MARK TWAIN: SACRED COWS MAKE THE BEST HAMBURGER Written by Wendy Bable October 10-November 4

DISCOVERY GUIDE PeoplesLight.org

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Welcome to the People’s Light and Theatre Discovery Guide for MARK TWAIN: SACRED COWS MAKE THE BEST HAMBURGERS. This guide will enrich your experience of the production and is a great resource for all theatre-goers, not just teachers and students. Each issue will include these regular features: THE STORY & THE WRITERS, Page 3-4 Includes information about the play’s plot, as well as the writers and composers who bring the story to the stage. THE WORLD OF THE PLAY, Page 5-6 With many plays, it’s helpful to understand the larger world the play lives in. These pages help frame the story in a historical, cultural, or artistic context. OUR PRODUCTION, Page 7 This section features the designers of the production, the artisans who bring those designs to life, images of the set, costumes, and other production elements. It’s a glimpse of the amazing work that happens behind the scenes. THE ARTISTS & CHARACTERS, Page 8 Photos of the actors and synopsis about the characters in the show. ENHANCING YOUR EXPERIENCE, Page 9-11 This is a great resource for theatre-goers who want to dig a little deeper. It contains a listing of books, websites, and video links we’ve encountered while preparing for the production, along with thought provoking questions for you to discuss with the actors after the show, or with your family and friends on the car ride home. RESOURCES FOR EDUCATORS, Page 12 Written specifically for teachers and includes discussion questions, classroom activities, and ideas for continued exploration of the play’s themes and ideas. SELF-GUIDED TOUR, Page 13 These activities are designed especially for young people to explore the play on their own. (This Self-Guided Tour is recommended for ages 9 and up.) ARTS DISCOVERY SPONSORS, Page 14 An expression of our gratitude for the funders who support Arts Discovery programming. We hope our Discovery Guide provides you with enjoyable reading and opportunities for exploration that make your theatre experience with us more rich. See you at the theatre!

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The greatest of all the arts is to write a drama. It is a most difficult thing. It requires the highest talent possible and the rarest gifts. No, there is another talent that ranks with it - for anybody can write a drama - I had 400 of them - but to get one accepted requires real ability. And I have never had that felicity yet. –Mark Twain

THE STORY Mark Twain has arrived for the last lecture of his First Annual Final Farewell Tour. Before Twain’s performance begins, his two “Advance Men” are putting the final touches on the stage, setting his notes, and putting out a pitcher of water. They are caught off guard when the fanfare for Twain’s entrance happens earlier than they expected and he is nowhere in sight. Half way through the introduction, Twain arrives and begins his lecture as expected…for a few minutes. With a twinkle in his eye, he summons the Advance Men back and enlists

them to act out the famous story of Tom Sawyer whitewashing the fence. They protest that they have never performed on a stage before, but Twain is determined they should join him for this final night of the lecture tour. They survive the whitewashing ordeal, and with much coaxing, Twain convinces them to join him through the rest of the evening. The Advance Men take up roles in selections from Life on the Mississippi, “The Scriptural Panoramist,” The Adventures of Huckleberry Finn, and “The Celebrated Jumping Frog of Calaveras County.” Twain is deeply grateful for their assistance in making this a memorable evening for all, and leaves them with a parting gift they never expected to receive.

WENDY BABLE, PLAYWRIGHT Wendy Bable is a director, teaching artist, and playwright who has directed over thirty plays for both young audiences and adults, including Schoolhouse, Many Moons, Still Life with Iris, For Which it Stands, Through the Darkness, i’m not a writer but i got a story to tell, A Midsummer Night’s Dream, Pippin, The Bald Soprano, Gypsy, Antigone, Lysistrata, and The Lesson. During her tenure as Assistant Producer for the David Mark Cohen New Works Festival in Austin TX, Wendy was a driving force in diversifying the canon of dramatic literature for young

audiences. She received the prestigious distinction of Winifred Ward Scholar by the American Alliance for Theater and Education in 2008. In 2011 she was selected as the U.S. ambassador to the ASSITEJ International Directing Seminar in Cologne, Germany, and her direction of The Transition of Doodle Pequeño was featured at the Kennedy Center in the 2012 New Visions/New Voices festival.

