Lesson Overview:

This lesson explores Stephen Sondheim's contributions to musical theatre in the context of the dramatic cultural shift that occurred in American life in the late 1950s, 1960s, and 1970s. The following activities are designed to help students decode the ways that Stephen Sondheim’s work articulates aspects of this dramatic shift in the cultural psyche.

Length of Lesson:

Five 45-minute class periods

Instructional Objectives:

Students will:

• explore reasons for cultural change in the late 19th century and the last four decades of the 20th century.
• examine the impact of cultural change on themes and forms of fine and performing arts.
• consider specific ways the two musicals under examination address the "social ills" of the late 19th century and contemporary life.
• explore the connection between the cultural climate of modern life and the "fractured" form in the fine and performing arts.
• explicate various components of two Sondheim musicals, giving attention to specific ways songs, music scores, narrative and theme interrelate.
• explore theories about archetypal patterns embedded in fairy tales.
• consider the development of the Sweeney figure that threads through folklore and literature as a metaphorical statement for the dehumanization of man caused by the injustices, loss of spiritual connections, and alienation of the individual from others in the modern world.
• raise the question of the purposes and messages of the two musicals.
• draw connections to other genres of the fine and performing arts, especially specific literary sources.
• consider evidences of Expressionism in the two musicals, particularly Sweeney Todd.
• initiate student design and performance activities related to musical theatre.
• strengthen process skills of reading, writing, and analysis, and exercise oral and collaborative skills through assignments of formal essays, oral presentations, and special project topics that draw across the lines of the activities of the curriculum unit.

Instructional Plan:

Activity A

Post-World War II Americans faced many hard realities: supporting expanding families, living in the so-called "paradise" of suburbia or amidst the accelerated tempo of urban life, adjusting to the anxieties of the nuclear age, and confronting the ambiguous engagement in two new wars. As a result, the idealism of the late 1940's rapidly eroded, and the perspective and tone of the culture changed dramatically. The "sweetness and light" of the earlier outlook took on an undercurrent of disturbance, an obliqueness that resonated on many fronts of American life. The fine and performing arts of the time period offer forceful evidence of these cultural shifts.

The work of Stephen Sondheim offers compelling statements about this change. Adding dramatic energy to Sondheim's scores and scripts is the complex thematic and structural interplay between the indomitable human spirit and its confrontation with the forces of change. The following assignments will help students gain an understanding of how Sondheim achieves such artistic tension by focusing on other voices that underscore, in a different way, the dramatic cultural change.

Assignment

Depending on the grade level and time constraints, assign readings on one or more of the following poems by T.S. Eliot and short stories by James Joyce. Share with students the fact that, although these selections were written in the first half of the twentieth century, they were very dominant in the literary canon in the last half of the century and offer meaningful starting points for a study of Stephen Sondheim.

The Hollow Men, by Eliot (grades 9-12)

The Love Song of J. Alfred Prufrock, by Eliot (grades 10-12)

The Wasteland, by Eliot (segments of the full text; grades 11-12)

Dubliners, by Joyce (selected stories, such as, "Araby" or "Eveline"; grades 10-12)

Some elements to be considered:

• The themes of alienation and disillusionment
• The lack of genuine engagement in human relationships and endeavors, such as love, camaraderie, and/or creative efforts
• The loss of genuineness in rituals, such as marriage, religion, and celebrations
• The longings of the human spirit within the context of his/her environment
• The shift in literary form from traditional patterns to "stream-of-consciousness" techniques (fragmentation, interruptions, elliptical constructions, the layering of simultaneous processes of the mind, the diverse rhythms of the mind, the fracturing of time)
• The prevailing tone quality

Note: The above topics could take up weeks or months in literature classes. The idea here, however, is to use vignettes of Eliot's work to give students a glimpse of a changing world. You may wish to consider integrating some of Sondheim's work into elaborated units on Eliot and Joyce.

Activity B

In the same spirit of inquiry, and with the same goal of establishing a frame of reference and point of departure for study of Sondheim's work, consider assigning one or more short stories by J.D. Salinger, Irwin Shaw, or John Cheever.

