Archives: Lesson Plans

Rehearsal Schedule Addams Winter V2

Please Note

• It may be convenient to bookmark the Backstage page on your device. Tapping a month’s name on the right will auto-scroll you to that month. You may print this page if you wish.

• If updates are made to this schedule, you will be notified via voice message, the change will initially appear on the top of the Backstage page and the changes will appear in red on this schedule. Currently, notes of interest appear in red.

• Song titles appear in italic type. Required cast appears in (parenthesis).

• “AIS2” means Act One, Scene Two; “AIIS3” means Act Two, Scene Three, and so on.

• We will be “dark” – meaning no rehearsal – on several days throughout the rehearsal period, as well as breaks for Thanksgiving and late December.

• “Tutti” means the entire cast (Italian word meaning “all together”).

• When a specific character is listed, both the principal and understudy actors for that role should attend rehearsal.

• If a day simply indicates “Rehearsal” without specifying a scene or song, this indicates a complete run-through of the show (these begin in December).

• For speaking characters, be very familiar with your scene the first time it is rehearsed. The second time any scene appears on the schedule, you should be essentially off-book (memorized) for that scene.

• In this show, Encore is the production number that will occur following the curtain call and features the entire cast.

October

SUN, OCT 31

1:00-5:00
Dance and Vocal Rehearsal
(Tutti)
“Tutti” = entire cast.
Happy Halloween!

November

MON, NOV 1

4:30-6:00
AIS3, pgs 17-20, Pulled
(Wednesday, Pugsley)
6:00-8:30
AIS2, pgs 15-16, Trapped
(Gomez)

TUES, NOV 2

4:30-6:00
AIS1, pgs 6-7, incl Fester’s Manifesto
(Fester, Wednesday, Lucas, When You’re An Addams – Group A Ancestors)
Selected Ancestors specifically have When You’re An Addams – Group A on their notification letters. It is the “Group A” performers who should attend this rehearsal.
6:00-8:30
AIS3, pgs 20-25, beginning of One Normal Night
(Morticia, Gomez, Wednesday, Pugsley, Grandma, Fester, Lurch)

WED, NOV 3

4:30-7:00
AIS4, pgs 28-30, incl One Normal Night (Fester’s section)
(Fester, Ancestors)
7:00-8:30
AIS4, pgs 30-31, incl One Normal Night (final section)
(Tutti)
7:00-7:30
(Pugsley vocal session)
7:30-8:30
(Gomez & Morticia vocal session)

THURS, NOV 4

4:30-7:00
AIS8, pgs 48-49 Morticia and Alice look at photos
(Morticia, Alice)
5:30-7:00
AIS8, pgs 48-49 Morticia and Alice look at photos
(Morticia, Alice, Secrets Ancestors)
Selected Ancestors specifically have Secrets on their notification letters. It is those performers who should attend this rehearsal.
7:00-8:30
AIS9, pgs 53-56, incl Gomez’s What If
(Gomez, Lucas, Wednesday, Morticia)

FRI, NOV 5

4:30-6:30
AIS10, pgs 57-62, incl Pugsley’s What If
(Wednesday, Lucas, Pugsley, Grandma)
6:30-7:00
(Wednesday vocal session)
7:00-7:30
(Morticia vocal session)
7:30-8:00
(Gomez vocal session)
8:00-8:30
(Fester vocal session)

SAT, NOV 6

9:00-11:00
Selected Wednesday & Lucas scenes:
AIS6 pgs 43-44
AIIS1, pgs 76-78
AIIS6, pgs 92-93
AIS10, pgs 57-58
(Wednesday, Lucas, Pugsley, Gomez, Just Around The Corner Ancestors)
Selected Ancestors specifically have Just Around The Corner on their notification letters. It is those performers who should attend this rehearsal.
11:00-2:00
AIS12, pgs 63-75, incl Full Disclosure (we will not rehearse the song Waiting this day)
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Lucas, Mal, Alice)
Although the Ancestors are in Full Disclosure, they will not attend this rehearsal.

SUN, NOV 7

Remember to set any non automated clocks back this morning!

1:00-2:30
AIS3&4, pgs 24-31, One Normal Night
(Tutti)
2:30-5:00
AIS5, pgs 33-41, the Beineke family meets the Addams family
(Lurch, Lucas, Mal, Alice, Gomez, Morticia, Wednesday, Pugsley, Grandma, Fester)

MON, NOV 8

4:30-6:00
AIS12, pgs 65-75, Full Disclosure vocal rehearsal
(Tutti except Lurch)
6:00-7:30
AIS7, pgs 45-47, the Heretic’s Chair
(Gomez, Mal)

TUES, NOV 9

4:30-6:30
AIIS5, pgs 88-91, incl Happy Sad
(Gomez, Wednesday)
6:30-8:30
AIIS8, pgs 103-105, incl Not Today
(Gomez, Lurch, Fester)
This 6:30-8:30 rehearsal was previously scheduled for Nov 11 at 6pm

WED, NOV 10

4:30-6:30
AIS12, pgs 65-75, Full Disclosure staging rehearsal
(Tutti)
6:30-8:30
AIS1, pgs 1-4, incl beginning of When You’re An Addams, prior to the arrival of the Ancestors
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch)

THURS, NOV 11

4:30-6:00
AIIS10, pgs 111-118, incl Move Toward The Darkness
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Lucas, Mal, Alice)
Although the Ancestors are in Move Toward The Darkness, they will not attend this rehearsal.
6:00-8:30
AIIS9, pgs 106-110, incl Let’s Live Before We Die
(Gomez, Morticia)
This 6:00-8:30 rehearsal was previously scheduled for Nov 9 at 6:30pm

FRI, NOV 12

At this rehearsal, if it is convenient to arrive a bit early (to come directly from school, etc.), we need to take each student’s photo for the building security system and any early arrivals will help that to occur more smoothly. Thanks!

4:30-7:30
AIIS10, pgs 111-118, incl Move Toward The Darkness
(Tutti)
7:30-8:30
AIIS7, pgs 101-102, Pugsley’s bedtime story
(Morticia, Pugsley)

SAT, NOV 13

This afternoon is the Advance Ticket Sale for families of cast, orchestra and PAs. Details can be found on musemachine.com/backstage

10:00-noon
Vocal rehearsal 
(Tutti minus Lurch)

SUN, NOV 14

1:00-2:00
Vocal rehearsal
The Moon And Me, Secrets
(Selected Ancestors specifically have The Moon And Me and/or Secrets on their notification letters. It is those performers who should attend this rehearsal, as well as Fester)

2:00-2:30
Secrets, Live Before We Die
(Morticia & Gomez)

2:30-3:30
Wednesday’s Growing Up, Trapped, Not Today, Happy Sad, What If
(Gomez)

MON, NOV 15

Dark
In theatre, “dark” means no rehearsal or performance.

TUES, NOV 16

4:30-5:30
Vocal rehearsal
Just Around The Corner, But Love
(Selected Ancestors specifically have Just Around The Corner on their notification letters. It is those performers who should attend this rehearsal, as well as Morticia and Fester)

5:30-6:00
What If
(Pugsley)

6:00-6:30
The Moon And Me, Fester’s Manifesto
(Fester)

6:30-7:00
Waiting
(Alice)

7:00-7:45
Crazier Than You
(Wednesday, Lucas, Mal, Alice)

WED, NOV 17

4:30-8:30
AIIS9&10, pgs 109-111, Tango De Amor
(Gomez & Morticia)
6:30-8:30
AIIS9&10, pgs 109-111, Tango De Amor
(Gomez & Morticia, Tango De Amor – Group A Ancestors)
Selected Ancestors specifically have Tango De Amor – Group A on their notification letters. It is the “Group A” performers who should attend this rehearsal.

