Mockingbird: A World Premiere Kennedy Center and VSA Commission

• the different ways Caitlin and her dad grieve and what unites them

• how the amount of chaotic

movement changes through the play, and what that might show

• the difference in lighting between places Caitlin feels scared or confused (like hallways) and comfortable (like at home) • how Caitlin’s and Michael’s friendship helps each of them

Listen for…

• Caitlin’s reply when Mrs. Brook asks about Caitlin’s friends • Caitlin’s exact way of describing

things, like Devon’s chest or how the human heart works

• why Caitlin dislikes colors and when

she changes her feelings about them

• when Caitlin shows empathy for

Michael’s feelings by withholding her true opinion of his school play

During the Performance,

Please Do Your Part

• Turn off and put away your electronics • No talking or eating • Clap at the end

Think about…

• whether you knew anyone with

autism prior to seeing the play, what you thought about their autism, and, after seeing the play, whether your understanding of people with autism changed

• Mrs. Brook’s “plan for healing” and whether it worked

• how you would describe the story of Mockingbird to a friend

• a book or movie that means something

special to you, like To Kill a Mockingbird does to Caitlin, and why

Consider…

In the play, you’ll notice that Caitlin tries very hard to make her social behaviors more like those of the other students, or what some might call “normal.” What do you think it means to be “normal”?

Is being normal something to strive for?

Imagine you are Caitlin’s older sibling— what would you tell her?

Deborah F. Rutter President Darrell M. Ayers Vice President, Education Additional support for Mockingbird is provided by The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; and the U.S. Department of Education.

A World Premiere Kennedy Center and VSA Commission

Based on the novel by Kathryn Erskine

Adapted by Julie Jensen

Directed by Tracy Callahan

Funding for Access and Accommodation Programs at the Kennedy Center is provided

by Mike and Julie Connors and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge

ore!

ExploroennM ections

Go to KC C E on ARTSEDG r.org/ nnedy-cente e .k e g d se rt a s -connection students/kc

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2015 The John F. Kennedy Center for the Performing Arts

“…it is good to finish things. You feel better then.”

—Caitlin 4

Mockingbird

Cuesheet

Watch for…

David M. Rubenstein Chairman

Performance Guide

Finishing Things

“I don’t do colors. It is better when things are black and white.”—Caitlin Performances for Young Audiences is made possible by

1

Getting Ready to See

What Happens in the Story

Ever since eleven-year-old Caitlin’s mom died a few years ago, her older brother Devon had always been there to guide her and interpret the world for her. But after a terrible tragedy at school, Devon is dead. Now Caitlin and her dad are both struggling in very different ways to deal with their grief. At school, Caitlin is finding it even harder to fit in.

At home, Caitlin wants to “make everything okay”—but it’s all proving more difficult than she could have ever imagined.

Meet Caitlin

Other Characters

r dad, itlin and he Besides Ca t: yo u’ll mee selor ho o l co un Caitlin’s sc k o ro B .

Mrs fth-grade Caitlin’s fi n so hn Jo .

Mrs teacher who m firs t grader Michael a iend s Caitlin befr ho o l bully Josh the sc e, and Jose anna, Shan Em ma, Bri ass cl Caitlin’s stu dents in w ith ASD a stu dent William H. ’s father er Michael Mr. Schnei d

2

Caitlin is smart, persistent, “probably the best artist in the state,” and great at memorizing word definitions from her trusty dictionary. But there’s one thing that still takes hard work—learning the rules for getting along with other people. To understand people and emotions, she has tools to help like her “Facial Expressions” and “Manners” charts. This is important because Caitlin is a person on the autism spectrum. Caitlin thinks, talks, acts, and interprets things differently. She puzzles over and finds everyday experiences confusing and frustrating.

During the performance, you will hear Caitlin repeating words and phrases to help her think about or communicate something important. She is sensitive to loud noises, bright lights, and being touched. When things upset her, she sucks on her sleeve, repeats movements such as jumping on cracks, and sometimes has meltdowns. Understanding other people and how they expect her to behave is a challenge—and harder than ever as she deals with one of the toughest experiences anyone could face, losing a family member. So Caitlin prefers a world that stays the same with lots of routines and schedules—a world in black and white.

