Finn McCool - Talespinner Children`s Theatre

Finn McCool
(A Tale of Irish Mythology)
Oona
Adapted by
Christopher Johnston
Directed by
Alison Garrigan
Teacher
Resource Guide
1
About Talespinner Children’s Theatre
Talespinner Children's Theatre is a Cleveland-based company that develops and produces highly imaginative,
original, collaborative and interactive professional works for children that also stimulate creative growth in its
artists. At any time, these pieces may involve acting, dance, music, puppetry, tumbling,
drumming, and numerous other artistic disciplines as imagined by the artistic teams working with and for
TCT, and are open to all creative possibility. TCT's aim is to bring theatre to the community in its fullest form
providing excitement, growth and joy for all who are involved in and/or touched by its work.
Talespinner Children's Theatre strives to reach across socio-economic, cultural and traditional boundaries to
help awaken and bring better understanding by opening eyes, ears, hearts and imaginations in the young
people (and artists) of Cleveland and its surrounds.
TCT creates work that remembers that children
are smaller people, not lesser people.
What to expect when seeing
a live theatrical production at
Talespinner Children’s Theatre
Going to see a live theatrical performance can be very exciting. It is very different from going to a movie or
watching a story on TV. In a movie, the story is always exactly the same. In live theater, the story can be
just a little bit different each time because there are live performers sharing their work with the audience.
Each performance is special and unique and made just for you, the audience, to take home with you and
relive in your memory.
In our theater, The Reinberger Auditorium, the actors are very close to the audience. They can see and
hear the audience just as well as you can see and hear the actors. This means that we want to make sure
that we don’t distract the actors with side conversations with our neighbors, unwrap candy, or play with
electronic devices. We want to make sure that the actors can concentrate on stage to give you their best
performance. However, this doesn’t mean that we don’t want you to enjoy the production you are seeing
and to react to the excitement on stage. If something makes you laugh, go ahead and laugh! If you really
like something that you see, it’s okay to clap for the actors. Actors love to hear applause. Sometimes our
actors will even need help from the audience to figure out what to do next. You can be a big help to our
production by participating when the actors ask you a question or give you a task to do from your seat in
the audience.
In this production we will be using many different elements of theater including music, dance, puppetry,
costumes, make-up, sound, lighting and scenery. It takes many people to put together a production like
this, and we are excited that you are going to be part of our experience today. If you have any questions
about anything that you see today, hold onto the questions until the end of the production and we will
bring the actors out to talk to you when the play is over. Enjoy your visit to Talespinner Children’s Theatre!
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Table of Contents
Page 2
Page 3
Page 4
Page 5
Page 6-7
Page 8
Page 9
Page 10-11
Page 11
Page 12
Page 13
Page 14-15
Page 16-20
Page 21
Page 22-28
Page 29
Page 30
Page 31-32
About Talespinner Children’s Theatre &
What to expect when seeing a live theatrical production at
Talespinner Children’s Theatre
Table of Contents & About the Executive Artistic Director
About the Playwright, Acting Company and Staff
What is a Myth? & Who is Finn McCool?
The Salmon of Knowledge
The Story of Finn McCool
7 Facts about the Giant’s Causeway & Great Reads
Vocabulary
Famous Irish People
Music from Finn McCool
Dance & Movement from Finn McCool
Faerie Folk and Faerie Rings
Fairy Puppet Templates, Irish Recipes & Treats, Coloring
Recycled Percussion
Theater, Music, Movement, and Art Activities
Discussion Questions & Writing Activities
More about Talespinner Children’s Theatre
Theater Glossary from Ohio Academic Standards
About the
Executive Artistic Director
and Director, Alison Garrigan Ali is a long-time professional in the theatre who has worked locally,
regionally, and nationally as an actress, director, designer, puppetmaker, and teacher. She became dedicated to creative, intelligent and
playful children's theatre in her late teens, and has returned to work
with children and students frequently throughout her career. Her
professional work in the Cleveland area has been seen and produced at
such venues as Cleveland Public Theatre, Cleveland Institute of Music's
Opera Stage, Beck Center for the Arts, Dobama Theatre, and Great Lakes
Theatre, to name a few. No stranger to starting up a new company, she
was one of the original members/board of the critically acclaimed Bad
Epitaph Theater Company. Alison has always felt that children's theatre
needs to be intelligent, creative, playful, and educational, and should
engage every aspect of its audience, and its artists — minds, eyes, ears,
hearts, imaginations… and energy.
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About the Playwright,
Christopher Johnston
Christopher Johnston is a playwright, director and freelance journalist. His play
Ghosts of War, about a Vietnam War veteran he had interviewed for five years,
premiered at Dobama Theater in January 2013. His plays have appeared at
Cleveland Public Theatre (The Mind Field, Theories of Relativity), Dobama’s
Night Kitchen (Murder in Mind, Loud Americans: A Punk Saga) and convergence
-continuum theatre (APORKALYPSE!). His play, The Mad Mask Maker of Maigh
Eo, premiered in March 2006 at CPT and received an Honorable Mention in the
Northern Ohio Live Awards of Achievement. In 2016, his plays My Body is Blue
and Selfies at the Clown Motel will premiere at Dobama and convergencecontinuum, respectively. Currently, he is writing a book about a company of
Marines who served at Khe Sanh during the Vietnam War that suffered the
highest loss rate in US Marine history.
