by ROALD DAHL
Adapted by DAVID WOOD
Dallas Children’s Theater
Behind the Curtain
A Creative and Theatrical Resource Guide for Teachers
DCT Executive Director Samantha Turner
Resource Guide Editor Jessica Colaw
Resource Guide Layout/Design Jamie Brizzolara
Play James and the Giant Peach by Roald Dahl
Adapted by David Wood
"James and the Giant Peach (Wood)" is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.www. concordtheatricals[dot]com
DALLAS CHILDREN’S THEATER, one of the top five family theaters in the nation, serves over 150,000 young people and their families each year through its mainstage productions, educational programming, and outreach activities. Since its opening in 1984, this awardwinning theater has existed to create challenging, inspiring and entertaining theater, which communicates vital messages to our youth and promotes an early appreciation for literature and the performing arts. As the only major organization in Dallas focusing on theater for youth and families, DCT produces literary classics, original scripts, folk tales, myths, fantasies, and contemporary dramas that foster multicultural understanding, confront topical issues, and celebrate the human spirit.
DCT is committed to the integration of creative arts into the teaching strategies of academic core curriculum and educating through the arts. Techniques utilized by DCT artists/teachers are based upon the approach developed in Integration of Abilities and Making Sense with Five Senses by Paul Baker, Ph.D.
TEKS that your field trip to Dallas Children’s Theater satisfies are listed at the back of this Resource Guide.
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As part of DCT’s mission to integrate the arts into classroom academics, the Behind the Curtain Resource Guide is intended to provide helpful information for the teacher and students to use before and after attending a performance. The activities presented in this guide are suggested to stimulate lively responses and multi-sensory explorations of concepts in order to use the theatrical event as a vehicle for cross-cultural and language arts learning.
Please use our suggestions as springboards to lead your students into meaningful, dynamic learning; extending the dramatic experience of the play.
Permission is granted for material included in this Resource Guide to be copied for use in the classroom.
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EDUCATIONAL SUPPORT IS ALSO PROVIDED BY SENSORY-FRIENDLY SPONSORS
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Curtains Up On Putting a Performance Together
Every DCT performance you see is the result of many people working together to create a play. You see the cast perform on stage, but there are people behind the scenes that you do not see who help before, during, and after every production.
The DIRECTOR
Determines the overall look of the performance.
Guides the actors in stage movement and character interpretation.
Works with designers to plan the lights and sounds, scenery, costumes and makeup, and stage actions.
The CREW
The DESIGNERS
Plan the lights, sounds, scenery, costumes, make-up, and actions to help bring the director’s vision to life.
There are also designers who work to create the posters, advertisements, programs, and other media for the performance.
Build and operate the scenery, costumes, props, and light and sound during the performance.
The AUDIENCE
The STAGE MANAGER
Before the performance, they create a cue sheet to guide the crew in getting set pieces on and off the stage during the performances.
During the performance, the stage manager uses this cue sheet to direct people and things as they move on and off the stage.
The CAST
Includes all of the performers who present the story on stage.
That’s right! There can be no performance without you—the audience. The role of the audience is unique because you experience the entertainment with the performers and backstage crew. You are a collaborator in the performance and it is important to learn your role so you can join all the people who work to create this Dallas Children’s Theater production.
Curtains Up On The Role of the Audience
Watching a play is different from watching television or a sporting event. When you watch T.V., you may leave the room or talk at any time. At a sporting event you might cheer and shout and discuss what you’re seeing. Your role as a member of the audience in a play means you must watch and listen carefully because:
• You need to concentrate on what the actors are saying.
• The actors are affected by your behavior because they share the room with you. Talking and moving around can make it difficult for them to concentrate on their roles.
• Extra noises and movement can distract other audience members.
Activity Give it a Try
ARE YOU READY FOR YOUR ROLE IN THIS PERFORMANCE?
Check the box next to the statements that describe proper etiquette for an audience member.
q Try your best to remain in your seat once the performance has begun.
q Share your thoughts out loud with those sitting near you.
q Wave and shout out to the actors on stage.
q Sit on your knees or stand near your seat.
q Bring snacks and chewing gum to enjoy during the show.
q Reward the cast and crew with applause when you like a song or dance, and at the end of the show.
q Arrive on time so that you do not miss anything or disturb other audience members when you are being seated.
q Keep all hands, feet, and items out of the aisles during the performance.