THURS, NOV 18

4:30-8:30
AIIS9&10, pgs 109-111, Tango De Amor
(Gomez & Morticia, Ancestors)
This evening’s rehearsal includes all Ancestors.

FRI, NOV 19

4:30-8:30
AIS8, pgs 50-52
(Morticia, Alice, Secrets Ancestors)
Selected Ancestors specifically have Secrets on their notification letters. It is those performers who should attend this rehearsal.

SAT, NOV 20

10:00-2:00
A1S1, pgs 4-6, When You’re An Addams
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, When You’re An Addams – Group A Ancestors)
If your casting letter specifically lists When You’re An Addams – Group A, please attend from 10-2.
Noon-2:00
A1S1, pgs 4-6, When You’re An Addams
(Add remaining Ancestors)
If your casting letter does not specifically indicate Group A for When You’re An Addams, please attend from noon-2.

SUN, NOV 21

Noon-5:00
A1S1, pgs 4-6, When You’re An Addams
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Ancestors)

MON, NOV 22

4:30-8:30
AIIS2, pgs 80-83, Just Around The Corner
(Morticia, Just Around The Corner Ancestors)
Selected Ancestors specifically have Just Around The Corner on their notification letters. It is those performers who should attend this rehearsal.

TUES, NOV 23

4:30-8:30
Review When You’re An Addams, Secrets, Just Around The Corner, Tango
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Alice, Ancestors)

NOV 24–28

Thanksgiving Break
Happy Thanksgiving!
Happy birthday, Joe Deer! (Nov 25)
Happy Hanukkah! (begins Nov 26)

MON, NOV 29

4:30-8:30
AIS6, pg 44, But Love dance break
(Fester, But Love Ancestors)
Selected Ancestors specifically have But Love on their notification letters. It is those performers who should attend this rehearsal.

TUES, NOV 30

4:30-7:00 (this rehearsal now ends at 7pm)
AIS6, pg 44, But Love dance break
(Fester, But Love Ancestors)
Selected Ancestors specifically have But Love on their notification letters. It is those performers who should attend this rehearsal.

December

WED, DEC 1

4:30-8:30
Act One
(Tutti)

THURS, DEC 2

4:30-8:30
Act Two
(Tutti)
Happy birthday, Jacob McGlaun!

FRI, DEC 3

4:30-7:30
Review production numbers
(Tutti)

7:30-8:30
The Moon And Me
(The Moon And Me Ancestors)

SAT, DEC 4

9:00-2:00
Rehearsal
(Tutti)

SUN, DEC 5

Noon-3:00
Rehearsal includes end of Full Disclosure and end of One Normal Night
(Tutti)

3:00-4:30
AIS2
(Gomez, Lurch, Morticia, Wednesday)

4:30-5:00
AIIS2
(Gomez, Morticia)

MON, DEC 6

4:30-8:30
AIIS6, pgs 92-100, incl Crazier Than You; also AIIS3
(Wednesday, Lucas, Fester, Mal, Alice)

TUES, DEC 7

4:30-6:00
Selected scenes and songs
(Gomez)

WED, DEC 8

4:30-8:30
Rehearsal includes Wedding Sequence from the curtain call – pg 119; Move Toward The Darkness – pgs 114-118; and vocal rehearsal
(Tutti)

THURS, DEC 9

4:30-8:30
Principal Character Rehearsal
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Lucas, Alice, Mal)

4:30-6:00
The Moon And Me
(Fester, The Moon And Me Ancestors)

FRI, DEC 10

Dark

SAT, DEC 11

10:00-2:00
Rehearsal – Act One
(Tutti)

SUN, DEC 12

Noon-5:00
Rehearsal – Act Two
(Tutti)

MON, DEC 13

4:30-8:30
Rehearsal
(Tutti)

TUES, DEC 14

4:30-8:30
Rehearsal – Act One
(Tutti)

WED, DEC 15

4:30-8:30
Rehearsal – Act Two
(Tutti)

THURS, DEC 16

4:30-8:30
Rehearsal
(Tutti)

FRI, DEC 17

Dark

SAT, DEC 18

10:00
Orchestra & PAs arrive and set-up
10:30-2:30
Sitzprobe
(Tutti cast + orchestra)
The Sitzprobe is a concert version of the musical numbers from the show combining the cast and orchestra.

SUN, DEC 19

Noon-5:00
Rehearsal with Orchestra
(Tutti)

MON, DEC 20

4:30-8:30
Rehearsal
(Tutti)

TUES, DEC 21

4:30-8:30
Rehearsal
(Tutti)

DEC 22—Jan 2

Winter Break
Merry Christmas!
Happy Kwanza!
Happy New Year!

January

Our three January rehearsals are all in the Muse studio, with the entire cast and all PAs. We will rehearse and record the show to expedite rehearsals in the spring

MON, JAN 3

4:30-8:30
Rehearsal
(Tutti)

TUES, JAN 4

4:30-8:30
Rehearsal
(Tutti)

WED, JAN 5

4:30-8:30
Rehearsal
(Tutti)

June

Currently, the spring rehearsal schedule is TENTATIVE. For planning purposes, let us assume that we may begin rehearsals on May 28 and rehearse daily through the performances. June 15, 16, 17 and 18 are likely to be long days, each containing two rehearsals, two performances or a combination of both.

FRI, JUNE 17

Performance (Opening Night)
7:00: Call
8:00: Curtain
11:30: Students released (approx)

SAT, JUNE 18

Performances
2:00: Call
3:00: Curtain
*Dinner provided between performances
7:00: Call
8:00: Curtain
11:30: Students released (approx)

SUN, JUNE 19

Performance (Closing Performance)
1:00: Call
2:00: Curtain
5:30: Students released (approx)

Orchestra Schedule Addams Winter

Orchestra rehearsals will occur in three locations as indicated:

Stivers School for the Arts
1313 E 5th St; Dayton OH 45402

Muse Machine
Metropolitan Arts Center; 126 N Main St; Dayton 45402 (next to the Victoria Theatre)

Victoria Theatre
138 N Main St; Dayton OH 45402 (on Main St at the corner of First and Main)

December

TUES, DEC 7

4:00-6:00
Full Orchestra @ Stivers

SAT, DEC 11

10:00-noon
Full Orchestra @ Muse Machine (third floor)

SUN, DEC 12

noon-2:00
Full Orchestra @ Muse Machine (third floor)

SAT, DEC 18

10:00
Full Orchestra arrive and set up @ Muse Machine
10:30-2:30
Sitzprobe (cast with orchestra)

SUN, DEC 19

Noon-5:00
Rehearsal (cast with orchestra) @ Muse Machine

January

TUES, JAN 4

4:30-8:30
Rehearsal (cast with orchestra) @ Muse Machine

SAT, JAN 8

Noon
Orchestra load-in at the Victoria Theatre. Selected orchestra members will be asked by the music director to load in at this time. It is very important to arrive promptly by noon. You may have time to go home or elsewhere for a few hours after loading in (return promptly by 4:00).
4:00-5:00
Orchestra sound check (all musicians present).
5:00-10:00
Full Orchestra (Act One tech rehearsal at the Victoria Theatre – orch wears all black)
All Victoria rehearsals/performances are in full black attire – photos are taken at all rehearsals.

