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WAREHOUSETOM HENDRY
STUDY GUIDE
OCTOBER 30–NOVEMBER
15, 2014
THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY
WAREHOUSETOM HENDRYWAREHOUSETOM HENDRY
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This guide compiled by George Buri for Royal MTC, September 2014.
Royal Manitoba Theatre Centre Presents
By Colleen Murphy
Director – Robb Paterson
Set & Costume Designer – Jamie Plummer
Lighting Designer – Larry Isacoff
Sound Designer – Michael Wright
Apprentice Director – Tatiana Carnevale
Stage Manager – Kathryn Ball
Apprentice Stage Manager – Airyn Lancaster
THE CAST (IN ALPHABETICAL ORDER)
Corporal Michael Armstrong – Justin Otto
Halley Armstrong – Heather Russell
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THEATRE ETIQUETTE
“The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller
Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough
time to find your seat before the performance starts.
Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming
systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which
is very distracting for the performers and other audience members. The use of cameras and recording
devices is strictly prohibited.
Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and
the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share
your thoughts and opinions with others until after the performance.
Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission,
concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby.
Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully request that
patrons refrain from wearing hats in the theatre. We also strive to be a scent-free environment, and
thank all patrons for their cooperation.
Leaving During the Performance: If an audience member leaves the theatre during a performance, they
will be readmitted at the discretion of our Front of House staff. Should they be readmitted, they will not
be ushered back to their original seat, but placed in a vacant seat at the back of the auditorium.
Being Asked to Leave: The theatre staff has, and will exercise, the right to ask any member of the
audience to leave the performance if that person is being disruptive. Inappropriate and disruptive
behaviour includes, but is not limited to: talking, using electronic devices, cameras, laser pointers, or
other light- or sound-emitting devices, and deliberately interfering with an actor or the performance
(tripping, throwing items on or near the stage, etc.).
Talkbacks: All Tuesday evening performances and final matinees at MTC feature a talkback with
members of the cast following the show. While watching the performance, make a mental note of
questions to ask the actors. Questions can be about the story, the interpretation, life in the theatre, etc.
Enjoy the show: Laugh, applaud, cheer and respond to the performance appropriately. Make sure to
thank all the artists for their hard work with applause during the curtain call.
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ABOUT THE AUTHOR
Colleen Murphy is an award-winning playwright,
librettist and filmmaker based in Toronto. She was
born in Rouyn-Noranda, Quebec and grew up in
Northern Ontario. After winning prizes in CBC
Literary Competitions in 1985 and 1990 for her radio
plays Fire Engine Red and The Pumpkin Eaters,
Murphy went on to have her first stage play, All Other
Destinations are Cancelled, produced at the Terragon
Theatre in 1987. Her other plays include Pig Girl, Beating Heart Cadaver, The Goodnight Bird, The Piper
and The December Man, for which she won the 2007 Governor General's Literary Award for Drama as
well as the Carol Bolt Award and the Alberta Theatre Projects Enbridge playRites Award. Since the 1990s
Murphy has directed a number of short and feature length films and has written two full-length librettos.
Armstrong's War was first mounted as a workshop play in 2013 at the Finborough Theatre in London,
England and had its world premiere in Vancouver in the fall of that same year.
SETTING & PLOT
Armstrong's War involves two characters and takes place in the rehabilitation wing of a hospital in
Ottawa, Canada, from late February to mid-April in 2007. The two meet in the same room over a series
of six visits, one week apart. Halley Armstrong is a precocious and energetic 12-year-old Pathfinder who
wants to earn her Community Service badge by reading to
someone in a hospital. She chooses injured Afghan war
veteran Corporal Michael Armstrong because they share
the same last name. However, Michael first responds to
her energy and optimism with scorn. He declares that he
does not want to be read to and angrily sends her away.
Undeterred, Halley returns the next week, determined to
earn her badge. She manages to find a book that interests
Michael: The Red Badge of Courage, a novel about a
soldier fighting in the American Civil War. Michael is
drawn to the tale of a soldier coping with both the
excitement and fear of going to war and asks to keep the
book to read on his own. Halley is pleased with Michael's
appreciation of the book and tells him the story of a skiing
accident that placed her in a wheelchair.
Matreya Scarrwener and Mik Byskov in the 2013 world premiere of Armstrong’s War at Arts Club.
Photo by David Cooper.
