The Man Who Shot Liberty Valance

oct nov
15 7
2016
JOHN
JOHN
HIRSCH
HIRSCH
MAINSTAGE
MAINSTAGE
THEATRE FOR YOUNG AUDIENCES
GENEROUSLY SUPPORTED BY
st u dy g u i de
This guide compiled by Holly Dandonneau, September 2015.
Royal Manitoba Theatre Centre
Presents
JETHRO COMPTON
BASED ON THE SHORT STORY BY DOROTHY M. JOHNSON
BY
Director – Robb Paterson
Set & Costume Designer – Brian Perchaluk
Lighting Designer – Scott Henderson
Sound Designer – John Bent, Jr.
Singing Coach – Donna Fletcher
Fight Director – Jacquie Loewen
Dialect Consultant – Shannon Vickers
Apprentice Director – Wren Hookey
Stage Manager – Chris Pearce
Assistant Stage Manager – Candace Maxwell
Apprentice Stage Manager – Kali Claire Grenier-Prieur
THE CAST
Marshal Johnson – Tom Anniko
Ransome Foster – David Coomber
Liberty Valance – Paul Essiembre
Burt Barricune – David W. Keeley
Hallie Jackson – Trish Lindström
Jake Dowitt – Justin Otto
Jim Mosten – Ray Strachan
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THEATRE ETIQUETTE
“The theater is so endlessly fascinating because it’s so accidental. It’s so much like life.” – Arthur Miller
Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough
time to find your seat before the performance starts.
Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming
systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which
is very distracting for the performers and other audience members. The use of cameras and recording
devices is strictly prohibited.
Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and
the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share
your thoughts and opinions with others until after the performance.
Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission,
concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby.
Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully request that
patrons refrain from wearing hats in the theatre. We also strive to be a scent-free environment, and
thank all patrons for their cooperation.
Leaving During the Performance: If an audience member leaves the theatre during a performance, they
will be readmitted at the discretion of our Front of House staff. Should they be readmitted, they will not
be ushered back to their original seat, but placed in a vacant seat at the back of the auditorium.
Being Asked to Leave: The theatre staff has, and will exercise, the right to ask any member of the
audience to leave the performance if that person is being disruptive. Inappropriate and disruptive
behaviour includes, but is not limited to: talking, using electronic devices, cameras, laser pointers, or
other light- or sound-emitting devices, and deliberately interfering with an actor or the performance
(tripping, throwing items on or near the stage, etc.).
Talkbacks: All Tuesday evening performances and final matinees at MTC feature a talkback with
members of the cast following the show. While watching the performance, make a mental note of
questions to ask the actors. Questions can be about the story, the interpretation, life in the theatre, etc.
Enjoy the show: Laugh, applaud, cheer and respond to the performance appropriately. Make sure to
thank all the artists for their hard work with applause during the curtain call.
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ABOUT THE AUTHOR
Dorothy M. Johnson, writer of the original short story
Dorothy M. Johnson was born in 1905 in Iowa, but grew up in
Whitefish, Montana. She attended Montana State University and
graduated with a degree in English in 1929. By the time she finished
at the University, Johnson was already a published author. After
college, Johnson worked as an editor in New York before returning
to Montana, first to be a newspaper editor with the Whitefish Pilot
for three years, and then to teach at her alma mater. Johnson wrote
The Man Who Shot Liberty Valance in 1953. She taught and worked
for the Montana Press Association for many years. Johnson died in
1983. In addition to her work as an editor and teacher, Johnson had
a prolific career as a published author, specializing in stories set on
the American frontier during the nineteenth century. She wrote 17
books, more than 50 short stories, and countless magazine articles. Three of her stories were adapted
for the screen: The Hanging Tree, A Man Called Horse and The Man Who Shot Liberty Valance. Scholars
have called Johnson “the dean of women writers of Western fiction”.
Jethro Compton, Playwright
Jethro Compton is a young British theatre practitioner. He studied English Literature at the University of
York until 2009. His most significant works to date have been the stage adaptation of the classic
western The Man Who Shot Liberty Valance, and The Bunker Trilogy, which has been produced
internationally. Compton received a bursary from Stage One in 2010 to support his work as a
commercial producer. He has worked at Belt Up Theater as Co-Artistic Director and Producer. He also
worked for three years as Associate Producer at Southwark Playhouse. In 2010, Compton established
Jethro Compton Productions, a company created “to produce cinematic, innovative and exciting theatre
on all scales”. His most recent works, The Frontier Trilogy and Sirenia, are being performed at the 2015
Edinburgh Fringe Festival and both are written, directed and produced by Compton.