SUN, JAN 9

5:00-10:00
Full Orchestra (Act Two tech rehearsal at the Victoria Theatre – orch wears all black)
Orchestra is welcome to join meal with cast and PAs from 4:00-5:00.

MON, JAN 10

4:30-10:00
Full Orchestra (location TBA)

TUES, JAN 11

4:30-10:00
Full Orchestra (location TBA)

WED, JAN 12

5:00-10:00
Full Orchestra (Victoria Theatre – orch wears all black)

THURS, JAN 13

5:00-10:00
Full Orchestra (Victoria Theatre – orch wears all black)

FRI, JAN 14

7:30 Call
8:00 Performance – orch wears all black

SAT, JAN 15

2:30 Call
3:00 and 8:00 Performances – orch wears all black
Meal provided between shows.

SUN, JAN 16

1:30 Call
2:00 Performance – orch wears all black
Orchestra loads out all equipment right after performance.

 

Rehearsal Schedule Addams Winter V1

Please Note

• It may be convenient to bookmark the Backstage page on your device. Tapping a month’s name on the right will auto-scroll you to that month. You may print this page if you wish.

• If updates are made to this schedule, you will be notified via voice message, the change will initially appear on the top of the Backstage page and the changes will appear in red on this schedule. Currently, notes of interest appear in red.

• Song titles appear in italic type. Required cast appears in (parenthesis).

• “AIS2” means Act One, Scene Two; “AIIS3” means Act Two, Scene Three, and so on.

• We will be “dark” – meaning no rehearsal – on several days throughout the rehearsal period, as well as breaks for Thanksgiving and late December.

• “Tutti” means the entire cast (Italian word meaning “all together”).

• When a specific character is listed, both the principal and understudy actors for that role should attend rehearsal.

• If a day simply indicates “Rehearsal” without specifying a scene or song, this indicates a complete run-through of the show (these begin in December).

• For speaking characters, be very familiar with your scene the first time it is rehearsed. The second time any scene appears on the schedule, you should be essentially off-book (memorized) for that scene.

• In this show, Encore is the production number that will occur following the curtain call and features the entire cast.

October

SUN, OCT 31

1:00-5:00
Dance and Vocal Rehearsal
(Tutti)
“Tutti” = entire cast.
Happy Halloween!

November

MON, NOV 1

4:30-6:00
AIS3, pgs 17-20, Pulled
(Wednesday, Pugsley)
6:00-8:30
AIS2, pgs 15-16, Trapped
(Gomez)

TUES, NOV 2

4:30-6:00
AIS1, pgs 6-7, incl Fester’s Manifesto
(Fester, Wednesday, Lucas, When You’re An Addams – Group A Ancestors)
Selected Ancestors specifically have When You’re An Addams – Group A on their notification letters. It is the “Group A” performers who should attend this rehearsal.
6:00-8:30
AIS3, pgs 20-25, beginning of One Normal Night
(Morticia, Gomez, Wednesday, Pugsley, Grandma, Fester, Lurch)

WED, NOV 3

4:30-7:00
AIS4, pgs 28-30, incl One Normal Night (Fester’s section)
(Fester, Ancestors)
7:00-8:30
AIS4, pgs 30-31, incl One Normal Night (final section)
(Tutti)
7:00-7:30
(Pugsley vocal session)
7:30-8:30
(Gomez & Morticia vocal session)

THURS, NOV 4

4:30-7:00
AIS8, pgs 48-49 Morticia and Alice look at photos
(Morticia, Alice)
5:30-7:00
AIS8, pgs 48-49 Morticia and Alice look at photos
(Morticia, Alice, Secrets Ancestors)
Selected Ancestors specifically have Secrets on their notification letters. It is those performers who should attend this rehearsal.
7:00-8:30
AIS9, pgs 53-56, incl Gomez’s What If
(Gomez, Lucas, Wednesday, Morticia)

FRI, NOV 5

4:30-6:30
AIS10, pgs 57-62, incl Pugsley’s What If
(Wednesday, Lucas, Pugsley, Grandma)
6:30-7:00
(Wednesday vocal session)
7:00-7:30
(Morticia vocal session)
7:30-8:00
(Gomez vocal session)
8:00-8:30
(Fester vocal session)

SAT, NOV 6

9:00-11:00
Selected Wednesday & Lucas scenes:
AIS6 pgs 43-44
AIIS1, pgs 76-78
AIIS6, pgs 92-93
AIS10, pgs 57-58
(Wednesday, Lucas, Pugsley, Gomez, Just Around The Corner Ancestors)
Selected Ancestors specifically have Just Around The Corner on their notification letters. It is those performers who should attend this rehearsal.
11:00-2:00
AIS12, pgs 63-75, incl Full Disclosure (we will not rehearse the song Waiting this day)
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Lucas, Mal, Alice)
Although the Ancestors are in Full Disclosure, they will not attend this rehearsal.

SUN, NOV 7

Remember to set any non automated clocks back this morning!

1:00-2:30
AIS3&4, pgs 24-31, One Normal Night
(Tutti)
2:30-5:00
AIS5, pgs 33-41, the Beineke family meets the Addams family
(Lurch, Lucas, Mal, Alice, Gomez, Morticia, Wednesday, Pugsley, Grandma, Fester)

MON, NOV 8

4:30-6:00
AIS12, pgs 65-75, Full Disclosure vocal rehearsal
(Tutti except Lurch)
6:00-7:30
AIS7, pgs 45-47, the Heretic’s Chair
(Gomez, Mal)

TUES, NOV 9

4:30-6:30
AIIS5, pgs 88-91, incl Happy Sad
(Gomez, Wednesday)
6:30-8:30
AIIS8, pgs 103-105, incl Not Today
(Gomez, Lurch, Fester)
This 6:30-8:30 rehearsal was previously scheduled for Nov 11 at 6pm

WED, NOV 10

4:30-6:30
AIS12, pgs 65-75, Full Disclosure staging rehearsal
(Tutti)
6:30-8:30
AIS1, pgs 1-4, incl beginning of When You’re An Addams, prior to the arrival of the Ancestors
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch)

THURS, NOV 11

4:30-6:00
AIIS10, pgs 111-118, incl Move Toward The Darkness
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Lucas, Mal, Alice)
Although the Ancestors are in Move Toward The Darkness, they will not attend this rehearsal.
6:00-8:30
AIIS9, pgs 106-110, incl Let’s Live Before We Die
(Gomez, Morticia)
This 6:00-8:30 rehearsal was previously scheduled for Nov 9 at 6:30pm

FRI, NOV 12

At this rehearsal, if it is convenient to arrive a bit early (to come directly from school, etc.), we need to take each student’s photo for the building security system and any early arrivals will help that to occur more smoothly. Thanks!

4:30-7:30
AIIS10, pgs 111-118, incl Move Toward The Darkness
(Tutti)
7:30-8:30
AIIS7, pgs 101-102, Pugsley’s bedtime story
(Morticia, Pugsley)

SAT, NOV 13

This afternoon is the Advance Ticket Sale for families of cast, orchestra and PAs. Details can be found on musemachine.com/backstage

10:00-noon
Vocal rehearsal 
(Tutti minus Lurch)

SUN, NOV 14

1:00-2:00
Vocal rehearsal
The Moon And Me, Secrets
(Selected Ancestors specifically have The Moon And Me and/or Secrets on their notification letters. It is those performers who should attend this rehearsal, as well as Fester)

2:00-2:30
Secrets, Live Before We Die
(Morticia & Gomez)

2:30-3:30
Wednesday’s Growing Up, Trapped, Not Today, Happy Sad, What If
(Gomez)

MON, NOV 15

Dark
In theatre, “dark” means no rehearsal or performance.

