc Bouchards Madonna Painter for Factory Theatre; Extremites for Surface/ Underground Theatre;
Schoolhouse for 4th Line Theatre (07/08); Emily, Inspector General and Redempton for Talk is Free Theatre and
Sound of Music and Inherit the Wind for Stratord Shakespeare Festval. Shannon would like to thank Bob Baker for
this opportunity, her family for their contnued support and Peter for helping to make this all happen.
COLLEEN WINTON Aunt March, Mrs. Kirk
Most recently at the Citadel, Colleen appeared as Mere DArtagnan in The Three Musketeers. Other Citadel credits
include The Wizard of Oz, A Midsummer Nights Dream, The Crucible and Burn This. Her actng career includes the
Stratord, Shaw and Charlotetown Festvals, the companies of CATS and Show Boat and extensive flm and TV cred-
its plus the award winning The Black Rider for November Theatre; Guys and Dolls and Nothing Sacred for the Van-
couver Playhouse and Dames at Sea and Gypsy for the Arts Club. She has directed Merry Wives of Windsor, Taming
of the Shrew, Waitng for the Parade, Litle Shop of Horrors and Queen Lear and been honoured with 3 Jessie nomi-
natons, a Jessie Award, and an Ovaton Award. She makes her home in Vancouver with actor Russell Roberts and 2
wonderful sons.
BOB BAKER Director
Since returning to his hometown of Edmonton twelve years ago, Bob Baker has rejuvenated and expanded the
Citadel Theatre as Artstc Director. Programming eleven or twelve full-scale theatrical productons each year, in-
cluding family programming and the cutng-edge Rice series, Mr. Baker has ushered in an era of growth at the Cita-
del. Last season, Mr. Baker was instrumental in incorporatng fve of the Citadels existng creatve development
programs under one umbrella: The Robbins Academy. The Robbins Academy consists of the Eldon and Anne Foote
Theatre School, the Citadel Young Companies, The Citadel/Banf Centre Professional Theatre Program, ongoing Play
Development actvites and Audience Outreach, creatng Canadas newest and most comprehensive program for
creatve development in professional theatre. Mr. Baker was recently honoured with a University of Alberta Distn-
guished Alumni Award, is a member of Edmontons Cultural Hall of Fame and is a recipient of a PACE award from
Alberta Associaton of Colleges and Technical Insttutes. Mr. Baker has directed 38 plays for the Citadel and his pro-
ducton of A Christmas Carol has become, for the last eleven years, a beloved Edmonton family traditon. He was
the artstc director during the successful turn-around of both the Phoenix Theatre in Edmonton (1982-87) and the
Canadian Stage Company in Toronto 1990-98). He has won Elizabeth Sterling Haynes Awards for his directon of
Popcorn (2000), Cabaret (2002) and The Pillowman (2007). Mr. Baker is consistently inspired by the dedicaton and
talent of theatre artsts and their desire to grow and learn.
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Cast & Crew
Play Guide
BRENDA BAZINET Assistant Director
An actor, director and actng instructor, Brenda is delighted to be returning to the Citadel where she has appeared
in Equus and The Goat. Selected directng credits include Splendor in the Grass, Unity 1918, Problem Child, Featuring
Loreta, Adult Entertainment, Of the Fields Lately, Love List, Blown Sideways Through Life and The Sea. A Gemini
Award winning actor, she has appeared in over one hundred television and flm productons. A four tme Dora
Award nominee, she has played leading roles on stages across Canada. Selected actng credits include Harvest for
Persephone Theatre; Hamlet for Resurgence Theatre; Old Love for Thousand Island Playhouse/Theatre Orangeville/
Lighthouse Festval; Ring Round the Moon and Wild Duck for Soulpepper; The Price for Sudbury Theatre Centre; End
of Civilizaton for Factory Theatre; Death of a Salesman for Neptune Theatre and Leaving Home for Blyth Festval.
Upcoming, Brenda will be playing Linda Loman in the Citadels producton of Death of a Salesman.
DON HORSBURGH Music Director
As Robbins Academy faculty, Don has been enjoying connecton with both Citadel Theatre Young Companies and
the Citadel Banf Centre Professional Theatre Program partcipants. Most recently, he was music director for Hunch-
back on the Shoctor Stage. He is recently returned from Winnipeg where he music directed White Christmas for
M.T.C. and Joseph and his Amazing... for Rainbow Stage. Last season Don was the music director for Beauty and the
Beast, Sweeney Todd, the Demon Barber of Fleet Street, and, previously, was the music director for The Wizard of
Oz and the music director / composer for Pride and Prejudice, provided original music for The Constant Wife and
Blithe Spirit. His history with the Citadel Theatre also includes West Side Story (co producton with Theatre Calgary),
Oliver!, Guys & Dolls, The Sound of Music, Cabaret, Into the Woods, Aspects of Love and Duddy. At the Stratord
Festval Mr. Horsburgh has provided original music for 19 productons and music directed Threepenny Opera over
a fourteen season tenure. He is the recipient of fve Dora Awards for his contributons to Rigoleto; A Litle Night
Music; Fire and Lilies and a Sterling Haynes Award for outstanding music directon for Cabaret.
PHILLIP NERO Choreographer
Most recently at the Citadel, Phillip was choreographer for The Three Musketeers. Last season, Phillip choreo-
graphed Beauty and the Beast and previous to that The Wizard of Oz. Most recently Phillip directed and choreo-
graphed a brand new musical called Big Time Operator at Sheridan College. Other credits include Cinderella, Chica-
go, A Chorus Line, West Side Story and assistant choreographer for The Lord Of The Rings in London England.
LESLIE FRANKISH Set & Costume Designer
Last year, Leslie was the senior producton designer for the Opening and Closing Ceremonies for the 2010 Olympics
in Vancouver. Her selected Citadel credits include set and costume design for The Three Musketeers, Pride and
Prejudice, A Christmas Carol, Oliver!, The Constant Wife, Peter Pan, Beauty and the Beast (Sterling Award), Blithe
Spirit, Cat on a Hot Tin Roof, Measure for Measure and Present Laughter. Leslie began her design career at the Cita-
del in the 1980s as a resident designer for the Citadel Youth Theatre. Other resident designer positons include The
Phoenix Theatre, 1984 1987 and The Shaw Festval, 1988 1999 where she designed Pygmalion, Misalliance and
Mrs. Warrens Profession. As well, Leslie has designed for major theatres across Canada including set and costume
design for Angels in America I and II, Singer and Into the Woods for Canadian Stage Company; Hard Times, Lilies and
Claptrap for the Natonal Arts Centre; La Bte for Theatre Calgary and A Litle Night Music and The Caretaker for
the Vancouver Playhouse. Upcoming projects are set & costume designs for Heartbreak House for The Shaw Fest-
val and The Homecoming for The Stratord Festval.
10

