Professional Documents
Culture Documents
Sound of Music Education JULY09
Sound of Music Education JULY09
THE SOUND OF MUSIC
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Synopsis [ Page 3
The Production
Fulfilling a Dream: Andrew Lloyd Webber [ Page 4
Dreams Really Do Come True – Step by Step: How the Show Was Made [ Page 5
Diary of an Actress: Sophie Bould as Liesl [ Page 7
Who’s Who Behind the Scenes [ Page 9
Historical Background
The True Story of the Von Trapp Family [ Page 10
What Happened next to the Von Trapp Family? [ Page 12
The Journey of Maria’s Story [ Page 13
Follow Up Activities
My Favourite Things [ Page 14
Design Your Own Costumes [ Page 15
Writing About the Play 1 [ Page 16
Writing About the Play 2 [ Page 17
Glossary [ Page 18
Producers [ Page 19
1
Introduction
In this Education Resource Pack we have included a variety of background information and
follow up activities to enhance your students’ experience of a visit to our wonderful stage
production of The Sound of Music.
Younger children will enjoy the music, the dancing and the beautiful sets, as well as the
fabulous performances by children of their own age.
Older children will be able to create their own response to the themes of the show and we
have included a series of follow up ideas with particular reference to KS2.
Each page also indicates curriculum links for primary or secondary teaching. The historical
background to the play would make an excellent starting point for history and citizenship
topics, and there is a wealth of information of particular interest to students of Drama,
Dance or Expressive Arts at BTEC, GCSE or A Level.
2
Synopsis
In 1930s Austria a young girl called Maria, with a religious devotion and a passion for singing,
is struggling to fit into life in a convent. When a nearby household needs a governess, she
is sent by the Mother Abbess to look after the children of a widowed naval Captain, Georg
von Trapp.
Her fun-loving nature and natural creativity soon infect the children and they learn to play
and, of course, sing – in contrast to the stern upbringing their father would prefer.
The oldest daughter, Liesl, is in love with the local telegram delivery boy, Rolf, while her
father is courting a rich Viennese woman, Baroness Schraeder. However, it becomes clear,
first to the children and finally to Maria herself, that the Captain is really in love with her.
Meanwhile, Nazism and the eventual occupation of Austria by Germany is casting a shadow
over all their lives. The Captain is fiercely patriotic and cannot agree with the Baroness, or
his friend Max, about giving in to the inevitable German takeover.
As the family’s predicament becomes more dangerous, Max finds a way out and persuades
the Captain to sing with his family at the Salzburg music festival, during which they escape,
pursued by soldiers.
3
Curriculum Links: Music/BTEC Performing Arts/Drama/Expressive Arts
It seems hard today to believe that a musical such as Carousel I hope in fulfilling a dream that I have had since the morning
was considered among the 1961 kitchen sink drama embued of 19 May 1961 that we are doing justice to a musical that
chattering classes to be sentimental rubbish. On the morning arguably contains the best-loved songs of all time.
of 19 May 1961 The Sound of Music was considered by 1961
theatricals to be completely beyond the pale. I remember the November 2006
4
Curriculum Links: BTEC/GCSE Performing Arts • Business/Technical Studies
5
Curriculum Links: BTEC/GCSE Performing Arts • Business/Technical Studies
From page 5
Design health and safety advisor. Certain parts of the set, including
The design vision was formed after a week of discussion large trucks and a travelator, were built early on so that they
about shapes: curves would represent the freedom of could be installed in the rehearsal room. The rest of the set
nature in the mountains and landscapes; straight lines had to be constructed and fitted up in the Palladium, in time
would represent the confines of the abbey and the house. for the technical rehearsals to begin. Using Jones’s detailed
Colours would also be used to emphasise the contrasting drawings, the 400 costumes were sewn together, while lists of
environments: the natural, lush green of the outdoors props and furniture were drawn up. Some of the props
contrasting with the pale interiors. Maria’s curtains would had to be made or found, in time for rehearsals, others could
bring the colours of nature into the Von Trapp house. be introduced at the technical rehearsals.