Acting Company
Staff
Sean: Devon Turchan
Siobhan: Leah Smith
Arnie McBlarney: Sean Seibert
Finn: Chris Walker
Cucullin: John Busser
Oona: Margi Herwald Zitelli
Adapted by Christopher Johnston
Directed by Alison Garrigan
Movement: Katelyn Cornelius
Lighting Design: Josh Heidinger
Costume & Mask Design: Melanie Boeman
Sets & Puppet Design: Alison Garrigan
Stage Manager: Brittany Gaul
About the Director of Education and Movement Director,
Katelyn Cornelius
Katelyn is a proud graduate of the Cleveland State University Theater program, and passionate about
supporting arts in and around Cleveland. For the past four years, Katelyn has traveled North East Ohio as
an Actor-Teacher for Great Lakes Theater, where she worked with grades K through 12, bringing literature to life ranging from classic children's stories to Shakespeare. Prior to GLT, Katelyn taught for the East
Cleveland Adult Activities Center and directed quarterly performances with the residents. Katelyn is also
an actor, and has been seen onstage at such venues as Cleveland Public Theater, Theater Ninjas, Karamu
House, Ensemble Theater, The Bang and the Clatter, and of course, Talespinner Children's Theater. (Red
Beard in TCT's Aesop's Pirate Adventure will forever be a favorite role.) She is also a Movement Specialist
- recent work includes TCTs Loki & Lucy, and The Silent Princess.
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What is a Myth?
Myths are stories that have been passed down through history. They are often told through an oral tradition
meaning they have been told over and over throughout time and handed down to each new generation.
Myths are often stories that try to explain how things came into being from an ancient culture’s point of
view. Many myths are stories concerning heroes who experience great adventures. These stories talk about
honor, victories, tragedies and even vengeance. With these type of myths there is often a moral that goes
with the story so that it can act as a lesson for the future. Many times the characters are gods and goddesses and these characters are immortal, as they never die. The gods and goddesses often interact with human
mortals sometimes helping them, sometimes hurting them to demonstrate their immense power. The story
of Finn McCool is an example of Irish Mythology.
Who is Finn McCool?
Finn McCool, or as he is known in Old Irish as Fionn mac Cumhaill, is a mythical magical giant from Irish folklore. Finn is thought to have been a kind and compassionate giant whose heroic deeds are often attributed
today to the development of many geographical features of Ireland. Legend has it that The Giant’s Causeway
in Ireland was created from the epic battle challenge of Finn McCool to another giant from Scotland. The
Irish culture has always reveled in their ability to tell a tall tale and the stories of Finn McCool live on today
through literature, song, music and poetry. The following are two stories from the triumphs of Finn McCool
used to inspire our play of Finn McCool here at Talespinner Children’s Theatre.
Lurganancestry.com
www.ballycastle.info
www.theirishinstories.com
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The Salmon of Knowledge
by Grainne Rowlan from www.irishcultureandcustoms.com
"I got him! I got the Salmon of Knowledge!" yelled Finegas, dancing up and down for joy.
Finn came running when he heard his master shout. The Salmon of Knowledge! Finegas had been fishing in the Boyne River for years and years. His only dream had been to catch this well-known fish. Whoever ate THIS salmon would gain all the knowledge in the world! Finn knew now that old Finegas could
die happily.
Finn had been studying with Finegas for a year. He had already learned many things from other teachers, and now he was learning poetry from Finegas. He had learned to love old Finegas, even if he was
crabby sometimes.
For even if Finegas cuffed Finn's ear or yelled at him at times, Finn always saw the twinkle in his eyes
that Finegas tried to hide. So Finn was excited that Finegas had caught the fish at long last.
"Finn! Take this!" growled Finegas. Grinning, Finn took the salmon from his master. He held it at arm's
length so the water wouldn't drip on his bare feet. The salmon was obviously a magic fish. Its scales
were the colors of the rainbow. They sparkled brightly in the morning sun.
"Take the salmon and cook it over the fire. Make sure it is well-done, but not burned. I want the skin
crackly, but not black. Be sure that you spoon the juices over it to improve its flavor. And whatever you
do, DON'T take even one small bite of it!" warned Finegas.
Finn's blue eyes were laughing as he put the fish on the spit over the fire. Every day Finegas told him
how to cook the meals. Finn could repeat the directions in his mind exactly as Finegas said them every
time. The instructions never changed. That is, they had never changed until today. Not take a bite of it!
Finn guessed it must have something to do with this being the Salmon of Knowledge.
Finn turned the spit over the fire as he thought about the salmon. He wondered if or how Finegas
would change after he had eaten the fish. Would Finegas still want to teach him poetry or would he
make him leave and find another teacher? Finn hoped he would not have to leave, for he would miss
his old teacher when their time together was finished.
"Finn! Stop your daydreaming and mind the fish!" ordered Finegas. Finn, startled out of his thoughts,
checked the fish. Oh! There was a bubble on the skin. Without thinking about it, Finn broke the bubble
with his thumb. Ow! That burned, thought Finn. He quickly stuck his thumb in his mouth and sucked the
burned spot.
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The Salmon of Knowledge continued
Finn's head spun! He slowly sunk to the ground. He seemed to be in a cloud. What were these pictures he
was seeing? People were doing things he only slowly began to understand. They were making wonderful
golden jewelry. There were crowds of people listening to a man called Patrick. Men called monks were
making wonderfully colored pictures in a book called a Bible. Finn saw people leaving Ireland by the thousands. He saw people celebrating freedom. Slowly his mind cleared and he saw Finegas staring at him in
wonderment.
"Well," said Finegas sadly, "I guess the Salmon of Knowledge wasn't for me after all. You are the one the
old stories spoke of as he who would know all things. You no longer need me to teach you, Finn."
From that day on, whenever Finn needed to know what was happening at a distance or what was about to
happen, he simply had to put his thumb in his mouth. One gentle bite would tell Finn all he needed to
know. Finn became a great hero in Ireland. Stories are still told of Finn today!