Excerpt from: “How do you put a cowboy on stage?” - an
interview with Jethro Compton
How did you come to write The Man Who Shot Liberty
Valance?
I’d been watching loads of Westerns and playing Red Dead
Redemption, which is an incredible computer game, it got
me completely invested in that world. It got me thinking –
“Wouldn’t it be brilliant to do a Western on stage?”. Then
The Man Who Shot Liberty Valance was on television one
morning, and I sat and watched it and could see every
single scene working on stage. I started pursuing the rights
to the film but couldn’t get them, which was a blessing in
disguise because it led me to the short story the film was
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based on by Dorothy M. Johnson. I realised I could go much further on the route I wanted to go down
with the original story – which is very different from the film – and tell the story I wanted to tell.
It’s interesting you were inspired by a computer game – that’s a new tool for writers. How did it help?
I’ve not been to America – other than a week in Missouri – but I feel that I know it through films and
largely through the computer game Red Dead. I’ve jumped on a horse and ridden across the landscape,
I’ve shot the guns, I’ve seen the animals, I’ve learned the way people speak. There’s a town in the game
called Armadillo, which was always the town in Liberty, in my mind.
Liberty and The Frontier Trilogy have a vivid atmosphere but they’re not slavish period pieces. How
concerned were you with historical accuracy?
Not at all. Even though this is grounded in a world that existed, the beauty of it is that it’s not a world
that exists any more. Therefore you can establish the rules and say “this is what it is”, this is the world
we live in, and the audience accepts that. I focused on the story I wanted to tell – the lone farmer versus
the big corporate railroad, for example – and stuck to that. If the facts don’t tell the story that I want to
tell, then change the facts. I never bogged myself down in the need for ‘realism’, because that’s not my
interest. The Wild West as we think of it never really existed anyway – it’s totally fictional, it was
fictionalised even at the time. It stands for
something, and it has come to stand for
something, and the reality was very
different.
Why do you keep coming back to the
Western genre?
I felt there was unfinished business after
writing Liberty. There’s so much in that
world, and so many approaches to it –
everything from the old school Western
shot in a studio, with people sat round in
a saloon, to that Sergio Leone Spaghetti
Western feel with those big epic moments
with the gunslinger riding off into the
sunset. You can’t capture all of that in one play. The Frontier Trilogy deals with things I could only allude
to in Liberty – gold, the railroad, religion – and looks at things like change and ‘progress’ in the West
from a completely different view. There’s still so much more. When I write English settings and
characters I feel very exposed. Writing the West, I can talk about things in another way and another
voice – it’s a great place to have massive discussions and it doesn’t feel cheesy and naff in the way it
might do in and English play. The West is an epic world where the reality is harsh – you could actually
die tomorrow – so people aren’t polite, they say ‘this is what I feel’ and ‘this is what I want’.
Why do you think Westerns haven’t been done more on stage?
When you hear ‘Western’ you’re immediately thinking of that massive space. Gunfights. Tavern brawls.
Train robberies. Charles Spencer in The Telegraph said he turned up to review Liberty out of morbid
curiosity – he thought we’d have people riding invisible horses. It doesn’t easily translate, and you have
to create the sense that that world is out there, without just using reported action. How can you take
the tension of a gun fight, and make it verbal?
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PLOT
Cast of Characters:
Ransome Foster - Young, well-educated man from New York
Hallie Jackson - Young local woman who owns and runs the
Prairie Belle Saloon
Bert Barricune - Older local gunslinger
Jim ‘The Reverend’ Mosten - Young black man who works at
the Prairie Belle Saloon
Liberty Valance - A Southern outlaw
Marshal Johnson - The Marshal of Twotrees
Jake Dowitt - A local news reporter
Prologue: The Funeral of Bert Barricune - 1910
In the saloon in the town of Twotrees, six mourners sing around a casket. A veiled woman enters, puts
cactus flowers on the casket, then leaves. Senator Foster enters and is approached by a reporter for an
interview regarding his relationship to the deceased. Foster reveals that the last time he was in the town
was 20 years ago.
