The Hound of the Baskervilles

Transcription

Issue: 4
Resource Guide
Season: 42
P L A Y N O T E S
Background Infor mation
Interviews & Commentary
: 774.0465
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Discussion Programs
For The General Public
The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve
deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright,
or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday
matinee performance.
Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by
Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of
bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland
Public Library’s Main Branch. Feel free to bring your lunch!
Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers.
Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the
text to character development to issues raised by the work. Curtain Call discussions are held after the second Sunday
matinee performance.
All discussions are free and open to the public. Show attendance is not required.
To subscribe to a discussion series performance, please call the Box Office at 207.774.0465.
Discussion Dates
for The Hound of the Baskervilles
The Artistic Perspective:
Sunday, Jan 31 in the theater, following the 2:00 p.m. matinee.
Page to Stage:
Tuesday, Feb 2 at the Portland Public Library, at noon.
Curtain Call:
Sunday, Feb 7 in the theater, following the 2:00 p.m. matinee.
The Hound of
the Baskervilles
by:
Sir Arthur Conan Doyle
Adapted by:
Steven Canny and John Nicholson
for
Peepolykus
Portland Stage Educational Programs are generously supported
through the annual donations of hundreds of individuals and
businesses, as well as special funding from:
The Robert and Dorothy Goldberg
Charitable Foundation
&
George and Cheryl Higgins
&
Funded in part by a grant from: The Maine Arts
Commission, and independent state agency supported by
the National Endowment for the Arts.
Table of Contents
Portland Stage Produces The Hound of the Baskervilles
Thoughts from the Editorial Staff
6
Connor Speaks 8
About the Play
9
10
About the Playwright
11
Interview with the Director: Daniel Burson
12
Putting it Together: Meg Anderson
14
Peepolykus
16
Holmes Adapations & Portrayals
17
The World of The Hound of the Baskervilles
England 1901 v. Portland 1901
18
The Grim
20
Ghost Stories And Superstitions 21
Other Famous Sleuths
22
The Hound of the Baskervilles In the Classroom
Kid Sleuths
25
Instant Lessons
26
Glossary
28
Further Resources
29
Your 2014/2015 PlayNotes Editorial Staff
Benn May
Directing & Dramaturgy Intern
Grace Weiner
Education & Theater for Kids Intern
Connor Pate
Directing & Dramaturgy Intern
Hannah Cordes
Education & Theater for Kids Intern
Cover Art
by
Jamie Hogan
4
Kerry Randazzo
General Administration Intern
Hound Of The Baskervilles
The Fly Rail system at the Theatre Royal in England
Theatre Superstition # 1
PlayNotes
5
Portland Stage Produces The Hound of Baskervilles
Thoughts From...
Gilda Radner has always been an inspiration to
me. Not only was she a legendary funny woman,
but also someone who managed— in spite of
cancer controlling her life— to find joy. She has
a quote that I have always loved: “I wanted a
perfect ending. Now I’ve learned, the hard way,
that some poems don’t rhyme, and some stories
don’t have a clear beginning, middle and end.”
She said this after realizing the cancer would
eventually take her life. The gift she gave to me
was the ability to accept that life is happening,
both good and bad,
while still being
able to laugh.
My favorite funny person is actually a funny duo:
Amy Poehler and Tina Fey. Not only are they hilarious
women, but they also combat the competition between
women often seen in the world of film and television.
They make each other stronger through collaboration
and friendship, inspiring young women to do the same.
On top of that, these two women remind me of my own
relationships and the silliness and laughs that go along
with the best of friendships.
Ellen DeGeneres is not only one of the funniest personalities
on television right now, but she also uses her platform to
promote kindness and equality, without doing so at the
expense of another person. Her humor reaches a wide
variety of people as it focuses on the funny moments
of day to day life and through this she encourages her
audiences not to take themselves so seriously. Unlike
many comedians, she focuses on young people and how
inspiring they can be, whether it is through overcoming
adversity, showing off dance moves, or demonstrating oneof-a-kind inventions. Through her antics, Ellen promotes a
compassionate understanding of the human experience and
inspires everyone to be a better person.
6
Hound of the Baskervilles
...The Editorial Staff
No personality has ever made me laugh harder than that
of Fred Armisen’s. There are sSo many comics who rely
on witticisms or punchline humor, but I’ve never found
them to be inherently funny. Fred is different. His humor
is unexpected. It will often be the way he holds an object,
or something he does with his chin. I find myself laughing
uncontrollably at the most random moments, and the best
reason I can think of for it is because his humor is sincerely
and unapologetically bizarre. He has a willingness to make
a fool of himself. He embraces his awkwardness without
qualms, which is something I admire. Fred Armisen’s
work is a testament to the idea that humor can lie in
almost all moments
and
situations;,
you just have to
think differently to
see it sometimes.
Five or so years ago, I started listening to comedy podcasts at
night to help me fall asleep. Don’t get me wrong;, it’s not I found
them boring. Rather, I listened to episodes I had already heard in
search of a community, some home to hang my hat. There was
something unnaturally calming in hearing people you admire
and respect tell stories and jokes with their friends and peers.
Then I found Scott Aukerman’s Comedy Bang Bang and became
a fiend, incapable of resting on the “podcasts as Nyquil” crutch.”
I was hooked. It was an improv show. It was a refuge for
delinquents and half- formed characters. It was fun. It was funny.
Most important, it was a home to hang my hat. Five years later,
I still listen to Scott Aukerman and
Comedy Bang Bang. I can’t fall asleep
to it, but I also can’t stop laughing,
so maybe that’s good enough.
Humor’s ability to ease a tense situation is why it is such a
great medium for social change. Dana Elaine Owens, more
commonly known as Queen Latifah, has made a career of
using comedy to break down race and gender barriers
in entertainment. I have always been inspired by Queen
Latifah’s spunk and use of humor as a way to make her
voice heard. In the words of the queen, “Be bold, be brave
enough
to
be your true
self.”
For a free, digital color copy of PlayNotes go to http://www.portlandstage.org/education/playnotes
PlayNotes
7
Connor Speaks
You step into the hallway outside of the rehearsal room and
cough, trying to rid yourself of some vile concoction generously
bequeathed to you on a holiday flight. You hear laughing and
you stop, perhaps wondering if you’re missing out on something
vital. It is, after all, your first time acting as an assistant director
for a professional show. You curse the seemingly endless amount
of sick families aboard the metal sky bus that took you on vacation and half walk, half jog back into the rehearsal room. The director asks about your health and an actor gives you the thumbs
up and you slightly lessen the curses you were just issuing to
whichever small child who got you sick.