Mockingbird About the Performance

This play—that’s a story told on stage with actors, lights, objects, and sets—explores some serious subjects like tragedy, loss, loneliness, and grief. You might find it enlightening, funny, or heartbreaking, among many possible reactions. Good plays will prompt you to think about the world and your role in it long after the show is over.

This play particularly focuses on the idea of understanding other people’s feelings—as book author Kathryn Erskine says, “I hope that [people] will see that, by getting inside someone’s head, really understanding that person, so many misunderstandings and problems can be avoided...” If you find you have strong feelings about some of the topics in this play, please discuss them with trusted adults after the performance.

A Little More About Autism

About 1 out of every 68 children is affected by autism, which is also called Autism Spectrum Disorder (ASD). Autism occurs across a spectrum, with a wide range of social and communication challenges. (Caitlin is about in the middle.)

You might know someone with autism in your family, neighborhood, or school. Children with autism look like other children, but their autism may affect how they think, process information, communicate (some can’t use words well), interact, behave, learn, and experience the world.

They may have difficulty paying attention and knowing how other people are feeling.

Everyone who has autism is different though, and some people need a lot of help in daily life while others need very little. While people with autism typically struggle with social and language skills, some, like Caitlin, have exceptional talents in other areas like math, music, and art.

A Different Perspective

The story is told from Caitlin’s point of view. Sometimes she will act as a narrator (someone who describes the story), directly sharing her thoughts and observations with the audience. Other times she will be the main character in the story being performed. Through both perspectives, you’ll see the world the way a child with autism might experience it.

“I know how to get along with others. I leave them alone.”—Caitlin

3

Getting Ready to See

What Happens in the Story

Ever since eleven-year-old Caitlin’s mom died a few years ago, her older brother Devon had always been there to guide her and interpret the world for her. But after a terrible tragedy at school, Devon is dead. Now Caitlin and her dad are both struggling in very different ways to deal with their grief. At school, Caitlin is finding it even harder to fit in.

At home, Caitlin wants to “make everything okay”—but it’s all proving more difficult than she could have ever imagined.

Meet Caitlin

Other Characters

r dad, itlin and he Besides Ca t: yo u’ll mee selor ho o l co un Caitlin’s sc k o ro B .

Mrs fth-grade Caitlin’s fi n so hn Jo .

Mrs teacher who m firs t grader Michael a iend s Caitlin befr ho o l bully Josh the sc e, and Jose anna, Shan Em ma, Bri ass cl Caitlin’s stu dents in w ith ASD a stu dent William H. ’s father er Michael Mr. Schnei d

2

Caitlin is smart, persistent, “probably the best artist in the state,” and great at memorizing word definitions from her trusty dictionary. But there’s one thing that still takes hard work—learning the rules for getting along with other people. To understand people and emotions, she has tools to help like her “Facial Expressions” and “Manners” charts. This is important because Caitlin is a person on the autism spectrum. Caitlin thinks, talks, acts, and interprets things differently. She puzzles over and finds everyday experiences confusing and frustrating.

During the performance, you will hear Caitlin repeating words and phrases to help her think about or communicate something important. She is sensitive to loud noises, bright lights, and being touched. When things upset her, she sucks on her sleeve, repeats movements such as jumping on cracks, and sometimes has meltdowns. Understanding other people and how they expect her to behave is a challenge—and harder than ever as she deals with one of the toughest experiences anyone could face, losing a family member. So Caitlin prefers a world that stays the same with lots of routines and schedules—a world in black and white.

Mockingbird About the Performance

This play—that’s a story told on stage with actors, lights, objects, and sets—explores some serious subjects like tragedy, loss, loneliness, and grief. You might find it enlightening, funny, or heartbreaking, among many possible reactions. Good plays will prompt you to think about the world and your role in it long after the show is over.