Uncle Wiggily in Connecticut, by Salinger (grades 10-12)

A Perfect Day for Banana Fish, by Salinger (grades 10-12)

The Eighty Yard Run, by Shaw (grades 10-12)

Torch Song, by Cheever (grades 10-12)

The Salinger and Shaw stories underscore the themes of "trouble in paradise" in suburbia—the absent (commuting) husband; the behind-closed-doors alcoholic wife, the longing for times past, the tentative relationships of husband/wife/child. John Cheever's Torch Song, set in Manhattan, would be an excellent companion piece for study of Sondheim's Company.

Activity C

This activity examines Sondheim's Sweeney Todd from several perspectives, particularly as social commentary within the context of the cultural change that occurred during the last half of the twentieth century. During this portion of the lesson, students will explore Sondheim's basic messages and themes. In addition, if they have completed Activities A and/or B, this part of the lesson can serve as an agent of comparative analysis.

To begin the study of Sweeney Todd, initiate a class discussion of the name "Sweeney." T.S.Eliot's poem, "Sweeney Among the Nightingales" could serve as a centerpiece of the discussion. Point out that Eliot wrote another Sweeney poem, "Sweeney Erect," and a drama, "Sweeney Agonistes." Encourage students to see that, through several historical and archetypal contrasts, Eliot characterizes Sweeney as a gross representative of modern human beings—one who is impotent in spirit, incapable of using violence to vent heroic passions. Note particularly the physical profile Eliot builds of Sweeney: "Apeneck," knees spread, arms hanging down, zebra stripes along his jaw, etc. All of these are "ape-like" characteristics.

In 10th, 11th, and 12th grade classes, consider initiating a discussion of the Freudian concept of the"id." Point out that Eliot's work has inculcated in Western consciousness the name "Sweeney" as being synonymous with one driven by his "id," projecting lustful, crude, primitive, and animal-like behavior.

Read aloud portions or the full text of Eugene O'Neill's The Hairy Ape. If time does not allow, direct student interaction with the text. Share with students some anecdotal material about the nature of the stage setting, as well as the ape-like characterizations of the men who work in the stokehole. Explore the implication of the term "Expressionism." Draw examples from art history and/or elements of The Hairy Ape to help clarify the term.

Initiate a discussion of the term "de-evolution." Probe the meaning inductively. Inquire how much students know about Darwinian theory and the term "evolution." Having clarified these references, ask students to identify the ways they think the Eliot selections and the O'Neill play project the idea of "de-evolution." Encourage students to comment on specific ways the concept of de-evolution is projected through techniques of Expressionism.

Ask students about what they think could cause "de-evolution." Remind them of the steel cage setting in The Hairy Ape. If students have done all or part of Activity A, remind them of the Eliot and Joyce selections.

The critic Ted Sennett asserts that Sondheim's Sweeney Todd has "Dicksonian and Brechtian" overtones. Critic Clive Barnes refers to the production as "neo-Brechtian." What do these critics mean? Who is Charles Dickens? What recurring comments does he make about 19th century Victorian society? How does he weave comic characterization into his texts to underscore his indictments about social evils? Who is Berthold Brecht? What does Brecht mean by his basic assertion that "the history of the world, my friend, is who gets eaten and who gets to eat?"

In grades 10, 11, and 12, a discussion of the above references could lead into a discussion of Social Darwinism. Sweeney Todd could be examined as a metaphorical statement of Social Darwinism. Study of the production could serve as an enriching subtext in history and/or literature classes focused on late 19th-century societal issues and literary themes and forms. For instance, Sweeney Todd could be a forceful accompaniment to a study of Emile Zola's Germinal.