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SAMUEL LANGHORNE CLEMENS—MARK TWAIN

Samuel Langhorne Clemens, better known to the world as “Mark Twain,”

spent his formative years in the town of Hannibal, MO, which would later

serve as the basis for St. Petersburg, the home of Tom Sawyer and Huck

Finn. Born on November 30, 1835 as Halley’s Comet streaked overhead, he

grew up watching steamboats go by on the broad Mississippi.

Rambunctiously he roved through the town and about the riverside, causing

no small amount of mischief.

Despite his youthful adventures and adult achievements, sadness

overshadowed much of his life. His father was repeatedly unsuccessful in

business, causing the family to move frequently, and he died when Sam was

twelve. By then, Sam had already lost a brother and a sister due to illnesses. He soon became an

apprentice to a printer, where he first discovered the thrill and fun of writing. Later, when he was a cub

pilot—an apprentice to a licensed pilot—on the Mississippi, he secured work for his younger brother

Henry, who would die in a steamboat explosion, for which Sam blamed himself.

Beyond the Mississippi, Sam would travel to New York, the then-territories of Nevada and California and

Hawaii, then known as the Sandwich islands, writing and reporting for newspapers. He took his

pseudonym, Mark Twain, from his days as a riverboat pilot: ‘mark twain’ indicated the shallowest depth a

riverboat could safely navigate. In 1865 his first successful story, “The Celebrated Jumping Frog of

Calaveras County,” launched him into the spotlight. He would spend the rest of his life alternating

between writing stories and mounting the lecture circuit, the latter mostly as a means of remaining

financially afloat.

Five years later in 1870, he married Olivia Langdon. They had three daughters—Susy, Clara, and Jean—

and a son, Langdon, who died in childhood, and together the family would act out stories and listen as

father Sam read chapters of his newest works. They would perform plays for themselves and local

children and later would travel to Europe. His daughter Suzy died in 1896, his wife Olivia in 1904, and his

daughter Jean drowned in 1909.

Later in life, he organized his Angelfish Club, a group of young girls to whom he became something of a

grandfather. He received honorary degrees from Yale and Oxford—quite the accomplishments for one

who shirked school and stopped attending by age thirteen. His wit, humor, and insight made him the first

true literary celebrity of America. He died on April 21, 1910, one day after Halley’s Comet returned in

passing the earth.

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The Lecture Tour: The Trouble Begins at 8:00 In the 19th century, the United States was still a largely rural population. There was a great desire among the adult demographic to improve their education and expand their knowledge of the world. This yearning developed into the lyceum movement from the 1830s to the Civil War, resumed afterwards, and spurred the Chautauqua movement. These two movements sought to bring opportunities for education to their communities by holding evening lectures and symposiums.

The name of the lyceum movement stems from the Lyceum in Ancient Greece, where Aristotle organized evening lectures on timely topics for the young men of Athens at the Temple of Apollo Lyceus. The organizers of these American lyceums sought to recreate this welcome atmosphere of learning. By 1831 the National American Lyceum was founded with the purpose of the “advancement of education…and the general diffusion of knowledge.” This expanded a program solely for adults to one inclusive of common schools and students. Lyceums grew from solely intellectual pursuits to evenings of entertainment as well as education.

Local associations, such as libraries, churches, or clubs, would sponsor a lyceum or a series of lectures. Initially, these groups found local speakers to guide the evening’s event, but by 1840 the lyceum had become a professional institution with outside speakers, booking agents, and subsequent fees. By 1857, Putnam’s, a popular magazine, declared, “The lyceum is the American theatre.” With the move towards professionalization, organizers began cultivating “stars” of the lyceum circuits. Well-known speakers included Ralph Waldo Emerson, Frederick Douglass, and Susan B. Anthony. The Civil War interrupted these pursuits. After the war, the lyceum circuit was reinvigorated by the Chautauqua movement. The original Chautauqua Literary and Scientific Circle was founded in 1878 by Chautauqua Lake in New York and spread quickly, making “Chautauqua” a household word by the 1880s. Mini-Chautauquas popped up all over the country, complimenting the old lyceum circuit. Speakers lectured and discussed ideas in politics, science, social reform, religion, economics, literature, and the arts. These circuits and lecture series flourished, reaching their apogee in 1918, before declining under the rise of radios and automobiles.