This play particularly focuses on the idea of understanding other people’s feelings—as book author Kathryn Erskine says, “I hope that [people] will see that, by getting inside someone’s head, really understanding that person, so many misunderstandings and problems can be avoided...” If you find you have strong feelings about some of the topics in this play, please discuss them with trusted adults after the performance.

A Little More About Autism

About 1 out of every 68 children is affected by autism, which is also called Autism Spectrum Disorder (ASD). Autism occurs across a spectrum, with a wide range of social and communication challenges. (Caitlin is about in the middle.)

You might know someone with autism in your family, neighborhood, or school. Children with autism look like other children, but their autism may affect how they think, process information, communicate (some can’t use words well), interact, behave, learn, and experience the world.

They may have difficulty paying attention and knowing how other people are feeling.

Everyone who has autism is different though, and some people need a lot of help in daily life while others need very little. While people with autism typically struggle with social and language skills, some, like Caitlin, have exceptional talents in other areas like math, music, and art.

A Different Perspective

The story is told from Caitlin’s point of view. Sometimes she will act as a narrator (someone who describes the story), directly sharing her thoughts and observations with the audience. Other times she will be the main character in the story being performed. Through both perspectives, you’ll see the world the way a child with autism might experience it.

“I know how to get along with others. I leave them alone.”—Caitlin

3

How

Caitlin’s Story

It Started as a Book

The story of Mockingbird comes from an award-winning book of the same name written by Kathryn Erskine. She wanted to write a story that explored the consequences of loss and portrayed what it’s like for a child to have autism.

Stories Converge

In writing Mockingbird, Ms. Erskine chose themes and elements from another book, To Kill a Mockingbird, written in 1960 by Harper Lee. That popular book was made into a movie (which Caitlin loves and refers to in the play). The story is told from the perspective of young Scout Finch, who admires her older brother Jem and her father Atticus. In the play Mockingbird, Devon calls Caitlin “Scout,” and Caitlin compares Devon to Jem and her dad to Atticus. Listen for references to the movie throughout the play.

Behind the Title

In the book To Kill a Mockingbird, Scout’s neighbor says, “Mockingbirds don’t do one thing but make music for us to enjoy…That’s why it’s a sin to kill a mockingbird.” Many people think that in the book, mockingbirds stood for (or symbolized) people who wouldn’t harm anyone. In the play that you will see on stage, watch for how a mockingbird appears and what it might represent besides an actual songbird—and look for other symbols, too, like the wooden chest.

How is the unfinished chest a symbol of Devon?

“I wish Devon were here so he could ride his bike and watch To Kill a Mockingbird and be an Eagle Scout.”—Caitlin 4

Took Flight

A Little Humor

Sometimes what Caitlin says or does or the ways people react to her might seem funny—and it’s okay to laugh. The playwright Julie Jensen believed that humor was an important part of telling this story because, she says, this kind of humor “allows us to look at the truth of human behavior.” As you watch the play, think about what she means by that, how a story about tragedy can also be funny, and how humor helps you better understand Caitlin and the people around her.

“How can any word be more important than ‘Heart’?”

—Caitlin

A Shoe Thing

Mrs. Brook says, “Try to understand her point of view. That’s empathy, when you walk in someone else’s shoes.” That metaphor (using the idea of wearing shoes to mean seeing the world as another person would) also appears in the book To Kill a Mockingbird, in which Scout recalls Atticus’ saying, “you never really know a man until you stand in his shoes and walk around in them.” So, of course, one big idea in both the book and the play is empathy (being able to identify with someone else’s feelings). During the performance, watch when Caitlin shows empathy by comforting her dad with her purple fleece, and how this becomes a turning point—a moment when the characters’ lives change—in the story.

Complicated Relationships

Atticus

Scout

Notice how Caitlin’s schoolmates react to her. Sometimes they can be kind, protecting her from a bully. But sometimes her honesty and behaviors offend or upset them, even when she just wants to help. Some call her a “freak” or tell her to “go away.” How do you think Caitlin feels? Do you know anyone like Caitlin? How do you feel when people call you or someone you care about a hurtful name? What are some ways people can be more understanding of each other?