The salmon of knowledge from
www.circle of ancestors.com
Finn McCool and the Salmon of Knowledge
by Robert M. Barnes, 1985
The River Boyne in Leinster, Ireland is the river where
Finn McCool caught the Salmon of Knowledge
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The Story of Finn McCool
Legend of Finn McCool:
Irish Strength Association, at: irishstrongman.com, Oct 30, 2006
At 52 and a half feet tall our local giant Finn McCool was big and getting bigger.
Truly a gentle giant, Finn and his wife Oonagh loved to spend the clear summer days gazing across the Sea of Moyle to the hills
of the Western Isles. It was on such a day they first saw the shadow and heard the rumbling voice of the mighty Benandonner.
In a challenge shouted across the waves, Finn invited the Scottish giant to visit Ireland for the most typical of giant contests, a
trial of strength. County Antrim hospitality being what it is, Finn decided to keep his guest's feet dry by building a pathway to
the Western Isles using the many hexagonal stones that lay strewn along the shoreline.
Even for a big giant it was a long and hard task. For weeks on end Finn worked from dawn till dusk until at last, the end of the
Causeway was only a stride away from Benandonner's hide away, Fingal's Cave on the island of Staffa.
It was late in the day and Finn decided to get a good night's rest, completing his work the following morning. Oonagh woke at
dawn, the floor of their cave was trembling in time to approaching footsteps. She looked out to sea and the rising sun cast the
massive shadow of Benandonner across the land. She looked at her exhausted husband lying sound asleep,
and quickly realised that he couldn't win the trial of strength in his present state.
Oonagh feared to be taken away to Scotland as spoils of war. Thinking on her feet, she woke Finn, bundled him into one of her
nightgowns, covered his head with a bonnet and made her bewildered husband to pretend he was asleep. Moments later, the
mighty head of Benandonner looked into the cave. "Right, where is he hiding?" He roared. Oonagh shushed him, "Be quiet or
you'll waken our baby", and pointed out the sleeping Finn.
It was at this point Benandonner decided he'd seen enough. If that was the baby, he wasn't hanging around to meet his dad. He
was last seen retreating back across the Causeway tearing it up after him. Leaving visitors to marvel at what remains of Finn
McCool's legacy, his great pathway to the Western Isles - The Giants Causeway.
The Giant’s Causeway from a 20th century postcard
Images on right from arounddeglobe.com
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7 Facts About The Giant’s Causeway That You Probably Didn’t Know
February 17, 2015 by odysseycoachtours
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It was voted as the 4th greatest natural wonder in the United Kingdom. UNESCO declared it as a world
Heritage site in 1986. Since then, many people from all over the world have come to Northern Ireland to
learn more about this fascinating natural wonder.
The Giant Causeway has about 40,000 interlocking columns made from basalt. The columns have a
unique hexagonal shape. The columns are reminiscent of huge stepping stones. Some actually go as
high 39 feet into the air.
The number of columns per rock vary. Some have four sides while others go up to eight sides. This creates a rugged feeling about the location. During the rock weathering, circular structures start to appear.
Most residents call them the Giant’s Eyes. The giant reference goes back to a mythical tale claiming that
the area was originally created by the giant Fin McCool.
At first glance the formation of the columns appears man made. But following closer inspection, you can
see nature at work. Based on geology, the Giant’s Causeway was formed over 50 million years ago by
intense volcanic action. The lava cooled at a rapid speed breaking into distinctive shapes.
There are many legends surrounding its formation, but only a few can be believed. There was a local
legend who claimed that a giant built the Giant Causeway to reach a rival over in Scotland. Many more
stories about the rock formation exist adding a certain mythical quality to the place.
When Robert The Bruce was in exile from Scotland in 1307 he was rumoured to have coined the phrase
“If at first you don’t succeed try, try again” while watching a spider struggle to form a web in the wind
and rain in a nearby cave.
If you are a person that loves to watch sea birds, this is a great place to visit. It has some excellent spots
where you can sit and wait for the sea birds to land. In addition, some rare plants that thrive in this region can’t be found anywhere else on the planet.
Great Reads
A Pot o’ Gold: A Treasury of Irish Stories, Poetry, Folklore, and (of Course) Blarney, Selected and
Adapted by Kathleen Krull, Hyperion Books for Children
A Treasury of Irish Stories, Chosen by James Riordan, Kingfisher, 1995
Finn McCool and the Great Fish, by Eve Bunting, Sleeping Bear Press, 2010
Tales for the Telling: Irish Folk and Fairy Stories, Edited by Edna O’Brien, Pavilion Books Limited, 1986
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Vocabulary from Finn McCool
Blustery - to roar and be tumultuous, as wind.
Brogues - a coarse, usually untanned leather shoe once worn in Ireland and Scotland.
Bungalow – a one story cottage.
Buskins - a thick-soled, laced boot or half boot.
Emerald – a rare green-colored precious gem
Famished – extremely hungry
Generous – liberal with giving, unselfish
Gnash – to grind or strike teeth together, especially in pain or rage
Goblet – a drinking glass with a stem
Griddle - a frying pan with a handle and a slightly raised edge
Humble – courteously respectful
Masquerade – a false outward show
Mend – to fix
Mire – muddy swampy ground
Mischievous – playfully annoying
Nurture – to feed and protect
Obedient – willing to obey or listen
Patience – the ability to bear hardship, annoyance, etc. with a calm and understanding demeanor
Privilege – a special right
Quake – to shake
Ragwort – a yellow flowering plant with lobed-shaped leaves
Regale – to entertain with food or drink
Rover – a wanderer
Sloshing - to splash or move through water, mud, or slush.