Cast & Crew
Play Guide
MICHAEL WALTON Lightng Designer
Most recently at the Citadel, Michael designed lightng for The Three Musketeers. Other recent credits include The
Tempest, As You Like It, King of Thieves, Macbeth, A Midsummer Nights Dream and Hamlet for Stratord Festval;
The Year of Magical Thinking for Belfry/NAC/ Tarragon; The 39 Steps, A Christmas Carol, White Christmas, Oliver!
and Blood Brothers for Theatre Aquarius; The Cryptogram for Belfry Theatre; Mimi (or a Poisoners Comedy), East of
Berlin and Generous for Tarragon Theatre; The Last Five Years, The Drawer Boy, Sexy Laundry, Moonlight and Mag-
nolias and Over the Riverfor The Grand Theatre; Night Mother for Soulpepper; A New Brain for Actng Up Stage;
Ofensive Shadows for Studio 180; Norway. Today and Tiny Dynamite for Theatre Smash; Oliver! and This Is How It
Goes for Neptune Theatre; The Goat, or Who is Sylvia? and The Last Five Years for MTC; The Vertcal Hour for PTE
and Associate Special Efects Designer, The Lord of the Rings for Kevin Wallace Inc.; London and Toronto. Michael
now calls Stratord home.
MICHAEL LAIRD Sound Designer
Based in Toronto, Michaels work has been heard in theatre productons throughout North America. Selected sound
design credits include Evil Dead: The Musical (Of Broadway, Toronto & Montral); Stuf Happens for Studio 180 &
Mirvish Productons; Our Class, The Overwhelming, Blackbird and Ofensive Shadows for Studio 180; A Beautful View
for da da kamera (Dora Award nominaton); A Year with Frog and Toad, The Princess and the Handmaiden, Forbid-
den Phoenix, Youre a Good Man, Charlie Brown and The Wizard of Oz for LKTYP; Such Creatures for Nightswimming;
Through the Leaves, Festen and Marion Bridge for Company Theatre; Noble Parasites for Theatre Passe Muraille and
Norway. Today, Tijuana Cure and Tiny Dynamite for Theatre Smash. Associate sound design credits include Sweeney
Todd and Beauty and the Beast for the Citadel Theatre; Kiss Me, Kate for Stratord Shakespeare Festval and Silicone
Diaries for Buddies in Bad Times Theatre.
PAUL GELINEAU Fight Director
Paul most recently was the fght director for The Three Musketeers on the Maclab Stage. Last season, Paul was the
fght director for As You Like It. Paul was Director in Residence at the Citadel for the 1997-1998 season and was re-
sponsible for the violence in Peter Pan, West Side Story, Romeo and Juliet and Hamlet. Paul is fotunate to have cre-
ated havoc and violence all over the world. Paul served as Artstc Director of Keyano Theatre from 1999-2008 and is
the founder and frst AD of Theatre Kingston. He is one of 7 certfed Fight Masters with Fight Directors Canada, and
an honorary fght director ex-ofcio with The Society of American Fight Directors. He served as the president of FDC
between 2000-2004. He holds an MFA in directng from the University of Alberta.
BETTY MOULTON Voice, Speech and Text coach
Bety Moulton has taught voice, speech, text and worked as a coach for over 30 years in U.S., U.K. and Canadian
professional actor training programs. A Professor at the University of Alberta teaching voice in the BFA actng pro-
gram, she devised and now heads the new MFA program in Theatre Voice Pedagogy, training new theatre voice
specialists. Professional theatre coaching credits include Catalyst Theatres Hunchback and Nevermore, As You Like It
last season and Pride and Prejudice for the Citadel/Banf Centre Professional Theatre Program and this season the
upcoming Litle Women. She spent 10 seasons as company voice, speech and text coach for the Colorado Shake-
speare Festval in Boulder (37 productons). Selected theatre companies and actng studios where she has given
master classes and workshops include Shakespeare in the Red in Winnipeg, Freehold Studio Lab in Seatle, and the
Free Will Players in Edmonton.
11