Act One
Scene one - Ransome Foster Arrives in Twotrees - 1890
Barricune and Jim bring a bloodied, unconscious Foster into the saloon and, along with Hallie, try to
revive the man and discern his identity. After they succeed in reviving him, Foster explains that he was
on his way West from New York and got beaten when trying to defend a black stranger on the road.
After Barricune leaves, Hallie tells Foster that she inherited the saloon from her parents. The Marshal
enters the saloon, and Foster asks him to find and charge the man who attacked him. Based on Foster’s
description, the Marshal informs him that his assailant’s name is Liberty Valance, but that there’s
nothing the Marshal can legally do because it was a fair fight. The Marshal tells Foster that there is a
reward out for Valance and offers to sell him a gun. Once the Marshal leaves, Foster discovers that
Hallie and Jim are illiterate and reads them a sonnet. Jim can repeat and remember the poem after
hearing it only once, and Foster is amazed by his unusual ability. Hallie further convinces Foster to stay
with them to teach Jim how to read. Foster agrees, on the condition that Hallie learns as well.
Scene Two - The First School West of Barrel Canyon
Weeks later, Hallie is reciting a sonnet she has learned. Foster asks her what it means, and she refuses
to answer. He challenges her to study the meaning. While cleaning up, Jim compliments Hallie’s reading.
After he leaves, Foster and Hallie discuss Jim’s progress, Barricune’s whereabouts, and Foster’s future
plans. Foster asks Hallie to accompany him to the theatre; she agrees reluctantly and then retires for the
night. Jim returns and tells Foster of his positive history with Hallie and her family. Barricune then comes
into the saloon and tells Foster that some people are unhappy with the school because he’s teaching Jim
and about how Valance is going to come for Foster. While the men discuss the threat that Valance poses
to Foster, it is revealed that Barricune has feelings for Hallie.
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Scene Three- Hallie and Foster Ride to Longacre
Foster arrives at the saloon to pick Hallie up to go to the theatre and Jim admonishes him for not
bringing flowers. Hallie appears in her finest and she and Foster leave. Jim is left alone in the saloon; he
sings while he mops. Three men enter the saloon; one is Liberty Valance. He questions Jim about
Foster’s whereabouts, but Jim hedges to protect his teacher. Valance challenges Jim to a dice game;
they play, and he goads Jim into calling him a liar. Because Jim has insulted their leader, one of Valance’s
men drags a struggling Jim out of the saloon. The other man follows with a noose and Valance trails with
his shotgun.
Act Two
Scene One - The Reverend is Dead
Hours later, Hallie storms into the saloon and retrieves the rifle from under the bar. Barricune warns her
against doing something rash and accuses her of not being able to use the gun properly; they argue
about how to proceed. Hallie is beginning to process Jim’s murder and Barricune confesses his romantic
feelings for her. Hallie asks him to burn down the tree from which Jim was hanged. Foster arrives and
Barricune implies that it was his fault that Jim was murdered. Barricune leaves and Hallie also blames
Foster for what Valance did. Foster says he wants to bring Valance to justice and Hallie is worried that
this will result in Foster’s death. The deputy and the Marshal enter and Foster claims Valance was the
murderer. The Marshal can do nothing because there’s no proof. Foster wants to go after Valance
himself and, although the Marshal is also sure that Foster will get himself killed, the deputy sells Foster
his gun belt. The men leave and Hallie mournfully cleans up. Barricune returns covered in soot; Hallie
thanks him for helping her and at that point he realizes that Hallie has unadmitted feelings for Foster.
For Hallie’s sake, Barricune disregards his own feelings and agrees to teach Foster how to shoot. She
kisses him, and he leaves.
Scene Two - A Necessary End
Foster arrives at an arranged meeting with Barricune looking for Hallie and Barricune asks if he’s been
practicing his aim. They practice shooting a bottle in the saloon and after two failed attempts, Hallie
angrily enters. Barricune leaves on the excuse that she and Foster need to talk. Hallie wants Foster to
leave town for his own safety but he refuses for two reasons: first, he feels responsible for Jim’s death
and second, no one will miss him if he dies. This prompts Hallie to admit that she loves him, and she
offers to leave Twotrees with him. Foster returns her love and wants her to be his wife. Hallie agrees to
marriage on the condition that Foster will leave town. Barricune returns and they tell him their plan.