Activity Give it a Try
Draw a picture of what the audience might look like from the stage. Consider your work from the viewpoint of the actors on stage. How might things look from where they stand?
Write a letter to an actor telling what you liked about their character.
Write how you think it might feel to be one of the actors. Are the actors aware of the audience? How might they feel about the reactions of the audience today? How would you feel before the play began? What about after the show ends?
1 2 3 4
Which job would you like to try? Acting, Directing, Lighting and Sounds, Stage Manager, Set designer, Costume designer, or another role? What skills might you need to complete your job?
Curtains Up On Theater Vocabulary
ACTOR any theatrical performer whose job it is to portray a character
CAST group of actors in a play
CENTER STAGE the middle of the stage
CHARACTER any person portrayed by an actor onstage. Characters may often be people, animals, and sometimes things.
CHOREOGRAPHER the designer and teacher of the dances in a production
COSTUME DESIGNER the person who creates what the actors wear in the performance
DIRECTOR the person in charge of the actors’ movements on stage
DOWNSTAGE the area at the front of the stage; closest to the audience
HOUSE where the audience sits in the theater
LIGHTING DESIGNER the person who creates the lighting for a play to simulate the time of day and the location
ONSTAGE the part of the stage the audience can see
OFFSTAGE the part of the stage the audience cannot see
PLAYWRIGHT the person who writes the script to be performed. Playwrights may write an original story or adapt a story by another author for performance.
PLOT the story line
PROSCENIUM the opening framing the stage
PROJECT to speak loudly
PROP an object used by an actor in a scene
SET the background or scenery for a play
SETTING the time and place of the story
SOUND DESIGNER the person who provides special effects like thunder, a ringing phone, or crickets chirping
STAGE CREW the people who change the scenery during a performance
STAGE MANAGER the person who helps the director during the rehearsal and coordinates all crew during the performance
UPSTAGE the area at the back of the stage; farthest from the audience
Curtains Up After the Performance
Attending a play is an experience unlike any other entertainment experience. Because a play is presented live, it provides a unique opportunity to experience a story as it happens. Dallas Children’s Theater brings stories to life though its performances. Many people are involved in the process. Playwrights adapt the stories you read in order to bring them off the page and onto the stage. Designers and technicians create lighting effects so that you can feel the mood of a scene. Carpenters build the scenery and make the setting of the story become a real place, while costumers and make-up designers can turn actors into the characters you meet in the stories. Directors help actors bring the story to life and make it happen before your very eyes. All of these things make seeing a play very different from television, videos, or computer games.
Hold a class discussion when you return from the performance. Ask students the following questions and allow them to write or draw pictures of their experience at DCT.
• What was the first thing you noticed when you entered the theater?
• What did you notice first on the stage?
• What about the set? Draw or tell about things you remember. Did the set change during the play? How was it moved or changed?
• Was there any space besides the stage where action took place?
• How did the lights set the mood of the play? How did they change throughout? What do you think the house lights are? How do they differ from the stage lights? Did you notice different areas of lighting?
• What did you think about the costumes? Do you think they fit the story? What things do you think the costume designers had to consider before creating the costumes?
• Was there music in the play? How did it add to the performance?
• What about the actors? Do you think they were able to bring the characters to life? Did you feel caught up in the story? What things do you think the actors had to work on in order to make you believe they were the characters?
TEACHER TIP
Curtains Up On Adaptation
An adaptation is a change made in something so that it can fit a new use. James and the Giant Peach is an adaptation of a book, which is meant to be read, into a play, which is meant to be performed and viewed. David Wood took the work of Roald Dahl and adapted it so that it could be performed for an audience on stage.
Consider these questions for discussion before you attend the DCT production:
• What kinds of things did David Wood have to consider in writing a script of the book?
• If he was still alive, what kinds of things would Roald Dahl be concerned about with an adaptation of his book?
• Do you think the performance will be shorter or longer than the book?