That’s the rehearsal process for The Hound of the Baskervilles.
Well, that’s not it, but that’s part of it. It’s consistently warm and
inviting, perpetually relaxed and good-natured. If a meandering, groan inducing analogy works better, then it’s like a group
of friends decided to go on a three week long road trip without
any sort of bitter resentment towards the one friend who keeps
coughing and leaving the room to go to the bathroom. Maybe
you’re reading this and saying, “Surely, you haven’t had spent
that much time in a rehearsal room if you’ve resorted to novel
length analogies.” And if you’re saying that, you’re right.
Before becoming a Directing and Dramaturgy Intern at Portland Stage, most of my time spent in the
rehearsal room was as an actor. Although I was, at times, given some command over scenes, I was mostly
relegated to moving my limbs in a graceful way and making sounds with my mouth. I addressed this with
Hound’s director, Daniel Burson, before starting rehearsal. He reassured me I would still make sounds with
my mouth and that those sounds might occasionally have some impact on the show. He was telling the truth.
I’ve never felt so included and welcomed creatively in the production process of any show.
This is all bolstered, of course, by the generosity of the people who are actually doing the acting and
stage-managing. It seems like there are three constant conversations from both parties happening at any time.
“Are you okay, do you need help,” and, “I’m fine, can I get you some coffee,” or, “Can we go back to this
line? I was laughing at (insert name here),” are frequently overheard lines. Taking into the account Hound is
a show that requires constant attention and devotion from both the crew and actors, it’s a wonder there’s any
sense of humor at all. Moreover, it’s a miracle any of those involved stand straight at the end of the rehearsal
day, specifically on days where a certain “fast-forward” sequence is run. Returning to the wordy and accurate metaphor
above, it’s as if the group of traveling friends decided they all
wanted to learn how to spin plates and juggle while crammed
into a Volkswagen Beetle.
So, what has The Hound of the Baskervilles been for me
noun | dra●ma●turg
other than an excuse to write wordy metaphors? Aside from a
The person who assists the director to create
the world of a play by contributing necessary
learning experience, it’s been a firm reminder making theatre
insight, research, or feedback before and
is more than hunched over a word processor with a beret
during rehearsals.
casually askew atop my head. Making theatre should be fun
and I hope the same joy expressed in rehearsal makes it way
to stage.
Dramaturg
8
About the Play
When is Holmes going to get his due? After a century of being
the most adapted fictional character, when is Holmes going to get what
he deserves? When are Holmes and Watson going to be represented the
way they “truly” should be? Maybe these are the questions of Doyle
fans who watch the myriad television and film adaptations and hope
for something closer to what the characters’ author originally wrote.
These are the wrong questions. The Benedict Cumberbatches of the
world will continue to impress with their Holmes characters and so
will the Martin Freemans of the world for Watson. Holmes and Watson are not lacking for accurate characterizations. The question must
be changed, then. After a century of being the most adapted fictional
character, one should ask, “What else can be done with this character?”
Answering the question and barreling through the door is
Steven Canny and John Nicholson’s adaptation of Sir Arthur Conan
Doyle’s The Hound of the Baskervilles for the English comedy trio,
Peepolykus. Holmes’ “smartest man in the room” persona is amplified
to its most surreal extreme: a crass and manipulative detective with
apparent psychic powers. Watson, long the beating heart of the Holmes-Watson relationship, is turned into a fawning, bumbling puppy.
These are the characters of Doyle, certainly, but they’re not chained to the name of their author. In some ways,
Peepolykus’ HThe Hound of the Baskervilles gives its characters the freedom no other adaptation has. The five page
or five minute, if on screen, retelling of the way Holmes smelled a piece of paper to deduce its owner is eliminated.
Peepolykus’ Holmes and Watson live on stage and it is how they do something in the moment, not the process afterwards that matters. Thus, these characters live in different moments than other adaptations, giving Holmes and
company more room to explore and change.
Retelling the story of Doyle’s most famous Holmes tale, the play hits the primary beats much the same way
the book does: mysterious death caused by an apparent supernatural entity, Watson and Holmes seemingly out of
their depth, and an endless amount of reveals. However, Watson, Holmes, and all the secondary characters who
make up the story are all played by three people. It should also be noted the actors play versions of themselves in
conjunction with the other roles. It’s a frantic, breathless, machine built to eke every single drop of personality out
of Doyle’s characters. As the play is based within a play introduced by the actors, the creators, Peepolykus and
Steven Canny (Nicholson is part of Peepolykus), have
established a space where Holmes can be both represented and commented on simultaneously.
What else can be done with Doyle’s creations?
Peepolykus and Canny have answered with a resounding, “Just about everything.” While the adaptation of Hound of the Baskervilles doesn’t tie itself to
the original story beat by beat, it’s use of the original
story creates fertile ground for Holmes and Watson to
explore new adventures without creating new stories.
Holmes might not pontificate for ten minutes about
his crime solving methods, but he certainly dresses
up like a little girl to search for clues. When asking
what else can be done, isn’t that enough?
Illustration of Holmes & Watson
by Sidney Paget
PlayNotes
9
Perhaps it’s due to his most famous character’s
staying power of over a century or the author’s knighthood, but it’s hard to imagine Sir Arthur Conan Doyle
as anything other than Holmes himself: a man out of
time, supernaturally observant, and chain-smoking from
a pipe to no end. Doyle, though, wasn’t born smoking
a pipe or chastising a Watson stand-in for his lack of
knowledge. Instead, as is often the case, the truth of the
matter is stranger than fiction.
Doyle was born to an upper-middle class, IrishCatholic family in Edinburgh, Scotland, in 1859. Although his extended family was full of artistic luminaries
(painters and caricaturists), he was primarily raised by
his mother because his relationship with his father was
strained due to the latter’s depression and alcoholism.
His mother’s penchant for storytelling and literature
influenced the young Doyle greatly. In regard to life with
his mother, he’s quoted as saying, “… “the vivid stories
she would tell me stand out so clearly that they obscure
the real facts of my life.” His time with his mother, however, was short lived as he was sent to a preparatory
school in England at the age of nine.