Barricune informs them that Valance has arrived, that he’s looking for Foster, and that there is no
escape. Foster accepts of the news but Hallie leaves in despair. Barricune follows to make sure she’s safe
and to summon the Marshal. Once Valance arrives, he and Foster have a long discussion and before they
face off, Valance asks for Foster’s last words; Foster quotes Shakespeare’s Julius Caesar. There are
shots, then darkness.
Scene Three - The Man Who Shot Liberty Valance
Months have passed, and Foster is now Governor. In speaking with the Marshal, Foster learns that
Barricune didn’t go to the Marshal for help on the night that Valance was killed. Foster also learns that
he was elected not because of his education, but for shooting Valance. Foster reveals that he wants to
take his political career to Washington; the Marshal wishes him well and leaves. Barricune comes into
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the saloon with flowers for Hallie at which point Foster insinuates that he knows Barricune was the one
who killed Valance. Hallie comes in and reveals that she is now married to Foster; Barricune wishes her
well, gives her the flowers, and says his goodbyes. Once Hallie leaves, Foster presses Barricune to admit
that he shot Valance through the window after Foster was hit in the shoulder. Barricune confesses to
doing it out of love for Hallie. However, he doesn’t want the truth to be known, not only for Hallie’s
sake, but for the sake of Foster’s political career and because Barricune would be hanged for killing in
cold blood. Foster agrees to keep the secret, and the men shake hands.
Epilogue - Blossoms of the Prickly Pear - 1910
After the mourners leave, Hallie questions why Foster would want to attend Barricune’s funeral. Foster
states that he owes Barricune his life, mentioning how Barricune saved him after he was beaten. They
wonder how things would have been different if Foster had lost to Valance. Hallie tells her husband that
she placed the flowers on the coffin as a thank you to Barricune for saving Foster’s life.
CONTEXTUAL BACKGROUND
The American West, 1865-1900
After the American Civil War, the completed railroads gave access to large areas of land for settlement
and economic development. White settlers from the eastern United States came to the west to farm,
mine, and ranch. Black settlers came from the south looking for prosperity, while the Chinese railroad
workers further diversified the region.
The Great Plains were transformed by this wave of settlement. The need for crops caused the farmers to
plough the prairie grasses and the indigenous herds of bison became nearly extinct. Because of the
railroad, there was a more practical way of getting goods to market and the cattle industry became
more vital.
These changes had a drastic effect on the lives of the Native Americans living in the West, many of
whom were killed by the settlers and the
military force of the U.S. government in the
resulting conflicts. By the 1880s, most remaining
Native Americans had been displaced to
reservations, which were in areas of the west
that were deemed undesirable for the white
settlers.
In the late 19th century, the cowboy became a
symbol for the west and was often depicted in
stories and in the media as a glamourous,
romantic figure. However, the stereotypical
cowboy who is white and heroic is fictional.
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Centuries earlier, the first cowboys, called Spanish vaqueros, introduced cattle to Mexico. Unlike the
romanticized cowboy trope, their lives involved long hours, hard physical labor, economic hardship, and
substandard living conditions.
Many myths, like that of the cowboy, have shaped modern views of the American West in the late
nineteenth century. Recently, some historians have discounted the image of the west as a frontier
where savagery and civilization met. In a more holistic view of history, they have begun writing about
the west as a crossroads of cultures, where diverse groups struggled for cultural dominance, property
and profit.
Although the historical facts have become more representative of all groups involved, the myth of the
American cowboy and the Wild West will remain a sweeping backdrop for stories of action, romance,
and truthful human experiences.