Robert Jones, the designer, visited Salzburg to make sure the
visual impression was absolutely accurate: he also researched Rehearsals
exactly the styles, textures and shapes of clothes from Rehearsals began with workshops run by Sams with
Austria in the 1930s. He collected photographs, sketches chorographer Arlene Phillips and children’s director
and fabric samples to develop the authentic visual style of Frank Thompson. Six adult actors were employed to take
the piece, then worked closely with Jeremy Sams to create the parts of the children. This enabled all the blocking
a storyboard, scene by scene, for each location. Every scene and relationships to be worked out before the children
change was designed to be as smooth as possible, like a themselves arrived, making it simpler and less tiring for them.
film, moving the audience on to each new location without The company spent four weeks working intensively in the
stopping. rehearsal rooms before moving into the Palladium for two
weeks of technical and dress rehearsals before the preview
Putting it all together performances began.
In a room at the top of the Cambridge Theatre, Jones spent
weeks building a set model. He created detailed drawings for
Matt Towell, the production manager, whose job was to liaise Adapted from ‘A Song Is No Song Till You Sing It’ by
with the production team, set builders, building staff and the Mark Fox, featured in the souvenir brochure 2006
Activity
Read closely and see if you can find the answer to the
following questions:
1 Who are the producers of The Sound of Music? Did you know?
2 Which theatre was chosen for The Sound of Music?
Can give you a reason why it was chosen?
3 Is this version of The Sound of Music based on the
Robert Jones created
film version or the stage version? a unique design for the
4 Where did the designer, Robert Jones, go to curtains, which Maria turns
research the costumes? into the children’s clothes.
5 What parts of the set had to be built and used in By drawing his own pattern,
the rehearsal room? (Check the Glossary in this
pack to find out more.)
instead of buying in fabric,
6 Why were adults employed to play the children he made sure that the
during the early part of the rehearsal process? curtain material would never
7 How many weeks do you think it took to rehearse go out of production, so it
the show? would always be possible to
8 Follow Up Activity: After you have seen the show,
watch the 1965 film of The Sound of Music and see
replace the costumes.
how many differences you can spot, for example:
settings, songs, characterisation.
6
Curriculum Links: BTEC Performing Arts/A Level Drama/GCSE Drama/Expressive Arts
Diary of an Actress
Sophie Bould [ Liesl
Week One Friday and Saturday were taken up with drilling in the music
for ‘The Lonely Goatherd’ followed by putting it on its feet.
A whirlwind of a week – so many names and faces to David Ian popped in to watch us on the Saturday afternoon,
remember. I met everyone on Monday morning, where we and I’m sure seeing us all shuffling round the room being
were all greeted by speeches from our producers David Ian goats made him wonder what on earth was going on. But
and Andrew Lloyd Webber. Coffee and pastries were passed one thing’s for sure – I don’t think I’ve ever laughed so much.
around while we listened to our director, Jeremy Sams give I love being a Von Trapp kid – it’s given me the licence to
us the plans for the day. have pure, unadulterated fun!
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Curriculum Links: BTEC Performing Arts/A level Drama/GCSE Drama/Expressive Arts
From page 7 sections next week, so lots of sleep and vitamins for me in
preparation. It’s going to be non-stop from here on in.
By midweek ‘My Favorite Things’ had been set and then
Connie and I started looking at our scene, together with Week Four
Jeremy and Anna (director and associate director). There are
so many complex layers to Maria and Liesl’s relationship and Absolute exhaustion. Sometimes I don’t know how everyone
I’m only just beginning to discover them. keeps going with such energy and enthusiasm, and I don’t just
mean the actors: the production team and stage management
Thursday was an emotional day in the rehearsal room. One are working just as hard, if not more so.
particular scene, involving my father, the Captain, struck a
few chords and I had difficulty holding back the tears. Any spare moments this week seemed to have been filled
with costume and wig fittings. Now we get to see what it’s
On Friday morning Neil and I made our way to the going to feel like, more importantly, what we’re going to
recording studios in South West London to record our duet look like! Our designer Rob has done an amazing job, as have
for the album. Andrew (LW) came along to lend a helping all the costume department and dressmakers. I can’t wait
hand. Neil and I recorded our vocals over the pre-recorded to put these clothes on! The way clothes were cut during
orchestral accompaniment. We were then invited to hear this period (1939) is just beautiful, and to be wearing some
what it sounded like. It’s a bizarre thing for me, to hear my authentic fabrics from Salzburg is just amazing.
voice, singing along with a stunning orchestra – what an
opportunity, and I’m very grateful for it. At the beginning of the week, we ran the whole of Act One.