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At their next meeting, Michael tells Halley that he has finished The Red Badge of Courage by himself but
suggests that they read their favourite parts to each other. Michael's familiarity with the book causes
Halley to believe that he has in fact read it several times and his enjoyment of the book helps him to
open up about his own war experience in Afghanistan.
Michael surprises Halley at their next visit with a story that he has written entitled “Armstrong’s War”.
This story, which Halley reads aloud, concerns his two “friends” Aidan and Danny who pledged each
other that, if either was so severely wounded that they would not be able to live a normal life, the other
would "finish him off" by killing him rather than allowing him to live in that state. When Danny is
wounded and loses his legs, Aiden carries out his promise. Halley is very upset by this story and tells
Halley that she believes Aiden should not have killed Danny, regardless of their promise. She argues that
Danny could still have recovered to live some sort of normal life and is outraged by Michael's opinion
that Aiden made an honourable decision.
Halley storms out of the room in anger but, to Michael's surprise, returns the next week, this time with
her own version of Michael's story in which Danny lives, recovers somewhat and leads a happy and
fulfilling life. Despite Michael's angry objection that her story is not realistic, he respects Halley's
optimism and strength. Both characters find a new level of honesty and mutual respect between them.
Halley tells Michael the real story of her accident. Michael admits the story about his "friends" is really
about him and his friend Robbie and tells Halley for the first time what he really did when his friend was
wounded. Michael prepares to leave the hospital and resume his life while Halley teaches him the
Armstrong family motto, “I remain unvanquished.”
CONTEXTUAL BACKGROUND
Pathfinders
The Pathfinders are part of the Girl Guides organization and cater to girls aged 12-14. They emphasize
outdoor activities as well as community building. These activities are designed to foster self-esteem,
respect for others and for the environment and allow girls to develop the skills necessary to make a
positive difference in the world. Girl Guides emerged in the early 20th century as a response to the very
popular Boy Scouts movement created by Lord Baden-Powell of England. A number of girls, who were
not allowed to join the Boy Scouts, demanded an organization of their own and Baden-Powell
encouraged his sister to start such an organization. The first Canadian Girl Guides organizations were
founded in the early 1910s and have continued for more than one hundred years.
5
War in Afghanistan
Corporal Michael Armstrong: We’re tasked with helping the government of Afghanistan serve the
needs of their people by separating insurgents from the local populations – except you can’t
defeat an insurgency, best you can do is marginalize it.
Halley: Does that mean we’re not going to win?
In 2001, shortly after the September 11th terrorist attacks carried out by Al Qaeda, the United States
launched what President George Bush called the "War on Terror". This war included invasions of both
Afghanistan and Iraq, although Iraq had no connections to the attacks. In order to facilitate such an
ambitious military undertaking, the United States called on NATO (North Atlantic Treaty Organization)
allies, including Canada. Canadian politicians, not wanting to take part in an invasion of Iraq, chose to
participate in the war in Afghanistan, where the United States removed the Taliban government, who
were accused of sheltering Al Qaeda and its leader Osama Bin Laden.
At the time, the Afghan
war was considered to be
more or less “over” and
the plan for Canadian
involvement in combat
was to be minimal. The
Taliban were quickly
removed from power and
an alliance of northern
warlords friendly to the
United States put in place. But the war lasted much longer than many Western observers predicted. As
Foreign Affairs Minister Bill Graham stated, “I think everybody was convinced that Afghanistan was a lot
further down the road to recovery than it really was." The Taliban government had drawn support from
the majority Pashtun ethnic group and had been financed and supplied by factions within Pakistan. Its
defeat brought about resentment on the part of those who now found themselves without political
power. The mostly non-Pashtun regime created by the US (and led by President Hamid Karzai) had little
support in the Pashtun-dominated South, particularly in the region around Kandahar, the country’s
second-largest city. The result was the reorganization of the Taliban into a guerrilla insurgency that
waged a war against the Afghan government and the NATO occupying force supporting it. Canadian
soldiers stationed in Kandahar played a major role in attempts to defeat the Taliban insurgency.