TUES, NOV 16

4:30-5:30
Vocal rehearsal
Just Around The Corner, But Love
(Selected Ancestors specifically have Just Around The Corner on their notification letters. It is those performers who should attend this rehearsal, as well as Morticia and Fester)

5:30-6:00
What If
(Pugsley)

6:00-6:30
The Moon And Me, Fester’s Manifesto
(Fester)

6:30-7:00
Waiting
(Alice)

7:00-7:45
Crazier Than You
(Wednesday, Lucas, Mal, Alice)

WED, NOV 17

4:30-8:30
AIIS9&10, pgs 109-111, Tango De Amor
(Gomez & Morticia)
6:30-8:30
AIIS9&10, pgs 109-111, Tango De Amor
(Gomez & Morticia, Tango De Amor – Group A Ancestors)
Selected Ancestors specifically have Tango De Amor – Group A on their notification letters. It is the “Group A” performers who should attend this rehearsal.

THURS, NOV 18

4:30-8:30
AIIS9&10, pgs 109-111, Tango De Amor
(Gomez & Morticia, Ancestors)
This evening’s rehearsal includes all Ancestors.

FRI, NOV 19

4:30-8:30
AIS8, pgs 50-52
(Morticia, Alice, Secrets Ancestors)
Selected Ancestors specifically have Secrets on their notification letters. It is those performers who should attend this rehearsal.

SAT, NOV 20

10:00-2:00
A1S1, pgs 4-6, When You’re An Addams
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, When You’re An Addams – Group A Ancestors)
If your casting letter specifically lists When You’re An Addams – Group A, please attend from 10-2.
Noon-2:00
A1S1, pgs 4-6, When You’re An Addams
(Add remaining Ancestors)
If your casting letter does not specifically indicate Group A for When You’re An Addams, please attend from noon-2.

SUN, NOV 21

Noon-5:00
A1S1, pgs 4-6, When You’re An Addams
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Ancestors)

MON, NOV 22

4:30-8:30
AIIS2, pgs 80-83, Just Around The Corner
(Morticia, Just Around The Corner Ancestors)
Selected Ancestors specifically have Just Around The Corner on their notification letters. It is those performers who should attend this rehearsal.

TUES, NOV 23

4:30-8:30
Review When You’re An Addams, Secrets, Just Around The Corner, Tango
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Alice, Ancestors)

NOV 24–28

Thanksgiving Break
Happy Thanksgiving!
Happy birthday, Joe Deer! (Nov 25)
Happy Hanukkah! (begins Nov 26)

MON, NOV 29

4:30-8:30
AIS6, pg 44, But Love dance break
(Fester, But Love Ancestors)
Selected Ancestors specifically have But Love on their notification letters. It is those performers who should attend this rehearsal.

TUES, NOV 30

4:30-7:00 (this rehearsal now ends at 7pm)
AIS6, pg 44, But Love dance break
(Fester, But Love Ancestors)
Selected Ancestors specifically have But Love on their notification letters. It is those performers who should attend this rehearsal.

December

WED, DEC 1

4:30-8:30
Act One
(Tutti)

THURS, DEC 2

4:30-8:30
Act Two
(Tutti)
Happy birthday, Jacob McGlaun!

FRI, DEC 3

4:30-7:30
Review production numbers
(Tutti)

7:30-8:30
The Moon And Me
(The Moon And Me Ancestors)

SAT, DEC 4

9:00-2:00
Rehearsal
(Tutti)

SUN, DEC 5

Noon-3:00
Rehearsal includes end of Full Disclosure and end of One Normal Night
(Tutti)

3:00-4:30
AIS2
(Gomez, Lurch, Morticia, Wednesday)

4:30-5:00
AIIS2
(Gomez, Morticia)

MON, DEC 6

4:30-8:30
AIIS6, pgs 92-100, incl Crazier Than You; also AIIS3
(Wednesday, Lucas, Fester, Mal, Alice)

TUES, DEC 7

4:30-6:00
Selected scenes and songs
(Gomez)

WED, DEC 8

4:30-8:30
Rehearsal includes Wedding Sequence from the curtain call – pg 119; Move Toward The Darkness – pgs 114-118; and vocal rehearsal
(Tutti)

THURS, DEC 9

4:30-8:30
Principal Character Rehearsal
(Gomez, Morticia, Wednesday, Pugsley, Fester, Grandma, Lurch, Lucas, Alice, Mal)

4:30-6:00
The Moon And Me
(Fester, The Moon And Me Ancestors)

FRI, DEC 10

Dark

SAT, DEC 11

10:00-2:00
Rehearsal – Act One
(Tutti)

SUN, DEC 12

Noon-5:00
Rehearsal – Act Two
(Tutti)

MON, DEC 13

4:30-8:30
Rehearsal
(Tutti)

TUES, DEC 14

4:30-8:30
Rehearsal – Act One
(Tutti)

WED, DEC 15

4:30-8:30
Rehearsal – Act Two
(Tutti)

THURS, DEC 16

4:30-8:30
Rehearsal
(Tutti)

FRI, DEC 17

Dark

SAT, DEC 18

10:00
Orchestra & PAs arrive and set-up
10:30-2:30
Sitzprobe
(Tutti cast + orchestra)
The Sitzprobe is a concert version of the musical numbers from the show combining the cast and orchestra.

SUN, DEC 19

Noon-5:00
Rehearsal with Orchestra
(Tutti)

MON, DEC 20

4:30-8:30
Rehearsal
(Tutti)

TUES, DEC 21

4:30-8:30
Rehearsal
(Tutti)

DEC 22—Jan 2

Winter Break
Merry Christmas!
Happy Kwanza!
Happy New Year!

January

MON, JAN 3

4:30-8:30
Rehearsal
(Tutti)

TUES, JAN 4

4:30-8:30
Rehearsal with orchestra
(Tutti)

WED, JAN 5

4:30-10:00
Rehearsal: primarily Act One spacing
(Tutti)
Most remaining rehearsals are held at the Victoria Theatre. On this day, come to the Muse studio first. You will always leave at the end of the night from the Muse studio (even when we rehearse at the Victoria). Do not bring backpacks or anything that isn’t absolutely necessary to remaining rehearsals. Only water may be in the theatre (no other beverages). You may leave snacks (w your name) in a specific area adjacent to the theatre. Bring items that don’t require refrigeration or heat.

THURS, JAN 6

5:00-10:00
Rehearsal: primarily Act Two spacing
(Tutti)
Report directly to the Victoria Theatre. When reporting to the Victoria, always arrive 15-20 minutes before the beginning of rehearsal (not earlier or later). If you need to arrive earlier, go to the Muse studio first.

FRI, JAN 7

4:30-5:30
Rehearsal (in the Muse Studio)
(Tutti)
5:30-8:30
Understudy Performance (in the Muse Studio)
(Tutti)
This is the tentative Understudy Performance. Two family-guests of each understudy cast member are invited to attend via RSVP on the Backstage page at musemachine.com. Non-flash photos are welcomed; No video. Entire cast must attend.

SAT, JAN 8

Noon-10:00pm
Tech Rehearsal (Act One x2) with costumes and make-up
(Tutti)
Dinner provided between rehearsals, 4:00-5:00.