• What will the characters look like? How will they match the illustrations? What differences can you expect?
• What about the story? What changes might you expect in adapting it for the stage? Why would these changes be necessary?
After the performance, consider these questions:
• Were there any characters or events that were in the book but not in the play? Why do you think these choices were made?
• Did the changes make the story stronger or was it weaker because of them?
• What do you think the set and costume designers need to consider when bringing the story to the stage?
• What things helped to tell the story on stage?
Use the following template to illustrate the similarities and differences between the book and DCT’s performance of James and the Giant Peach.
Book
Compare and Contrast
James and the Giant Peach
Curtains Up on the Author and Playwright
ROALD DAHL was a spy, ace fighter pilot, chocolate historian and medical inventor. His first moment of inspiration came when he was at boarding school when a local chocolate factory invited pupils to trial new chocolate bars - 35 years later, Charlie and the Chocolate Factory was published.
He went on to write many more stories, including Matilda, James and the Giant Peach and Fantastic Mr. Fox, all from a hut in his back garden in Great Missenden, Buckinghamshire. By the time he published The Minpins, he had written a total of 16 stories for children, which have been translated into 68 languages and read all over the world. He remains one of the world's greatest storytellers.
Excerpted from: roalddahl.com/about/
DAVID WOOD began writing as a student at Oxford University in the sixties. He wrote his first play for children in 1967 and has since written about 50 more. They are performed all over the world and include The Gingerbread Man, The See-Saw Tree, The Plotters of Cabbage Patch Corner, Save the Human (from the story he wrote with Tony Husband) and The Selfish Shellfish. He has directed many of his plays for his touring company, Whirligig Theatre. His stage adaptations include five Roald Dahl books: The BFG; The Witches; The Twits; Fantastic Mr. Fox and James and the Giant Peach; HRH the Prince of Wales' The Old Man of Lochnagar; Dick KingSmith's Babe, The Sheep-Pig; Eric Hill's Spot's Birthday Party and Michael Foreman's Dinosaurs and All That Rubbish. His adaptation of Philippa Pearce's Tom's Midnight Garden was commissioned by Unicorn Theatre and won the Theatre Managers' Association Best Show for Children and Young People in 2001 before playing a season on Broadway. Dubbed "The national children's dramatist" by The Times, he has recently published Theatre for Children: Guide to Writing, Adapting, Directing and Acting (Faber & Faber, and published by Ivan Dee in the States), which is already becoming a set text on the subject.
Excerpted from: dramaticpublishing.com/authors/profile/view/url/david-wood
Curtains Up on Discussion
Use the following questions to lead a discussion with students after attending DCT’s performance of James and the Giant Peach
• Where does James live at the beginning of the play?
• How did James’s aunts treat him?
• What is in the bag that the old man gives to James?
• What happens to the peach?
• Who is waiting for James inside the peach?
• Where do the insects want to go?
• What happens after the peach falls off the cliff?
• How do James and the insects get the peach out of the water?
• Why does James have to rescue Centipede?
• How does the peach end up in New York City?
• Describe how James’s life has changed from living with his aunts to living in New York City.
Curtains Up on Writing
James and the Giant Peach is a story that focuses on James and his adventures. But, what if the story’s main character was actually someone else? Imagine that the story is really about one of James’s aunts or one of the insects (or even James’s parents). How would the story be different? What would still be included in the story? What would be left out?
Activity Writing
Working as a whole group, in pairs, or individually, rewrite the story with a new main character (Miss Spider and the Giant Peach, perhaps?). This can be as extensive a project as you choose: you could simply discuss how the story would change, or you could create an actual book (including illustrations) that retells the story (just to name a few ideas). Be creative!
Created by: Jessica Colaw
Curtains Up on Fun With Science
BUILDING AN INSECT HOTEL
Description
Students learn about biodiversity, shelter, and make an insect hotel. Explain that this is the popular vote of the class.