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Mark Twain entered the circuit in California in 1866,

before the dissemination of “Chautauquas” across the

country. Although billed that he would “read from” his

writing, he more often spoke from memory. He both

loved and hated touring. He found them invigorating and

simultaneously draining, but tours repeatedly provided the

surest way for him to turn a profit and saved him from

financial ruin in his later years when his business ventures

failed horribly.

By the time he chose to venture into the realm of lecturer/entertainer in San Francisco, Twain’s name was

already well-known thanks to his work in California newspapers and the wide circulation of his letters from

the Sandwich Islands (now Hawaii.) Though stage fright daunted him that first night, the rising laughter of

his audience restored him and he was hooked. His reputation as a humorist and author became wedded

to each other; many papers found it troublesome whether to classify him as a “humorist” or a “wit” in

their reviews of his lectures.

Twain initially drew from his literary work for his lectures. Sometimes tours served as a trial run for the

novel he was writing at the time. Each lecture’s material remained somewhat consistent throughout the

tour, but he was prone to alter it until it perfectly suited him. He also kept a store of tales up his sleeve to

adjust his performance to suit the audience. By the time of his “Around the World” tour in 1895-6, he had

amassed a wealth of writings, recollections, and observations and pulled from them as he pleased.

Lectures could be scheduled by interested organizations or by the speaker. Early in his career, Twain

rented halls himself, or with the aid of friends. On a return trip hope to Missouri, he advertised that he

would speak upon request, but he went a fair way to boost himself and his lecture around town and

managed to secure five evening engagements. His first attempt on the East Coast—a lecture in New

York—was a financial flop but gained Twain notoriety among the papers there. As his fame spread, he

began receiving more and more engagements.

Announcing the lecture or performance was coordinated by the local organizations who engaged Twain

for a lecture. They contracted with him for a certain fee and then sold tickets to the event to raise funds,

typically for charitable causes. Newspapers were the popular way to advertise the evening and papers

often quoted other papers for descriptions or reviews to entice their readers. As Twain grew in popularity,

he took a more formal approach to publicity. For his tour with George Cable for 1884-5, he crafted and

approved a tour announcement that was paired with a photo of the duo. This advertisement was placed in

papers where the pair had scheduled performances. Twain also insisted on “louder advertising” after

seeing too many empty seats early in the tour. These efforts paid off—literally, restoring Twain to

financial solvency.

a page from Twain’s lecture notes

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PEOPLE’S LIGHT & THEATRE COMPANY Abigail Adams, Artistic Director

Grace E. Grillet, Managing Director

Ellen Anderson, General Manager

MARK TWAIN: SACRED COWS MAKE THE BEST HAMBURGER Playwright WENDY BABLE

Director DAVID BRADLEY

Production Manager CHARLES T. BRASTOW*

Scenic Designer JESSICA FORD

Costume Designer MARLA JURGLANIS

Lighting Designer LILY FOSSNER

Sound Design & Original Music CHRISTOPHER COLUCCI

Dramaturgy ZAK BERKMAN & HANNAH DANIEL

Stage Manager PATRICIA G. SABATO

THEATRE ARTISANS Technical Director JOSEPH FRANZ

Assistant Technical Director DYLAN JAMISON

Scenic Painter WILL SCRIBNER

Scenic Carpenter CHRIS WILSON

Master Electrician GREGORY SCOTT MILLER

Assistant Master Electrician CHRIS HALLENBECK

Costume Shop Manager MARLA JURGLANIS

Cutter/Draper ABBIE WYSOR

Wardrobe BRIDGET ANNE BRENNAN

Properties Master ELIZABETH STUMP

Assistant Properties Master SARAH PIERCE

*Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

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THE CAST

Mark Twain TOM TETI* Advance Man 1 CHRIS BRESKY* Advance Man 2 AKEEM DAVIS

Tom Teti, Mark Twain Tom Teti last played Marc in ART at Hedgerow Theater. Prior to that he appeared in Of Mice and Men, Treasure Island and Hatchetman at People’s Light. Last spring he was seen in Seth Rozin’s Two Jews Walk into a War at InterAct and directed Shirley Valentine at Hedgerow. He also appeared at People’s Light in The Adventures of Tom Sawyer, The Three Musketeers, One Flew Over the Cuckoo’s Nest, The Emperor’s New Clothes, and Stretch: A Fantasia. He can be seen in the new feature film Limitless, with Bradley Cooper.