Now we could start to really see the piece growing. I found
Week Three it so beneficial to run the scenes together; it enables me to
find a character journey, and relationship journeys between
Act Two this week. The ‘book’ of the musical becomes much other characters and mine. I also enjoyed sitting with other
darker in Act Two and the politics begin to dominate members of the company and watching parts of the show
proceedings for the Von Trapp family. which I hadn’t seen yet.
Tuesday brought with it the first of many press calls. All the Act Two followed later in the week. The whole company
children, Connie and I attended. We arrived at the Palladium sat around the edges of the rehearsal room, watching on
at 9.30am and posed for a sea of photographers from the as scenes took place. The atmosphere was wonderfully
national press. Interviews followed, including live coverage supportive, helping to create a ‘nerve-free’ rehearsal room.
on Sky News. I’ve never known anything like this. The However, it wasn’t just the company who watched the runs –
publicity this show has accomplished, even before we’ve we had guests visiting: David Ian and Andrew Lloyd Webber
opened, is out of this world. Having said that, it’s only one watched on along with numerous other VIPs, including
small part of this job: a part which I’d much rather get done Mary Rodgers (Richard Rodgers’s daughter). What an honour
quickly and efficiently before getting back to the real work in it was to meet her and hear her talk so highly of the parts of
the rehearsal room. rehearsals she came to see.
Rehearsals this week have been with most of the company, We managed to squeeze in a couple of runs of the whole
which I’ve so enjoyed. We began working on the concert show before the week was out. In between we were taken
scene this week, a tricky part of the show, with lots of off by members of the production team (musical directors,
singing, choreography and perhaps a quick change or two. directors, choreographers) to concentrate on and re-work
Now the scenes themselves are getting there, we have been sections where necessary. Changes were made, scenes and
linking them together so that they become seamless. numbers re-rehearsed and gradually everything began to slot
back into place.
The full company worked on the final scene of the show on
Thursday. Again, the tears nearly made an appearance this Speeches were made after the final run on Friday afternoon by
week, this time by the ever-professional stage management Andrew (LW) and Jeremy (director) congratulating everyone
team sitting in front of us all – I’m sure I saw a few watery involved for creating this piece of theatre which we should all
eyes during ‘Climb Ev’ry Mountain’! be so proud of. But it doesn’t all end here. Now it’s time to
start the technical rehearsals on stage at the Palladium, a place
Now we are at the point where everything is pretty much that is going to be my second home for the next 12 months.
blocked and choreographed but, I assure you, we are So I’m afraid that’s it from me. I need to get my head down and
nowhere near a finished product. Everything will be prepare for a whirlwind of a year. I hope you have enjoyed this
changed, rearranged and changed again. We start running sneak-peek behind the scenes of our rehearsals.
8
Curriculum Links: BTEC Performing Arts/Vocational GCSE Drama/Expressive Arts
I leave my flat at 7.30am and take the tube to work, which By 5.30pm the phones have quietened down, allowing me some
normally takes about 15 minutes, depending on the service. If time to reflect on what has been achieved during the day, and
I’m feeling energetic I’ll take the bus to the Aldwych and then to think ahead to the next. This is a great time for tackling
walk through Covent Garden. paperwork and generally working through some of the more
routine elements of the job, such as clearing invoices, updating
After saying hello to my tropical fish, and making my first coffee the budgets and responding to non-urgent requests. The last
of the day, I’m normally sitting at my desk by 8am and checking thing I do each day is to tidy my desk and jot down a list of
my Inbox; this gives me a good hour of quiet thinking-time things for the following day.
before the phone starts ringing.
I’ll then shut down my PC & Mac, feed the fish, and either head
I get more than the average number of overnight e-mails, for home or an evening out at the theatre.
as I receive all the sales reports from the previous night’s
performances, and the advanced sales reports for forthcoming
performances. A careful scan of these reports helps me focus
the marketing effort accordingly. I make a point of using
spreadsheets for campaign plans, budgets, targets and sales
figures. The effort of updating a cumulative sales spreadsheet,
for example, is amply rewarded by the strategic benefits it
provides in forward planning.
Finally, I’ll review the reports from our press agents, who
update us on the press coverage our shows have received; read
any reviews; and check the schedule for that day’s press events.