SUN, JAN 9

Noon-10:00pm
Tech Rehearsal (Act Two x2) with costumes and make-up
(Tutti)
Dinner provided between rehearsals, 4:00-5:00.

MON, JAN 10

4:30-10:00
Rehearsal
(Tutti)
Location TBA

TUES, JAN 11

4:30-10:00
Rehearsal
(Tutti)
Location TBA

WED, JAN 12

5:00-10:00
Rehearsal with tech, costumes and make-up
(Tutti)

THURS, JAN 13

5:00-10:00
Rehearsal with tech, costumes and make-up
(Tutti)

FRI, JAN 14

Performance (Opening Night)
7:00: Call
8:00: Curtain
11:30: Students released (approx)

SAT, JAN 15

Performances
2:00: Call
3:00: Curtain
*Dinner provided between performances
7:00: Call
8:00: Curtain
11:30: Students released (approx)

SUN, JAN 16

Performance (Closing Performance)
1:00: Call
2:00: Curtain
5:30: Students released (approx)

Introduction

Updated March 8, 2022

Muse Machine is excited about many creative opportunities planned for the year ahead! We will integrate protocols and guidance suggested by the CDC and the ODH alongside the protocols of schools and our arts partners to provide safe experiences for students, educators, the public and our staff. You will find our safety policies, optimized for each activity and venue, below.

Muse staff currently work and meet both remotely and on site, as situations dictate. Staff may be contacted most effectively via email (details here). Due to high COVID-19 transmission rates at this time, those at the Muse office will wear masks (including fully vaccinated people). 

Muse Machine will continue to consider the latest data and guidance as we create and inspire with safety as our priority. We look forward to providing exciting arts experiences that will help students, teachers and our community to create bonds of joy, hope and healing.

In-School Performances

Muse Machine will follow all school district protocols for health and hygiene. We highly recommend that all in-school artists follow recommended best practices for preventing the spread of coronavirus and other contagious diseases. Should an artist have a fever, productive cough, cold or other flu-like symptoms, Muse asks that they immediately notify the Secondary Schools Program Scheduler to reschedule upcoming performances. The following list outlines Muse’s expectations for: artists, schools and Muse staff.

Artists will:

• Wear a mask while traveling through the school (i.e., office, hallways) to the performance space. Artists will remain masked and maintain 6 feet of social distance around school staff and students.

• Not need to mask during the performance, unless by request of the school or district.

• Maintain 15 feet of distance between themselves and the audience

• Immediately notify your co-artists, school representative and the Secondary Schools Program Scheduler, and go home as soon as possible, if you begin to feel ill during a performance.

Schools will:

• Provide a clean performance space with at least 15 feet of distance between the artist and the audience.

• Share all relevant health and safety protocols with Muse staff ahead of the performance date.

Muse Machine will:

• Do our best to communicate school health and safety protocols to Artists ahead of your scheduled performance.

• Make every effort to reschedule canceled performances for a later available date, as outlined in the Service Contract.

Any extra precautions that in-school artists might choose to take — in addition to following school district guidelines required of visitors — is within their right as independent contractors to decide.

Out-of-School Performances

If any Muse Machine student member has a fever, productive cough, cold or other flu-like symptoms, Muse asks that they do not attend any out-of-school performance and immediately notify their Muse advisor. It is strongly advised they also consult with their physician.

Dayton Live has lifted its mask mandate for those attending performances. In Montgomery County, the community level is currently low and the CDC now advises mask wearing based on personal preference, informed by personal level of risk. Patrons are welcome to wear masks at Dayton Live’s performances or venues, but it is no longer required.

Please note one exception: Touring productions can also require that their own health and safety polices be observed. Only one upcoming show that is part of Muse Machine’s offerings has a mask mandate. All audience members attending Dear Evan Hansen are required to wear masks.

Dayton Live Health & Safety Q&A

If any student begins to feel ill during a performance, the student should notify their Muse advisor immediately (if they traveled with a school group). If they attended independently, they should go home as soon as possible and notify their Muse advisor at the next opportunity. Again, if any student experiences a fever, productive cough, cold or other flu-like symptoms, it is strongly advised they consult with their physician.

Preschool and Elementary Residencies

Muse Machine will continue providing transformative arts-integration experiences to PK-6th grades while remaining vigilant about safety practices to protect you and the communities we serve.

Muse Machine will follow all school district protocols for health and hygiene. We highly recommend that all Preschool & Elementary Program resident artists follow recommended best practices for preventing the spread of coronavirus and other contagious diseases. Should a resident artist have a fever, productive cough, cold or other flu-like symptoms, Muse Machine asks that they immediately notify Michael K. Lippert to reschedule upcoming arts-integration workshops and performances. The following list outlines Muse Machine’s expectations for participating resident artists, schools and Muse Machine staff.

Resident Artists will:

• Receive the full round of vaccination against COVID-19 prior to conducting in-person arts integration workshops.

• Wear a mask while traveling through the school (i.e., office, hallways) to the arts-integration workshop space. Resident artists will remain masked and maintain social distance around school staff and students.

• Immediately notify your Muse Machine Preschool & Elementary Program School Contact Person and Michael K. Lippert and go home as soon as possible if you begin to feel ill during a residency day.

• Immediately notify Michael K. Lippert if you test positive for COVID-19.

Schools will:

• Provide a clean workshop space with at least 6 feet of distance between the resident artist and the participating students and teachers.

• Share all relevant health and safety protocols with Michael K. Lippert and the resident artist ahead of the residency dates.

• Immediately notify Michael K. Lippert and the resident artist if they have been exposed to COVID-19 by school staff, faculty or students.

Muse Machine will:

• Communicate school health and safety protocols to the resident artists ahead of your scheduled residency.

• Assist all schools and resident artists to reschedule canceled residency dates as outlined in the Muse Machine Preschool & Elementary Program Contract.

• Immediately notify school personnel if a resident artist has tested positive for COVID-19.

Any extra precautions that resident artist might choose to take — in addition to following school district guidelines required of visitors — is within their right as independent contractors to decide.

Muse Machine Musical

To create a supportive and safe musical experience, all student members of the cast, orchestra, production assistants, adult creative team and adult volunteers must be vaccinated for COVID-19 (proof of vaccination required).

Those same people will wear masks in all public areas of the Metropolitan Arts Center, the Muse offices and the rehearsal studio. Performers will be unmasked while on stage during Victoria Theatre performances and at selected times during Victoria Theatre rehearsals.

Rehearsals will occur in our studio which (along with the Muse offices and the Victoria Theatre) now have the benefit newly improved air movement and filtration (see below). 

Prior to daily student arrival, Muse will use disinfectant spray on selected, commonly trafficked surfaces in the building (such as door handles and table tops).

Hand sanitizer will be provided in convenient locations on the third and fourth floors. It may be used at any time by participants and the creative team will require all participants to utilize the hand sanitizer and at specific times during rehearsals.

To minimize risk of illness, it is important to practice good hygiene habits, including proper hand washing and not touching one’s face

If any member of the company (including student performers, musicians, production assistants, adult creative team or volunteers) has a fever, productive cough, cold or other flu-like symptoms, Muse asks that they do not attend rehearsal and immediately notify the producer or rehearsal stage manager. It is strongly advised they also consult with their physician.

If anyone begins to feel ill during a rehearsal or volunteer session, immediately notify the producer or rehearsal stage manager, and go home as soon as possible. Again, if they begin to experience a fever, productive cough, cold or other flu-like symptoms, they must consult their physician.