The outcome of NATO's war depended not just on defeating Taliban fighters in military confrontations
but on gaining the support of the Afghan population. As the United States discovered in Vietnam
decades earlier, it was impossible to defeat an enemy that could continue to find new recruits from a
supportive population. By the mid-2000s, Canadians were suffering more casualties than expected in a
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war that claimed tens of thousands of Afghan lives, and further alienated the civilian population. By the
late 2000s, Canadian support for the war at home was declining. More and more observers, including
Canadian and American politicians, conceded that the result of the over decade-long war would be the
withdrawal of NATO troops without any clear "victory" over the Taliban. In 2014, the last Canadian
soldiers left Afghanistan, ending a 12-year involvement in which 158 soldiers were killed and more than
2,000 wounded.
Post-Traumatic Stress Disorder (PTSD)
(Note: Playwright Colleen Murphy has stated that the character of Michael does not suffer from PTSD.)
Post-Traumatic Stress Disorder is a mental disorder that results from an individual being exposed to a
traumatic event such as a death, near-death experience, serious injury or sexual violence. Psychologists
first characterized this disorder during World War I when it was named "shell shock" and used to
describe the behaviour of soldiers who, faced with the almost unspeakable horror of life in the trenches,
became unable to function, often crying out in fear, running away, or simply shutting down completely
and becoming numb to the world around them. Since then, our understanding of this condition, now
called PTSD, has improved but the symptoms remain much the same. Sufferers may become detached
and have a difficult time experiencing normal emotions or sleeping. They may relive the event or events
that caused PTSD, having painful flashbacks that they attempt to prevent by avoiding activities that were
present during the trauma. For example, a person suffering PTSD after an incident involving drowning
might stay away from water entirely.
Many of those affected by PTSD deny that they have the condition or feel ashamed about it, feeling that
they should just "get over it". They often think that their inability to move on and recover stems from
personal weakness rather than a medical condition. Society has unfortunately perpetuated this idea
that people with PTSD are simply weak. In WWI, for example, those suffering from "shell shock" were
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often branded cowards. Medical professionals today attempt to treat PTSD with a combination of
medication, individual and group counselling, and cognitive behavioural therapy that encourages
sufferers to confront rather than avoid discussing their traumatic experience, and attempt to get the
patient to come to terms with his or her emotions. As has been the case in all modern wars, Canada's
war in Afghanistan produced high rates of PTSD among those who fought. The incidence of PTSD has
doubled among Canadian soldiers in the last ten years, with more than 1 in 20 of those in the Canadian
military having experienced PTSD within the last twelve months according to a recent survey. Thus,
thousands of Canadians have returned from war psychologically injured from the experience.
GLOSSARY
Alexander the Great (356 – 323 BC) – the Macedonian conqueror of Greece and creator of a 3rd Century
BC empire that stretched as far as Persia and Egypt. While Alexander experienced incredible success
conquering much of the known world within a short lifetime, (in what is today Northern Afghanistan) he
experienced stiff resistance and a guerrilla-style war. Alexander's
difficulties are part of a supposed long line of would-be
conquerors of Afghanistan who have been unable to succeed,
including the British and the Soviet Union.
Counterinsurgency - a military strategy for attempting to defeat
an insurgency or guerrillas. Insurgency war does not engage in
open battles or attempt to take territory but instead relies upon
hit-and-run tactics and the ability to engage the enemy and then
disappear into the general population (as such it often relies on
civilian participation). Counterinsurgency then is the attempt to
identify and defeat insurgent fighters as well as to win over the
civilian population who might aid insurgents. Michael comments that counterinsurgency war does not
have a track record of success.
Forensic Science - a branch of science dealing with the collection and analysis of evidence, in particular,
evidence left behind at crime scenes. Halley is an admirer of the founder of forensic science, Edmond
Locard.
Hindu Kush - one of the largest
and most spectacular mountain
ranges in Asia. It runs from
Pakistan through Afghanistan
and is seen by Michael and his
fellow soldiers.
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IED (Improvised Explosive Device) –
a homemade bomb, often left at a roadside.
One of the most common obstacles faced by
US troops in Iraq and NATO troops in
Afghanistan, IEDs could be planted almost
anywhere and detonated remotely, making
tracking down their creator very difficult.
LAV (Light Armored Vehicle) - a vehicle similar
to a tank that is used by modern infantry units. It is faster and more maneuverable than a traditional
tank, allowing it more flexibility in usage. Michael's injuries were sustained when his LAV was attacked.
Medevac - a vehicle for medical evacuation of wounded soldiers.
Petawawa - a town in Ontario that hosts one of the largest military bases in Canada. It is here that
Michael's unit was trained and where he hopes to return once his
rehabilitation is completed.
