The Ladykillers Resource Pack by Mousetrap Theatre Projects

Education Resource Pack written by Helen Cadbury for Mousetrap Theatre Projects

Contents Introduc-on

Preparing to Come to the Theatre

Synopsis

6/7

Meet Clive Rowe –playing One-‐Round

Spotlight on the cast

Meet the producer – Edward Snape

10/11

Marke-ng – Every Picture Tells a Story

Classroom Drama: Comedy 1

Classroom Drama: Comedy 2

Review Wri-ng

About Mousetrap

Social and Historical Context

The Ladykillers (1955 Ealing Studios)

Introduc-on Welcome to the hilariously funny, slightly unhinged world of The Ladykillers. We hope that you and your students enjoy the show!

This educa-on resource pack has been created especially for teachers and students a[ending the London West End produc-on of The Ladykillers with Mousetrap Theatre Projects. It includes ideas to help you to prepare with your students before your visit to see The Ladykillers, resources to ﬁnd out more about the process of crea-ng the show and sugges-ons for classroom follow-‐up work.

The resources here are designed to be used for classroom use and may only be reproduced for educa-onal purposes by those schools a[ending the performance by arrangement with Mousetrap Theatre Projects.

Mousetrap Theatre Projects Mousetrap Theatre Projects is an independent theatre educa-on charity dedicated to crea-ng opportuni-es for young people with limited resources, opportuni-es or support to engage with the best of London’s theatre. At the heart of our work is the desire to open doors to young people who would otherwise consider the world of theatre closed to them. For more informa-on about our projects see page 17 or go to h[p://www.mousetrap.org.uk

The Ladykillers is produced by Edward Snape for Fiery Angel Ltd in associa-on with Liverpool Everyman and Playhouse, Stage Entertainment UK Ltd and Fiery Dragons.

Text © Helen Cadbury www.theatrestudy.co.uk and Mousetrap Theatre Projects with thanks to Edward Snape, Clive Rowe, Fiery Angel and Liverpool Playhouse

Preparing to Come to the Theatre Thank you for arranging to bring your students to this performance of The Ladykillers. We hope they enjoy the show and that it inspires them to create stories and performances of their own. You may wish to use the synopsis to introduce them to the story. If your students are not familiar with live theatre, it may help to get them to think about some of the following ques-ons: 1. What is the main difference between watching a live show and watching a film? 2. Did you know that the acous-cs of the theatre mean that the actors can ogen hear the audience quite clearly, which is good when the audience is laughing at jokes but is not so good if the audience is distracted. How can you help the actors in their performances? 3. Apart from school groups, who else comes to the theatre? Some people come for a special occasion or as a treat. If you could have a theatre trip as a birthday present what show would you go to? 4. Imagine an alien has landed and wants to go to the theatre. How would you describe arriving at the theatre, how to find your seats, and how to behave in the auditorium? 5. The theatre that you are coming to is The Gielgud Theatre. Do you know why it is called that? 6. To find out more about the Gielgud Theatre, go to h[p://gielgud.official-‐theatre.co.uk/ 7. When you first come into the building you will no-ce how it is decorated and that some of it is quite old. Spend some -me before the play starts looking at your surroundings. Different kinds of theatres have different kinds of designs. What does the design of this theatre make you think about or feel? 7. Ager the show you may want to write a review or you may need to write a piece of coursework. At the end of this pack you will find some ques-ons to help you with that process. Have a notebook and pen in your bag to make notes during the interval or immediately ager the show. During the show itself keep watching the ac-on, or you may miss something!

Synopsis It is the 1950s. Britain is s-ll recovering from the Second World War. In a rickety house by the railway line, an old woman lives alone. A pillar of the community, she worries the police with imagined concerns about aliens and Germans, li[le realising that a very real adventure is about to befall her. She adver-ses a room to let and is delighted when Professor Marcus arrives. She is unperturbed by his musician friends, who wish to use the house to prac-ce. She doesn't realise that this motley crew are hardened criminals planning their latest heist, a robbery from nearby King's Cross sta-on. Alone with her eccentric parrot, Mrs Wilberforce enjoys the company of the musicians and regularly provides them with cups of tea, much to their annoyance. They have to work hard to keep up the pretence of their musical prac-ce, as every interrup-on threatens to expose their true intent. The ﬁve men are struggling to work out the last piece of an otherwise perfect plot: how will they get the money away? The answer is literally right under their noses. Unwilngly Mrs Wilberforce becomes involved in their criminal ac-vity. Meanwhile, enchanted by the music she hears coming from upstairs, Mrs Wilberforce has invited her lady friends to a concert. The robbery seems to have gone to plan when disaster strikes. Mrs Wilberforce knows too much and the house is full of old ladies expec-ng a recital. The thieves begin to fall out as they realise they have very few op-ons, but will crime pay or will someone come to a s-cky end?