Sloth – habitual laziness
Spurn – to reject with disdain
Suspicious - questionable
Trance – a half-conscious state, dazed or bewildered
Trod – trampled or crushed
Vanquished – conquered or defeated
Wisdom – scholarly knowledge or learning
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Irish Vocabulary Words
Laddie – a young boy
Colleen – a girl
Ceade Mille Failte – A Hundred Thousand Welcomes
Killarney – In Irish, Cille Airne, meaning “Church of Soles”. It is a medium-sized town in Southwest Ireland.
River Boyne – A river in Leinster, Ireland.
Bonny – Pretty or Attractive
Babby – Irish term for Baby
Begorra – an exclamation similar to “My Goodness!”
Seanachai – a traditional Irish storyteller
In Erin – similar to “Erin go braugh” which means “Ireland Forever”
Moidy – an exclamation
Famous Irish Men and Women through History
Johnathan Swift – (1667 – 1742)
Author of Gulliver’s Travels
Oscar Wilde – (1854 -1900) –
Famous author of poetry, short
stories, and plays. Notable
works: The Importance of Being
Earnest and The Picture of Dorian Gray
Image: www.eupedia.com
Maureen O’Hara – (1920 - )
Famous screen actress. Notable films: Miracle on 34th
Street and The Parent Trap
Mary McAleese (1951 - ) – The
first female president of Ireland.
She served from 1997 – 2011.
Image: www.eupedia.com
Image: www.fanpop.com
Image: www.forbes.com
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Music from Finn McCool
About Irish Music
Story telling is an integral part of Irish culture. This tradition shines through in traditional
Irish folk music. Many of the traditional tunes are ballads detailing stories of events, characters, and experiences. The Irish use these songs as a way of expressing deep emotions from
intense joy or deep sorrow.
“The English used to wonder why the Irish were so happy despite their poverty and it was
because they had this rich sociability in their lives. They had to create their own gaiety and
it was these aspects of life and tradition that made so many Irish emigrants remember their
homeland.” (www.irishfolktours.com)
Some of these songs became fighting anthems during the time Ireland was under English
control. Many songs were also created about Irish Rebellion, and as a form of rebellion
themselves.
History of the Bodrahn Drum
“Much of the history of bodhráns is pure speculation. Some believe it has been in use for centuries in Ire-
land, brought to Eire by migrating Celts following one of two routes--from origins in Asia through Europe, or
from origins in Africa via Spain.
Despite any lingering controversy surrounding its origins, how was the bodhran first used? Almost certainly
not for any musical purpose, at least in its early days. Some theories hold that crude fife-and-bodhran corps
accompanied military forces into fierce battles, providing stirring march music that motivated the troops.
During harvest times, the bodhran likely saw considerable agricultural duty. A harvesting tool made of animal skin pulled over a wooden frame--called a "dalloch" by the Scots and a "dallan" by the Irish--was employed as a sifter for winnowing edible grains from chaff.
Another use for the bodhran was as a noisemaker during harvest festivals and rural mummers' plays. On St.
Stephen's Day, when wren boys take to the streets to hunt the wren and collect money for village celebrations, they have traditionally beat on the bodhran or on slitted wooden discs
called "sand riddles" (used by construction crews to sift rocks out of sand).”
Image from: http://ecx.images-amazon.com
Text from: http://www.celtic-instruments.com
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Dance and Movement from Finn McCool
Irish Ceili Dances
“Irish social, or ceili dances vary widely throughout Ireland and the rest of the world. A ceili dance may
be performed with as few as two people and as many as sixteen. Ceili dances may also be danced with
an unlimited number of couples in a long line or proceeding around in a circle (such as in "The Walls of
Limerick", "The Waves of Tory", "Haymakers Jig", "An Rince Mor" or "Bonfire Dance"). Ceili dances are
often fast and some are quite complex ("Antrim Reel", "Morris Reel"). In a social setting, a ceili dance
may be "called" - that is, the upcoming steps are announced during the dance for the benefit of newcomers. The ceili dances are typically danced to Irish instruments such as the Irish Bodhran hand drum or
fiddle in addition to the concertina (and similar instruments), guitar, whistle or flute.
The term ceili dance was invented in the late 19th century by the Gaelic League. Ceili as a noun differs
from the adjective ceili. A ceili is a social gathering featuring Irish music and dance. Ceili dancing is a specific type of Irish dance. Some ceilithe (plural of ceili) will only have ceili dancing, some only have set
dancing, and some will have a mixture.”
From: http://www.dancelessons.net
A Bodrahn Drum, like the one used in the show, and mentioned above.
Image from: http://www.musicmotion.com
Go to page 21 to learn how to make your
own drum or percussion instruments
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Faerie Folk
Leprechauns
“Small enough for one to sit comfortable on your shoulder they are very smartly dressed in small suites
with waist coats, hats and buckled shoes.
As mischievous and intelligent folk they are general harmless to the general population in Ireland, although
they are known to play the odd trick on farmers and local population of villages and towns.
It is said that every Leprechaun has a pot of gold, hidden deep in the Irish countryside. To protect the leprechaun’s pot of gold the Irish fairies gave them magical powers to use if ever captured by a human or an animal. Such magic an Irish leprechaun would perform to escape capture would be to grant three wishes or to
vanish into thin air!
Leprechauns are also very keen musicians who play tin whistles, the fiddle and even the Irish Harp and various other Irish traditional instruments. They are known to have wild music sessions at night which in Ireland are known as Ceili’s with hundreds of Irish leprechauns gathering to dance, sing and drink.”
Banshees
A banshee appears in the form of a ghost woman who lets out a haunting scream. She is called “Bean
Sidhe”, which in Irish means “Woman of the Burial Mounds”. There are many different myths as to what
happens when you hear the banshee’s scream. Many Irish people believe that her scream is a warning that
death is coming to a loved one. This does not necessarily have to be a bad or scary thing. The scream could
be about a family member who has lived a very long life, and the banshee is there to escort them and offer
them safe passage to the after-life.