GLOSSARY
Definitions found at http://www.merriam-webster.com
backwater: a quiet place (such as a town or
village) where there is little activity, excitement,
progress, etc.
pea-shooter: a toy blowgun that uses peas for
projectiles
bounty: an amount of money given to someone
as a reward for catching a criminal
quirt: a riding whip with a short handle and a
rawhide lash
coach: a large, usually closed four-wheeled
horse-drawn carriage having doors in the sides
and an elevated seat in front for the driver
revolver: a handgun with a cylinder of several
chambers brought successively into line with
the barrel and discharged with the same
hammer
courting: seeking the affections of; especially:
seeking to win a pledge of marriage
Good Samaritan: a person who helps other
people and especially strangers when they have
trouble
gunslinger: a person noted for speed and skill in
handling and shooting a gun, especially in the
American West
Marshal: the head of a division of a police or
fire department
mongrel: an individual resulting from the
interbreeding of diverse breeds or strains;
especially: one of unknown ancestry
rifle: a gun with a long barrel that is held against
your shoulder when you shoot it
saloon: a place where alcoholic drinks are
served; especially: such a place in the western
U.S. during the 19th century
smallpox: an acute contagious febrile disease of
humans that is caused by a poxvirus, [and] is
characterized by a skin eruption with pustules,
sloughing, and scar formation
tenderfoot: a newcomer in a comparatively
rough or newly settled region; especially: one
not hardened to frontier or outdoor life
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CLASSROOM ACTIVITIES
Activities for Educators
The following are suggestions for additional activities and/or discussions to be had after attending the play.

Read the short story The Man Who Shot Liberty Valance by Dorothy M. Johnson. Compare and contrast
the story to the stage production.

View the 1963 film The Man Who Shot Liberty Valance directed by John Ford, adapted by James
Warner Bellah and Willis Goldbeck. Compare and contrast the movie to the stage production.

Listen to the spirituals sung in the play: “The Wayfaring Stranger” (trad.) and “Bye and Bye” (trad.) –
both are included below. In relation to the play, discuss the significance of these songs to: the
characters, the setting, and the historical context.

Read the Shakespearian sonnets that are mentioned in the play: Sonnets 71 and 29 (included below).
In relation to the play, discuss the significance of the sonnets to: the characters, the setting, and the
historical context.

Discuss the following ideas that recur in the play: education, civilization, and liberty. What do these
ideas mean to the different characters? How do these themes conflict in the context of the American
West in 1890?

Discuss the role of the narrator in the play. How did this device affect the storytelling? Who do you
think the narrator could be, and why?
Shakespeare and Songs
Shakespeare:
Ransome Foster uses Shakespearian sonnets when teaching “some English” to the residents of Twotrees. He
later quotes Julius Ceasar as his ‘last words'.
Sonnet 71
No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell;
Nay, if you read this line, remember not
The hand that writ it; for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O, if (I say) you look upon this verse,
When I (perhaps) compounded am with clay,
Do not so much as my poor name rehearse,
But let your love even with my life decay,
Lest the wise world should look into your moan,
And mock you with me after I am gone.
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Sonnet 29
When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven’s gate;
For thy sweet love remembered such wealth brings
That then I scorn to change my state with kings.
Julius Ceasar Act II Scene 2
Cowards die many times before their deaths;
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear,
Seeing that death, a necessary end,
Will come when it will come.
Songs:
Two traditional spirituals are sung in the play, the first during the prologue and the second by Jim “The
Reverend” Mosten as he works.
The Wayfaring Stranger (Trad.)
I’m just a poor wayfaring stranger
I’m traveling through this world of woe
Yet there's no sickness, toil nor danger
In that bright land to which I go
I’m going there to see my father
I’m going there no more to roam
I’m only going over Jordan
I’m only going over home
I know dark clouds will gather round me
I know my way is rough and steep
Yet golden fields lie just before me
Where God’s redeemed shall ever sleep
I'm going there to see my mother
She said she’d meet me when I come
I’m only going over Jordan
I’m only going over home
I want to wear a crown of glory
When I get home to that good land
I want to shout salvation’s story
In concert with the blood-washed band
I’m going there to meet my Saviour
To sing His praise forever more
I’m just a-going over Jordan
I’m just a-going over home
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Bye and Bye (Trad.)
O bye and bye, bye and bye
I’m goin’ to lay down my heavy load
I know my robe’s goin’ to fit me well
I’m goin’ to lay down my heavy load
I tried it on at the gates of hell
I’m goin’ to lay down my heavy load
Hell is deep and dark despair
I’m goin’ to lay down my heavy load
Stop you sinner and don’t go there
I’m goin’ to lay down my heavy load
O bye and bye, bye and bye
I’m goin’ to lay down my heavy load
Curriculum Connections
Art
GRADE 9 TO GRADE 12 VISUAL ARTS (sets and costumes)
Responding: The learner develops and uses critical reflection and thinking for visual arts learning.