Marcia Warren as Mrs Wilberforce

Meet Edward Snape: Producer of The Ladykillers How did the idea of the stage produc3on of The Ladykillers come about? A producer colleague first proposed the idea and, if I'm honest, the 1956 film is probably my favourite film of all -me. That meant that it felt almost untouchable in terms of how good it is. It's quite unique in the thriller/comedy genre and it has such wonderful performances, so I needed some convincing that what we could do on the stage would stand up in its own right. I didn’t want to replicate what is a perfect film. Who was able to convince you to bring it to the stage? Well, you have to convince yourself. Graham Linehan as a writer was an inspired idea because he writes so beau-fully for television, although he has never wri[en for the stage before. How it's really come about was through a very close working rela-onship between an excellent writer and an excellent director, (who is also a writer as it happens, but in this instance is direc-ng.) Sean Foley is a specialist in theatrical comedy and is perhaps best known for his piece about Morecambe and Wise, The Play What I Wrote. For many years Sean toured with a company called The Right Size and they were very skilled at a certain style of comedy. So it was that winning combina-on that convinced me that this was going to work. It sounds like a very smooth process, but in your role as producer were there any challenges in drawing a crea3ve team together? It took a while, Sean Foley came on board later. These things do take a while. The 39 Steps took me somewhere between seven and eight years to get ready and I think The Ladykillers has taken about three years. It’s had its stops and starts, but I believe it’s a play which is going to work and is going to shine brightly for some -me. Basically, it's all in the planning and the development. con1nued …

Meet Edward Snape: Producer of The Ladykillers con3nued What made it possible now? It all came together when we did a reading with our cast: Peter Capaldi, Ben Miller, James Fleet, Stephen Wight, Marcia Warren and Clive Rowe. They were all absolutely wonderful and they all happen to be available this autumn. So I just grabbed it! These are very, very high-‐proﬁle actors and to have that company all ready at the same -me was just too good to be true.

Could you tell us something about your job? Did you always know you want to be a producer? Yes, I think I did really. I had a childhood connec-on in that my parents were associated with theatre, and I knew I wasn't an actor. I enjoyed the organisa-onal side of things and ul-mately bring a producer is about making something happen and gelng everyone organised, so you have to be a businessman, a crea-ve and you have to have vision as well. You have to believe in something and s-ck with it or, on the other hand, to know when to get out.

About the Company Fiery Angel is Edward Snape's theatre company based in the West End of London. He produces theatre shows, including comedies, musicals and special events. Fiery Angel shows tour na-onally and interna-onally. Edward founded the company in 1997 and he has now been execu-ve producer on over 25 shows.

Research Task: Did you know that West End theatres sell over £500 million worth of -ckets every year? Use the internet to ﬁnd out which shows had the highest -cket sales in 2010 and 2011. Find out if West End shows are doing well or badly in the recession. Why do you think this is?

Meet Clive Rowe – playing One-‐Round

We caught up with Clive in rehearsals, one week before the show opened.

Can you tell me a bit about your role in The Ladykillers? The character I play is called One-‐Round and he is an ex-‐boxer. He's a hard man, a sort of bodyguard. The play is set in the 1950s so, in terms of costume, how he looks ﬁts that period. The set is quite complicated, have you been able to rehearse on it?

For an audience who might not be familiar with the ﬁlm, what should they expect from The Ladykillers?

The set we have in rehearsal is not really like the set as it will be in the theatre. We saw the set yesterday and it's clear that it wouldn't have ﬁ[ed into any rehearsal room!

Well I've never seen the ﬁlm. I've seen extracts but I've never actually seen the whole ﬁlm itself and when I got the script, I just saw a piece of theatre with a very unusual plot. So, it's got elements of farce and it's very funny.

Do you think the set will pose par3cular challenges?

What advice would you give to young people who might be interested in ac3ng?

Only the rakes on the set, but that's the case in any stage that you work on. In essence it's a comedy, a farce, so that there are lots of stairs and entrances and exits and a lot going on around it. In a way the house is another character in the play and so that’s how we will have to work with it.

Go to the theatre and get involved in workshops or join a youth theatre. Write to theatres or directors and get involved in whatever way you can. I was in a youth theatre, Oldham Theatre Workshop, and did some great shows such as Zigger Zagger. Volunteer or do work experience because you might get there and ﬁnd there are other jobs that you would suit you be[er than ac-ng, but you have to work really hard and be really commi[ed.

