• 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
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