It’s at this time, perhaps, the author has the most
in common with his creations. Sir Arthur excelled in his
studies and eventually went to the University of Edinburgh to study medicine. While in medical school, Doyle
met Dr. Joseph Bell, whose astute powers of deduction
inspired the author to create Holmes. Dr. Bell was said
to have taught his students to use all the senses at their disposal to obtain an accurate diagnosis of their
patient. And again, much like Holmes, it seems Doyle had an insatiable sense of adventure. During
medical school, he took a surgeon’s post on a whaling ship traveling in the Arctic Circle. Shortly after
graduating medical school, he took his first job as a doctor aboard a steamship traveling from Liverpool
to Africa. Through these travels, Holmes began to transition to the next occupation of his life, that of an
author.
Seemingly influenced by his time in university and his travel abroad, Doyle renounced his Roman Catholic faith for Spiritualism in the early 1880s, a belief system he worked to propagate based on
his income as an author. Before the success of Holmes, however, he struggled to make it as an author.
In 1886, Doyle finished his first Holmes novella, A Study in Scarlet. After numerous rejections, he was
forced to sell it for 25 pounds. It wasn’t until Doyle starting seeing his work printed in The Strand magazine in 1891 that writing Sherlock Holmes stories became a lucrative business. Seemingly due to the
constant demand for the character, Doyle killed off Holmes in 1893 and resurrected the character in 1901
for a variety of reasons: to further support his lifestyle and his work of spreading Spiritualism, primarily through written work (he published four different texts on the subject), and a public outcry over the
fictional detective’s death.
Fitting the author’s preceding choices in life, Doyle’s last decade (the 1920s) was spent arguing for the existence of fairies (see The Coming of the Fairies) and touring the Netherlands in support of
Spiritualism. The trip to the Netherlands was against the advice of his doctor and upon his return from
his 1929 trip, Sir Arthur Conan Doyle died of a heart attack at his home in Crowborough, England, on
July 7, 1930. His death, however, was celebrated and not mourned by the community he shared with
Spiritualists. Sir Arthur Conan Doyle is survived by the seemingly perennial legacy of his least favorite
creation, Sherlock Holmes
10
About the Playwright:
Steven Canny
Multiple award winning BBC Head of Comedy
for Scotland, Steven Canny, teamed up with an
English theatre troupe and adapted The Hound
of the Baskervilles to critical acclaim in the West
End. It seems suspiciously reminiscent of a mad
lib, but it’s not. Steven Canny, before being the
Executive Producer of Comedy in Scotland,
was the Executive Producer of Radio Comedy
between 2010 and 2014. He’s produced over
five different radio programs, which eventually
garnered him two Sony Gold Awards in 2009
and 2010. For those not English, the Sony Gold
Awards are the equivalent to the British Academy Awards for radio. Perhaps then his team
up with Peepolykus isn’t so much of a mad-lib.
What else does one do after being an executive
producer of an entire nation’s comedy programming and winning several highly sought
after awards?
PlayNotes
11
An Interview with the Director:
Daniel Burson
Connor Pate:
How did you come to Portland Stage?
Daniel Burson:
I grew up in Maine, so I knew that Portland Stage existed and that Portland was
the big city, from my point of view. After college, when I was looking around for
internships, this place caught my eye. I was working at the Berkshire Theatre Festival with Marjorie Gallant, who was one of the resident stage managers here, and
she recommended it. I applied for the Directing and Dramaturgy internship and
got it. After that, I moved to New York and was freelancing there for a while and
working some different jobs. When the Education and Literary Manager position
became available, I was contacted and applied for the job and got it.
CP:
And how long did you work at the company?
DB:
I worked here as the Education and Literary Manager for nine seasons.
CP:
When exactly did you start directing? Do you remember the first show you did?
DB:
Gosh, I don’t even know what the first show I directed was. It was probably a reading of something back in college.
I started directing in college. I stopped acting and transitioned to directing at that time. When I moved up here – you
know, I was directing along the way in different places. After I came back to work at the theatre, I was directing at a
few of the other theatres around town and working with some different people at the same time I was starting to do
shows at the theatre.
CP:
Can you talk about how you became involved with Hound of the Baskervilles?
DB:
The play has been in consideration at Portland Stage for a few years now. When I was still working here as Literary Manager, it was a script we were looking at with the literary committee and in season planning that came up a
couple of times. But, you know, we only have six slots in a season and it takes a while for things to make their way
to the top. It wasn’t until after I had left the company as Literary Manager that this had found its way into the season. It was also a script I was just interested in. You know, I love the Conan Doyle stories. I love the history of the
period. Those are the sorts of things that make it a quick sell for me. I’m also a huge fan of this style of British comedy, things like the Reduced Shakespeare Company and Monty Python – things like that. I’m a big fan of that type of
comedy. So, I was interested in this all along.
CP:
Had you read the original story?
DB:
I had read Hound of the Baskervilles back in my early teen years, but I hadn’t read it since then. It was actually really
fun to re-read this past summer when I found out I was going to be directing the show. It was fun to go back and
read the novel as an adult instead of a teenager and to rediscover it. I think Conan Doyle is an amazing literary fig-
12
ure in that this sort of style and type of storytelling and way of presenting a story came about because of him.
CP:
We talked a little bit about Monty Python and I think one of the great things about this script is even if you don’t
know much about Sherlock Holmes, you immediately get the vibe of the play.
DB:
I think you’re absolutely right that this show… you know, if you’re a fan of this type of British humor and even
if you know or don’t know the Conan Doyle story, you can pick up the script and you’re instantly at home with
what this world is. You know, I lived in England for a couple of years when I was a kid and we’ve gone back
and forth a bunch. My mother lives there now and so that sort of cultural world and humor world is something
I’ve been steeped in since I was a kid. It’s something I’m really familiar with and really enjoy – something I really get a kick out of.
CP:
I wonder if you could talk a little bit about how you approached three actors playing so many different characters.
DB:
You know, that’s the challenge in a piece like this. You want each character to have a life of their own without
them being there for comedy’s sake. And there are a lot of them. That’s a great challenge. One of the ways I approached it was to really try to think on a scene-by-scene basis. This show is really broken up into a lot of short
scenes. “What do we need? What needs to happen in this scene? What needs to happen to this character in this
scene? What’s the journey in this tiny scene? How can we try to honor that?” I look at it on a micro level and
then try to blow it up for the show.