Cast & Crew
Play Guide
CORY SINCENNES Wig Designer/Assistant Costume Designer
Most recently at the Citadel, Cory worked on The Three Musketeers. He is a recent MFA graduate in theatre design
from the University of Alberta. Cory previously atended Carleton University, where he obtained a degree in archi-
tectural studies. He has also studied design at Ryerson Theatre School. His set, costume and lightng designs have
been seen throughout Ontario, Alberta, Vancouver as well as in Germany and Austria. Recent design credits include
Billy Bishop Goes to War for the Citadel; Mump and Smoot: Cracked, Communion, Hardcore Logo: LIVE and The
Woman in Black for Theatre Network; Dog and Grumplestocks for Surreal SoReal Theatre; Ribbon for Ground Zero
and The Good Woman of Setzuan for Studio Theatre (Thesis Producton Design).
RYAN SIGURDSON Assistant Music Director
Ryan is an Edmonton-based music director, actor and composer. Earlier this season, he was the narrator/pianist in
Billy Bishop Goes to War. At the Citadel, Ryan has been musical director of A Christmas Carol for the past two sea-
sons and he played keyboard for Disneys Beauty and the Beast. Recent music directng credits include The 25th
Annual Putnam County Spelling Bee for the Citadel Young Musical Company and the Mayfeld Theatre; Everybody
Goes to Mitzis for Teatro La Quindicina (Sterling Award) and Assassins for Studio Theatre. A graduate of the Theatre
Arts program at Grant MacEwan University, Ryans actng credits include Cabaret at the Citadel; Evita at the May-
feld Dinner Theatre; Saturday Night and Floyd Collins for Leave It To Jane Theatre and The Incredible Adventures of
Mary Jane Mosquito for Concrete Theatre. Ryans composing credits include The Infnite Shiver and Everybody Goes
to Mitzis (Sterling Award) for Teatro La Quindicina and Waters Daughter for Northern Light Theatre.
MICHELLE CHAN Stage Manager
Earlier this season, Michelle was stage manager for August: Osage County, A Christmas Carol and Billy Bishop Goes
to War. Last season at the Citadel, Michelle was stage manager for Beauty and the Beast, Sweeney Todd, A Christ-
mas Carol and Blackbird. Other Citadel stage manager credits are The Wizard of Oz, The Forbidden Phoenix, Vimy,
Wingfelds Inferno, The Pillowman, Bird Brain, Fully Commited, Vanya, Shakespeares Will, Wingfeld on Ice, Stones
In His Pockets, Homeward Bound and The Sword in the Stone. Assistant stage manager credits at the Citadel include
Beauty and the Beast, Oliver!, Peter Pan, Blithe Spirit, Cat on a Hot Tin Roof, The Sound of Music, Grease, Servant of
Two Masters, Hamlet, Cabaret, and Art. Other favourite stage manager credits include Gods Eye with Paper Tiger
Productons; A Body of Water, Madagascar & Aferplay for Blarney Productons; Ilsa Queen of the Nazi Love Camp
for Workshop West; Evelyn Strange, Cocktails at Pams and Fever Land for Teatro la Quindicina; and The 7th Circle
and A Hero for All for FringeTheatre Adventures. Big Thanks to Holly and Sam.
HOLLY CLARK Assistant Stage Manager
Holly has just fnished the run of The Three Musketeers here at the Citadel. Before that she assistant stage managed
Abducton from the Seraglio at the EOA which was a total hoot! Although her favourite opera credit is stll stage
managing Hannaraptor for the COA because it combined her two favourite things, opera and dinosaurs. Holly has
also worked on the Calgary Stampede Grandstand Show for two years running which has been an amazing experi-
ence. Theres nothing quite like calling cues with freworks eruptng over your head. She would like to thank her
Mom for supportng her through thick and thin and Lauren for lending out her watches and being perfect. She
hopes you enjoy the show!
SAM VANSLUYTMAN Apprentce Stage Manager
Most recently at the Citadel, Sam worked on The Three Musketeers. She holds a BFA in Stage Management from
the University of Alberta. For the past 8 years Sam has worked professionally as a stage manager in 4 diferent
countries, while visitng 22 others. Among her many internatonal credits are Parade: A Musical! with Guidecca
Productons (Edinburgh, Scotland); Harold Pinter Shorts: A Slight Ache The Lover with European Arts Company
(Touring England) and Sleuth with Simply Theatre (Geneva, Switzerland). At home she has worked on several pro-
ductons with The Edmonton Opera, Opera Nuova and Keyano Theatre.
12

Act 1

The play starts in summer, 1865, in New York City. Jo March has moved to New
York from her home in Concord Massachusets to pursue her dream of becoming
a writer. She is disappointed to receive another rejecton from a publisher. Seek-
ing advice, she re-enacts her story to Professor Fritz Bhaer, a German teacher who
resides in the same boarding house. The story is overly melodramatc, which is
pointed out by Professor Bhaer. Jo begins to wonder if she has lost her way as a
writer, which brings her back to two years previously, back home with her sisters
in Concord. (Beter).

We are introduced to Jos sisters: the youngest, Amy, who is characteristcally pouty and temperamental; Meg, the eld-
est, a romantc homebody who is feeling the urge to get married; and Beth, who has an even-handed and sweet dispo-
siton.

It is Christmas Day, 1863. The March sisters father is away, serving as an Army Chaplain in the American Civil War.
Though they come from an upper-class background, the family has fallen on hard tmes, and makes do with borrowed
and repaired clothes. The girls mother, nicknamed Marmee, works days volunteering for a soldiers aid society.

Jo lifs the girls spirits by writng an Operatc Tragedy for them to perform for the citzens of Concord (Our Finest
Dreams). Jo rushes out to get the girls a Christmas tree, chopping down the prize fr tree of their neighbour across the
street, Mr. Laurence. Mr. Laurence admonishes Jo for her audacity, and in the process the March girls are introduced
to his grandson, Theodore Laurence III, nicknamed Laurie. Marmee reads a leter from the absent Mr. March, which
reminds her of how much she misses him, and how hard it is to raise the girls on her own (Here Alone).

Jo works part-tme as an assistant to the girls great-aunt, Aunt March, a steely, somewhat snobbish woman. Aunt
March promises to introduce Jo into high society, and to take her on an extended trip to Europe, if she learns to deport
herself as a Lady (Could You).

Jo and Meg are invited to a Valentnes Day Ball. Meg is worried about how she will respond if asked to dance, and the
women encourage her (Delighted). Amy, upset because she has not been invited to the ball, throws Jos story into the
fre in an act of juvenile defance.

At the ball, Meg is introduced to John Brooke, Lauries tutor, and they immediately fall for one another. Jo encounters
Laurie, who admits his secret crush on Jo (Take a Chance on Me). Meg twists her ankle while dancing, and the girls re-
turn home to fnd that Amy has burned Jos story. Jo swears that she will never forgive her.