Red Badge of Courage - an 1895 novel written by Stephen Crane.
The main character, Henry Fleming, is a soldier fighting for the
Union army in the American Civil War. Although he goes to war
with dreams of heroism and glory, Fleming finds that the reality of
war is long stretches of waiting interrupted by confusing and
chaotic battles. When Fleming's fear overwhelms him and he
flees from battle, he feels enormous guilt and hopes to redeem
himself, wishing he had received a battle wound (the titular Red
Badge of Courage) that would demonstrate his bravery.
RPG (Rocket-Propelled Grenade) - a shoulder-mounted weapon that fires a grenade capable of
destroying a tank or armored vehicle. Commonly used by insurgent
armies because of its portability and destructive potential.
Simile - a comparison between two things using "like" or "as". For
example, “The elephant was as big as a house.” Both characters
comment on the use of similes in The Red Badge of Courage.
Spoiler - any discussion of a work of fiction that gives away key plot
points, specifically the ending. Halley warns Michael that she cannot
tell him the fate of a character in The Red Badge of Courage because
that would be a spoiler.
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CLASSROOM ACTIVITIES
Discussion Questions:
How does the play's title contain multiple meanings?
The act of reading aloud figures centrally into the play. How does reading aloud to someone differ from
the act of solitary reading? What are the strengths and weaknesses of both? Which do you prefer and
why?
Compare and contrast the ways in which Halley and Michael cope with the traumas in their lives. Why
do they respond in the ways that they do? Why do you think their responses differ?
What does mental health mean to you as an individual? What does it mean to us as a community?
What can we do to support the mental health of ourselves and others?
Armstrong's War is a two-character play or “two-hander”. What unique challenges and opportunities
are presented by this type of play? As a director, how would you approach the play differently from one
with a larger cast?
Activities
Read the novel The Red Badge of Courage and compare it to Armstrong's War. Why is Michael so
interested in this novel?
Research post-traumatic stress disorder (PTSD). How common is it among Canadian soldiers? What
about soldiers and civilians in other places touched by war? Other than soldiers and those in a war zone,
who might be affected by this condition? Do you think Michael and Halley are suffering from it?
Find information on Canada's participation in the war in Afghanistan. Discuss the impact that it had on
the Afghan people and on Canadians. Should Canada have been involved in this war? Was it an
unwinnable war as Michael suggests?
Debate the question: Was the pact between soldiers discussed in the play morally right or wrong? Did
Michael do the right thing in making the choice he made?
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INTERVIEW WITH THE ACTORS
Royal MTC spoke with Justin Otto (Corporal Michael Armstrong) and Heather Russell (Halley
Armstrong) in September, 2014 about their upcoming roles in Armstrong’s War.
MTC: What attracted you to the script for Armstrong’s War? What were your initial thoughts after
reading it for the first time?
Justin Otto: What first attracted me to the script was Michael and his closeness to my own age and
opinion; we share a similar stubbornness. Straight away I was drawn to its small cast and its subject
matter. War, the ones we fight in foreign countries and those in ourselves, and how characters deal with
the aftermath of trauma is fascinating to me. My initial thoughts were “I need to do this play!” Not only
has Colleen Murphy written a top notch story but it holds two young characters in the lead - characters
that give Heather and me huge challenges as performers; something to chew on.
MTC: Director Robb Paterson describes your Michael as very pragmatic counterpart to Halley’s more
hopeful nature. What else can you tell us about him, and the interesting dynamic between these two
characters?
JO: Michael is someone I sometimes forget is a young man. He’s had to make some decisions beyond his
years and war has hardened him. I believe this pragmatism Robb speaks of comes from Michael’s
dedication to being a soldier. Decisions of such magnitude - those with human life at stake - mold a
practical - some may say distant or heartless - type. Life is now measured like rations, hope for one’s
own sifted out. This breeds the central conflict of these two characters - they both value life but in
radically different blueprints and are ignorant to the others’ opinion. A stubborn young man versus the
preteen optimist - we’re in for a battle.
MTC: The effects of war and the experiences of soldiers are major themes in the play. Do you have
any personal connections to the military? Why is it still important to discuss these topics?