Chris Bresky, Advance Man #1 Chris Bresky is honored to be returning to People’s Light and the world of Twain after his great experience in The Adventures of Tom Sawyer. Mr. Bresky has starred in Peter Pan, History Boys (Barrymore Nomination): Arden, The Credeaux Canvas: Centre Theater. King John: New York Shakespeare Exch. Lorenzaccio: Red Bull Theatre. Taming of the Shrew: Capitol Repertory Theatre. The Hit: Lamb’s Players Theatre. Restoration Comedy, Much Ado, Titus Andronicus, Midsummer, Richard III, Othello, Hamlet at the Globe. He will be seen this fall in the new TV series Elementary starring Lucy Liu; other TV and film credits include Medium, Numbers, and the R&J film Private Romeo. He dedicates this show to his two greatest loves: his family and his Wendy Lady.

Akeem Davis, Advance Man #2 Akeem Davis (Miami, FL) is a graduate of The Florida State University and a proud man of Omega Psi Phi Fraternity, Inc. Last season Akeem was seen on stage with Flashpoint Theatre Company, Interact Theatre Company, Philadelphia Young Playwrights, Shakespeare in Clark Park and the National Constitution Center. This is Akeem’s first show with People’s Light and Theatre Company. *Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

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Life on a Steamboat: Measurements The channels of the Mississippi River constantly change. To measure water depth, a leadsman threw out a line with a piece of lead attached to the end, along which were marked certain depths. By casting the line ahead of the boat, they could accurately gauge the depth of the waters into which the vessel entered. The following are the depths marked on the line and how each was called:

Depth Leadsmen Call:

6’ (one fathom) one

7’ 6” quarter one

9’ half one

10’ 6” quarter less twain

12’ (two fathoms) mark twain

Two fathoms, or “mark twain,” was the threshold between safe and dangerous water for steamboat navigation.

Life on a Steamboat: Inside the Pilothouse The pilothouse, sometimes referred to as the wheelhouse, was the sole domain of the pilot and any cubs he might be training. From here, the pilot watched not only the changing color of the water and the streaks of sediment in the river banks to determine position, but also the level of the water and the debris floating in it to ascertain whether it was rising or falling. He used the jackstaff, from which flags were hung, as a navigational tool by day and used the position of stars at night. His ability to see near and far was so crucial that in the night hours no lights were allowed. No fire was allowed in the pilothouse itself, skylights were closely blinded to prevent reflections on the water which could be mistaken for floating objects, no cigars were to be lit, and the boat’s furnaces were curtained by “shrouds” or “mufflers” of heavy canvas.

The pilot stood either to the left or the right of the wheel. Pulls are on each side, but if he could not reach the ring itself, he could pull the cord to ring the appropriate bell. The system of bells and tubes, which carried voices, allowed the pilot to maintain contact with all other areas of the vessel without leaving his post. The diagram on the following page outlines the common “bells and whistles” of the pilothouse.

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1. Listening Tube Connected the pilothouse to the engine room. The engineer could relay information to the pilot. The tube’s mouth amplified the engineer’s voice.

2.Pilot’s License Required by the government, all pilots were to be licensed and that license to be displayed for the public.

3. Backing Bell Pull This bell sounded in the engine room when the pilot wished the engines to be put in reverse.

4. Steam whistle The steam whistle allowed the pilot to communicate with passing steamboats. For example, if one ship was headed upstream and the other downstream, two short blasts from one boat meant that the pilot wanted to pass the other vessel starboard to starboard. The second vessel would reply with two short blasts, which not only served as an indicator that the second pilot heard the whistle but also as an answer.