Spotlight on the cast The cast members of The Ladykillers have hundreds of stage, TV and film credits between them, which you can find out more about in the programme. Below we have picked out just a small selec-on, which may help students iden-fy these well known actors. Why not copy and paste this page into a powerpoint. Reveal the brief biographies only ager you have asked the students if they recognise any of the performers and in what shows or films they might have seen them.

Who’s Who? Back row …you may have seen this actor before in… Front row …you may have seen this actor before in…

Ben Miller TV: The Armstrong and Miller Show, The Worst Week of my Life FILM: Johnny English Clive Rowe TV: The Story of Tracy Beaker, Dr Who. Theatre: Mother Goose at Hackney Empire

Peter Capaldi James Fleet TV: The Thick of It, TV: The Vicar of Dibley, Skins, Dr Who, Being Human, Skins. Torchwood, Peep Show FILM: Four Weddings FILM: Local Hero and a Funeral Marcia Warren Stephen Wight TV: Life of Riley, Holby TV: Diamond Geezer, City, New Tricks. Misﬁts, Coming of Age Theatre: Really Old Like Theatre: Don Juan in 45 (NT) Soho

Historical and social context 1950s Britain Ten years ager the end of the Second World War, Bri-sh ci-es were gradually being rebuilt, but for a long -me many homes would con-nue to bear the scars and damage of German bombs. The war-me spirit of small communi-es where everyone knew one another, even in a city like London, was s-ll prevalent. The police were seen as friends, unless you were on the wrong side of them. Looking back from the early part of the 21st-‐century, some people think that's the 1950s was a -me of trust and innocence. However, crime had been rapidly increasing since the end of the war, growing 10% each year from 1948 onwards. There was s-ll the death penalty for murder.

Milestones of the mid-‐1950s The Clean Air Act The smoke that had enveloped London would soon be a thing of the past, with the introduc-on of The Clean Air Act. The polluted smoke from homes and factories, mainly burning coal, combined with natural fog to create thick, polluted air. The Clean Air Act created the smokeless zones which s-ll exist in towns and ci-es today, and paved the way for cleaner fuels to heat our homes. The Suez Crisis In July 1956 Egypt’s president Col Nasser announced the na-onalisa-on of The Suez Canal Company in retalia-on when the American and Bri-sh governments changed their minds about giving Egypt ﬁnancial support to build the Aswan Dam. The canal was an important trade route, par-cularly for the supply of oil to Britain and France. The failure of the diploma-c process resulted in Britain's Prime Minister, Sir Anthony Eden, declaring war on Egypt. Eden was eventually forced to resign. Films of the mid 1950s While Ealing Studios closed its doors in 1956, over in Hollywood Deborah Kerr and Yul Brynner were starring in The King and I, Marilyn Monroe appeared in Bus Stop and Elvis Presley made Love Me Tender. James Stewart and Doris Day appeared in Hitchcock's The Man Who Knew Too Much. But the highest grossing ﬁlm of the year was the biblical epic The Ten Commandments starring Charlton Heston.

con1nued…

Historical and social context 1950s Britain con1nued Recrea3onal drugs in the 1950s Harry appears to be addicted to a cocktail of recrea-onal drugs. In the 1950s, many prescrip-on drugs found their way into street use. These included ‘uppers’ – amphetamines – and ‘downers,’ which were seda-ves. Both types of drugs had been used in the military of many countries during the Second World War and made their way into street use soon agerwards. Avant-‐Garde Music “I am a controversial ﬁgure in modern music” – Professor Marcus. Modernism in music in the mid 20th Century included experimen-ng with form and tone, breaking down the accepted methods of music making, which some-mes made the music itself seem incomprehensible to the listener. Professor Marcus fools Mrs. Wilberforce’s friends into believing he is an avant-‐garde composer. John Cage is one of the best-‐known composers of the period. His piece 4’33” is four minutes, thirty-‐three seconds of silence. It was recently -pped for a Christmas number one ager a Facebook campaign. Railways At this -me, most trains s-ll ran on steam. Britain’s railways were na-onalised in 1948. Ini-ally, they saw an increase in both passenger and freight usage and good proﬁts were made. However, by the mid 1950s, roads began to compete more and more, modernisa-on saw branch lines closed and the railways began to decline. The Ladykillers is set at the end of Britain’s last golden age of rail.