Later that spring, Jo and Laurie go skatng on the pond, and are pursued by Amy, who is saddened at Jos refusal to talk
to her, and has developed a slight crush on Laurie. Beth, lef alone in the house, is confronted by Mr. Laurence, who is
dismayed at the amount of tme his grandson is spending with the March girls, who he feels will sofen Laurie. His
harsh demeanour is soon tempered by Beths sunny dispositon, and the fact that Beth reminds him of his deceased
daughter. Together, they sing an old parlour song (Of to Massachusets), and his friendship with the March girls is so-
lidifed.


Synopsis of Little Women the Broadway Musical
Play Guide
13

Litle Women Synopsis contnued (Song ttles in italics)


Jo, Laurie, and Amy return from skatng. Amy has fallen through the ice, and nearly drowned saved by Lauries hero-
ism. The girls promise never to fght again, and join Laurie in singing a song about their kinship (Five Forever).

Mr. March contracts pneumonia, and Marmee goes to help him recover in Washington. John Brooke decides to enlist
in the Union Army, and proposes to Meg, who accepts (More Than I Am). Jo sells her hair to help pay for Marmees
trip to Washington, an act which shocks Aunt March, who informs Jo that she will not take her to Europe, and takes
Amy instead.

Soon aferwards, the war ends, and Laurie proposes to Jo, who is stunned by his proposal, and rejects him rudely. Jo
comes to the realizaton that she needs to move to New York City to pursue her dreams of becoming a writer
(Astonishing).

Act 2

Back at the New York City boarding house, Jo tells Professor Bhaer and the boarding house proprietress, Mrs. Kirk, that
she went to a famous publisher and forced him to listen to her story (The Weekly Volcano Press). The publisher was so
impressed that he signed her to a contract to write four more stories. Unfortunately, Jos happiness is quelled afer she
receives the news that her sister Beth has contracted scarlet fever, and is gravely ill. Jo returns to Concord to atend to
Beth, leaving her dreams behind.

Mr. Laurence arrives with his prized piano as a present for Beth, who is too ill to cross the street to play it. Jo writes a
leter to Professor Bhaer, whom she unexpectedly misses. The feeling is mutual Professor Bhaer sings a song about
how lonely he feels without Jo (How I Am).

Jo fulfls a lifelong dream by taking Beth and Marmee on a seaside vacaton to Cape Cod. Jo tries to inspire Beth with
dreams of an exotc future life, but Beth assures her that she feels that she has lived a full life, and is not afraid to die
(Some Things are Meant to Be).

Amy and Aunt March return from Europe with Laurie in tow. Laurie and Amy tell Jo that they have fallen in love and
are engaged (The Most Amazing Thing). Jo, distraught by Beths death, asks Marmee how she can go on living without
being overwhelmed by sadness. Marmee sings about the need to be strong and keep on living in the face of tragedy
(Days of Plenty). Jo is reminded of her dreams, and begins to write a much more
personal story that of her and her sisters (The Fire Within Me).

On the day of Amy and Lauries wedding, Aunt March informs Jo that she is leav-
ing Jo her large house in her will. Professor Bhaer arrives unexpectedly, and pro-
fesses his love for Jo, expressing that he believes their opposite natures will lead
to a happy life together (Small Umbrella in the Rain). Jo agrees to marry him,
and informs him of her plan to open a school in Aunt Marchs house.

Synopsis of Little Women the Broadway Musical
Play Guide
14

Louisa May Alcott
Louisa May Alcott was an American writer, best known for her novel Litle Women and its
sequels Litle Men and Jos Boys. The novel Litle Women is loosely based upon her life.
She was born in Germantown, Pennsylvania on November 29, 1832. She was the second four
girls (Anna, Elizabeth and May) and daughter to Bronson and Abigail Alcot. All the girls were
educated by their father, who was a noted philosopher, teacher and avid abolitonist. The fami-
ly moved to Boston, Massachusets in 1834 and eventually moved to Concord in 1840 to a
home they named Hillside.
Much like her character, Jo March in Litle Women, Louisa considered herself a tomboy claim-
ing that no boy could be my friend tll I had beaten him in a race...and no girl if she refused to
climb trees, leap fences This was not a common attude to adopt for young girls during this tme period.
It was Louisas wild imaginaton that kept her and her sisters entertained with her melodramatc stories of love, in-
trigue and adventure. Ofen, they would perform the tales for their neighbourhood friends. Louisa ofen played the
villain, the ghost or evil queen, saving the sofer characters for her more sweeter sisters.
The Alcots were not a wealthy family, but were rich with experience and friendships. Louisas early educaton includ-
ed lessons from her father as well as instructon from the naturalist Henry David Thoreau, writers Ralph Waldo Emer-
son, Nathaniel Hawthorne and Margaret Fuller, who were all family friends. Louisa was an extremely determined girl
for her age and tme that she lived as there was litle opportunity for women to make money. Nevertheless, she was
keen to become independent, make money from her writng and make *her+ way through this rough and tumble
world. As an adult, Alcot was an abolitonist and feminist and her family housed a fugitve slave for one week in
1847. She also read and admired the Declaraton of Sentments published by the Seneca Falls Conventon on wom-
ens rights.
It was necessary for Louisa to work to support her writng. She worked as a teacher, seamstress, governess and domes-
tc helper. Her writng career began with poetry and short stories that appeared in popular magazines. Her frst book
Flower Fables was published in 1854. When the American Civil War broke out in 1861, she served as a nurse in Wash-
ington D.C. Her leters home were published in a collecton ttled Hospital Sketches (1863). This brought her frst critcal
recogniton for her observatons and humor. When Louisa was 35 years old, she was asked to write a book for girls.
Litle Women was writen from May to July in 1968. The novel was a coming-of-age story based on her and her sisters
life throughout the civil war in New England. Jo March was the frst heroine to act from her own instncts and individu-
ality rather than the common stereotyped female prevalent in childrens fcton during the tmes.
Louisa published over 30 books and short stories. She died on March 6th, 1888 and is buried in Concord, MA. Her fami-
ly house, the Orchard House, (where she wrote Litle Women) is now an historic house museum in Concord.
Louisa May Alcot was not only a talented writer, but regarded as a spokesperson for womens rights. She was the frst
woman to register to vote in Concord. Her independence and daring spirit has captured the hearts and minds of wom-
en from the 1800s to modern day.