5

How

Caitlin’s Story

It Started as a Book

The story of Mockingbird comes from an award-winning book of the same name written by Kathryn Erskine. She wanted to write a story that explored the consequences of loss and portrayed what it’s like for a child to have autism.

Stories Converge

In writing Mockingbird, Ms. Erskine chose themes and elements from another book, To Kill a Mockingbird, written in 1960 by Harper Lee. That popular book was made into a movie (which Caitlin loves and refers to in the play). The story is told from the perspective of young Scout Finch, who admires her older brother Jem and her father Atticus. In the play Mockingbird, Devon calls Caitlin “Scout,” and Caitlin compares Devon to Jem and her dad to Atticus. Listen for references to the movie throughout the play.

Behind the Title

In the book To Kill a Mockingbird, Scout’s neighbor says, “Mockingbirds don’t do one thing but make music for us to enjoy…That’s why it’s a sin to kill a mockingbird.” Many people think that in the book, mockingbirds stood for (or symbolized) people who wouldn’t harm anyone. In the play that you will see on stage, watch for how a mockingbird appears and what it might represent besides an actual songbird—and look for other symbols, too, like the wooden chest.

How is the unfinished chest a symbol of Devon?

“I wish Devon were here so he could ride his bike and watch To Kill a Mockingbird and be an Eagle Scout.”—Caitlin 4

Took Flight

A Little Humor

Sometimes what Caitlin says or does or the ways people react to her might seem funny—and it’s okay to laugh. The playwright Julie Jensen believed that humor was an important part of telling this story because, she says, this kind of humor “allows us to look at the truth of human behavior.” As you watch the play, think about what she means by that, how a story about tragedy can also be funny, and how humor helps you better understand Caitlin and the people around her.

“How can any word be more important than ‘Heart’?”

—Caitlin

A Shoe Thing

Mrs. Brook says, “Try to understand her point of view. That’s empathy, when you walk in someone else’s shoes.” That metaphor (using the idea of wearing shoes to mean seeing the world as another person would) also appears in the book To Kill a Mockingbird, in which Scout recalls Atticus’ saying, “you never really know a man until you stand in his shoes and walk around in them.” So, of course, one big idea in both the book and the play is empathy (being able to identify with someone else’s feelings). During the performance, watch when Caitlin shows empathy by comforting her dad with her purple fleece, and how this becomes a turning point—a moment when the characters’ lives change—in the story.

Complicated Relationships

Atticus

Scout

Notice how Caitlin’s schoolmates react to her. Sometimes they can be kind, protecting her from a bully. But sometimes her honesty and behaviors offend or upset them, even when she just wants to help. Some call her a “freak” or tell her to “go away.” How do you think Caitlin feels? Do you know anyone like Caitlin? How do you feel when people call you or someone you care about a hurtful name? What are some ways people can be more understanding of each other?

5

Bringing Caitlin’s World

to Life on Stage

Making It Real

The magic of theater is that anything can happen on stage— even showing the world from the perspective of an elevenyear-old girl with autism. Remember, to someone like Caitlin, everyday life and people (even those trying to be nice) can seem confusing, frustrating, and upsetting. To bring Caitlin’s perspectives to life before a live audience takes some imagination and skill from a whole team of creative people— the director (the person overseeing the whole production), playwright, and actors plus set, props, costume, sound, and lighting designers. Here are some of the tools they might use while designing Mockingbird:

s on stage that placement of item l ua us un — gn si iture that Set De d, moveable furn te or st di ok lo es al make spac and unusual visu e sense of chaos, th to es ut rib nt co eamlike effect elements for a dr and bigger flickering lights, s, ht lig ot sp g— fear of Lightin lp show Caitlin’s he to s ow ad sh r and scarie s s and playground crowded hallway k and swirling ples include quic Movement—exam e chaos semble to show th en e th of ts en movem motion to op-action or slow Caitlin senses, st hurtful, and hing shocking or et m so e iz as ph em y ing to show anxiet jumping and runn ss the on screens or acro es ag im — ns tio Projec important ate artwork and stage that illumin rs about defines or wonde in itl Ca at th ds or w em louder and at make noises se Sound—effects th ne with autism y would to someo el lik ey th as r, ie scar ents to show ay clothes for stud yd er ev — es um st Co aggerated g but also bold ex in tt se ol ho sc n ople can a moder strange some pe w ho ow sh to es costume piec appear to Caitlin