So much of that, though, comes from the actors. We have a great cast, wonderful and creative actors who are
putting out so much content all the time, creating stuff constantly. As a director, that’s the kind of stuff I try to
let happen. I don’t want to come in and say, “This is the path of this character and this is what they experience.”
I would much rather come in and have an idea of where we are going and then let that framework be developed
into something real by the actors. I find that to be a much more satisfying way to work.
The process for this was to be prepared but also be really open minded. You have to be able to come in and let it
go in a direction you never imagined. Sometimes I’m just along for the ride in that way.
CP:
I’m assuming it helps that everyone knows each other and
having Ryan come in and immediately click with everyone.
DB:
One of the things I loved about this piece when I first read it
is that it creates this atmosphere of these three friends doing a
show together. You feel that coming off of the play. One of the
things I really wanted to do when I was casting the show was
to create that atmosphere in the rehearsal room. I felt to do
that in an artificial way… it was always going to be artificial.
Director
noun | di●rec●tor
The person who leads a play in production.
Responsible for blocking, heading the design
team, and leading the actors
When I was casting the show, I knew I really wanted to go
after that idea of trying to find people who weren’t just really good and creative actors. I went after actors who I
felt like could create the atmosphere I wanted in the room. One of the things that really jumped out at me while
auditioning Ryan was his spirit, his heart… the person he was and the comedy he was bringing. I totally felt like
he could make that three-person energy happen.
PlayNotes
13
Putting it Together: Meg Anderson
Meg Anderson, the Scenic Designer for The Hound of the Baskervilles, has been a Scenic Artist and Technician for Portland
Stage for the past two seasons. Before rehearsals began, Zoe Levine Sporer of PlayNotes sat down with Meg to talk about
what it means to be a Scenic Designer.
Zoe Levine Sporer: Could you explain what your job is, what a scenic artist and
technician does?
Meg Anderson: In this scene shop, there is a very small staff, but in a larger
theatre my job would be more oriented towards paint. This year I’ve had the
opportunity to take over more of the orchestration of the painting of each set,
which includes more communication with the designer as well as more of the
painting itself. This can often be done in more detail by the designer themselves.
But in the very beginning it involves helping the Technical Director construct the
set, which is mostly a lot of carpentry work and then it involves communicating
with the designer to decide what each thing is going to look like in its texture, in
its paint colors. If the designer is not a local designer, then I send pictures to them
and communicate with them and do the finish work in tandem with the designer.
ZLS: How did you get your start in theatre?
MA: I think that I’ve always been interested in storytelling. As a kid, stories were a really big part of my growing up and, I grew
up in the country, so creating your own way to play was really important. I think that in school, theatre was a great home that
spoke to me in the same way and I never found anything that I liked better as I continued my education. Actually, I actually
hoped that I would become a pediatrician for a long time, and then I realized that that wasn’t affecting change in the way that
I wanted. At some point I hope to go on and teach theatre as well because that is where I started, being really inspired by my
teachers.
ZLS: So then how did you get into set design and painting?
MA: I was offered a really great opportunity to be part of a collaborative process with a friend of mine in college. Also, my work
study job was in the scene shop. I just fell in love with the idea that something that you imagine can kind of step on stage in a
real way, that the set can become a character and that gives you so much influence on what the play actually is and how the story
unfolds.
ZLS: How did you end up at Portland Stage?
MA: Out of college, I applied to a lot of internships and a lot
of different things. Having gone to a well-rounded liberal arts
school, I ended up with a lot of interests and a few specialities...
but I was offered positions in very different things. I decided
making things with my hands was a really necessary part for
the next year of my life. I was offered the scenic internship here
at Portland Stage two years ago and then they hired me as the
Scenic Artist and Technician after that. And this is now my
second year here in that position.
Scenic
Designer
noun | scene●ic●de●sign●er |
The one responsible for creating the evironment
of the play, focusing on all scenic elements
including set, furniture, drops and all other
scenic units.
ZLS: Is this the first show you’ve set designed for Portland Stage?
MA: Yes. I was lucky enough to have had the opportunity to assist Anita (Executive and Artistic Director at Portland Stage) as
an intern as well as last year. Both of those were really informative processes that made [designing for Hound] much simpler than
it would have been otherwise.
14
ZLS: Could you explain what
your process is when you
approach a play to design it?
MA: I start with the text… really
[just] the bones of the story and
what those bones should look
like. Then you sort of flesh it
out. It’s really important to start
with with an idea in mind, but
you must be flexible so that... you
have sort of have a vision, but that
vision is entirely in collaboration
with the director’s vision. Having
those meetings early on is
really great for me in terms of
visually what the design will be.
I generally create a large image
research base and then I try and
The model of Meg Anderson’s Design for
look at that. Then there’s usually
Hound of the Baskervilles at
multiple drafts of a white model
Portland Stage Company
(a working non-colored, three
dimensional, ¼” scale model of what the set and the theatre look like). Then we’ll move forward [to see] if it is necessary
to make a color model (a miniature version of what the set will actually look like). Then you can finalize all your draftings
(drawings that show the measurements and specifications of the set) et cetera.
ZLS: Could you describe what your set design aesthetic is?
MA: I think that I, in general, have a less traditional approach to design. I’m much more interested in creating sort of the
feeling of a place as opposed to a completely naturalistic set. For example, I just did a show where it was set in a kitchen
and I really wasn’t interested in making an entire kitchen as it would be, but using more sculptural and organic elements
that evoke more of a feeling about the place.
ZLS: What is your favorite part of the Hound set? Because the show has a lot of magic, right?
MA: I think that the most interesting part about the Hound set is its ability to surprise the audience. I hope that [the
actors] will build on some of our ideas about the set becoming much more of a character itself. I hope that those things
are fleshed out in the final product.
ZLS: If there’s one thing you want the audience to take from this show what would it be?
MA: I would like them to feel like storytelling is delightful.