Meet Heather Swinburn
From 10am the day becomes a whirl of activity. The major
part of my job is creating the Sales, Marketing and PR Production Assistant
campaigns for our productions. As well as our Marketing
Officer, Tom Schoon, we have a great team of people to I came to work at the Really Useful Group just as The
assist us: designers, printers, advertising agencies and PR Woman in White was opening on Broadway and things were
agencies, all working together to devise the most effective gearing up on Evita and The Sound of Music. My colleague
and cost- efficient campaigns for the various productions we Nicola and I act as a liaison between the creatives, the cast
produce, co-produce and/or manage. and the Really Useful team. We book rehearsal rooms, send
out contracts and organise travel arrangements. It’s a bit like
A typical day will include dealing with phone calls and other a PA’s job without the secretarial part and is unpredictable
immediate demands; responding to urgent e-mails; working since I’m never sure what I’ll be required to do next. Things
on one of our productions’ websites; dealing with individual are constantly changing so every day brings new challenges.
campaign needs, such as Advertising, Online, Outdoor and
Direct Mail; attending a campaign planning meeting with one The nicest aspect of the job is getting to attend all the run-
of our agencies; brainstorming ideas for new ways to sell our throughs and seeing the magic develop on stage after all the
shows; discussing some element of a campaign with the weeks of administrative stress. In the early stages of The
producers; participating in a conference call with the Sound of Music, we were sorting out the script and
marketing team at one of the touring theatres; instructing organising casting. Castings are fun because you get to spot
the graphic designers; or copywriting and proof-reading a talent right at the outset.
new flyer or advert.
You have to be quite a strong character to deal with so
As well as running the marketing department, and looking after many people during the very stressful process of opening a
The Sound of Music, Flashdance the Musical, Grease, La Cage aux production – but I’ve always known this is the job I wanted
Folles, and Chicago, I am responsible for DIP’s archives, the to do and haven’t regretted my choice for a moment.
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Curriculum Links: History/Music/Drama (historical and social context)
Historical Background
The True Story of the von Trapp Family: a Timeline
1880 • Georg von Trapp is born in Zara, Dalmatia, (now May • Salzburg Plebiscite: Salzburg votes for a union with
Zadar, Croatia). Germany, which would be a violation of the Treaties
1905 • Maria Augusta Kutschera is born on a train en route of Versailles and St Germain. The Allied governments
to Vienna. Her mother died when she was two years threaten to intervene, which ends the Austrian
old, and her father, an engineer, needed to travel for separation movement.
work, so Maria was raised by cousins, one in particular, 1922 • Agathe von Trapp, Georg’s wife, dies of scarlet
who brought her up to be an atheist and a socialist. fever. The grieving family sell the estate in Pola, and
1911 • Georg marries Agathe Whitehead, granddaughter move to an estate in Salzburg.
of the Englishman Robert Whitehead, inventor of the 1924 • Maria Kutschera enters Nonnberg Abbey, Salzburg,
torpedo. as a postulant.
Rupert von Trapp is born. 1926 • Maria is sent by the nuns to the von Trapp’s home
1913 • Agathe von Trapp is born. to act as a tutor to one of the daughters who is sick,
1914-18 • World War I: Georg serves as a submarine and unable to attend school.
commander in the Austro-Hungarian Navy, and is 1927 – November • Maria marries Georg von Trapp,
decorated for valour with the title of ‘Ritter’. Georg motivated mainly by the love she feels for the children,
moves his family from Pola (now Pula, Croatia) to and the advice of the nuns to try to do God’s will. Her
Austria during the war. love for Georg will develop later.
1914 • Maria von Trapp is born. 1928 • Rosmarie von Trapp is born.
1915 • Werner von Trapp is born. 1931 • Eleonore von Trapp is born.
1917 • Hedwig von Trapp is born. May • Austria’s most important bank fails.
1918 • Austria-Hungary is defeated in World War I. The
empire is broken up, based loosely on national grounds.
Austria is created out of German-speaking areas. Left:
Austria becomes a republic called ‘German Austria’. Maria Augusta Kutschera
As Austria has lost its seaports and its navy, Right:
One of the first posters
Captain Georg von Trapp retires. for the family choir
1919 • Johanna von Trapp is born.
The Versailles Treaty forbids Germany to unite with All family photographs
courtesy of
Austria to form a super state, which would be too Johannes von Trapp
powerful economically.