Muse for Educators

To support a safe and welcoming experience for all guests at teacher programs in the Metropolitan Arts Center, Muse Machine will provide layers of protection at all indoor gatherings.

Muse staff will:

• Clean and disinfect the meeting room(s) before and after each gathering.

• Wear masks at all times in the Metropolitan Arts Center.

• Provide hand sanitizer and extra face masks at the door.

• Provide individually packaged food and beverage options and a separate eating area from the workshop space.

• Create increased space through altered room layouts for social distancing.

• Work with Public Health to conduct contact tracing as appropriate. 

Muse guests (teachers, artists, students, volunteers, etc.) will:

• Wear a mask inside the Metropolitan Arts Center.

• Sign in using the visitor management system.

• Maintain social distance as much as possible.

• Assess themselves for physical symptoms of illness and go home if they feel unwell.

Programs that occur anywhere in the Metropolitan Arts Center now have the benefit of newly improved air movement and filtration (see below). 

If anyone begins to feel ill during a program or receives a positive test result for COVID-19 after attending a Muse program, they should contact the program director as soon as possible. If they begin to experience a fever, productive cough, cold or other flu-like symptoms, they are encouraged to consult their physician.

Air Exchange and Filtration

We are delighted that our friends at Dayton Live have provided outstanding upgrades to the air exchange and filtration effectiveness across facilities, including performances venues and the Metropolitan Arts Center (home of the Muse Machine offices and studio). Spaces now experience five air exchanges per hour. MERV 13 filters and HEPA filters are both used to provide superior filtration. MERV 13 filters are rated to remove particles as small as 0.30-1.0 microns and are used to provide filtration in, for example, hospital inpatient care and general surgery. HEPA filters provide an even greater degree of filtration.

Introduction

In fulfilling the strategic plan “Setting the Stage for Sustainability,” every staff person has worked to improve process documentation and back-office functions. Muse programs are complex and interrelated service areas, and the documentation processes involved provide the data, reporting and evaluation tools needed to fulfill Muse’s mission.

The documents linked below have evolved over several years to better meet the needs of Muse staff by capturing additional nuance and responding to new needs. They are categorized by department or function, as appropriate. The staff, contractors and other contributors to each document are listed as well.

Most links may be viewed online. Those tagged “Excel” are Excel spreadsheet or workbooks, which will download via the link.

 

Preschool & Elementary Program

 

From the moment the residency contract is initiated, the residency life cycle is tracked through fulfillment.

Residency Template

Created by Rosalie Catalano and Danielle Naples in 2018 and updated by Deven Warvel and Michael Lippert with contributions from Karen Johnson Mann.

 

Residency Evaluation Survey

Created in 2015-16 by Mary Campbell Zopf, with input from Michael Sikes, PhD, and updated each year by Rosalie Catalano with input from Michael Lippert.

 

Preschool & Elementary Invoice Process/Tracking (Excel)

Created in 2019 by Rosalie Catalano and Karen Johnson Mann.

 

Arts-Integration Residency Program Definitions

Created by Mary Campbell Zopf, Rosalie Catalano and Michael Lippert.

 

Secondary Program

 

In-School Performance Preview Rubric

Created by Emily Gray with Robin Brown and Mary Campbell Zopf.

 

Season Opener Overview and Requirements

Created by Emily Gray based on earlier writing by Doug Merk and Mary Campbell Zopf.

 

Flipgrid Topic Outline

Written by Emily Gray.

 

Secondary/Teachers Project Budget & Grant Tracking Worksheet (Excel)

Created by Emily Gray.

 

Secondary Programs Budget Workbook (Excel)

Updated format by Emily Gray from previous versions.

 

Performance Evaluation Survey (example: Ozmosis)

Written by Mary Campbell Zopf with contributions from Michael Sikes, PhD., and Secondary Schools Program Manager/Director.

 

Student Programs

 

Student Membership 2021-22 Workbook (Excel)

Created by Emily Gray with input from Doug Merk, Robin Brown and Susan Zupp.

 

Student Membership 2021-22 Process Documentation

Written by Emily Gray.

 

Teacher Programs

 

ATTS 2020 Master Spreadsheet (Excel)

Created by Claire Jagla in 2019 and updated by Emily Gray.

 

ATTS 2022 Criteria Spreadsheet (Excel)

Created in 2018 by Doug and Sharon Scholz with the assistance of Mary Campbell Zopf and updated each year by the Secondary Schools Program Manager/Director.

 

ATTS 2018 Process Documentation

Created by Mary Campbell Zopf, Rosalie Catalano and Betsy Brown with input from Suzy Bassani, Patti Giering, Claire Jagla, Carolyn Wheeler, Doug and Sharon Scholz and Linda Brown.

 

Muse Machine Experiential Learning Philosophy 2019

Written by Michael Sikes, PhD., and Mary Campbell Zopf.

 

Muse Machine Lesson Plan Explanation & Format 2019

Created by Carolyn Wheeler, EdD., and Mary Campbell Zopf.

 

Summer Institute Documentation of Learning Guide

Written by Michael Sikes, PhD., and Mary Campbell Zopf.

 

Summer Institute 2019 Evaluation Survey

Written by Mary Campbell Zopf with input from Michael Sikes, PhD., and Secondary Schools Program Manager/Director.

 

Summer Institute 2019 Program Evaluation Report

Written by Michael Sikes, PhD., with contributions from Mary Campbell Zopf and Emily Gray.

 

FY2022 Grant Budget Summer Institute for Educators (Excel)

Created by Mary Campbell Zopf with Emily Gray.

 

Teacher Programs Budget Workbook (Excel)

Updated by Emily Gray from earlier versions.

 

Office & Administrative

 

Contractor Control Log (Excel)

Created in 2019 by Keira Philipp-Schnurer, with input from Rosalie Catalano and updated by Rosalie Catalano, Emily Gray and Karen Johnson Mann.

 

Data Arts 2017-current Program Data Collection Tool (Excel)

Created in 2019 by Emily Gray based on previous documentation and updated in response to Data Arts streamlining in 2021.

 

Check Log (Excel)

Created and maintained by Karen Johnson Mann with contributions by Deven Warvel.

 

NeoPost Report

Tracks postage costs for all departments.

Maintained by Karen Johnson Mann.

 

CARES Act Tracking Table of Contents

Created by Deven Warvel and Karen Mann.

 

TeamGo Visitor Management Tracking Procedures

Created by Deven Warvel, with input from and maintained by Karen Johnson Mann.

 

Office Filing: Font Standards (Excel)

Supports the maintenance of corporate and personnel files.

Created by Betsy Brown, managed and updated by Karen Johnson Mann.

 

Office Filing: Development File Labels

Created by Rosalie Catalano & Deven Warvel. Updated each year and maintained by Karen Johnson Mann.

 

Development: Metrics & Analytics

 

Strategic Scorecard Template (Excel)

Tracks key program and fundraising metrics at a glance; used extensively by development/executive director and various board committees.

Overhauled by Mary Campbell Zopf and Danielle Napkes in 2018; updated by Deven Warvel with contributions from Mary Campbell Zopf and Rosalie Catalano.

 

Strategic Scorecard Process Documentation

Created by Deven Warvel in 2020.

 

Automated Monthly General Ledger Reconciliation Template (Excel)

Automatically generates to facilitate more timely and accurate reconciliation between development and finance.

Created in 2021 by Sage representatives and Deven Warvel.

 

Contributed Income Projection Template (Excel)

Feeds the budget actual and best-estimate grants/scholarships, projected carryovers, individual giving, etc. Program-specific data provided to program directors for their respective budget creation.