PlayNotes
15
Peepolykus
The cast of
Let the Donkey Go
Peepolykus (pronounced people-like-us) is one of the
UK’s most exciting touring theatre companies, creating comic theatre with proven national and international appeal. Since 1996, Peepolykus has exported
their particular brand of humor all over the world,
delighting audiences in countries such as Australia,
Colombia, Singapore, Bangladesh, Brunei, Iran, South
Korea, and Finland. The style of the company is an
exhilarating collision of anarchic verbal slapstick,
visual surprises, absurd scenarios, and sublimely
ridiculous
comic performances, drawing comparisons
with, the Marx
Brothers, Buster
Keaton, and
Monty Python.
They have produced several devised touring shows (including the
smash hit Let the Donkey Go), numerous commissions and collaborative shows, education projects, and partnerships, and created several
critically acclaimed mid-scale co-productions (Spyski!, No Wise Men),
including their hugely successful three-man version of The Hound of
the Baskervilles. This hit show transferred to the West End and is now
performed under license all over America and in parts of Canada,
Australia, and Europe.
The Peepolykus co-directors also write, direct, and perform in TV,
radio, and film and have collaborated extensively with a wide range
of individuals, theatre companies, and other organizations, including the British Council, the BBC, Neal Street Productions, and West
Yorkshire Playhouse.
Image from Peepolykus’
production of Spyski!
16
Holmes Adaptations and Portrayals
It is no wonder that the story of Sherlock Holmes is a constant
one in our world. Considered by the The Guinness World Records as the most portrayed film character of all time, with 70
actors playing him in over 200 films.
Holmes was first represented in 1899 in the play Sherlock Holmes, or The Strange Case of Miss Faulkner, written by William
Gillette, who also starred as the title character. The play would
form the basis for Gillette’s 1916 film Sherlock Holmes, which
introduced the image of Holmes’curved pipe.
Next came an onslaught of performances in film, radio, stage,
and television all featuring Sherlock Holmes as the main character. John Barrymore played Holmes in the 1922 silent film,
Sherlock Holmes, with Roland Young playing Watson. It would
be followed in 1929 by the first sound film about Holmes.
In 1954 an American television version of Sherlock Holmes that
ran for 39 episodes with Ronald Howard playing the lead. The
first color film version of The Hound of the Baskervilles appeared
in 1959 and starred Peter Cushing in a role he would go on to
reprise in television and other films.
Movie poster for the 1959 film
The modern audience has been introduced to Holmes again through film
and television. The year 2009 gave us a film too, starring Robert Downy Jr. as Holmes and Jude Law as Watson, as well as a
sequel in 2011. Most recently, Sir Ian McKellen played the sleuth
at age 93 in the film Mr. Holmes, where we find Holmes trying
to recall the details of his life and especially his final case, which
sent him into retirement.
Two major television versions of the character are still currently
on the air, with Benedict Cumberbatch playing Holmes in the
BBC show Sherlock, which premiered in 2010. In 2012 a modern
take on Holmes, Elementary, surfaced in the U.S. Both Watson
and Moriarty are depicted as women in this show.
This list does not include the countless number of crime shows,
detective stories, and other detective that have their roots in
the tales of Holmes. From Harriett the Spy, to Murder She Wrote,
Matlock to Law & Order, we have a lot to thank these stories for
giving the world.
Poster for BBC’s Sherlock
PlayNotes
17
World of The Hound of the Baskervilles
The England of 1901
The advent of the Edwardian period in the early twentieth
century brought a time of peace, decadence, and economic
prosperity in the England that Sherlock Holmes would have
called home. King Edward VII rose to power following the
death of Queen Victoria in January 1901. In contrast with
the romanticism and innovation of the Victorian era, the
Edwardian period placed much emphasis on leisure among
the fashionable elite. The higher classes of the Victorian
times had made large industrial advances. By the time King
Edward rose to power, most of the English gentry was
content to enjoy the fruits of their accomplishments, valuing
leisure over entrepreneurial pursuits. Many look back on
this period with great nostalgia, viewing it as the proverbial
“calm before the storm,” as great catastrophe was soon to
come with the First World War.
Many aristocrats enjoyed the ease of the Edwardian period;
however, these leisurely attitudes amongst the wealthy
sparked controversy among the middle and working classes.
This led to the formation of many political groups that
sought to equal these societal imbalances. Between 15 and 20
percent of the English population was living at subsistence
level in the early twentieth century and about 10 percent was
living below that threshold. Many were dissatisfied with the
King Edward VII took the throne on
injustices of this classist society. Laws such as the Factory Act
January 22, 1901
of 1901 were soon established that created fairer and healthier
conditions for workers. This particular act obliged cotton
employers to ensure that the water used for cotton steaming came from a pure source, because working
with impure water could be very detrimental to the health of the workers.
Technological advances were also prevalent
during Edwardian times. Devices that made travel,
communication, and household tasks much more
accessible began to be used by the general public. In
The Hound of the Baskervilles, Sherlock and Watson use
some of the devices that were gaining popularity at
the time such as trains and newly- designed horsedrawn taxi cabs. While motorcars did exist in 1901,
they were not widely used because the early models
were deemed unsafe for the public. It wasn’t until
1903, when the petrol-powered cab was introduced,
that motor cabs began to be used safely and efficiently
in London. Other labor-saving devices such as
typewriters, telephones, and sewing machines also
began to fall into usage at this time. The volume of
useful new devices led many people to think that
even war could be averted through technology.
Unfortunately, this notion would be shattered with
the arrival of the Great War only a decade later.
A Hansom cart in London in 1901
18
World of Hound of the Baskervilles
The Portland, Maine of 1901
Across the Atlantic, hundreds
of miles away from Sherlock’s
England, lies Portland, Maine.
The year is 1901: eighteen years
after Longfellow’s death, ten
years after the statue was erected
in Monument Square, and eight
years before City Hall was built.
Similarly to England at the time,
railroads were making travel and
communication much easier and
more affordable. Union Station
had opened in 1888, designed to be
a major passenger rail terminal for
Portland’s Union Station in 1901
the city. In 1911, five additional rail
lines merged in Portland to create
the Portland Terminal Company. This was intended to make Portland into a major northeastern rail hub.