September • The Treaty of St Germain sets out the terms
of Austria’s future situation. Austria’s name is changed
to the ‘Republic of Austria’.
10
Curriculum Links: History/Music/Drama (historical and social context)
From page 10
1934 • In Austria, the Socialist Party and related over control of Austria. They leave, travelling first to
organisations are banned. The Dollfuss cabinet approves Italy, under the ruse of going on a walking hoilday and
a new constitution which ends press freedom and then to tour in America.
establishes a one-party system, which is nevertheless 1939 • Johannes von Trapp is born.
anti-Nazi, known as the ‘Patriotic Front’. September • Germany invades Poland, and Britain and
July • Dolfuss is assassinated by Nazi sympathisers who wish France declare war on Germany.
for unification with Germany. 1942 • The family settle in Stowe, Vermont.
1936 • The von Trapp Family Singers win first place at the 1944 • Maria and her stepdaughters, Agathe, Maria, Hedwig,
Salzburg Music Festival. Johanna and Martina apply for U.S. citizenship by filing
1938 • Dollfuss’s successor, Schuschnigg, maintains a ban on declarations of intention at the U.S. District Court in
pro-Hitlerite activities, but is forced to resign on Burlington, Vermont. They will achieve citizenship in
11 March 1938. German troops then occupy Austria 1948.
with no resistance. Austria is renamed ‘Ostmark’, and 1945 • The Second World War ends.
placed under the leadership of Seyss-Inquart. 1947 • Georg von Trapp dies.
The family realise that they might be in danger because 1949 • Maria’s book, The Story of the von Trapp Family
of their refusal to support the Nazis, who have taken Singers, is published.
Brigitta is based on Hedwig von Trapp, Martha is based on Johanna von Trapp, Gretl is based on Martina von Trapp.
Answers to question 4: Liesl is based on Agathe von Trapp, Frederick is based on Rupert von Trapp, Louisa is based on Maria von Trapp, Kurt is based on Werner von Trapp.
11
Curriculum Links: History/Music/Drama (historical and social context)
Historical Background
What Happened Next to the von Trapp Family?
In 1947, Maria founded the Trapp Family Music Camp in helped to build two schoolhouses and a church, Rosmarie and
Stowe, Vermont, with the aim of introducing music to Maria taught, while Maria von Trapp (the elder) and Father
American families. As the camp became more and more Wasner did some work for the Archbishop, travelling for a
popular, it was necessary to provide overnight lodging and, in year through the different islands, observing and reporting the
the next few years, the accommodation was expanded, with needs of the people, as was later described in Maria: My Own
the Trapp Family Lodge, a ski and holiday village, opening to story (published 1972). After her year of missionary work,
guests in 1950. Maria returned to Stowe, and concentrated on running and
expanding the Trapp Family Lodge.
In 1956, when Maria and some of her children were touring
Australia, they visited the home of Archbishop Carboni, who She continued to be involved in the running of the Lodge
was in charge of overseeing missionary work in the South until her death in 1987. In 1980, the lodge burnt to the
Pacific. He informed the family that, should they ever give up ground in a fire that resulted in one death and a number
their singing careers, they would be welcome to return to of injuries. The family rebuilt the lodge within three years,
become missionaries in the South Pacific. making it three times the size of the original, and it is still
operating today, under the management of Johannes von
In 1957, the von Trapp family gave up the Trapp Family Trapp, Maria’s youngest child, who is its president.
Music Camp and their music tours. Many of the children
were pursuing their own interests by then, and the singing Meanwhile, a younger generation of von Trapps – Maria’s
group had included non-family members for some time. With great grandchildren – are now giving musical tours.
touring at an end, Maria von Trapp travelled with three of Justin (11), Amanda (15), Melanie (16) and Sofia (18) are
the children, Maria, Johannes and Rosmarie, and with Father following in the footsteps of their grandfather, Werner von
Wasner, who had acted as the group’s musical director, to Trapp, and perform classical music, folk songs and, naturally,
Papua New Guinea to become missionary workers. Johannes songs from The Sound of Music.