About the Author
Play Guide
15

Musicals are energetc and lively to watch. With the popularity of shows like Glee and High School Musical the modern
musical is making a well-deserved come back. Musicals are emotonal, physical and are very popular to many people
around the world. A musical can be defned as a stage, television or flm using song, dance and dialogue to tell a story.
The best musicals have three main qualites which enable them to stand the test of tme:
Intelligence and style
Genuine and believable emoton and
The courage to do something creatve and excitng


When the emoton becomes too strong SING!

It may seem like characters in musicals break into song frivolously. You might fnd yourself wondering: why are they
singing during this intense dramatc moment? However, this is the point of the musical. Understanding the words of
the song are key to understanding the dramatc tension of a musical, and the confict of the character singing it. If a
character has emotonal turmoil, they will sing a song to explore their emotons. Sometmes, they make a decision by
the end of the song. Other tmes, the song helps the character express happiness. Listen carefully to the music in Litle
Women.


Musical Terminology:
The Book of the Musical: refers to the dialogue and lyrics together which is sometmes referred to as the li-
breto (Italian for litle book). The frst act introduces all the main characters, the main confict and is
usually longer than the second act. It will ofen end with a dramatc moment. The second act is usually
shorter and resolves confict. Spoken dialogue is usually interspersed with musical numbers and sung-
through dialogue. Unlike opera, musicals are produced in the language of the country.

Score: These are the songs (music and lyrics) that tell the emoton of the story

Triple Threat: An expression used to describe an actor who is good at 1) singing 2) dancing 3) actng

Act: Musical are separated into acts, which are broken down into scenes.

Bollywood: Hindi-language musical flms based out of Mumbai, India.

Revue: Mult-act popular theatrical entertainment that combines music, dance and sketches (short comic acts).
It derives from 19th century melodrama and vaudeville during the golden years of 19161932.

Burlesque: is a genre of variety show derived from elements of musical hall revue shows. It blends satre, per-
formance art, music and adult entertainment.

The Creatve Team: Director, Musical Director, Choreographer, Designers (set/costume/lightng & sound),
Stage Managers


Musicals!
Play Guide
Famous Musical Composers:

Andrew Lloyd Webber
Rodgers and Hammerstein
Gilbert and Sullivan
Stephen Sondheim
George Gershwin
Leonard Bernstein
Famous musicals that you should make
an efort to see:
West Side Story
Les Miserable
Wicked
The Sound of Music
Chicago
The Phantom of the Opera
16

The history of America in the 1800s is intrinsically woven into the story of Litle Women. To aid your understanding of
the play, it is vital that you have some knowledge of Louisa May Alcots world.


Politcal, Cultural and Religious Situaton of the 1800s:

America was expanding westward. There were many batles over land and territories.

1830 Christan (Evangelical) revivals religious gatherings that lasted for day are prevalent throughout the
northern United States. These revival promoted the idea that women were to serve their husbands, among
the overt religious messages.

1832 Louisa May Alcot born.

1833 The American Ant-Slavery Society is organized.

1834 New York Female Reform Society (whose mission was to reform wayward women and lead the
spiritually poor) was founded; Female workers at the Lowell Mills in Massachusets stage their frst strike.

1834 Louisa and her family move to Concord, M.A.

1847 Afer an economic depression 1839-1843, several religious and artstc communites form their own
utopian communes throughout the northeast and promote ideas of equality and freedom beyond the
expected ideas of politcal and religious freedom in the United States.

1848 Seneca Falls (NY) Conventon outlines a program for womens rights.

1850 The frst natonal womens rights conventon is held in Worcester, Massachusets (roughly 30 miles
west of Concord)

1852 Harriet Beecher Stowe (a contemporary writer to Louisa May Alcot) published Uncle Toms Cabin,
which crystallized abolitonist sentments against slavery.

1854 Louisas frst book Flower Fables is published.

1860 Democratc Party splits into northern and southern factons. The Consttutonal Union party forms.
Abraham Lincoln is elected president over Southern Democratc candidate John C. Breckenridge (among
other candidates).

1861 The Lower South secedes from the Union. Fort Sumter is bombarded, Civil War begins lasts untl
1865. 11 southern slave states declare their secession from the United States to form the Confederate
States of America and is led by Jeferson Davis. The U.S. federal government is supported by the northern
states where slavery is abolished. The Union proves too strong for the Confederacy and eventually the
South are defeated. Approximately 650,000 men, women and children were killed during the confict and
millions were wounded.


Historical References: America in the 1800s
Play Guide
17


1862 U.S. paper money is printed for the frst tme. To help pay for the Civil War, the U.S. Congress estab-
lishes the Bureau of Internal Revenue. Port Royal Experiment of returning land to freed black slaves begins.

1863 Lincolns famous Getysburg Address. Union Army draf riots in New York. Louisa May Alcot publish-
es Hospital Sketches. Large cites begin to receive free home delivery of mail. New York City draf riots.

1864 Lincoln re-elected. Alexander Graham Bell and his brother develop a speaking automaton. Quadru-
plex Telegraph invented by Thomas Edison. Railroads hook on mail cars. General Grant takes control of all
Union troops.

1865 Federal troops take over Richmond, VA and General Lee surrenders to Grant at Appomatox Court
House. Lincoln is assassinated. Andrew Johnson succeeds to the presidency and unveils his Reconstructon
plan. Louisa May Alcot publishes Moods. 13th Amendment passed, outlawing slavery.