Photo by Craig Allan (CreaZve Commons)

The Ladykillers (1955) Ealing Studios The famous Ealing Studios produced ﬁlms of an essen-ally Bri-sh nature. The company launched the careers of Alec Guinness and Peter Sellers (among many others). In 1955, The Ladykillers was directed by Alexander Mackendrick. It was made right at the very end of the studio’s life and is therefore the last Ealing Comedy. The original cast was as follows: Alec Guinness – Professor Marcus Herbert Lom -‐ Louis Peter Sellers – Harry Ka-e Johnson – Mrs Wilberforce Danny Green – One-‐Round Jack Warren – Police Superintendent Frankie Howerd – Barrow Boy Philip Stainton – Police Sergeant Kenneth Connor – Cab Driver Edie Mar-n – Lelce

Did you know? The writer of the original Ladykillers script, William Rose, said that he dreamt the en-re story and wrote it down when he woke up. He was an American who had arrived in Britain during the war and married an English girl. Do you think…? …that someone from another country could be be[er at observing ‘Bri-shness’ than someone who has lived here all their lives? …why or why not?

Screenplay William Rose – from his own story Produced Michael Balcon and Seth Holt Ealing Studios, under Michael Balcon, was seen as an ambassador for Bri-sh culture. The ﬁlms tended to portray quintessen-al Bri-sh values, like Sco[ of the AntarcZc, but also carried a subversive undertone, like Kind Hearts and Coronets. When the American born, Scolsh-‐raised, MacKendrick came on board, the tone became darker, and included a blacker sense of humour. This is no-ceable in his ﬁlm Whisky Galore and comes to the fore in The Ladykillers.

Further Study Watch the 1955 film of The Ladykillers ager you have been to the theatre. What differences do you no-ce? What do you think a stage play and a film have in common and why do you think a writer might make different choices? Film Studies students may also wish to compare it with the 2004 Coen Brothers remake, which places the story in the southern states of the USA.

Marke-ng – Every Picture tells a story Compare the posters and cast photographs used in the publicity for the original ﬁlm (right) and the image for the stage show (leg). What choice has the Fiery Angel marke-ng team made for the stage show? Why do you think that is?

Above: The promo-onal image announcing the 2011 stage produc-on. Leg: the poster of the 1955 ﬁlm

It’s the Way You Tell ‘Em: Use of Comedy 1 A Lesson Plan for pre-‐ or post-‐show. Aims: • • •

To develop the use of dialogue in a piece of structured improvisa-on work. To develop comedy techniques through use of text. If used before the theatre trip, to introduce extracts of script and enable points of recogni-on for students watching the play.

Each line from list 1 is cut up and put in hat/bowl A Each line from list 2 is cut up and put in hat/bowl B

(1) I don’t like old ladies (1) The door’s jammed (1) Could I ask you all to take your posi-ons? (1) We’ve got all the money from the robbery back in the case. (1) I found my ending. A masterpiece.

• • • • • •

(2) That was a parrot? I’ve never seen anything like it. It looks like a starving baby in a sock. (2) We’re all in this together (2) You are making a mockery of tea-me! (2) It’s a very rare disease of the inner elbow. (2) Please don’t embarrass me any more than you already have!

Divide the class into 5 groups. Each group should take a line from A and a line from B. Their improvisa-on should begin with A and end at B. Remind the students that they can use silences and physical ac-on as well as language to create the scene in between lines A and B. Remind them to use gesture, body language and voice to indicate their characters. In the style of comedy employed in The Ladykillers, characters are ‘’larger than life.” (See Comedy 2 overleaf). 20 mins to rehearse, then perform.

Plenary: What comedy performance skills were used? What was most eﬀec-ve in the performance? NB: Extension ques3on – this play was wri[en in 2011, based on a ﬁlm from 1955 – which line above is a comment on today’s society? If you have already seen the play, did you no-ce any other, very contemporary references?

Larger then Life: Use of Comedy 2 A Lesson Plan for ager seeing the show Aims: • •

to explore the importance of characterisa-on in comedy to re-‐enforce, through prac-cal drama, students’ knowledge of the characters seen in The Ladykillers (which will support wri[en work about the show) to explore comedy improvisa-on techniques

• What to do: • Divide the class into 6 groups. • Ask the students to draw a s-ck figure on a piece of flipchart paper. • Each group should be assigned a different character from the play. Here is a quick reminder: Professor Marcus – master criminal, long scarf. Mrs Wilberforce – li[le old lady Louis – Romanian, flick-‐knife Harry – young, pill-‐popper One-‐Round – big, ex-‐boxer Major Courtney – Suit, upper-‐class accent •

•

Around the s-ck ﬁgure, they should write all the characteris-cs they can remember about the character or draw them onto the ﬁgure, including: costume, gesture, voice (accent, tone, vocal -cs,) facial expression, physical shape, way of walking or general physicality. Each group feeds back to the whole class.