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Curriculum Links: Music/BTEC Performing Arts/Drama/Expressive Arts
Historical Background
The Journey of Maria’s Story
The legend of Maria’s story lives on in countless versions of the play, translated into many
languages, and shared with audiences across the world. The film has been enjoyed by millions
and has a cult following in its ‘Sing-a Long’ version. Andrew Lloyd Webber and David Ian are
delighted to be able bring the magic of a live production to a new audience
13
Curriculum Links: Music/Dance/Literacy/Art/PSHE
Designed for KS2 – can be easily adapted to suit other age groups
Follow up Activity
My Favourite Things
Resources
• Cast recording of The Sound of Music, available from www.thesoundofmusictour.com
(using an interactive whiteboard you can play an extract from the song directly from the website)
• Richard Rodgers/Oscar Hammerstein: The Sound Of Music – Vocal Selections
• plasticine, old magazines, small cardboard boxes or shoe boxes
• optional: video camera and editing software
Literacy
Make two lists
using the five senses,
of things that make
you happy and sad
Use the two lists
Music as a starting point
Learn the song for a poem about
‘My Favorite Things’ how Favourite
Things can cheer
us up
Listen to
‘My
Dance Favorite More able
students could try
Listen carefully to Things’ to adopt the rhyme
the song, add actions scheme from
and plan your own Oscar Hammerstein’s
choreography original lyric
PSHE/emotional literacy: these activities will generate discussion about what makes us happy and how we cope when
things are bad. It is important that the plasticine figure in the art activity does not represent the child directly, it is a third
person who can take on their emotions if necessary. Children may begin to share personal stories which will need to be
handled with sensitivity; it may be a good idea to follow the activity with circle time.
14
Curriculum Links: Textiles, Art and Design
Can be easily adapted to suit different age groups
Follow up Activity
Design Your Own Costume
Maria thought it a waste to throw away the curtains when she needed a new dress and the children needed
brighter play clothes. Can you design a traditional Austrian dress or shorts (called Lederhosen) based on a
curtain fabric?
1 Design your fabric. You could copy some curtains from home or, like our designer Robert Jones, you might
like to create a new pattern.
2 Draw your basic pattern on graph paper or on the computer.
3 Decide how your image repeats; if you do this on the computer you can cut and paste to repeat your
pattern. It may repeat diagonally or in straight lines; you decide which looks better.
4 Draw or cut and stick your fabric pattern on to the outline of the boy or girl figures (don’t forget to scale it
down) to give an impression of how your curtain material will look as a dress fabric.
15
Curriculum links: Drama, music, dance, developing literacy
Follow up Activity
Writing About the Play 1
This is a drawing of my favourite moment in the play, showing the characters in their costumes and the set
they are performing on:
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Curriculum Links: A/AS/GCSE level • Drama/Performing Arts
Follow up Activity
Writing About the Play 2
Why does a director make certain choices? Watch carefully
and write notes at the interval, or after the play. What do
you see and hear on the stage and in the audience, when
you are waiting for the play to begin? Watch carefully during
the play, and write notes at the interval, or after the play.
We would ask that you do not write notes during the
performance. To work out what effects are being created
in the production, ask yourself these practical questions and
think about why these choices have been made:
The Set
• what is your first impression of what you see?
• what shapes, levels and colours are being used?
• how does the set hide or reveal actors?
• how are the different locations and scenes in the play
demonstrated?
Costume
• what colours and styles are being used?
• what impression do they give about the historical period
and the social class of the characters?
• compare different costumes, for example Maria’s
home-made dresses with the Baroness’s high fashion.
What story do the costumes tell?
Lighting
• are we inside or outside?
• what colours and shades of colour are being used to
create time of day, location or weather?
• what levels of brightness are being used and why?
• think about angles of light, who is well lit and who is in
shadow?
• when do the lights change?
• what is atmosphere and what emotions are suggested by
the lighting?
The Performers
• how does each actor create their character through the
way they move?
• how effective is the transition from speech to song – can
you give an example of a point in the play where this
happens?
• how do the performers use the set?
• how do the performers relate to the audience – and
when does this change?
• which performances do you find the most convincing?
Why? Which performances do you find less convincing?
Why?
17
Glossary
Actor Libretto
Person who acts/portrays a character in a play or film – The printed text of a musical, both spoken text and lyrics as
in musicals, actors must also be able to sing and dance to a per performance.
high standard.
Lyrics
Blocking The words of a song.