5. The Big Bell Pull Ringing the big bell, which could weigh anywhere from 250 to 2,000 pounds, sent a message to the deck hands. Pulling, referred to as tapping, this bell twice told the crew to prepare for a special task, such as landing. Tapping a third time told the leadsmen to throw their lines and measure the depth. After three taps, the pilot needed to only tap once to alert the leadsmen to take a reading. The big bell also could signal for fire on board and for life boat drills.

6. Attention Bell This bell went to the engine room and called the engineer to attention, alerting him to move toward the speaking tube in his room so that the pilot could speak directly to him.

7. Speaking Tube The other half of the listening tube, this served as the means for the pilot to speak directly to the engineer and be heard over the roar of the engines.

8. Stopping Bell Another bell which went directly to the engineer, this one told him to stop the boat, as the name implies. Ringing again after the boat was stopped told the engineer to “come ahead.”

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9. Kingpin All the handles on a wheel are called pins. The kingpin was simply the one which indicated that the rudders were dead center. The pilot would mark this pin with a length of marlin or twine wrapped around it. This length of cord allowed the pilot to see in daylight and feel in darkness the position of the rudders.

The wheel itself ranged from eight to thirteen feet in diameter. Wheels were sunk into a special place so that the pilot was not constantly straining himself to reach it; a ten-foot diameter wheel could easily reach a man’s shoulder in height.

10. Brake Stepping on these pedals rang a special bell which informed the engineer to hold the boat in one place against the current.

11. Visor A board which could be dropped down to be used in case of severe weather. A second board, the breast board, could be raised from the bottom of the window. Each piece covered half the window and had viewing slots cut into it so that the pilot could still see head and look to where he was going. Discover Mark Twain: Books & Websites

American Cultural History: The 19th Century http://kclibrary.lonestar.edu/19thcentury.html Curated by Lone Star College, each decade of the 19th century receives a full page for overview of all aspects of life. Explore News and Events, Pastimes, Art, Science, Business and more for the years before, during, and after Twain’s lifetime. As Twain lived through the turn of the century, we recommend continuing on this site to their coverage of the 20th century in the United States as well.

Mark Twain in His Times http://etext.lib.virginia.edu/railton/index2.html Compiled by the Department of English at the University of Virginia, Mark Twain in His Times offers not only context for some of his most popular novels but also insight into the man himself. Unearth the adventures behind the books with pages devoted to Mark Twain on stage and Sam Clemens as Mark Twain.

Project Gutenberg http://www.gutenberg.org/ Home to free texts, due to expiration of copyright, Project Gutenberg holds all the works of Twain used in tonight’s performance—The Adventures of Tom Sawyer, “The Scriptural Panoramist,” The Adventures of Huckleberry Finn, Life on the Mississippi, and “The Jumping Frog of Calaveras County”—and many more. “The Scriptural Panoramist” and “The Jumping Frog of Calaveras County” can both be found in Twain’s Sketches New and Old. Most texts are offered both as html, viewable online, and in various e-reader formats which can be downloaded.

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Pennsylvania State Standards Related to this Production

HISTORY 8.1.6.B: Differentiate between fact and opinion, multiple points of view, and primary and secondary sources to explain historical events.

8.1.8.A: Compare and contrast events over time and how continuity and change over time influenced those events.

CC.8.5.6-8.H: Distinguish among fact, opinion, and reasoned judgment in a text.

CC.8.5.6-8.F: Identify aspects of a text that reveal an author’s point of view or purpose (e.g., loaded language, inclusion or avoidance of particular facts). TWEDYADS (also known as Agree/Disagree)

The name of this activity stands for “To What Extent Do You Agree or Disagree with this Statement.” Pick any of these statements from Mark Twain’s writing (or create your own). Students can either remain in their seats and debate or can move to an “agree” or a “disagree” side of the room. When selected, students explain their reasoning for which side they chose. (This also works for students who remain somewhere in the middle.)

TWAIN QUOTES FOR THIS ACTIVITY “Be good and you will be lonesome.” “Never tell the truth to people who are not worthy of it.” “Always obey your parents when they are present.” “Virtue has never been as respectable as money.” “Don’t part with your illusions. When they are gone you may still exist but you have ceased to live.” “Grief can take care of itself; but to get the full value of a joy you must have somebody to divide it with.”