1866 Reconstructon Era begins in the South. The Natonal Labor Union advocates an eight-hour workday.
Black Codes developed in the South to rebel against Reconstructon.

1866: Civil Rights Act

1866: Ku Klux Klan founded

1867 The 14th Amendment is passed, whereby citzen is defned as male this is the frst use of the
word male in the Consttuton.

1868 Litle Women is published. The New England Woman Sufrage Associaton is formed afer women are
denied the right to be included as voters in the 15th Amendment.

Historical References: America in the late 1800s
Play Guide
Jo March (Shannon Taylor) and
Professor Bhaer (David Leyshon)
18

Victorian Era:
This is the period of Queen Victorias reign from 1837 untl January 1901; the longest in Britsh history thus far (Queen
Elizabeth will surpass her if she remains on the throne untl 2015). This was a long period of prosperity for the Britsh
people. There was relatve peace and stability, resultng in populaton surges. Concurrently, many people emigrated
to other Commonwealth countries such as the U.S., Canada and Australia. The Industrial revoluton changed the way
we lived and improved living standards considerably. There were many advances in science and medicine, resultng in
lower mortality rates. Culture and architecture fourished. Photography captured the tme period. Entertainment was
dictated by social class. Music, drama and opera were widely atended. Melodramas flled stages around the globe.
Steamships, railways and travel became more widely used.
Social and Moral Values of the Victorian Era:
Queen Victoria s rules and morals greatly infuenced society. These values included: devoton to family life, public and
private responsibility, obedience to the law, hard work and educaton. People were to also pay more atenton to per-
sonal hygiene and were encouraged to be good, church-going citzens. In partcular, there were many rules for women.
The Role of Women: Rules of Society
Women were educated and refned in deportment classes. Victorian women were perfectonists and governed them-
selves by a set of rules for social conduct:
Never speak in anger
Learn to govern yourself and to be gentle and patent
Valuable as is the gif of speech, silence is ofen more valuable
Learn to speak in a gently tone of voice
Learn to say kind and pleasant things when the opportunity arises
Do not neglect the litle things if they can afect the comfort of others
Learn to deny yourself and prefer others
Beware of meddlers and tale bearers
A gentleman may walk with two ladies upon his arms, but under no circumstances should the lady take
the arms of two gentlemen.
On the Street:
A true lady will go quietly and unobtrusively about her business when on the street, never seeking to
atract the atenton of the opposite sex, but recognize acquaintances with a courteous bow and friends
with pleasant words.
Ladies and gentlemen meetng on a sidewalk should pass to the right.
A gentleman will assist a lady from a carriage without waitng for the formality of an introducton
**Research more societal etquete online! Some of it will really surprise you.
Glossary
Play Guide
19

Christopher Columbus: (14511506) He was an Italian maritme explorer and colonizer. He is most fa-
mous for dispelling the myth that the world was fat and instead a sphere and proved this by completng
four voyages across the Atlantc Ocean thus discovering the American contnent in the Western Hemi-
sphere. He was responsible for the European and Spanish colonizaton of the New World.
New England: This is a region in the North-eastern part of the U.S, bordering Canada.
It consists of six states: Maine, Vermont, New Hampshire, Massachusets, Connectcut
and Rhode Island. It is one of the earliest setled areas; pilgrims arrived in 1620.
Maine: Maine is a state in the New England region of the northeastern United States.
Boston: Is the capital city of Massachusets and was setled in 1630 thus making it one
of the oldest cites in the U.S. It is regarded as the unofcial capital of New England. It
was the locaton of many famous American events such as the Boston Massacre and
the Boston Tea Party.
Romantic Era: Romantcism began in the mid-late 1700s. From this period emerged beautful, emotonal
poetry with an emphasis on meter. Lyrical ballads and sonnet poetry structure were widely used to convey
the overfowing emotonal content of the poems.
John Keats: (1795-1821): Keats was an English romantc poet. He was a key fgure in the Romantc move-
ment and his work is stll widely read.
Percy Bysshe Shelley: (17921822) He was one of the major English Romantc poets and is critcally regard-
ed as the fnest lyric poets in the English language.
President Lincoln: (18091865) Abraham Lincoln was the 16th President serving from 1861 untl his assassi-
naton in 1865. He successfully led his country through the American Civil War ending slavery and unitng a
naton. He was mostly self-educated.
Governess: A governess is a woman employed to teach and train children in a private household. She is more of a
teacher than a nanny.
Scarlet Fever: Scarlet Fever is an infecton caused by group A streptococcus bacteria. The bacteria make a toxin that
can cause a scarlet-coloured rash. This infecton was partcularly fatal for children in the 1800s, due to a lack of
knowledge of how to treat the disease. A vaccine was invented in 1924 which was eclipsed by penicillin in the 1940s.
Melodrama: This is a dramatc work which exaggerates plot and characters in order to appeal to the emotons. It may
also refer to the genre. Specifcally, song was used to highlight the emotonal aspect of the scene. Any episode of The
Vampire Diaries or Greys Anatomy clearly shows how melodrama has infuenced modern flm and television. Typi-
cally, melodrama contains archetypes such as: The Hero; The Villain; Damsel in Distress.
Glossary (continued)
Play Guide
20

Mens clothing was formal and stf. Womens clothing was fussy and over-done. It was
important that clothing covered the entre body. Even the glimpse of an ankle was con-
sidered scandalous!
Female Fashion of the 1800s:
Fashion was heavily infuenced by Queen Victoria and the trends in Britain. Womens
gowns had narrow and sloping shoulders, high collars, tght corseted-waists and layers of
petcoats worn under the gowns. The length was modest, down to the ankle. Day dresses were much more
practcal; gradually, bustles replaced the layers of petcoats. Evening dresses were stll very decorated with a
low necklines. Shawls and gloves completed the look. Hats were a necessity for walking outside
and going to church. Ladies boots were made of leather and fastened with
butons.