The Industrial Revolution was rapidly changing the
way Maine businesses and shipbuilding companies
operated. Portland had already established itself
as a key seaport for the northeast, but the demands
of a changing world required the city’s industry to
evolve accordingly. For example, the increasing demand for cheap and durable fabrics allowed Maine
textile factories to flourish. Goods such as coal and
cotton were imported in vast amounts from the
south in order to fuel and supply Maine’s increasing
number of factories. While schooners still held their
place as the primary shipping vessel for imports
and exports, there was a mounting demand for
metal war ships. Companies like Bath Iron Works
answered this demand, producing resilient vessels
that were able to rise to the occasion in an increasingly mechanized world.
The rise of industry in Portland also brought opportunities for women to seek careers. This unprecAnne Longfellow Pierce, sister of Henry Wadsworth
edented influx of women entering the city’s workLongfellow, died in 1901 and left the family home to the
force began to break some of the traditional gender
Maine Historical Society
norms that had been in place for centuries. By 1900,
one- fifth of the women living in Portland would be working in jobs ranging from textile manufacturing
to entrepreneurship. While most women would leave the workforce when they married, many would
keep working throughout their lives. This allowed many women to become self-sufficient.
PlayNotes
19
The Grim
It stalks through bushes, across fields, and through the skies
above our heads. It lays in wait at the waysides of forgotten
paths and crossroads for unfortunate souls to appear. It pounces
when the time is ripe and drags its victims into oblivion. The
image of the demonic dog has both terrorized and fascinated
humankind for centuries. It is widely regarded as an evil omen
of death and destruction. So much as even a glance of the black
dog is thought to foreshadow the death of the viewer. This image
of the black dog, otherwise known as the Grim, heavily parallels
Sir Arthur Conan Doyle’s impression of the hound that appears
in his famous novel, The Hound of the Baskervilles.
The Hound of the Baskervilles is set in the English region of
Dartmoor, an area that had been influenced by legends of
ghostly hounds prior to Doyle’s time. In the mid-seventeenth
century, Squire Richard Cabell of Dartmoor was a notorious
Some historians claim sighting of the Grim was
huntsman who was said to have sold his soul to the Devil. Upon
just Irish Wolf Hounds on the moor
his death in 1677, locals began to report sightings of black hounds
lurking and howling by his grave. Further legends began to arise
of the ghostly huntsman riding across the moors while accompanied by his pack of vicious dogs. In an attempt to quell
these phenomena, the villagers of Dartmoor built a small house around Cabell’s grave to keep his spirit trapped inside.
Shortly after the construction of the tomb it was said that the demonic pack returned, howling more viciously than ever
for the soul inside that belonged to their master. This legend was the original inspiration for Doyle’s novel;, however, the
ghostly pack of Richard Cabell is not an isolated incident. Similar accounts of demonic dogs had already been surfacing
for centuries before and continued to surface in the years following.
Numerous sightings of Grims have been reported across multiple continents
for hundreds of years. The Grim goes by many names, yet always seems to
foretell the same message: inevitable demise. “Black Shuck” is the name given
to the demonic hound that is said to haunt the coastline and countryside of
East Anglia. The most infamous Black Shuck sighting occurred in 1577 when
he allegedly tore through the doors of The Holy Trinity Church and, in front of
the entire congregation, killed several people, caused the roof to collapse, and
carved scorch marks on the north door as he exited. These scorch marks can be
seen on the church to this day.
The “Black Dog of the Hanging Hills” is a supernatural hound that is said to
haunt the Hanging Hills in Connecticut. Sightings of this Grim began surfacing
in the late nineteenth century. Legend states that to meet the dog once is cause
for joy, twice for sorrow, and third for death.
The ancient-Ethiopians also believed in a Grim by the name of “Crocotta”
which was said to have the ability to mimic human speech, luring unsuspecting
farmers out of their homes by imitating the voice of a loved one and devouring
them on sight. Though these variations of Grims are geographically distant
from each other, they all seem to the same symbolic theme: inevitable doom.
The Black Shuck door from 1577
The Grim is a manifestation of humanity’s intense fear of death and of the
unknown. Doyle’s tale is a reflection of this macabre omen that has haunted
humankind for so many centuries. His hound is both mysterious and fatal, appealing to the superstitious tendencies of
many of the characters within the novel as well as its readers. Like many interpretations before it, Doyle’s impression
of the Grim in The Hound of the Baskervilles evokes a fear that seems to blur the distinction between reality and legend.
20
Superstitions and Ghost Stories
In The Hound of the Baskervilles, Sir Arthur Conan Doyle tells a story of the haunted English moors. The people in
this moorland tale seem to have no shortage of myths and legends. Evidently, the people of Portland, Maine, don’t
either, so we asked them to share a few of their own ghost stories and superstitions.…
Natalie V: My old high school’s auditorium is supposed to be haunted by a
ghost named Maryann. One night my friend Tori and I were waiting backstage during a rehearsal for one of the shows our drama club was putting on.
There was a really long hallway that was really dark and creepy. We decided
to go down it because we thought it would be fun. We got to the end where
there was a little staircase and a door with no knob. So Tori said, “Maryann,
if you’re here give us a sign.” We both got really cold all of a sudden, and
there was this wind that made my hair move. We turned around and there
was a figure standing at the end of the hallway, like a silhouette. Tori and I
looked at each other, we looked back, and it was gone. We freaked out and
sprinted away as fast as we could.
Kerry S: My friend is afraid of walking over the painted wheelchair signs in
parking lots because he thinks it will mean that someday he will get into an
accident.
Benn M: Every time I pass a car accident, I cross myself. That’s a big one in my family. Where I’m from in the south,
they also say that if your ears are burning it means someone is talking about you.
Aryz T: Supposedly my mom’s ex- boyfriend broke into my house when I was young. He started banging on all the
pipes in the basement and yelling, “Aryz, you better come downstairs, I have something to tell you.” I heard a pipe
burst and I ran outside. We checked the basement when my mom got home but nobody was there. There was a fresh
layer of snow on the ground but there weren’t any footprints coming out of or into the house. He was also in jail at the
time.
Myles H: If I’m walking down the street and I see a penny on the ground, I pick it up for good luck if it’s heads up. If
it’s heads down, I turn it over so the person after me will get good luck.
Carmen M: You’re supposed to hold your breath when you go past a graveyard. When I was little, (I was one of those
kids who sits in the back of the school bus and our bus driver really didn’t like us). We were driving past a graveyard,
we were all holding our breath, and he stopped with the back half of the bus still next to the graveyard so all the kids
in the back of the bus couldn’t breathe. We started pounding the walls of the school bus and finally, we had to breathe.