Divide the class into collaborative groups to research, in print, Web, and audio sources, the original production of Sweeney Todd. Sondheim.com and ARTSEDGE's Celebrating Sondheim are good Internet resources for information. Each group will be responsible for presenting an oral report back to the large group and for preparing a formal summary in a written document. Assign the following tasks:

1. Each group should include a brief summary of the narrative.

2. Each group will research and prepare a written summary of their analysis of ONE assigned topic from the following list:

a. The nature of the technical theater used in the production (stage setting, lighting, costuming, special effects, etc.). Examine the specific ways the technical theater supports the development of the story line, the characterization, and the tone quality, as well as what the group perceives to be the message of the musical.

b. The music score and lyrics. Assess the ways that the score supports the development of the production. How does it help set the tone? Build and/or reinforce the characterization? Move the plot forward? Set up a counterpoint to the action?

c. Contextual analysis of the following songs: "Epiphany," "Green Finch and Linnet Bird," and "Pretty Women." Include an examination of how these songs operate within the text to add artistic impact.

d. The musical as social commentary. How does Sweeney Todd fit into this category?

e. An assessment of whether or not the production has specific evidences of Expressionism. If so, what are they and how do they add to the impact of the production?

f. A definition of "dark comedy" and the ways that the term applies to Sweeney Todd.

g. Original sources of the text, and an overall assessment of using a "blood-curdling" script as a basis for a musical. (Prepare to lead a large group discussion on this topic.)

h. A comparison of Sondheim's Sweeney Todd with Eliot's Sweeney figure.

Follow-Up

The Greek epigraph under the tile of "Sweeney Among the Nightingales" means "Alas I am struck with a mortal blow within." Also, Sweeney is the name of a hero in Irish legend. What has happened, symbolically, to Sweeney the hero? What has struck the "mortal blow?" Are there clues in Sondheim's Sweeney Todd as to how that question could be answered? Has Sondheim's Sweeney, because of a "mortal blow within," deteriorated even further than Eliot's Sweeney?

Consider assigning students to make sketches of some of the key figures in Sweeney Todd. Encourage them to make the sketches expressionistic.

Activity D

This activity focuses on Sondheim's Into the Woods. To initiate the study, encourage students to share details and ideas about various fairy tales with which they are familiar. To further prompt their memory, ask students to define the exposition (background, setting) of where the story takes place, the complication (conflict) of the story, the climax (high point/turning point) of the story and the denouement (the untangling or resolve).

Initiating Activities

• Have students brainstorm a written list of recurring patterns in the fairy tales that have been discussed. For instance, do several of the tales involve witches, journeys, animals, princes, magic spells, etc.?
• Initiate a discussion of the term "quest fairy tale." What is the implication of the term "quest?" What stories do they know that would fit into that category? What kind of experiences do those who go on the quest have along the way? Are they happy experiences? Something formidable that must be overcome? Life-threatening?
• Encourage students who have read Homer's Odyssey to draw comparisons to familiar fairy tales.
• Discuss sources students might have read that are structured by encounters; for instance, Don Quixote, Moby Dick, or A Midsummer Night's Dream. Explore what purpose the encounter(s) serve to build the characterization, narrative, or theme.
• Explore the metaphorical implication of the phrase "into the woods." Ask students to jot down and then share words that come to mind when they think of "woods" or entering a "dark wood."

Main Activity

Divide the class into pairs. Assign each pair to develop a written scenario that incorporates the following aspects:

1. A figure enters a dark woods. Describe the woods.

2. Determine why the figure is there. Recount the feelings of the individual in being alone in the dark woods.

3. Introduce a third figure. Determine why the figure is there and recount the feelings of that person on entering the dark woods alone.

4. Develop an encounter between the two characters.

5. Draw sketches of the two figures entering the woods alone, then encountering each other.

6. Build two different resolutions to the encounter—one happy ending and one unhappy ending.

Have each student develop a poem that projects one of the following concepts:

1. "Be careful what you wish for."

2. "Ever after."

3. "People make mistakes."

4. "It takes two."

5. "Circumscribed."

6. "Children listen."

Share the poems in the large group; then ask for suggestions of what kind of music could accompany some of the poems. Encourage those with a music background to either match their poem to a piece of music or write their own musical score for the poem.

Introduce the term "existential." In 10th, 11th, and 12th grade classes, embed the discussion into work students have done on the "Lost Generation" (Sartre, Camus, etc.). If time permits, reference the work done in Activities A and B.

Further Activities

Discuss the various ways and reasons that individuals are alienated from each other in the modern world. Assign students to construct a brief case study that reflects alienation between two people. Share the case studies, and encourage students to consider solutions that would help to bring the alienated pairs together.