A working out, in the early stage of rehearsal, of where the
actors will move on stage. The blocking will be fixed before Producer
the technical rehearsals begin. The person who oversees the financial and administrative
aspects of a play or film, responsible for raising money,
The Book hiring a creative team and having overall supervision for all
1 The spoken text of a musical. aspects of production, marketing and planning.
2 The stage manager’s copy of the script – used to mark
the blocking and technical cues, as in ‘the deputy stage Storyboard
manager: on the book’. A series of pictures, like a comic strip, drawn to depict
individual scenes or, in film, individual shots – a useful tool
Choreographer in planning a production.
Person who creates dance compositions by planning and
arranging dance movements and patterns. Swing
Understudies (in musical theatre) – must be able, at short
Composer notice, to take over another performer’s role, often
Person who writes and arranges tunes and songs. covering several roles or members of the ensemble.
Designer TRuck
Person who creates the ‘look’ of a play, makes decisions A platform on wheels – pieces of scenery are built onto trucks
about the shape of the set, colour schemes and costumes. to make them easier to slide on, off or around the stage.
Director Travelator
Person who has overall responsibility for translating a Like a moving pavement in an airport, a travelator is a
writer’s words from the page to the stage or into film – has motorised horizontally-moving belt at stage level used for
overall responsibility for integrating all the creative elements moving scenery or actors on/off stage. It can be used to
of a production – acting, design, choreography, lighting, make actors look as if they are walking or running over a
sound. distance.
Ensemble Understudy
Group of supporting performers (actors, dancers, singers) – An actor who is able to take over from another actor at
often understudies are drawn from this group. short notice.
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The Producers
Andrew Lloyd Webber David IAN / DAVID IAN PRODUCTIONS
Andrew Lloyd Webber is the composer of The Likes of Us, David Ian began his theatrical career as a performer in musicals
Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, such as The Rocky Horror Show, Time, Joseph and the Amazing
By Jeeves, Evita, Variations and Tell Me on a Sunday later combined Technicolor Dreamcoat and The Pirates of Penzance. He recently
as Song and Dance, Cats, Starlight Express, The Phantom of the Opera, appeared on the TV casting programmes How Do You Solve a
Aspects of Love, Sunset Boulevard, Whistle Down the Wind, The Problem Like Maria? and Grease Is the Word in the UK and
Beautiful Game and The Woman in White. He composed the film You’re the One That I Want for NBC in the United States.
scores of Gumshoe and The Odessa File, and a setting of the Latin He is a regular panellist on Channel 5’s The Wright Stuff.
requiem mass Requiem. David formed his first production company with fellow actor
In 2004 he produced a film version of The Phantom of the Opera, Paul Nicholas in 1991. Paul Nicholas and David Ian Associates
directed by Joel Schumacher and in 2010 he will premiere Love co-produced tours of Jesus Christ Superstar, The Pirates of Penzance,
Never Dies, his sequel to The Phantom of the Opera, which will be Singin’ in the Rain and Ain’t Misbehavin’ at the Lyric Theatre, London.
directed by the award-winning director Jack O’Brien. Together with legendary impresario Robert Stigwood, they
In 2006 he oversaw a new production of Evita in London, a unique produced Saturday Night Fever and Grease in the West End. Grease
version of The Phantom of the Opera in Las Vegas and pioneered is still currently at the Piccadilly Theatre, London and on tour in
television casting for musical theatre with the hit BBC series the United States following a successful Broadway run.
How Do You Solve a Problem Like Maria?, which searched for a Other shows that David has produced include: West End: The King
Maria in The Sound of Music. The series won an International and I (London Palladium); Defending the Caveman (Apollo); Daisy
Emmy. Pulls It Off (Lyric); Anything Goes (Theatre Royal Drury Lane); The
He repeated his success with Any Dream Will Do, which cast the Producers (Theatre Royal Drury Lane); Guys and Dolls (Piccadilly).
title role of Joseph and the Amazing Technicolor Dreamcoat and UK tours: Dr Dolittle, The King and I, West Side Story, Cats, Chicago,
in 2008 he cast the musical Oliver! for the BBC. In January this Starlight Express, My Fair Lady, The New Statesman, The Producers.
year he launched a new BBC TV series Your Country Needs You US: My Fair Lady (tour); The Phantom of the Opera (Las Vegas).
to create the UK entry for the 2009 Eurovision Song Contest. Australia: Happy Days, Spamalot, Grease.