Created by Rosalie Catalano with contributions from Mary Campbell Zopf and Deven Warvel.

 

Salsa CRM Saved Query Criteria Example

Saved queries allow for automated reporting on the most frequent data requests.

Created by Deven Warvel. 

 

Development: Administrative

 

Annual Report Development Year-End Template (Excel)

Created by Deven Warvel in 2019.

 

Musemaker Mailing List Parameters and Process Example

Determines mailing list to avoid over-soliciting donors.

Created by Danielle Naples, updated by Deven Warvel to include saved query criteria in Salsa.

 

Development & Salsa CRM Procedures Manual

Created and continuously updated by Deven Warvel.

 

Board Orientation Materials

Created by Rosalie Catalano with contributions from Mary Campbell Zopf and Deven Warvel.

 

Strategic Planning Process and Tracking

Created by Mary Campbell Zopf with contributions from Rosalie Catalano.

 

Benefit Dinner and Social & Show Processes (Excel)

Created by Mary Campbell Zopf, Danielle Naples, Deven Warvel, Rosalie Catalano.

 

Culture Works Demographics Reporting Template (Excel)

Created by Rosalie Catalano.

 

Grants & Sponsorship Tracking Template (Excel)

Created by Danielle Naples, updated by Deven Warvel to include “At a Glance.”

Sarah Thompson No Title

Developed by Sarah Thompson
Wright Brothers Middle School (DPS)
English/Language Arts
Grade Level: 8th

Introduction

The subject of identity permeated Muse Machine’s Advanced Teacher Training Seminar in 2018. This theme provided inspiration for all the participants but was particularly evident in the lesson plan of Sarah Thompson from Wright Brothers Middle School in Dayton. She challenged her students to understand the power of photographs and the stories they tell about a person’s identity, be they true or false. Things are not always what they seem, an axiom which middle-schoolers wrestle with both personally and academically. Students seem have taken to heart the idea that they have more in common with each other than they expected because of this creative lesson.

Click here to view/download this lesson plan as a PDF

Inspiration

I took inspiration from a variety of sessions at the Advanced Teacher Training Seminar that focused on the idea of identity, particularly the themes appearing in Three Tall Women and The Iceman Cometh. I also was inspired by the session with Michelle V. Agins, Pulitzer Prize-winning photographer from the New York Times, and how she overcame obstacles and strife in her life to reach her ultimate dreams. All pieces had the idea of telling your story and what story you want to be told about your life. This will be reflected in the student-generated “river stories,” an activity adapted from Summer Institute 2016.

Overview

Summary

In this lesson, students will open with a bell ringer of a picture of a stereotyped person in society, inspired by photographer Joel Pares. They will be asked to identify an adjective to describe these images, and then their true identities will be revealed. Next, students will complete a river story and, finally, partner to share their stories with one other person, a group of four and with the whole group.

Standards

CCSS.ELA-Literacy.W.8.2.b Develop the topic with relevant, well-chosen facts, definitions, concrete details, quotations, or other information and examples.

CCSS.ELA-Literacy.W.8.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

CCSS.ELA-Literacy.W.8.3.a Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

CCSS.ELA-Literacy.W.8.3.b Use narrative techniques, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.

Objectives/Outcomes

Written response to the bell ringer images

Students will participate in a quick discussion about the images.

Students will see a model of the teacher’s river story.

Students will create their own identity stories using the river story model.

Students will practice listening strategies of each other’s story, and in turn, share their partner’s story with the whole group.

Teaching Approach

bell ringer, table discussion, whole group discussion, teacher modeling, small group work, partner storytelling, whole group sharing/presentation

Assessment

  • Informal check for bell work
  • On task points for creating river stories
  • Oral presentation points of river stories

Lesson Preparation

Teacher Needs

Joel Pares photograph collection, “Judging America”:

Which One is real? Powerful Portraits Challenge Stereotypes (good background on the “Judging America” collection)

-Daily slides

-Sample river story

-Directions for river story (adapted to suit the needs of the students)

Inspiration

River of Life

Helpful Hints

This lesson was one of a series about identity, in which students had read some short stories, shared culture and identity circles, and listened to the Ted Talk about the dangers of the single story by novelist Chimamanda Adichie. Students were also told upfront they would be sharing their stories, and it was okay to be honest and genuine, but if events were too private, to not share them or generalize the event on their rivers.

Student Needs

Prior Knowledge

Through the identity unit, a sense of community is built in the class with a variety of activities including discussions of implicit bias, culture, identity, short story readings, journal prompts, a bio poem, and identity inventories. Students are expected to understand that their story is unique, their own, and truthful, and that there is always a way to change the story.

Student Voice

This lesson lends itself to student voice by allowing the students to, in a very raw form, share their own voices in their own stories. The river story allows students to share what they want, and how their own story is told. When students are asked to share their partner’s story, they have to take on a classmate’s voice, and are only graded for the actual sharing. 

Vocabulary

identity, culture, bio, bias, implicit bias, stereotype, culture, belonging, narrative, oral storytelling, labels

Evidence/Assessment of Outcomes

Students will present evidence of learning about identity, culture, and telling your own story, as well as demonstrate listening skills, by presenting their partner’s river story to the whole group.

Students, at the end of the larger unit, will also complete a reflection about the identity unit and what they gained from it.

Enduring Understandings

Students should take away a sense of self, identity, an idea of what their story has been and what it can be, the universal theme of coming of age and belonging, which will be explored in upcoming literature selections, and a connection to their peers. Students will understand that they have more in common than they do different, and that every story is worth telling. This will also build into their first major writing assignment, the personal narrative, which will serve as one piece of several for a larger multi-genre unit culminating in the spring quarter.

Learning Plan

Prompt

Look at (selected) images by Joel Pares. Describe these three individuals. What do they look like? What do they do? What is their story? How does society perceive them?

Hooks

Show students the photography collection from Joel Pares, revealing the true identities of the subjects. Have students discuss why they wrote what they did, share out their thoughts, and answer guiding questions in the discussion such as, “Why did you label them the way you did? What do looks say about a person? What stereotypes are known about these particular people? What labels would others give you?”

Essential Questions

What is identity? Who defines a story? What is the true story? How will you tell your story?

Resources

Short story by Sherman Alexie, “What You Pawn I Will Redeem”

  • Excerpts from Esperanza Rising by Pam Muñoz Ryan, specifically the name chapter

    • Ted Talk by novelist Chimamanda Adichie, “The Dangers of the Single Story”

    Teacher and Student Performance Tasks

  • Students will respond to the bell ringer images.
  • Students will share out observations and responses, while responding to prompting questions. 
  • Students will hear a brief introduction from the teacher about the activity, why storytelling is important, and will see a model from the teacher of the river story. Teacher will share in the oral presentation style what students will be required to do.
  • Students will then be given directions to refer to with ideas for the river story.
  • Students will have time to work independently on their own stories. (30 minutes)
  • Students can finish their stories at home if they need more time.
  • The next class period, students will partner with a classmate and tell their story to their partner. Partners may take notes if they wish. (10 minutes, 5 minutes each partner)
  • Partners will then be asked to share their classmate’s story with the whole group. (2 to 3 minutes each student)

    • Final Review

    Evidence of learning will be informally measured in the presentation of the story and formally measured in the reflection that follows the activities. Students will be asked to respond to what they learned, what identity is, why your own personal story is important and answer what defines who you are. While these responses are subjective in nature, they are an integral part of building classroom community and having students build awareness of their own identity, culture, sense of belonging, and self-worth.