JO: Growing up fairly liberal in my ideals, war has never been an act I can fully stand behind. However,
the choice of men and women to fight for their country and for an idea is a profoundly beautiful act. The
experience Michael puts forward in the play and the effects of war on soldiers is still important to
discuss because we seldom do. Trauma and its effects on us are still marginalized. Whether it’s PTSD,
addiction, melancholia or any of a long list of depressions, we are seeing its influence in the lives of
loved ones and broadcasted on our television screens when we lose another artist. Why I love this play -
and highlight the need for discussion - is that a play wrapped in war and defeat serves as a champion for
more discussion on mental health.
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MTC: This is your first appearance at Royal MTC and in a major role, nonetheless. What are you
looking forward to most about being part of this production?
JO: Besides this Warehouse stage, the large general audience and the shiny dressing rooms? I’m looking
forward to performing the sort of play I’ve been playing in bars, run-down studio spaces and Fringe
venues - a piece of theatre that throws a few punches. As a two-hander it’s intimate, which I hope is
amplified by this fantastic space. It being a major role brings pressure to deliver but more importantly
the opportunity to play and explore each and every night. As a bonus it’s under the direction of Robb
Paterson and the fantastic eyes, minds and expertise that play a hand in every production here at Royal
MTC.
MTC: What do you hope audiences get out seeing the play?
JO: I want the audience to find the hope within these two characters because the play hits at so many
personal issues. I hope they get angry, I hope they find the humour, I hope they form some new strong
opinions and rethink some old ones. Feel with Michael and Halley, not just for them. Something Michael
says sticks with me with each reading, “I chose this.” I hope the audience can leave the theatre with an
idea of what that means to them. And for them to like me, because let’s be honest I’d love to be
welcomed back here!
MTC: Your character, Halley, is younger than you are in real life and also lives with a disability. As you
move into the rehearsal process, what challenges do you think you might face preparing for this role?
What can be learned when taking on a character that’s so different from you?
Heather Russell: As someone with full use of my body, I don’t often stop to think about what it would be
like if my mobility was limited. To get a glimpse of what life is like for Halley, I’m meeting with a young
woman who uses a wheelchair. Recently, I’ve had the opportunity to portray young characters (last
season I played a 17 year-old and a 6 year-old). I try not to think of them as younger than me, and I
embrace their hopes and fears as though they are my own. It’s exciting to explore characters with
different life circumstances and to discover that at their core, they are more similar to me than I first
realized.
MTC: Halley is a Girl Guide member who is very focused on earning all of her badges. Do you have any
personal connection to the Girl Guides organization? Can you recall a time when you were just as
driven as Halley to achieve a goal?
HR: I wish I had been a Girl Guide - I’d sure be a lot handier! Thankfully, two Pathfinder units were kind
enough to let me participate in their meetings this fall.
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When I first decided to become an actor, I auditioned for five theatre schools... and was rejected by all
of them. At the time, I didn’t know that it was good training for life as an actor - on average, actors
audition for fifteen roles and get one! But I didn’t give up. I moved from my hometown of Brandon to
Winnipeg, took acting classes at Prairie Theatre Exchange, and was then accepted into the Honours
Acting program at the University of Winnipeg! After graduating, I worked full time as a server and
auditioned a ton, eventually landing my first professional gig. One of the hardest things about being an
actor is that you’re always on the hunt for your next job - you have to be very stubborn, but also
optimistic. Actually, I think Halley would make a great actor!
MTC: Halley and Michael are two people from very different walks of life. What’s so special about
watching them connect and learn about one another throughout the play?
HR: It’s lovely to witness two characters that initially seem so different fumble, fight, and ultimately find
a friend where they least expect it. I think all human beings are on a quest for acceptance. Michael and
Halley’s journey encourages us to risk being vulnerable and to challenge our assumptions along the way.
REFERENCES
Eugene Land and Janice Gross Stein, The Unexpected War: Canada in Kandahar (Penguin: 2008)
http://www.cbc.ca/news/world/canadian-military-involvement-in-afghanistan-formally-ends-1.2569162
Post-traumatic stress disorder. Canadian Mental Health Association
http://www.cmha.ca/mental_health/post-traumatic-stress-disorder/
Kelly Grant, "Post-Traumatic Stress Disorder Doubles Among Canadian Forces", Globe and Mail, Aug 11
2014, http://www.theglobeandmail.com/news/national/one-in-six-military-members-have-mental-
health-problems-statscan-says/article19990160/
http://www.bbc.co.uk/history/worldwars/wwone/shellshock_01.shtml
http://www.playwrightsguild.ca/playwright/colleen-murphy
Girl Guides of Canada: www.girlguides.ca