His awards include seven Tonys, three Grammys including Best David produced the Laurence Olivier Awards for the Society of
Contemporary Classical Composition for Requiem, seven London Theatres from 1996-1999. He was Chairman of Global
Oliviers, a Golden Globe, an Oscar, two International Emmys, Theatre for Live Nation until 2007.
the Praemium Imperiale, the Richard Rodgers Award for David Ian Productions was formed in 2006 and is based in
Excellence in Musical Theatre and the Kennedy Center Honor. London’s Covent Garden. Productions include: The Sound of
He currently owns seven London theatres including the Theatre Music (London Palladium, Toronto and UK tour); La Cage aux
Royal Drury Lane and the London Palladium. He was knighted in Folles (Playhouse, London); Gypsy (St James Theatre, Broadway);
1992 and created an honorary life peer in 1997. Flashdance (UK tour); Chicago (UK tour); Cats (Germany);
Britain’s Got Talent (arena tour, UK). In 2008 DIP, together with
Arlene Phillips, Universal and ITV Productions, produced a new
musical drama series for ITV 1 called Britannia High, with music
by Gary Barlow
The Really Useful Theatre Company has produced Starlight The Phantom of the Opera (and US tours), Shirley Valentine, Lend Me
Express, Daisy Pulls It Off (Olivier Award - Comedy of the Year), a Tenor and Aspects of Love. Other productions include: La Bête
The Hired Man, Lend Me a Tenor, Aspects of Love, Joseph and the (Broadway); Joseph and the Amazing Technicolor Dreamcoat (Los
Amazing Technicolor Dreamcoat, Sunset Boulevard, By Jeeves, Jesus Angeles, Broadway and US tour); The Music of Andrew Lloyd Webber
Christ Superstar, Whistle Down the Wind, The Beautiful Game, (US tour); Sunset Boulevard (Los Angeles, New York and US
Bombay Dreams and Evita. tour); Whistle Down the Wind (Washington); Jesus Christ Superstar
The company co-produced Jeeves Takes Charge, Cats (Olivier (Broadway); By Jeeves (Broadway); Phantom - The Las Vegas
Award - Musical of the Year), Song and Dance, On Your Toes, Café Spectacular (Venetian) and The Sound of Music (Toronto).
Puccini, The Phantom of the Opera (Olivier Award - Musical of the The Really Useful Theatre Company is a wholly-owned subsidiary
Year), La Bête (Olivier Award - Comedy of the Year), The Woman of the Really Useful Group, which is actively involved throughout
in White, Priscilla Queen of the Desert the Musical and the recent the world in theatre and concert production, recording,
West End revivals of Daisy Pulls It Off, Tell Me on a Sunday, The merchandising, music publishing, television, film and video.
Sound of Music and Joseph and the Amazing Technicolor Dreamcoat. The group co-owns the Adelphi Theatre and owns six theatres in
On Broadway its American counterpart has produced and/or the West End including the world famous Theatre Royal Drury
co-produced the Tony Award-winning productions of The Woman Lane and the London Palladium.
in White, Cats (and US tours), Starlight Express, Song and Dance,
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BibliograpHY/Further Resources and Information
Websites DVDs
www.thesoundofmusictour.com • everything you need The Sound of Music (1965) director Robert Wise, starring
to know about the current production of The Sound of Music Julie Andrews (20th Century Fox Home Entertainment)
The Movie by The Trapp Family Lodge For more information contact:
The Marketing Department
The Story of Maria Kutschera von Trapp by The Trapp Family David Ian Productions Ltd
Lodge 3rd Floor, 33 Henrietta Street, London WC2E 8NA
+44(0) 20 7257 6380
The Story of the Trapp Family Singers by
Maria Augusta von Trapp
Stock and amateur rights for THE SOUND OF MUSIC
To the Last Salute: Memories of an Austrian U-Boat Commander are represented in the United Kingdom, Eire and throughout
by Georg von Trapp (Author), Elizabeth M. Campbell Europe by Josef Weinberger Ltd.
(Translator), University of Nebraska Press (2007) www.josef-weinberger.com
The Cambridge Companion to the Musical (Cambridge We are always looking for boys and girls to play the
Companions to Music), by William A Everett (Editor), Von Trapp children.
Paul Laird (Editor), Cambridge University Press (2002) If you are interested please contact Joanne Hawes at
jo.hawes@virgin.net
CDs
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