6

Communicating with Movement

Set It Up

The set, or the scenery you see on stage, gives a sense of where the story takes place—Caitlin’s living room, her classroom, her dad’s car, the school hallway, the playground, and Mrs. Brook’s office. For this performance, the set designer had to create scenery that could easily and quickly become all these places. He also created a set with unusual features to help present the world as Caitlin sees it. This is the designer’s model (to which he added more details as the production developed).

Set design by Misha Kaufman

“I do not care for switching. I like things the same.”—Caitlin

Movement, both by individual actors and by groups, plays an important role in telling Caitlin’s story by communicating a variety of feelings. Imagine you are the director, and plan movements for the situations listed below.

Share your ideas with friends, and during the performance, watch carefully to see what different movements convey.

Caitlin’s Stuff

“Props” is a nickname for the physical “properties” in a play—meaning any object that an actor uses on stage. In this play, props play an important role to Caitlin—notice how she relies on her purple fleece, her sketchpad and pencil, and her backpack. The wooden chest in this play serves as both part of the set and also a prop—so the set and props designers had to work together on its design.

• one person showing concern for another • a group of people showing joy • one person who is afraid in a noisy crowd

Writing in Another Person’s Shoes After the performance, try rewriting the scene where Josh knocks down William H. and confronts Caitlin. Instead of telling the scene from Caitlin’s perspective, tell the scene from Josh’s point of view, showing his inner thoughts or worries as the scene plays out. Consider: What might he want, fear, or be angry about that makes him behave the way he does? What could his classmates say or do to make his behavior better or worse? Share your scenes with friends, and discuss what it was like to write a story from another person’s perspective. Then, if you can, try rewriting the scene from the point of view of other characters, such as William H., Josh’s classmates, or Mrs. Brook, and compare and contrast the scenes.

7

Bringing Caitlin’s World

to Life on Stage

Making It Real

The magic of theater is that anything can happen on stage— even showing the world from the perspective of an elevenyear-old girl with autism. Remember, to someone like Caitlin, everyday life and people (even those trying to be nice) can seem confusing, frustrating, and upsetting. To bring Caitlin’s perspectives to life before a live audience takes some imagination and skill from a whole team of creative people— the director (the person overseeing the whole production), playwright, and actors plus set, props, costume, sound, and lighting designers. Here are some of the tools they might use while designing Mockingbird:

s on stage that placement of item l ua us un — gn si iture that Set De d, moveable furn te or st di ok lo es al make spac and unusual visu e sense of chaos, th to es ut rib nt co eamlike effect elements for a dr and bigger flickering lights, s, ht lig ot sp g— fear of Lightin lp show Caitlin’s he to s ow ad sh r and scarie s s and playground crowded hallway k and swirling ples include quic Movement—exam e chaos semble to show th en e th of ts en movem motion to op-action or slow Caitlin senses, st hurtful, and hing shocking or et m so e iz as ph em y ing to show anxiet jumping and runn ss the on screens or acro es ag im — ns tio Projec important ate artwork and stage that illumin rs about defines or wonde in itl Ca at th ds or w em louder and at make noises se Sound—effects th ne with autism y would to someo el lik ey th as r, ie scar ents to show ay clothes for stud yd er ev — es um st Co aggerated g but also bold ex in tt se ol ho sc n ople can a moder strange some pe w ho ow sh to es costume piec appear to Caitlin

6

Communicating with Movement

Set It Up

The set, or the scenery you see on stage, gives a sense of where the story takes place—Caitlin’s living room, her classroom, her dad’s car, the school hallway, the playground, and Mrs. Brook’s office. For this performance, the set designer had to create scenery that could easily and quickly become all these places. He also created a set with unusual features to help present the world as Caitlin sees it. This is the designer’s model (to which he added more details as the production developed).