Male Fashion of the 1800s:
Men wore tght-ftng waistcoats, calf-length coats and trousers. The vest/coats were single or double-
breasted. The shirts were linen or coton and had distnct collars. Necktes were common. Men wore top
hats with wide brims. Three-piece suits grew in popularity toward the 1870s.
19th Century Fashion
Play Guide
21

Analyzing the Play: The Play Review Scaffold
Pre-Performance Activity
Type: Points to Ponder, Discuss or write about
Grade: 812 Drama/English

Play reviews are writen for two primary reasons: to tell other people what you thought of the producton and to tell
people interested in the producton if they should come and see it. Unless you are sitng in the front row of the thea-
tre, take in a pen and paper so you can jot down ideas while you watch the play.

NOTE: If tme permits, read the play or story BEFORE you go to see the producton. You should at least have some idea
of what it is about before you go.

The table on page 16 is a handy guide that you can take with you to the theatre to help you record your inital thoughts
and opinions about the play. It will make it much easier to write a review if you make notes immediately afer the per-
formance.

Task Overview:
The goal of the assignment is for you to provide detailed descripton and analysis of the producton that supports your
overall opinion of the performance. Writng a review is similar to writng an essay: your thesis statement must be clear
and specifc (avoid general statements like the show was good), and each supportng paragraph should be focused
on one moment/aspect of the performance with specifc examples from the producton to support your analysis.

Length: 12 pages

Assignment Structure:
Using your note scafold, try to come up with a specifc take on the performance (this usually focuses on the message
or idea that you took away from the play). In the opening paragraph, be sure to include:
Play Title
Playwright
Director
State the date of the performance
Locaton of the producton
Brief plot summary

Evaluaton & Analysis:
Develop your review around the key moments that made an impression on you. This should follow your thesis while
flling in your reader on the ways in which the producton contnued to hold (or not hold) your interest. Be sure to give
specifc examples. You need to clearly express your opinion of both the technical and performance aspects of the pro-
ducton and ultmately decide how successful the producton was overall.

Develop a powerful conclusion reafrming your opinion and making a clear recommendaton to potental specta-
tors.
The Play Review
Play Guide
22

NOTE RESPONSE NAME:
1. Immediately record 5 moments from the
play that stand out to you.
1.

2.

3.

4.

5.
2. Before talking to anyone, take a moment to
record your inital response to the work.
How did it make you feel? What did it make
you think?
Response:

Feelings:

Thoughts:
3. Try to describe the concept of the play in a
few sentences. What ideas do you think the
playwright and director are trying to com-
municate to you? Did the concept enhance
or detract from the play text? Dont forget
to record the why behind your comments.

4. Was the play staged in the way that you
expected it to be? Were you surprised?
How and/or by what?

5. Who were your favourite characters? Why
were you drawn to them? Record specifc
moments from the performance to support
your opinion. Make sure to also include the
actors names in your review.

6. Write a descripton of the physical world of
the play. What kind of atmosphere did the
designer create? How/why did it change
throughout the play? Do the set pieces/
lightng/costumes have symbolic or meta-
phorical meaning for the acton and/or
characters?

7. Read over your notes. What is your overall
opinion of the play? Would you recom-
mend to others? Critcally think about why
you liked or disliked the play.

8. Eavesdrop on other people and jot down
their opinions of the play. This will help you
to write a balanced, critcal review.

Use this table to record your thoughts immediately after viewing the play:
The Play Review (continued)
Play Guide
23

Script Segment #1
Play Guide
Social Expectations
Post-Performance
Type: Scene Analysis, Performance
Suitability: 8-12 Drama

Social Expectations is a common theme throughout the musical Little Women. In this scene, Aunt March is berating Jo for
her bad behavior.

LITTLE WOMEN: Script SegmentAct One, Page 1920


24

Script Segment #1 (continued)
Play Guide


25

Script Segment #2
Play Guide
Social Expectations #2
Post-Performance
Type: Scene Analysis, Performance
Suitability: 8-12 Drama

LITTLE WOMEN: Script SegmentAct Two, Page 5657



26

Script Segment #3
Play Guide
First Love
Post-Performance
Type: Scene Analysis, Performance
Suitability: 8-12 Drama
LITTLE WOMEN: Script SegmentAct One, Page 32-33



27

Script Segment #4
Play Guide
Staying True to Your Dreams
Post-Performance
Type: Scene Analysis, Performance
Suitability: 8-12 Drama
Laurie admits that he is in love with Jo. Jo refuses to accept his advances and aims to stay true to her dreams, even if it
means losing a best friend.

LITTLE WOMEN: Script SegmentAct One, Page 64-66



28

Script Segment #4 (continued)
Play Guide



29

Analysis of LyricsCharacter Analysis
Post-Performance
Type: Research, Points to Ponder, Performance
Grade/Class: 810 Drama or English
(This lesson can be used as an introducton to the Play-building lesson on p. 24)

Society was a very diferent place for women in the 1800s. The musical, Litle Women challenges the stereo-
types of women through the main character Jo March. Jo is not a typical female, and she ofen behaves in a
very tomboyish manner. Aunt March berates Jo for her bad behavior statng that Jo will never atract a hus-
band. This theme poses an important queston: should females speak their mind to achieve their goals and
dreams, or should women behave and act like proper ladies to fnd a good husband to raise children?
Theme: Social Expectatons
Song: COULD YOU sung by Aunt March and Jo (Link: YouTube)
Song: BETTER sung by Jo (Link: YouTube)
Task:
1. As a class listen to COULD YOU on YouTube and follow along with the lyrics.
Questons/Analysis:
What does Aunt March ask Jo to do to become more atractve to her and others? Does she sup-
port her dreams to become a writer?
How does Jo react? Why does she eventually agree to change?
Have you ever been asked to behave diferently in exchange for something you want? How did
that make you feel? How did you react? What did you discover about yourself?
2. As a class, listen to BETTER on YouTube and follow along with the lyrics.
Questons/Analysis:
Professor Bhaer comments that Jos story isnt as good as it could be. Is there a moment in your
life when someone has given you negatve feedback on something that you have worked hard on
and are very proud of? Did you give up on the project? Or, like Jo did you forge ahead to try to
accomplish your dreams?