LEARNING OUTCOMES:
VA-R1 The learner generates initial reactions to art experiences.
VA-R2 The learner critically observes and describes art experiences.
VA-R3 The learner analyzes and interprets art experiences.
Drama
GRADE 9 TO GRADE 12 DRAMATIC ARTS
Connecting: The learner develops understandings about the significance of the dramatic arts by connecting
drama/theatre to diverse contexts.
LEARNING OUTCOMES:
DR-C1 The learner develops understandings about people, practices, and perspectives from the world of the
dramatic arts in various times, places, social groups, and cultures.
DR-C2 The learner develops understandings about relationships between the dramatic arts and multiple
contexts past and present.
DR-C3 The learner develops understandings about the roles, purposes, and meanings of the dramatic arts for
self and others.
Responding (DR-R)
The learner develops and uses critical reflection and thinking for drama/theatre learning.
LEARNING OUTCOMES:
DR-R1 The learner generates initial responses to drama/theatre experiences.
DR-R2 The learner critically observes and describes drama/theatre experiences.
DR-R3 The learner analyzes and interprets drama/theatre experiences.
DR-R4 The learner constructs meanings about drama/theatre experiences.
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English
General Learning Outcome 1: Students will listen, speak, read, write, view, and represent to explore thoughts,
ideas, feelings, and experiences.
General Learning Outcome 2: Students will listen, speak, read, write, view, and represent to comprehend and
respond personally and critically to oral, print, and other media texts.
REFERENCES AND SUGGESTIONS FOR FURTHER READING
‘American West, The’, loc.org, accessed 25/8/2015.
http://www.loc.gov/teachers/classroommaterials/presentationsandactivities/presentations/timeline/riseind/west/
Hanshew, Annie. ‘A “Witty, Gritty Little Bobcat of a Woman”: The Western Writings of Dorothy M. Johnson’, April 10,
2014. MontanaWomensHistory.org, accessed 21/8/2015. http://montanawomenshistory.org/a-witty-gritty-little-bobcatof-a-woman-the-western-writings-of-dorothy-m-johnson/
‘How Do You Put A Cowboy On Stage? An Interview With Jethro Compton’., August 12, 2015.
PardonMyFrenchTheatreBlog.wordpress.com, accessed 21/8/2015.
https://pardonmyfrenchtheatreblog.wordpress.com/2015/08/12/an-interview-with-jethro-compton/.
‘Jethro Compton’. Doolee.com: The Playwrights Database, accessed 21/8/2015.
http://www.doollee.com/PlaywrightsC/compton-jethro.html
‘Jethro Compton’, About the Team, JethroComptonLtd.co.uk, accessed
21/8/2015. http://www.jethrocomptonltd.co.uk/#!the-team/c16su
‘Jethro Compton’, Wikipedia.com, accessed 21/8/2015. https://en.wikipedia.org/wiki/Jethro_Compton
Manitoba Ministry of Education. (2014). The Draft Grade 9 to Grade 12 Visual Arts Framework of Outcomes . Retrieved
from http://www.edu.gov.mb.ca/k12/cur/arts/visual/framework_9-12.html.
Manitoba Ministry of Education. (2014). The Draft Grade 9 to Grade 12 Dramatic Arts Framework of Outcomes . Retrieved
from http://www.edu.gov.mb.ca/k12/cur/arts/docs/drama_9-12_draft.pdf.
Manitoba Ministry of Education. (1996). Senior 1 English Language Arts: Manitoba Curriculum Framework of Outcomes
and Senior 1 Standards. Retrieved from http://www.edu.gov.mb.ca/k12/cur/ela/docs/s1_framework/index.html.
Shakespeare, William. 'Julius Caesar, Act II, Scene 2. OpenSourceShakespeare.org, accessed 25/8/2015.
http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=juliuscaesar&Act=2&Scene=2&Scope=scene
Shakespeare, William. Sonnet 71: No longer mourn for me when I am dead. PoetryFoundation.org, accessed 23/8/2015.
http://www.poetryfoundation.org/poem/174365
Shakespeare, William. Sonnet 29: When, in disgrace with fortune and men’s eyes. PoetryFoundation.org, accessed
23/8/2015. http://www.poetryfoundation.org/poem/174357
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