Set design by Misha Kaufman

“I do not care for switching. I like things the same.”—Caitlin

Movement, both by individual actors and by groups, plays an important role in telling Caitlin’s story by communicating a variety of feelings. Imagine you are the director, and plan movements for the situations listed below.

Share your ideas with friends, and during the performance, watch carefully to see what different movements convey.

Caitlin’s Stuff

“Props” is a nickname for the physical “properties” in a play—meaning any object that an actor uses on stage. In this play, props play an important role to Caitlin—notice how she relies on her purple fleece, her sketchpad and pencil, and her backpack. The wooden chest in this play serves as both part of the set and also a prop—so the set and props designers had to work together on its design.

• one person showing concern for another • a group of people showing joy • one person who is afraid in a noisy crowd

Writing in Another Person’s Shoes After the performance, try rewriting the scene where Josh knocks down William H. and confronts Caitlin. Instead of telling the scene from Caitlin’s perspective, tell the scene from Josh’s point of view, showing his inner thoughts or worries as the scene plays out. Consider: What might he want, fear, or be angry about that makes him behave the way he does? What could his classmates say or do to make his behavior better or worse? Share your scenes with friends, and discuss what it was like to write a story from another person’s perspective. Then, if you can, try rewriting the scene from the point of view of other characters, such as William H., Josh’s classmates, or Mrs. Brook, and compare and contrast the scenes.

7

• the different ways Caitlin and her dad grieve and what unites them

• how the amount of chaotic

movement changes through the play, and what that might show

• the difference in lighting between places Caitlin feels scared or confused (like hallways) and comfortable (like at home) • how Caitlin’s and Michael’s friendship helps each of them

Listen for…

• Caitlin’s reply when Mrs. Brook asks about Caitlin’s friends • Caitlin’s exact way of describing

things, like Devon’s chest or how the human heart works

• why Caitlin dislikes colors and when

she changes her feelings about them

• when Caitlin shows empathy for

Michael’s feelings by withholding her true opinion of his school play

During the Performance,

Please Do Your Part

• Turn off and put away your electronics • No talking or eating • Clap at the end

Think about…

• whether you knew anyone with

autism prior to seeing the play, what you thought about their autism, and, after seeing the play, whether your understanding of people with autism changed

• Mrs. Brook’s “plan for healing” and whether it worked

• how you would describe the story of Mockingbird to a friend

• a book or movie that means something

special to you, like To Kill a Mockingbird does to Caitlin, and why

Consider…

In the play, you’ll notice that Caitlin tries very hard to make her social behaviors more like those of the other students, or what some might call “normal.” What do you think it means to be “normal”?

Is being normal something to strive for?

Imagine you are Caitlin’s older sibling— what would you tell her?

Deborah F. Rutter President Darrell M. Ayers Vice President, Education Additional support for Mockingbird is provided by The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; and the U.S. Department of Education.

A World Premiere Kennedy Center and VSA Commission

Based on the novel by Kathryn Erskine

Adapted by Julie Jensen

Directed by Tracy Callahan

Funding for Access and Accommodation Programs at the Kennedy Center is provided

by Mike and Julie Connors and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge

ore!

ExploroennM ections

Go to KC C E on ARTSEDG r.org/ nnedy-cente e .k e g d se rt a s -connection students/kc

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2015 The John F. Kennedy Center for the Performing Arts

“…it is good to finish things. You feel better then.”

—Caitlin 4

Mockingbird

Cuesheet

Watch for…

David M. Rubenstein Chairman

Performance Guide

Finishing Things

“I don’t do colors. It is better when things are black and white.”—Caitlin Performances for Young Audiences is made possible by

1