Background Information
Biodiversity is short for “biological diversity.” It is a term describing all the varieties of life on earth and the relationships between them, including ecosystems, species, plant life, genetic diversity and cultural diversity. Biodiversity is what gives humans, plants, and animals the ability to withstand disease and to adapt to our changing environments. Biodiversity in farming includes all the different breeds of animals and varieties of plants raised by people to produce food. This genetic diversity is the result of natural selection, intentional cultivation, and innovation by farmers, shepherds, fishers, and cooks over millennia. Agro-biodiversity includes insects, birds, edible wild plants, and even microbes that break down nutrients to create healthy soil. To illustrate biodiversity in a garden, students will build a safe shelter for beneficial bugs. The best bug hotels have lots of small spaces in different shapes and sizes and made from different materials. Ideally some should be nice and dry inside, and others a bit dampish. Bug hotels are generally made from reclaimed materials, or natural objects. A simple bug hotel can be made from a collection of hollow stems packed into a plastic bottle with the end cut off. Several hotels could be placed in different positions such as on the ground amongst vegetation, fixed on top of a post, next to a wall, half way up a hedge, in a tree, under a bird table. These are likely to attract different minibeasts to live in them. Sections of bamboo stuffed with dried plants and natural materials invite insects to nest, eat and reproduce. You will attract bees, beetles, butterflies, and moths, among other things. Grander bug hotels can be made by piling up a variety of materials into a tower, or making a wooden frame with a series of compartments and packing these with different fillings.
Objectives
Kids learn and understand the importance of biodiversity in the garden and other land biomes. Students will be asked to describe the things animals need to survive and the ways in which animals depend on other animals and plants.
Materials
• Journals
• Sticks
• Bamboo
• Leaves
• Feathers
• Mulch
• Cardboard
• Bottles
• Cloth scraps
Prep
• Go over with students what land biome they live in here in Texas and other biomes that exist in other areas of the world.
• Discuss the animals or insects that live in the Texas biome close to home.
• Ask students to think of some animals that they are familiar with, such as their pets or animals that live outdoors near their homes. Ask them to state the things these animals need to survive, such as water, food, a place to make their home, and enough room to run and roam.
• Assign each student the role of a local plant or animal (more than one student can play the same role). Ask everyone to stand on one side of the classroom. Then ask one “plant” or “animal” to step out of the picture. For example, you could say, “Will all the oak trees please sit down?” The children taking their seats would represent the dying out oak trees in your area.
• Ask students if any other species depend on the oak tree (or whatever local species you have asked to sit down). Give them hints if they are unsure (e.g., the squirrel eats acorns). If any species depends on the species you have asked to sit down, those students will have to sit as well. Continue until there are no (or very few) students left standing.
• Discuss the implications of the simulation with the class. What happens to the plants and animals in an area when one type of plant or animal dies out? Make sure students understand that all plants and animals in an area (an ecosystem) depend on one another. Can they think of other examples of interdependence, such as in their families, with their friends, or at school?
• Ask students to brainstorm the reasons why they think some species might be in trouble, in addition to the ecosystem-related reasons they have discussed. Can they think of any ways in which human activities might affect the lives of animals? Show them pictures of construction, recreation, and other human activities, and discuss how the activities in each picture might affect the ecosystem.
• Have students draw pictures of healthy ecosystems in which many plant and animal species coexist. They can get ideas from pictures of natural areas near their homes or other print materials you have available. Ask them to describe, either in writing or out loud, what would happen if the trees or another species were to die off.
Activity
1. To aid in the garden’s biodiversity and ecosystem, students will construct an insect hotel.
2. Gather the large containers or naturally found objects students have brought in or found. Examples include dried gourds, plastic bottles, wooden pallets, cinderblocks, etc.
3. In the spaces between, use smaller objects to make compartments with varied textures and materials.
4. Hang, hide, or place your bug hotels in various places around the garden.
Discussion
• What do insects eat?
• Where do they live?
• How do they depend on the plants and other animals around them?
• What would happen to these insects if their shelter no longer existed?
Excerpted from: edibleschoolyard.org/sites/default/files/GYO-LESSON-SPRING-GRADE3.pdf
Photo example from: https://www.gardenninja.co.uk/how-to-make-a-bug-hotel-the-right-way/
Curtains Up on SEL
Enhancing Self-Awareness: Meaningful SEL Journal Prompts for Elementary Students
Self-awareness is the foundation of SEL, as it allows children to understand and manage their emotions, develop empathy, and make responsible decisions. One effective way to enhance self-awareness in elementary students is through journaling.