We were sure that the spirits of the dead would come inside because we breathed and our
bus driver was just laughing to himself in the front.
Marianna C: My uncle Ronny and I used to have a really good relationship, and we
would joke around a lot. He really loved sweets, especially chocolate. When I was studying abroad in Florence, Italy, it was Valentine’s Day and a friend of mine had given me a
chocolate Kinder egg. The egg was sitting on my desk when I got a call from my parents.
They told me that uncle Ronny had passed away from a heart attack the night before. I
was really upset because this was the first time that someone who was really close to me
had died. A little while later I was in the bathroom and I heard a loud bang. Nobody was
in the house but me. I came out and the chocolate egg was gone from my desk. I looked
for it everywhere in my room, I even opened all of the drawers. I figured I must have
brought it into the bathroom with me so I went and checked. When I still couldn’t find it, I
went back in my room only to find the egg was back on my desk, right where I had left it,
as if it had never moved.
PlayNotes
21
Other Famous Sleuths
While Holmes is the most famous sleuth here are some others who get their roots from Holmes:
Inspector Clouseau, Pink Panther
Inspector Jacques Clouseau is a bumbling, incompetent, clumsy French detective,
made famous in The Pink Panther movies. His investigations are marked by disaster and missteps, though he always manages to succeed in solving the mystery in
the end. One of his most prominent characteristics is his French accent, which, at
times, is so thick that even the French themselves cannot understand him.
Adrian Monk
Adrian Monk is a fictional homicide detective characterised characterized by his obsessive-compulsive
disorder in the television series Monk. Through harnessing his obsessive nature, multiple phobias, and
photographic memory, he is able to break down a
crime scene and pick up on clues that other detectives
would have missed. Due to his extreme fear of germs,
as well as of other common elements of everyday
life, Monk is dependent on his assistants to drive him
around, buy his groceries, and carry wet wipes.
Inspector Gadget
Inspector Gadget is a cyborg detective with
many similar qualities as to Inspector Clouseau,
including his uniform and penchant for accidentally getting himself in trouble. Both the animated television series and the live- action film follow Inspector Gadget as he tries to defeat his evil
archnemisis, Dr. Claw. Inspector Gadget often
blunders through his missions, even though he is
being helped by his assistants Penny and Brain,
and only narrowly escapes injury or death. His
most commonly used catchphrase is “Wowsers!”
22
The Scooby Gang
The Scooby Gang is comprisesd of Fred, Daphne,
Velma, Shaggy, and their talking dog, Scooby
Doo. Throughout the television series, the Gang
solves mysteries involving supposedly supernatural creatures. While these mysterious adventures
commonly involve antics and missteps, the Gang
always discovers and thwarts the bag bad guys
just in the nick of time. In 2013, TV Guide ranked
Scooby Doo the fifth Greatest Cartoon of All Time.
Batman
Batman is one of the most widely known sleuths, aside from Sherlock Holmes
himself. Batman doesn’t possess any true superpowers, instead relying on his
scientific knowledge, detective skills, and athletic prowess to track down and
defeat his enemies. He has trained extensively in various martial arts, is able to
withstand great physical pain, and mind control. Batman is also a master of disguise and stealth, is fluent in multiple languages, and is an expert in espionage.
Miss Marple - Agatha Christie
Miss Marple is an elderly spinster who lives in the fictional English village
of St. Mary Mead and acts as an amateur consulting detective. Based on
women in Agatha Christie’s life, Miss Marple is nosy and gossips with and
about other people living in St. Mary Mead. Miss Marple solves crimes using
her shrewd intelligence and is often reminded of parallel instances that had
occurred prior to that moment in her life. Her extensive knowledge of anatomy, among other subjects, often aids her in solving the mystery at hand.
House
The character of Gregory House is a Vicodin- addicted, genius doctor based
off on Sherlock Holmes. Leading his team of diagnosticians, House aims to
crack all medical mysteries that come into the Princeton-Plainsboro Teaching
Hospital, often initially misdiagnosing patients with very puzzling illnesses
before figuring out exactly what is wrong with them. House often attributes
the misdiagnoses to the fact that people lie and don’t disclose everything that
he would need to know.all the information needed to arrive at a correct diagnosis.
PlayNotes
23
Men’s Fashion advertisement
1901
Fashion illustration from
Delineator Magazine
1901
Women would wear mourning clothes after
the loss of a loved one
Edwardian Fashion
Examples of ladies’
shoes during
Late Victorian/ Early
Edwardian period
24
Kid Sleuths
A to Z Mysteries
The Babysitter’s Club
The Boxcar Children
Cam Jansen
Detective Dinosaur
Encyclopedia Brown
Harriet the Spy
The Hardy Boys
Jigsaw Jones
The Mysterious Benedict Society
Nancy Drew
Nate the Great
A Series of Unfortunate Events
Veronica Mars
Wishbone
PlayNotes
25
Instant Lessons
Getting Started: Pre-Show Activities
1. Our PlayNotes editors wrote about their favorite funny people. Do you have a favorite comedian or funny person? What funny stories about your own life can you think of? Could you make a
comedy sketch for Saturday Night Live out of your stories? Or a stand-up routine, a short story, or a
play? Pitch your ideas to your friends or family and see what they think!
2. The characters in The Hound of the Baskervilles are afraid of a beast that kills people in the night.
What are your worst fears? What kind of beings, people, ideas, or events scare you? Could you
write a scary story based on your own personal fears?
3. The Hound of the Baskervilles is about a family legend or myth. What scary legends and myths
have you heard? Did you grow up hearing any particular stories? Which one is your favorite? Why?
4. Sherlock Holmes is one of the best-known fictional detectives. What other detectives can you
think of? Do you watch any detective or crime shows or movies? Why do you think they are so
popular?
Making Connections: Post-Show Activities
1. How does the depiction of Sherlock Holmes in The Hound of the Baskervilles compare to other
Sherlock Holmes stories, movies, or TV shows you have seen? Was it what you were expecting? Did
anything surprise you? Did anything confuse you?
2. The characters in the play often interact with the audience. Do you know what this is called in
the theater world? If not, look it up on the internet. What other plays, movies, or television shows
use these tactics? As an audience member, did the audience- interaction make you feel more or less
engaged with the story? Why do you think the playwrights chose this style?