Lesson Plans: Gender Roles

Play Guide
30

Analysis of LyricsCharacter Analysis
Post-Performance
Type: Research, Points to Ponder, Performance
Grade/Class: 810 Drama or English
(This lesson can be used as an introducton to the Play-building lesson on p. 23)
3. Modern Songs
Due to the womens movement in the 19th century, women have equality in society. Through modern song,
we can see how the gender roles are being challenged and how media portrays women and men.
4. Research
Listen and read through the lyrics of the following songs:
Beyonces If I Were a Boy (YouTube song with lyrics) and
Madonnas What it Feels like (for a girl) (YouTube Glee Version with Lyrics).
Jay Zs 99 Problems (*language warning)
5. Questons/Analysis:
What are the messages of both songs?
How is Madonnas song altered when it is sung by a boy?
Do you feel that you are restricted to doing certain things in life because you are a boy/girl?
What kind of pressures do teenage boys/girls have to deal with?
How does gender stereotyping afect your life?
What do people expect you to achieve in life because of your gender?
6. Performance
In groups of 45, perform a song with a powerful message. The song does not have to be sung, but it could
be a spoken-word performance. Students devise simple movements using tableau to create a dynamic per-
formance where the message is clearly communicated to the audience. Musical instruments, simple costume
and props can be incorporated. Use a rubric to grade the performance.
Lesson Plans: Gender Roles
Play Guide
31

Thematic Play-Building
Post-Performance Activity
Type: Devised performance
Grade 810 Drama
Use the lesson on p. 22 as an introducton to the play-building performance.
Task:

1. Ask the students to brainstorm themes of Litle Women.
Social Expectatons
Hope
Womens Rights
Achieving your dreams or Deferring Your Dreams
The role of men in society
Media: Gender Stereotypes
Family or Sibling Rivalry
First Love

2. Ask the students to build a thematc performance devised of song, poetry, spoken word, short scenes to
communicate the chosen theme. The devised piece should be 57 minutes in length. Use a rubric to grade
the performance.
Lesson Plans: Play-Building
Play Guide
32

Script Segment #5
Play Guide
Melodrama
Post-Performance
Type: Scene Analysis, Performance
Suitability: 8-12 Drama
Use the following script segments to generate a discussion about the melodramatc actng style they saw in Litle Women. As an
introducton to the lesson plan on Melodrama, the students can act out the following 2 scenes (Jos lines could be read as
narrator).

LITTLE WOMEN: Script SegmentAct One, Page 24



33

Script Segment #5 (continued)
(continued)
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MELODRAMA SCENE #2 P. 7178







34

Script Segment #5 (continued)
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Script Segment #5 (continued)
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Script Segment #5 (continued)
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Script Segment #5 (continued)
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Script Segment #5 (continued)
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39

Melodrama!
Post-Performance Activity
Type: Devised performance
Grade 89 Drama


Melodrama was a style or genre of actng in the 19th and early 20th century. The actng style was quite exag-
gerated and plays contained archetypes for which their character was based upon. Music accompanied the
scenes to highlight the emotonal aspect of the scene. This style is stll used today is blockbuster flms and
soap operas. Jos stories are very melodramatc, indicatve of the plays of the tme period. There are many
examples of the melodramatc actng style in this producton. The best melodramatc characters are vivid,
larger-than-life and visceral. The following is a descripton of one of Jos melodramatc characters. Try to
make your characters as bold as Carlota:
Carlota, the madwoman in the atc, a creature of gall, a spinster rejected by the world...hungry for
blood, rose from the dark. Her eyes were beady red, her hair ghastly white and her fngers clutched
with rage, as she went out into the wretched night ~ Litle Women p. 62-63
Melodramatc Characters:
Hero: The strong and usually good-looking savior of the damsel in distress. He always saves the day. He
stands with a broad chest, and bravely fghts batles. He could have a side-kick that is the true savior
and the brains of the operaton. (Think of every acton flm you have ever watched, and you have
your hero).
Heroine: The sweet and young, beautful woman who fnds herself some kind of trouble. She either cant
pay the rent, or is the love interest of the villain. She is always saved by the hero. She ofen sighs and
places her hand on her forehead is despair.
Villain: The evil and dastardly bad person who wants to be as mean as he possible can. Usually has a cape,
hat and cane which he uses to beat his sidekick. The sidekick is usually the brains of the operaton or
at least has a unique quality (think of Austn Powers and Mini-Me).
Task:
Students devise a simple melodramatc plot: character, setng, confict, raising of the stakes, conclusion. The
style of actng should be large and dramatc. Movements are grandiose and spectacular. Students should
have fun with costume and props. Every scene should be accompanied by classical (or music without words)
music to help tell the story. They should have a dramatc ending!


Lesson Plans: Melodrama
Play Guide
40

Text

This play guide was writen and compiled by Jody-lee Parasiers. Contributons were also made by
James MacDonald.

Photos:
Ian Jackson, Epic Photography

Websites:

Litle Women the Broadway Musical Study Guide
<htp://www.litlewomenonbroadway.com/news.html>

Malheiro B. Victorian Etquete 1999-2011 <htp://www.logicmgmt.com/1876/etquete/etquete.htm>

Weston, Pauline The Victorian Era Fashion History, 2001-2011 <htp://www.fashion-era.com/
the_victorian_era.htm>

Louisa May Alcot Wikipedia: The Free Encyclopedia. Wikipedia Foundaton, Inc. 21 April 2011. <htp://
en.wikipedia.org/wiki/Louisa_May_Alcot>

Fashion Wikipedia: The Free Encyclopedia. Wikipedia Foundaton, Inc. 4 May 2011 <htp://
en.wikipedia.org/wiki/Victorian_fashion>

Bibliography
Play Guide