Faeries
Faerie folk, or “wee folk” describe the large group of magical beings in Ireland. The faeries themselves are
sometimes believed to be fallen angels living on earth. They are sometimes depicted as small winged people, but also describe the larger group of magic folk. This includes the Leprechauns, The Banshee, and many
more. The Irish still believe in many faerie stories and myths, watch for signs of the wee folk in the world
and respecting their existence. From www.yourirish.com
Traditional Leprechaun with his “pot o’ gold”
Bunworth Banshee from
Fairy Legends and Traditions
of the South of Ireland by
Thomas Crofton Croker, 1825
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Faerie Rings
“According to the folklore, a fairy ring appears when a fairy, pixie, or elf appears. The circular pattern of the
mushrooms looks like a place where fairies danced in a ring holding hands.”
Many Irish people believe that a fairy ring is not only place where faeries have met and danced, but also a
portal to their world. There is a very strong belief in Ireland that a human should NEVER step in to a faerie
ring. This human could disappear, go crazy, or literally dance until their toes fall off. You also cannot get rid
of a faerie ring, even if you try. They will always grow back. This is because you can’t kill and mushroom, but
it only fuels the Irish belief that the rings are magic beyond our comprehension.
From history-Ireland.blogspot
Artwork by Edgar Robert Hughes
Syimg.com
The famous “Disney Fairies”
Artwork by Cicely Mary Barker
Artwork by Cicely Mary Barker
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Fairy Puppet Templates
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Irish Soda Bread Recipe
from www.simplyrecipes.com
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Prep time: 15 minutes
Cook time: 40 minutes
Yield: Makes one loaf
Ingredients
 4 to 4 1/2 cups flour
 1 Tbsp sugar
 1 teaspoon salt
 1 teaspoon baking soda
 4 Tbsp butter
 1 cup currants or raisins
 1 large egg, lightly beaten
 1 3/4 cups buttermilk
1 Preheat oven to 425°. Whisk together 4 cups of flour, the sugar, salt, and baking soda into a large mixing
bowl.
2 Using your (clean) fingers, work the butter into the flour mixture until it resembles coarse meal, then add in
the currants or raisins.
3 Make a well in the center of the flour mixture. Add beaten egg and buttermilk to well and mix in with a
wooden spoon until dough is too stiff to stir. Dust hands with a little flour, then gently knead dough in the
bowl just long enough to form a rough ball. If the dough is too sticky to work with, add in a little more flour.
Do not over-knead!
Transfer dough to a lightly floured surface and shape into a round loaf. Note that the dough will be a little
sticky, and quite shaggy (a little like a shortcake biscuit dough). You want to work it just enough so that the
flour is just moistened and the dough just barely comes together. Shaggy is good. If you over-knead, the bread
will end up tough.
4 Transfer dough to a large, lightly greased cast-iron skillet or a baking sheet (it will flatten out a bit in the pan
or on the baking sheet). Using a serrated knife, score top of dough about an inch and a half deep in an "X"
shape. The purpose of the scoring is to help heat get into the center of the dough while it cooks. Transfer to
oven and bake until bread is golden and bottom sounds hollow when tapped, about 35-45 minutes. (If you
use a cast iron pan, it may take a little longer as it takes longer for the pan to heat up than a baking sheet.)
Check for doneness also by inserting a long, thin skewer into the center. If it comes out clean, it's done.
Hint 1: If the top is getting too dark while baking, tent the bread with some aluminum foil.
Hint 2: If you use a cast iron skillet to cook the bread in the oven, be very careful when you take the pan out.
It's easy to forget that the handle is extremely hot. Cool the handle with an ice cube, or put a pot holder over
it.
Remove pan or sheet from oven, let bread sit in the pan or on the sheet for 5-10 minutes, then remove to a
rack to cool briefly. Serve bread warm, at room temperature, or sliced and toasted. Best when eaten warm
and just baked.
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Irish Soda Bread continued
This soda bread is a slightly fancied up Americanized version of the Irish classic, with a little butter, sugar,
an egg, and some currants or raisins added to the base. You can bake it in a cast iron frying pan (now
that’s traditional!) or an a regular baking sheet.
You can also make a simpler version without eggs or currants, but with some caraway seeds, or you
could turn your soda bread dough into biscuits.
Soda bread dries out quickly so is only good for a day or two. It is best eaten freshly baked and warm or
toasted.
Easy treats to celebrate the Irish
1. Take a shamrock shaped cookie cutter and cut out spinach
tortillas. Bake in the oven until crisp. Use to dip in salsa or
guacamole.
2. Melt cheese between 2 shamrock shaped tortillas and grill
on stovetop for an Irish grilled cheese.
Make a rainbow to lure a leprechaun to your
Irish celebration.
Top picture are cupcakes in a rainbow of colors
Bottom picture is fruit with a marshmallow
cloud and banana pot of gold
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Celtic Knot Coloring Page
Celtic knots are complete loops without any beginning or end and this unending
style is called pure knots. The knots vary from simple to complicated ones. The
use of only one thread highlights the Celts’ belief in the interconnectedness of
life and eternity. They strongly believe in the symbolism reflected in Celtic knot
works from the old Celtic myths and legends.
from the National University of Singapore
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Recycled Percussion
Here are several ideas to make your own percussion instruments at school or at home.
Materials: Construction Paper, Crayons, Magic Markers, Paint, Tape, Glue, Stapler, Yarn, Bells, Rice, Beans,
Pencils, Used Thread Spools, Popsicle Sticks, Coffee Cans, Oatmeal Boxes, Pringles Cans, Plastic Pop Bottles,
Paper Plates, Mailing Tubes, Paper Towel Tubes
Illustration by
Geoff Slater
Drums
Using a coffee can, Quaker Oatmeal box or Pringles can, you can create a unique drum with a different
sound depending on shape and size. Decorate a piece of construction paper and wrap it around an old
coffee can with a lid. Secure construction paper with tape or glue. Use your hands for drumming or use a
set of homemade mallets. Make several different kinds and create a drum set.