3. The first clue that Watson and Sherlock find is a cane left by an unknown visitor. The two men
use their powers of detection to figure out who might have been in their office. What item or clue
best represents you? What would you leave behind to stealthily let someone know you had been
there?
4. A red herring—, a clue that throws the audience and the detective off—, is a classic element of
the mystery/detective genre. Red herrings offer an overly simple answer to the question at hand,
tempting us to take the bait. Can you remember any time when this happened in the play? When?
5. Watson and Holmes share almost a brotherly bond with their slight competition and good-humored banter;, it’s what makes them such an iconic team. Do you think this classic pair would be
different if Watson and/or Holmes were women? Do you think the story would change?
26
Glossary
1. Baker Street
a.“A street in the Marylebone district of the City of Westminster in London.”
2. Dartmoor
a.“Contains shallow marshy valleys, thin infertile soils, and a a vegetation of coarse grasses, heather, and bracken – a granite plateau rising to above 2,000 feet.”
b.“An area of moorland in southern Devon, England. It covers 954 square kilometers (368 miles)”
3. Grimpen Mire
a. Fox Tor: “ a relatively minor tor on Dartmoor.”
b.“about a kilometer north-east of the tor lies the swampy land known as Fox Tor Mines. This is said to have been the inspiration for the fictional Grimpen Mire…”
c.“This wide expanse of peat bog continues to be dangerous to walkers, especially after heavy rain.”
4. Hansom Cab
a.“Low, two-wheeled, closed carriage patented in 1834, whose distinctive feature was the elevated driver’s seat in the rear. It was entered from the front through a folding door and had one seat above the axle with room for two passengers. The driver spoke to the passengers through a trapdoor on top.”
5. Monsieur Bertillon
a. “French police officer and biometrics researcher who applied the anthropological technique of anthrop
ometry to law enforcement creating an identification system based on physical measurements.”
6. Snooker
a. A cue sport played on a table covered with a green cloth… with pockets at each of the four corners and in the middle of each of the long side cushions.”
b.“The game is played using a cue and 22 snooker balls: one white cue ball, 15 red balls worth one point each, and six balls of different colors: yellow (2 points), green (3), brown (4), blue (5), pink (6) and black
7. Squire
a.“a man in the past in England who owned most of the land in a village or district in the country.”
8. Mallorca
a.“is the largest island in the Balearic Islands archipelago, which are part of Spain and locate din the Mediterranean Sea.”
b.“Like the other Balearic Islands of Minorca, Ibiza and Formentera, the island is an extremely popular holiday destination, particularly for tourists from Germany and the United Kingdom.”
9. Naturalist
a.“a person who studies plants and animals as they live in nature.”
b.“a field biologist”
PlayNotes
27
Further Resources
Books
The Maltese Falcon (1929) by Dashiell Hammett
Death on the Nile (1937) by Agatha Christie
The Big Sleep (1939) by Raymond Chandler
“A” is for Alibi (1982) by Sue Grafton
F ilms
The Mystery of the Wax Museum (1933)
The Case of the Howling Dog (1934)
The Mystery of Edwin Drood (1935)
The Plot Thickens (1936)
The Adventures of Sherlock Holmes (1939)
The Scarlet Claw (1944)
12 Angry Men (1957)
Vertigo (1958)
28
EDUCATION
IN THEATER FOR KIDS
VACATION CAMPS
Dive into these classic stories for 3 exciting days on your
school breaks! Our theater camps include immersion in all
aspects of the theater, and always culminate in a shared
performance for friends and family at the end of the week!
Grades 3 – 5 | $185
February 16, 17 & 18
You can fly! Come to Portland Stage during your February
break—bring your shadow and we’ll find Tinker Bell, the
Lost Boys, and Captain Hook. This wacky and fun three day
camp will allow you to experience all the things that are so
awesome about this story by J.M. Barrie.
Grades 3 – 5 | $185
April 19, 20 & 21
Come to Portland Stage during your April break. During
this fantastical and magical three day camp you will get to
explore the wonder of Roald Dahl’s wacky tales B.F.G., Charlie
and the Chocolate Factory, and James and the Giant Peach.
Scholarships available. Theater for Kids is made possible by the
generous support and vision of Susie Konkel.
PORTLANDSTAGE
where great theater lives
Register: 774.1043 x104
www.portlandstage.org
Portland Stage
2015/2016 Season
Anita Stewart Executive & Artistic Director
Artistic/Production
Meg Anderson Scenic Technician & Artist
Ted Gallant Technical Director
Myles C. Hatch, Shane Van Vliet Stage Managers
Emily Kenny Lighting & Sound Supervisor/ Production Manager
Susan Thomas Costume Shop Supervisor
Ron Botting
Daniel Burson
Moira Driscoll Abigail Killeen
Janice O’Rourke
Ed Reichert
Dustin Tucker
Sally Wood
Affiliate Artists
Peter Brown
Maureen Butler
Andrew Harris
Daniel Noel
Michael Rafkin
Hans Indigo Spencer
Bess Welden
Administration
Paul Ainsworth Business Manager
Chris DeFillip, Heather Irish Box Office Associates
Megan Doane General Manager & Intern Coordinator
Chris DeFillip, Heather Irish, Adam Thibodeau Assistant House Managers
Myles C. Hatch Group Sales Coordinator
Alex Kimmel Company Manager
Martin Lodish Finance Director
Carmen-maria Mandley Education Director & Literary Manager
Renee Myhaver Assistant Box Office Manager
JJ Peeler Social Media & Marketing Associate
Eileen Phelan Marketing Director
Elinor Reina Development Assistant
Julianne Shea Education Adminstrator
Donald Smith Audience Services & Box Office Manager
Samara Yandell Development Manager
Intern Company
Hannah Cordes Theatre for Kids / Education
Dana Hopkins Props Journeyman
Benn May Directing & Dramaturgy
Grace K. Murrin Stage Management
Connor Pate Directing & Dramaturgy
Kerry Randazzo General Administration
Zoe Levine Sporer Sets & Carpentry
Claire Taylor Stage Management
Austin Tomison Electrics & Sound
Grace Weiner Theatre for Kids/ Education

The Hound of the Baskervilles

Transcription

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