QUESTIONS FOR DISCUSSION BEFORE OR AFTER THE PERFORMANCE

1. What would you say/what story would you tell if you were asked to give a lecture? What sort of lecture would you want to hear?

2. What was your favorite story? Why did you connect to it?

3. Many of the characters in Twain’s stories are judged by how we first meet them, but are revealed to have greater depth or complexity. Have you met someone and been surprised by what you learned about them afterward?

4. Mark Twain was famous both for his wit and his humor. Many television hosts are noted for their ability to poke at popular stories and celebrities today. Why do you think we enjoy laughing at our own world?

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There are hundreds of websites devoted to Mark Twain’s history and writings. Below are a few interactive sites that let you explore some lesser known aspects of Mark Twain’s life.

Peek Inside Mark Twain's Interactive Scrapbook www.pbs.org/marktwain/ Mark Twain was a lifelong creator and keeper of scrapbooks. He took them with him everywhere and filled them with souvenirs, pictures, and articles about his books and performances. But in time, he grew tired of the lost glue, rock-hard paste, and the swearing that resulted from the standard scrapbook process. So, he came up with the idea of printing thin strips of glue on the pages to make updates neat and easy to do. In 1872, he patented his “self-pasting” scrapbook, and by 1901, at least 57 different types of his albums were available. It would be his only invention that ever made money.

Play Mark Twain’s Memory Builder Game! http://twain.lib.virginia.edu/timeline/index.html In 1885 Mark Twain designed and patented a game intended to help people keep historical facts straight. Curiously, his Memory Builder focused specifically on European royalty. This game is based only loosely on his, with some features borrowed from the Carmen San Diego series. (PS—the website is WAY more fun than this image makes it look!)

The game is divided into four sections, each with eight questions: two sections on Sam Clemens' life and Mark Twain's career, and two on America between 1840 and 1910. There are plenty of facts and dates, and also a lot of pictures. As you play, you may also meet a few or a lot of Mark Twain's intimates and associates; they're here to help you find the dates you're looking for. Good luck!

Steamboat Wheelhouse Tour http://www.twaintimes.net/boat/sbpage6.html Click on different parts of the steamboat pilothouse for more information about each one. Several items have sound files attached so you can hear all the bells and whistles!

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These corporations and foundations receive our special thanks for their steadfast support in 2012-2013 of our arts education programs, Arts Discovery.

Arts Discovery Partners ACE Group The ARAMARK Charitable Fund at the Vanguard Charitable Endowment Program Customers Bank The Hamilton Family Foundation The Knight Foundation The Marshall-Reynolds Foundation The Pew Center for Arts and Heritage through Philadelphia Cultural Management Initiative The Pew Charitable Trusts PNC Arts Alive Shakespeare for a New Generation The William Penn Foundation

Arts Discovery Producers The 1830 Family Foundation Anonymous The Boeing Company Connelly Foundation Independence Foundation ING ING Foundation Meridian Bank PECO Vertex Department of VSA and Accessibility at the John F. Kennedy Center for the Performing Arts The Wyncote Foundation

Arts Discovery Actors Arcadia Foundation BNY Mellon Holt Family Foundation Janssen Biotech Inc. MEI Penn Liberty Bank PepsiCo Rosenlund Family Foundation Sedgwick CMS Towers Watso

Arts Discovery Playwrights Addis Group AON Ernst & Young DNB First Ethel Sergeant Clark Smith Memorial Fund First Priority Bank KPMG Liberty Mutual Marsh USA Inc. PricewaterhouseCoopers LLP Safeguard Scientifics Willis Arts Discovery Directors The Barra Foundation Conlin’s Copy Center Kent-Lucas Foundation Land Services USA Medicall PMSI Star Print Mail, Inc. Susquehanna Bank West Pharmaceutical Services

Arts Discovery receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by annual state appropriation and the National Endowment for the Arts, a federal agency. Arts Discovery is also generously supported by hundreds of gifts from generous individuals.