Mallets
Using 2 pencils and 2 used spools of thread, glue 1 spool to 1 pencil and repeat. Paint the homemade
mallets to use with your drums.
Shakers
Using small or large plastic used pop bottles or Pringles can, fill each bottle with rice and beans. Secure with
cap. Cover with decorated construction paper or paint the bottle with vibrant paint colors.
Rain Sticks
Using a mailing tube, Pringles can or paper towel tube, cover one end with a lid or construction paper and
masking tape to make it secure. Cut slits in sides of tube big enough for a small popsicle stick. Fill tube with
rice. Slide popsicle sticks into the slits. Secure the other end with construction paper and masking tape or
lid. Decorate.
To make rain sound, slowly tip tube from one end to the other letting the rice hit the popsicle sticks as they
fall to the bottom.
Tambourines
Using two paper plates, staple the two fronts together. Use a hole punch to punch holes around the outside
of the plates. Tie a bell to a short piece of yarn and tie to the holes in the plates. Secure bells with a knot.
Decorate.
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Theater, Music, Movement and Art Activities for the Classroom
These Activities can be adjusted for all ages for the Elementary School Classroom
Theater
Sensory Walk
Start with students in a circle. Create a calm and quiet atmosphere and dim the lights if possible.
Tell students this is a quiet exercise where they will be using their imaginations not their voices.
Ask students to listen to the sound of your voice and quietly begin to move about the room. Ask
students to respect each other’s personal space as they move about the room. Begin feeding the
students images and have them act out the image as they move about the space. For example:
You are walking through a forest. It is sunny and warm. How do you feel? Is the sun warm on
your face? What do you see? Are there flowers in the grass? What do you hear? Are there birds
singing a pretty melody? Etc. Continue feeding the students images and continue to get them to
act out what they experience as they walk about the room.
You may use a story or piece of literature as inspiration for the sensory walk.
When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.
Mirror Exercise
Students are paired up and each pair is spread around the classroom. Ask one student in each
pair to be player A and one person to be player B. Tell students this is a silent exercise. Have
player A and B face each other. Player A begins as the leader and Player B must follow. Explain to
students that they are looking into a mirror and seeing an exact mirror image of themselves. They
are to follow the leader’s movements exactly. Ask the leader to move slowly. Ask students to
maintain eye contact and try to match their movements so that the teacher cannot tell who is
leading and who is following. After a time, switch so that B is the leader and A is following.
When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.
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Theater Activities Continued
Pass the Prop
Students gather in a standing circle. The teacher selects a prop such as a piece of fabric or a
foam noodle. The prop is passed to each student in the circle. As each student receives the
prop, they must come up with a way to use the prop as another object. For example: a piece
of fabric is passed to student A and they create a baseball bat with it. Student B creates a
lawn mower with the fabric. Student C creates a megaphone with the fabric. Each student
must show how their prop is used and the rest of the students may guess what the object is
supposed to represent.
Cross the Room
Divide the students into two lines facing each other at opposite ends of the room. Each line
takes a turn crossing to the other side of the room. The teacher calls out what each line is
crossing as. For example: Cross the room as if you were 2 years old. Now cross the room as
if you were 16 years old. Now cross the room as if you were 30 years old. Now cross the
room as if you were 60 years old. Now cross the room as if you were 100 years old.
Different categories can be explored depending on the story or theme that the students are
working on. You might use types of animals if you are working on fables. You might use
characters from a fairy tale such as a prince, queen, peasant, etc.
One Word Story
Students begin in a sitting circle. The teacher begins the story with one word. The object of
the exercise is to create a full story with each student only speaking one word at a time.
Students must complete full sentences that make sense and the story must have a beginning,
middle and an end. Go around the circle in the order that the students are sitting in. The
teacher may side coach if necessary to help decide where the sentences end or the story
itself ends. Example of prompting might be “and now we need a conflict, and now we need
to resolve the conflict, and now we need to bring our story to an end”. Encourage students
to use descriptive adjectives to make the story more interesting.
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Theater Activities Continued
Write Your Own Myth to Perform
The teacher sits students either on floor or in desks all facing the teacher. The teacher helps
guide students in creating a short play by using their suggestions. The teacher can make a copy of
the form on page 28 or use the dry erase/smart board to create story. The teacher starts by
asking who the characters are in the story. Get about five characters. Decide what lessen should
be learned from the story. Next, under opening of story, create a setting (where does the story
take place, why are the characters at this place). Under 1st incident, come up with a conflict
which is counter to the lesson to be learned using two of the characters. Next using another
character, come up with another complication or conflict which makes it even harder for the lesson to be learned. Repeat for the subsequent complications. Next, find a resolution from the
conflicts that lets the characters resolve the story. Create a title for the story. The teacher should
read back the story adding exciting details to make the story come alive.
For older students you may divide them in groups of 3-5 and have students come up with their
own unique story. Then have students gather/create props, costumes and scenery for their story,
rehearse the stories as a play and perform them for each other. This may be
divided into multiple lesson days.
Example of Story Line
Title:
Lesson to be Learned:
Characters:
Opening:
1st Incident
1st Complication
2nd Complication
3rd Complication
Resolution
Little Red Riding Hood
Listen to your parents
Little Red, Mother, Father, Grandmother, Wolf
Little Red’s mother is giving her a basket of food for her grandmother but
cautions her to not to talk to strangers as she crosses through the woods.