Assign students, either as an individual or collaborative assignment, to write a dialogue between three characters, each from a different fairy tale. The dialogue should focus on an encounter between the characters (either happy or confrontational). Advise the students to sustain the personality the character projects in the original fairy tale. Have students perform the dialogues in the large group.

Divide the class into collaborative groups. Assign the groups to research in print, Web, and audio sources, the background and text of Stephen Sondheim’s Into the Woods. Advise each group that they will be responsible for constructing a brief written overview of the story line of the musical (to be handed in) and an oral and written presentation on one of the following topics. (Each group should be assigned a different topic.):

• The ways that unity is achieved out of such diversity. Consider aspects such as the structural pattern, the exposition, and the basic conflict
• An analysis of the ways that the concept of a "quest" threads throughout the musical (both in the plot and metaphorically). What encounters contribute to the concept of quest (both in the plot and metaphorically)?
• What artistic purposes are served by the music score and the lyrics? Consider such aspects as characterization, building of thematic statement, development of denouement. Encourage students to perform one or more of the songs as evidence.
• A consideration of whether or not an existential element threads throughout the musical. An assessment of Sondheim’s solution(s) to individuals being isolated—or in existential terms, "alone in the universe."

If time allows, give students the following collaborative assignment:

Choose scenes from the text of the musical. Prepare a classroom performance of some of the scenes, complete with improvised costumes, songs, and dance (if dance seems appropriate to the scene).

Assessment:

Assess the students according to the following criteria:

• evidence of growth in explicating skills and skills of comparative analysis.
• quality of participation in discussion, collaborative, and special projects.
• discernment in constructing conclusions.
• evidence of enhanced level of self-confidence in oral presentation and performance activities.
• willingness to risk-take in problem-solving and special project activities.
• advancement in writing skills and formal oral presentation skills, demonstrating fuller development, enhanced structural power, and more persuasive argument of point.
• sustained focus on material presented.
• evidence that the student is becoming an "informed" audience of musical theatre, with increased understanding of and appreciation for the creative process involved in developing musicals.
• evidence that the student has gained understanding of the growth of the musical as an American art form.
• evidence that the student has gained understanding of specific ways musicals fit into the cultural landscape of the performing arts of the last half of the twentieth century and the contemporary time period.
• evidence that the student perceives the interrelationships existing between musical theatre and other disciplines and other genres of the fine and performing arts.

Sources:

Print:

• Green, Stanley. The World of Musical Comedy, Fourth Edition. Cambridge, MA: Da Capo Press, 1984.
• Joyce, James. Dubliners. New York: Dover Publications, 1991.
• Norton Anthology of English Literature, 7th edition. Abrams, M.H. and Stephen Greenblatt (eds.). New York: W.W. Norton & Company, 1999.
• Norton Anthology of American Literature. Baym, Nina (ed.). New York: W.W. Norton & Company, 1998.
• O'Neill, Eugene. Four Plays by Eugene O'Neill: Beyond the Horizon, the Emperor Jones, Anna Christie, The Hairy Ape. New York: Signet, 1998.
• Sennett, Ted and Andrew G. Hager. Song & Dance: The Musicals of Broadway. New York: Friedman/Fairfax Publishing, 2001.
• Sondheim, Stephen and James Lapine. Into the Woods. Theatre Communications Group, 1989.
• Sondheim, Stephen, et al. Sweeney Todd: The Demon Barber of Fleet Street. Applause Theater Book Publishers, 1991.

Media:

• Video and audio sources of Sondheim's work and interviews with Sondheim.

Web:

• Celebrating Sondheim: Audio and Video Resources
  http://artsedge.kennedy-center.org/exploring/mt/sondheim/sond/audio_video.html
• Celebrating Sondheim: Interviews
  http://artsedge.kennedy-center.org/exploring/mt/sondheim/sond/primary_sources.html
• Celebrating Sondheim: Print Articles
  http://artsedge.kennedy-center.org/exploring/mt/sondheim/sond/print_resources.html

Authors:

• Jayne Karsten, English, Grades 9-12
  The Key School
  Annapolis, MD US