Discussion point: Draw out how different each character is. It is impossible to get them confused. They contrast with each other but also have their own internal conflicts. Draw out why this is important: eg visual jokes about different physical size, strength/weakness, agility/ clumsiness, toughness/fear. Your Turn: Start again with a blank sheet of paper. Give this new s-ck person a name. Instead of 1950s London, it’s 2011/12. Ask the group to brainstorm his/her appearance, vocal -cs, physicality (it will be easier if they are the same ‘type’ as their Ladykillers’ character above, in order to retain the contrast). Rolling improvisa3on: The class should choose the selng, a living room, a library, a job centre etc. Each group should send out one actor to interact with the 5 others. The rest become audience. Call ‘freeze’ and swap an actor from group 1 with another, to take on that group’s character. Let the scene run on. Freeze and swap group 2’s actor. Only swap one actor at a -me to keep the scene rolling, keep the changes swig to enable everyone to have a turn. If it runs out of steam, change the selng or introduce an element of danger: eg there’s police officer outside, a train coming, a power cut. Plenary: What was successful? What could have been refined further? If you were going to write this scene up, or part of it, which bits would you choose? How might it be structured?

Review Wri-ng Look at these ques-ons before you see the show, then re-‐visit them in the interval or agerwards. Don’t write during the show, you’ll miss too much.

1. How would you describe the set? (key words: revolve, rake, scale, reveal, character.) 2. What special effects were used and what was the effect of these? (key words: model, trick, smoke, ligh-ng.) 3. How did ligh-ng support the story? (key words: atmosphere, humour, plot) 4. How did sound effects support the story? (key words: volume, direc-on, interrup-on, comic effect.) 5. How did the actors create their characters? (key words: gesture, voice, facial expression, costume, movement, inter-‐ac-on.) 6. How did the writer create comic effect? (key words: puns, language, set-‐up, pay-‐off, punch-‐ line, topical references.) 7. How did the director enhance the comic effect of the wri-ng? (key words: stage business, physical comedy, choices.) 8. Extension: Can you describe how the crea-ve team of director, writer, designer, ligh-ng and sound designer worked together to create the whole piece? How successful was it?

About Mousetrap Mousetrap Theatre Projects oﬀers young people with limited resources and access, the opportunity to engage with the best of London’s live theatre. We are an independent charity, working with theatres in the West End and across London. Since 1997, we have taken nearly 100,000 young people to the theatre. We create innova-ve and exci-ng theatre access, educa-on and audience development programmes. Young people take part with their school, youth group, family or friends.

Mission Statement We believe that all young people should have the opportunity to a[end outstanding theatre, irrespec-ve of their cultural, social or economic background. Our mission is to increase young people’s access to the best of live theatre in London (par-cularly those young people with limited resources, opportuni-es or support) and to enable them to engage crea-vely with that experience. As an independent charity, Mousetrap Theatre Projects is in a unique posi-on to select the appropriate or relevant theatre produc-ons in and beyond the West End that s-mulate and inspire young people. We devise programmes that use theatre as a catalyst to explore ideas, learn new skills, develop crea-vity and oﬀer new perspec-ves. At the heart of our educa-on and outreach work is the desire to open doors to young people who might otherwise consider London’s rich cultural heritage closed to them.

Areas of Endeavour Access:

To provide young people with limited resources, support or a disability, the opportunity to a[end London theatre, ogen as a ﬁrst-‐-me experience: TheatreOpeners, The ICAP Theatre Journeys for Special Schools, Family First Nights, Envision, StageSeen and StageXchange

Educa-on:

To enable young people to engage ac-vely with their theatre experience and to use theatre as an educa-onal resource in and out of the classroom to s-mulate crea-ve work and to develop theatre-‐related skills: DesignTasters, Insight Sessions, Play the Cri3c (Theatre, Dance & Music), PowerPlay, StageBusiness, StageSong, TheatreWorks and WriteThinking.

Audience Development:

To encourage a legacy of theatregoing among young audiences by reducing barriers and enhancing their knowledge and understanding of theatre: C145, WestEnd4£10 and Mousetrap Mondays.

Crea-ng Links:

To develop collabora-ons with young people, schools, teachers, ar-sts, arts organisa-ons, youth groups, community organisa-ons and social service agencies with the theatre industry: Key Schools, Teachers Preview Club, Youth Forum, Family Forum and Training opportuni3es for teachers, prac33oners and youth leaders.

Mousetrap Theatre Projects 23-‐24 Henrie[a Street Covent Garden London WC2E 8ND www.mousetrap.org.uk Tel. 020 7836 4388 17