A Wolf calls out to Little Red to stop for a while and chat.
Little Red stops and talks to the wolf and tells him that she is on her way
to grandma’s house
The Wolf gets to grandma’s house first and gobbles up grandma
Little Red gets to grandma’s house and discovers that the wolf is dressed
as grandma and wants to gobble her up too.
Little Red screams and her father who is nearby chopping wood comes
and chops the wolf up and rescues Little Red and Grandma.
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Music Activities
Sound Garden
Teacher gathers students in a sitting circle. Teacher explains that each student needs to come up
with a unique sound. It can be singing a note, making noises with the mouth, snapping,
clapping, anything that they like as long as they can produce the sound using their own voice and/or
body. Students then lay down in the circle with their heads all pointing to the center of the circle
and their feet to the outside of the circle. Teacher instructs students to close their eyes and one at
a time add their unique sound to the circle. When all have added their sound, the teacher can side
coach students to listen to the new sound that the class has created. The teacher can end the
exercise when all students have had a chance to participate. This can be repeated with students
choosing a new sound.
When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.
Vocal Orchestra
Arrange students in a group facing the teacher. Teacher asks each student to create a vocal sound
that is unique to the student. If teacher points to student, they must continue making their sound
until teacher gives them a stop signal. Teacher conducts students as if they were an orchestra
bringing students into the orchestra at the same time, bringing small groups at the same time,
having single students bringing their sound in. Teacher can use dynamics of louder, softer, faster,
slower, to help direct orchestra.
When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.
Pass the Rhythm
Arrange student in a circle. Teacher claps out a rhythm and passes it to the student on the right.
The student must then clap the same rhythm and pass it to the next student. This continues as each
student claps out the rhythm and passes it to the next student until it has gone all the way around
the circle. The teacher increases the difficulty of each rhythm pattern.
To make this exercise into a game students must clap the exact rhythm pattern or they will be eliminated and must sit in the middle of the circle. The last student standing is the winner.
When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.
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Movement Activities
Pass the Movement
The teacher gathers students in a standing circle. The teacher comes up with a gesture or
movement that is simple enough for all of the students to do. The teacher begins by showing the
students the movement. The teacher then passes the movement to the student next to them.
Each student in turn, passes the movement to the next person in the circle. The teacher
challenges the students to receive the movement exactly as they received the movement and
pass the movement on in the same way.
Variation: Instead of passing the movement to the student next in order, the teacher may use the
movement that they have created to move across the circle, continuing the movement as they
travel and pass the movement to the student across the circle. Each student in turn must pass the
movement to someone across the circle, using their movement to propel them across the room.
The teacher should make sure that each student has a chance to participate.
When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.
Sculptures
The teacher stands at the front of the room and spreads out the students in 4 lines facing the
front of the classroom. Have lines 2 and 4 take one step to the right or left so that all students can
see the teacher and the teacher can see all students. The teacher creates a calm, quiet space and
tells students that this is a quiet exercise and that each student must respect each other’s
personal space. Dimming the lights and/or adding music can help to create the right mood. The
teacher asks the students to close their eyes and the teacher gives the students a word. Students
are asked what image comes to mind when they hear that word. Students are then asked to open
their eyes and using their body, create a frozen sculpture of that word. Students are encouraged
to use their hands, arms, legs, facial expressions. Students are encouraged to try new levels.
Once students find their position, they are asked to freeze so that the teacher can view the
sculpture garden.
You can add many levels to this exercise, depending on the age of the class.
Students can work in pairs to create their word. Students can work in groups to create their word.
The teacher can give students a series of words and have each group of students perform each
word sculpture one after another so it looks as if it is a dance or story.
The teacher can also use phrases from texts of literature that they are working on to create
longer, sculpture movement stories. Sculpture words from Aesop’s Pirate Adventure are included
on page 27.
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Sculpture Words for Finn McCool
Baby
Banshee
Clouds
Dance
Faerie
Faerie Queen
Family
Forest
Giant
Guitar
Hills
Leprechaun
Magic
Music
Salmon
Sibling
Sky
Story
Storyteller
Strength
To Dance
To Hide
To Play
To Ride a Bicycle
To Run
To Trick
Art Activities
Fionn mac Cumhaill, illustration
by Stephen Reid
Design your own Mask
The Ancient Greeks used masks in their theatrical productions. Masks can hide or reveal our true
selves and masks can also help actors create or delineate characters.
Teachers can create mask templates using their own designs of find design templates on-line for
coloring or to create actual masks for students to decorate and wear. Teachers can also find mask
making supplies in local craft stores. Decorate with crayons, markers, paints, feathers, beads, sequins and anything else you can think of. Use yarn or elastic to tie masks on students.
Create your own Puppet
Puppets also date back to ancient civilizations and were also very popular during the Renaissance.
Puppets are great for story telling in the classroom. Puppets can be made out of socks, lunch bags,
clothes pins, gloves, tongue depressors, paper and much, much more. Puppet templates can also
be found at your local craft store.
Make Your Own Percussion Instruments
See page 21 for Recycled Percussion
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TITLE OF MYTH
LESSON TO BE LEARNED
CHARACTERS
OPENING OF STORY
1ST INCIDENT
COMPLICATION 1
COMPLICATION 2
COMPLICATION 3
CONCLUSION
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Post-Show Questions/ Writing Prompts for Finn McCool
1. Why do Sean and Siobhan want to have a story of their own?
2. Why doesn’t Finn eat the magic Salmon?
3. If you needed help out of a problem, the way Finn does with Cucullin, who or what do you turn to for
help?
4. Even though Finn is a strong Giant, he still turns to his wife, Oona for help. Do grown-ups need help
sometimes? Who do they turn to when they need help?