Self-awareness is the ability to recognize and understand one’s own emotions, thoughts, and behaviors. It involves being aware of one’s strengths and weaknesses, as well as how one’s actions impact others. In SEL, self-awareness plays a crucial role as it forms the basis for developing social awareness, selfmanagement, and responsible decision-making skills.
SEL Journal Prompts for Elementary Students
Prompts to Explore Emotions
• Describe a time when you felt really happy. How did you know you were happy?
• Write about a time when you felt angry. What made you angry and how did you handle it?
Prompts to Reflect on Personal Strengths and Weaknesses
• What is something you are really good at? How does it make you feel?
• Is there something you find challenging? How do you feel when faced with this challenge?
Prompts to Encourage Empathy and Perspective-Taking
• Imagine how your friend might feel if they lost their favorite toy. How would you comfort them?
• Write about a time when you helped someone. How did it make you feel?
Prompts to Foster Goal-Setting and Self-Reflection
• What is one thing you would like to improve about yourself? How can you work towards that goal?
• Reflect on a recent mistake you made. What did you learn from it and how will you avoid making the same mistake again?
Tips for Effective Journaling
To make the most out of journaling, here are some tips to keep in mind:
• Create a Safe and Non-Judgmental Space for Journaling
• Encourage Regular Journaling Habits
• Provide Guidance and Support When Needed
Excerpted from: everydayspeech.com/sel-implementation/enhancing-self-awareness-meaningful-sel-journal-prompts-forelementary-students/
Curtains Up on Set Design
When you come to Dallas Children’s Theater to see a performance, what do you see on stage? Everything you see has been thoughtfully designed by a set designer to help tell the setting of the story. If your class has already seen James and the Giant Peach, discuss the set design you saw on stage. If you haven’t been to the theater yet, talk about what you think the set might look like.
Activity
Ground Plan DIY
Now it’s your students’ turn to play the role of set designer. One of the ways a set designer prepares the set is by creating a ground plan (a bird’s eye view of the stage). Instruct your students to utilize the following ground plan template to create a unique set for James and the Giant Peach. How would they show the ocean? Or New York City? Is there anything else they want to include? When the students have completed their projects, put the ground plans up around the classroom and have a gallery walk to check out everyone’s different viewpoints!
Created by: Jessica Colaw
Curtains Up on Peaches
In James and the Giant Peach, James and his friends go on quite an adventure while inside a peach. Although we may not have a giant peach like James to travel the world in (and nibble on, as needed), we can still enjoy peaches, too! Fresh peaches are best in the summer, but can be found year round in the freezer or canned fruit section of the grocery store. Try some of the following ideas with your class to explore the culinary potential of peaches:
• Add mashed peaches to plain yogurt.
• Make a peach salsa and enjoy with tortilla chips.
• Top vanilla ice cream with diced peaches.
• Blend up a peach smoothie.
• Spoon some granola over peaches.
Adapted from: tastingtable.com/1528433/creative-uses-for-canned-peaches/
James and the Giant Peach Ground plan
Audience
Curtains Up on Art
Activity Art
CREATE A PEACHY PAPIER-MACHE PROJECT-JAMES’S GIANT PEACH AND FRIENDS
To make a papier-mache Giant Peach, you will need:
• A balloon
• Papier-mache mix (the papier-mache construction may also be done by dipping strips of newspaper (about 1-inch-wide) into a mixture of 1-part school glue to 2-parts warm water)
• Masking tape
• Cardboard or a paper plate for a base on which to attach your balloon for construction
• Sharp scissors (use with adult supervision)
• Paint and paintbrushes
How to:
1. Inflate the balloon and attach it with masking tape to a paper plate or cardboard base to keep it stable as you cover it.
2. Cover the balloon completely with papier-mache mix or newspaper strips. You’ll need several coats and will need to let each coat dry completely before applying the next layer.
3. Once the balloon is covered and dried, pop the balloon at the “stem” where it was attached and remove it from the papier-mache shell.