5. Why it important to face the things that scare or intimidate you?
6. Is it important to have and embrace traditions, like the story-telling tradition in Ireland? Why?
7. Do you have a favorite tradition in your family? What is that tradition?
8. If you could tell one story from your life to Sean and Siobhan, what would it be?
9. Is it more important to be strong or wise? Why?
10. Which of the magical creatures in this story would you most like to be friends with? Why?
11. If you could have a giant help you with one task, what would it be? Why?
1. Faerie rings are thought to be portals to the faerie world. Write a short story about what adventure
you would go on if you stepped into one.
2. If you were a Giant, what kind of giant would you be? Where would you live? Where would you keep
your strength or get your knowledge?
3. Write a list comparing and contrasting Finn McCool and Cucullin.
4. Write a newspaper article describing the siblings’ adventure in the magical forest.
5. Write a story from Cucullin’s point of view that takes place after the events of this play are over. What
is his life like now?
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Don’t keep it a secret! Tell us about your experience
watching Finn McCool. Our actors love to get letters
from our Talespinner fans. Send letters to:
Email: [email protected]
Mailing Address: The Reinberger Auditorium
5209 Detroit Ave.
Cleveland, Ohio 44102
Did you know Talespinner Children’s Theatre also
offers classes for students ages 3 to 14 years old at The
Reinberger Auditorium?
Talespinner Children’s Theatre can also bring a touring
production to your school along with workshops and
residencies.
For more information:
Email: [email protected]
Phone: 216.264.9680
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Theater Glossary from Ohio Academic Content Standards
dra-ma \'dräm-.\ the-ater \'the-.t-.r\ n : a formal or informal process where the drama/
theatre experience (process) is tantamount to the performance (product); drama: plays, dramatic
literature and the works of authors providing literal dramatization of life; theatre: production
activities—acting, directing, designing, scene construction, operating and managing—in synthesis
for performance.
Action
Actor
Art forms
Audience
Basic acting skills
Block
Cast
Character
Choreographer
Conflict
Costume designer
Critique
Design components
Dialogue
Director
Dramatization
Elements of theatre
Exposition
Improvisation
Lighting designer
Makeup designer
Monologue
The unfolding events of a drama.
A performer in a dramatic/theatrical work.
Forms (structures) germane to the fine arts—dance, drama/theatre, music and visual art.
Those who participate in drama as spectators.
Abilities such as changing voice, posture, movement and language, that are
fundamental to creating a character in a dramatic/theatrical work.
To determine the placement and movement of actors in a dramatic/theatrical
work.
To assign the parts or roles of a play to actors (verb); the actors in a dramatic/
theatrical work (noun).
One of the people within a dramatic/theatrical work; the part or personality an
actor portrays.
One who arranges or directs the movements and details of a dance or other
performance.
The struggle between opposing forces that brings about the action in a dramatic/ theatrical
work or story; can be internal (within a character) or external (between a character and an
outside force).
A person who designs costumes.
To evaluate a work (verb); an evaluation of a work (noun).
Components such as clothing, props, sound or lighting that create the environment for a dramatic/theatrical work.
A conversation between two or more characters in a work that is used by writers to give insight into the characters themselves.
The person responsible for making decisions about the artistic interpretation and presentation of a dramatic/theatrical work.
Events or actions presented in a dramatic manner or for theatrical presentation.
The ingredients of dramatic/theatrical activity including space, time, imitation, action, language and energy.
The information given to the audience about the characters and setting of a play.
The spontaneous, unscripted use of words and actions to create a character or
represent an object.
A person who plans the lighting.
A person who designs an actor's makeup.
A scene written for one actor in which the actor speaks aloud to him/herself, to
another character or to the audience.
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Theater Glossary from Ohio Academic Content Standards (Continued)
Mood
The feeling or atmosphere that a writer creates for a reader; a reflection of an
author's attitude toward a subject or theme; the feeling or atmosphere created by a dramatic/
theatrical work.
Pantomime
Acting without speaking.
Playwright
A person who writes plays.
Plot pyramid
A sequence of events that includes rising action, climax, falling action and
resolution.
Presentational Theatre Works of drama in which the audience is recognized, perhaps by actors speaking
directly to the audience.
Production staff
Persons responsible for the design and production of a dramatic/theatrical work.
Prompt
A cue or suggestion for action.
Properties master
A person who selects props.
Props
From the word properties. The objects used on stage to enhance the believability of characters and action.
Reflection
The process of thinking about one's own thinking, thought processes and actions or products.
Resolution
The point in a dramatic/theatrical work when the main conflict is resolved.
Scenic designer
A person who designs the setting.
Script
Written dialogue and directions for a dramatic work.
Setting
Time and place of the action of a dramatic/theatrical work; the scenery used to
represent a time and place.
Sound designer
A person who plans sound effects.
Stage directions
Directions in a script written to tell how to perform the action on stage.
Stage manager
A person responsible for maintaining the stage.
Tableau
A scene or picture depicted by silent and motionless actors.
Technical crew
A group of people responsible for technical aspects of production such as sound
and lighting.
Technical elements
Components, such as scenery, sound, lighting, costume design, props and makeup, which are
used to develop setting, action and characters in dramatic/theatrical works.
Theme
Meaning or message of a literary or dramatic work.
Time period
A time period recognized for its distinct characteristics. In drama, recognized
historical time periods include Origin, Greek/Roman, Medieval, Renaissance,
Restoration, 17th Century, 18th Century, 19th Century, 20th Century and
Contemporary.
Email: [email protected]
Phone: 216.264.9680
Mailing Address: The Reinberger Auditorium
5209 Detroit Ave.
Cleveland, Ohio 44102
Resource Guide prepared by Katelyn Cornelius, Director of Education
and Lisa Ortenzi, TCT Board Member
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