4. Get help from an adult to cut a “door” in the top of the peach.
5. Use paint to color your peach both inside and out.
6. Once the paint has dried, your inhabitants can ‘move in’ to the peach. Be creative and make furniture and artwork to decorate the inside of the “peachy” home.
To make James and his insect friends, you will need craft items such as:
• Chenille stems
• Markers
• Pom poms
• Glitter
• Glue
• Student scissors
• Styrofoam balls
• Craft sticks
• Googly eyes
• Scraps of manilla paper
• Tissue paper
How to:
Using chenille stems, fashion a skeleton for James. Add tissue paper clothes, yarn for his hair, and draw a face on a small circle of manila paper. Be creative with other craft items and construction the insects to accompany him on his journey.
Excerpted from: DCT’s 2016-2017 James and the Giant Peach Study Guide
Curtains Up on More
More books by Roald Dahl:
Charlie and the Chocolate Factory
Charlie and the Great Glass Elevator
Matilda
The BFG
Fantastic Mr. Fox
The Twits
The Witches
And many more…
Check out these websites to learn more about Roald Dahl: roalddahlmuseum.org roalddahl.com
Learn more about playwright David Wood: davidwood.org.uk/
T.E.K.S. satisfied by James and the Giant Peach
110.3 English Language Arts and Reading, Grade 1
b.11 Composition: listening, speaking, reading, writing, and thinking using multiple texts - writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions.
110.4 English Language Arts and Reading, Grade 2
b.11 Composition: listening, speaking, reading, writing, and thinking using multiple texts - writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions.
110.5 English Language Arts and Reading, Grade 3
b.11 Composition: listening, speaking, reading, writing, and thinking using multiple texts - writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions.
110.6 English Language Arts and Reading, Grade 4
b.11 Composition: listening, speaking, reading, writing, and thinking using multiple texts - writing process. The student uses the writing process recursively to compose multiple texts that are legible and uses appropriate conventions.
112.3 Science, Grade 1
b.1 Scientific and engineering practices. The student asks questions, identifies problems, and plans and safely conducts classroom, laboratory, and field investigations to answer questions, explain phenomena, or design solutions using appropriate tools and models.
112.4 Science, Grade 2
b.1 Scientific and engineering practices. The student asks questions, identifies problems, and plans and safely conducts classroom, laboratory, and field investigations to answer questions, explain phenomena, or design solutions using appropriate tools and models.
112.5 Science, Grade 3
b.1 Scientific and engineering practices. The student asks questions, identifies problems, and plans and safely conducts classroom, laboratory, and field investigations to answer questions, explain phenomena, or design solutions using appropriate tools and models.
112.6 Science, Grade 4
b.1 Scientific and engineering practices. The student asks questions, identifies problems, and plans and safely conducts classroom, laboratory, and field investigations to answer questions, explain phenomena, or design solutions using appropriate tools and models.
117.105 Art, Grade 1
b.2 Creative expression. The student communicates ideas through original artworks using a variety of media with appropriate skills. The student expresses thoughts and ideas creatively while challenging the imagination, fostering reflective thinking, and developing disciplined effort and progressive problem-solving skills.
117.108 Art, Grade 2
b.2 Creative expression. The student communicates ideas through original artworks using a variety of media with appropriate skills. The student expresses thoughts and ideas creatively while challenging the imagination, fostering reflective thinking, and developing disciplined effort and progressive problem-solving skills.
117.111 Art, Grade 3
b.2 Creative expression. The student communicates ideas through original artworks using a variety of media with appropriate skills. The student expresses thoughts and ideas creatively while challenging the imagination, fostering reflective thinking, and developing disciplined effort and progressive problem-solving skills.
117.114 Art, Grade 4
b.2 Creative expression. The student communicates ideas through original artworks using a variety of media with appropriate skills. The student expresses thoughts and ideas creatively while challenging the imagination, fostering reflective thinking, and developing disciplined effort and progressive problem-solving skills.
117.107 Theatre, Grade 1
b.5 Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances.
117.110 Theatre, Grade 2
b.5 Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances.
117.113 Theatre, Grade 3
b.5 Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances.
117.116 Theatre, Grade 4
b.5 Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances.