    Lesson Reflection

    Students will answer a series of guided reflection questions rating the identity unit as a whole and asking for feedback on the value of the river story. 

    After having taught the lesson, it was noted from student observations that they needed more examples and guidance of how they could use their 13 – 15 years of experience and turn it into more of a story. Students also reflected on how the unit made them feel that they could discuss any topic in the classroom. 

    One student, who wears a hijab, reflected that she always feels she must be extra nice and sweet because she fears others will think she is angry and a terrorist. 

    Another student who is originally from an African country, shared in her reflection that people always assume she learned English in America and wasn’t up to date on American pop culture, when in fact, she spoke English as a first language and knew quite a good deal about pop culture in the US. 

    These reflections were used to shape the theme of later units in the year, including a unit on feminism and toxic masculinity, social injustice, and storytelling.

    The Power of Photography: A Visual Analysis

    Developed by Pamela Jacobs, MA
    West Carrollton High School
    English (Upper Level or CCP)*
    Grade Level: 6th

    Introduction

    Sometimes a teacher takes inspiration from the Muse Machine’s Advanced Teacher Training Seminar to enhance a lesson she is already teaching. This is the case with a lesson plan that Pam Jacobs from West Carrollton High School adapted after her experience at ATTS 2018. Using the talk given by Michelle Agins, Pulitzer Prize-winning photographer from the New York Times, along with a TED Talk by David Griffin, the photography director for National Geographic, Pam has woven an even stronger lesson for her students on the power of photography to connect people to one another. This lesson is a wonderful example of the way that teachers enhance their instructional process using the experiences provided by Muse Machine.

    Click here to view/download this lesson plan as a PDF

    Inspiration

    Michelle Agins, New York Times photographer who gave a talk at the Advanced Teacher Training Seminar in 2018.

    Overview

    Summary

    This project includes instruction in writing and art/photography analysis, culminating in a paper and short presentation. It takes about 10 days to complete.

    Standards

    Ohio’s Learning Standards for English Language Arts

    W.11-12.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

    W.11-12.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

    W.11-12.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

    SL.11-12.4 Present information, findings, and supporting evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience, and a range of formal and informal tasks.

    SL.11-12.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

    SL.11-12.6 Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate.

    Common Core Arts Standards: Responding 

    Anchor Standard #7 Perceive and analyze artistic work.

    Anchor Standard #8 Interpret intent and meaning in artistic work.

    Anchor Standard #9 Apply criteria to evaluate artistic work.

    Objectives/Outcomes

    Given specific criteria and instruction, students will self-select a photograph, research it, write an analysis in response and present observations to the class. 

    Teaching Approach

    Co-instruction with art teacher, student-driven research, writing workshop/instructor conferences.

    Assessment

    Final paper and presentation. Formative assessments include prewriting, drafts, and presentation outline.

    Lesson Preparation

    Teacher Needs

    Ted Talk on the Power of Photography

    Pulitzer Prize for Feature Photography Archive

    National Geographic Photography Archives

    Library of Congress

    Michelle V. Agins at the New York Times

    Visual Analysis slideshow

    -Model student essay ATTACHMENT 2         

    Helpful Hints

    I coordinate with the art teacher in our building. He spends at least half of my class (while I watch his) instructing students on how to view a photograph and terms.

    Student Needs

    -Visual Analysis rubric ATTACHMENT 3

    Peer Review response form

    Prior Knowledge

    Students should be able to research online.

    Student Voice

    Students may self-select a photograph that speaks to them and their interests, causes, etc.

    Vocabulary

    I have a long list of terms already printed out for the students specific to photography, to art, to description. ATTACHMENT 5??

    Evidence/Assessment of Outcomes

    Students will be assessed via their final paper and presentation before the class and art teacher (as available), according to a prepared rubric.

    Enduring Understandings

    Students will have learned to “see” photographs, art, and the world through several lenses, both literal and interpretive.

    Learning Plan

    Prompt

    View the Ted Talk, “The Power of Photography.” View some of the photos by Michelle Agins from the New York Times, to show the power of photos and captions.

    Hooks

    Display an array of photos as students “journal” their immediate responses.

    Essential Questions

    • How can an image convey social advocacy?

    Resources

    as described under Teacher Needs and Student Needs

    Teacher and Student Performance Tasks

    Day 1: The Ted Talk (10 minutes) is lighthearted and draws the students into the world of photography and its power to evoke emotion.I show an array of photos from recent headlines and from around the world that might convey an abstract message to the viewer or promote a cause more effectively than words. Students briefly list how each makes them feel or what words come to mind. I give students an overview of the assignment and materials, handouts, etc.

    Day 2: Students venture online to seek two or three possible photos that speaks to them personally or on an emotional (or philosophical? Moral?) level. I steer them toward the several sources listed above. They are required to choose a photo that can be cited (one with the photographer’s name and credentials). They may print them. 

    Day 3: The art teacher demonstrates how to “see” a photograph. He goes over general terms, etc. with three or four examples on the Smart Board. He teaches them the literal, descriptive approach.

    Day 4: Using past papers as models, I walk them through required elements:

  • Context/backstory 
  • A detailed literal description
  • An interpretive description: What might the photo say about the human condition? In what way(s) does the photo personalize some social issue? In what way(s) does the photo create empathy or incite emotion?
  • Personal reflection
  • Presentation 

    • Days 5 and 6: Draft and confer with instructor

    Days 7 and 8: Peer review and revise

    Days 9 and 10: Presentations

    Final Review

    The evidence of student understanding is made clear in their paper and in their presentation.

    Lesson Reflection

    *This project is a modified version of a Sinclair Community College ENG 1111 assignment. 

    I have taught this for the last five years and will endeavor to include the story of Michelle Agins and her work next year. 

    On occasion, I have allowed students to analyze their own work. One had taken a mission trip to Nicaragua and another visited WWII sites with the Young Marines.

    Music and Society

    Developed by Rebecca Suhr
    Incarnation School
    Grade Level: 8th grade Band

    Introduction

    ?

    Click here to view/download this lesson plan as a PDF

    Inspiration

    “The Ever Fonky Lowdown” by Wynton Marsalis

    Overview

    Summary

    Students will learn about different ways that music has been used to reflect society and has been a catalyst for the societal changes. Students will then create their own songs with narrations or lyrics to respond to current events either locally or globally.

    Standards

    2CE Discuss how current developments in music reflect society in reference to the local community and larger world.

    Objectives/Outcomes

    Students will demonstrate how music is used to describe, express, or try to change social issues. Students will compose a short song using proper notation and will perform their work.

    Teaching Approach

    Lecture, whole class modeling, small group work and Socratic seminar reflection

    Introduction of examples of musical works that deal with societal issues. Whole class model will be used to create a short music theme of 8 measures or less. Students will practice writing notes on white boards and manuscript paper. Then the whole class will contribute to writing a narrative that will be used between each 8-measure music theme. Finally, 1 person will move to show how the song is expressed through dance.

    Assessment

    Students will be assessed by means of rubrics for both the written work and the performance of the work.

    Lesson Preparation

    Teacher Needs

    Recordings and descriptions of protest songs. Wynton Marsalis’ “The Ever Fonky Lowdown” can be found on Facebook under the Jazz at the Lincoln Center page as a live performance. This was not recorded and distributed. The libretto can be found at this link

    Libretto from “The Ever Fonky Lowdown”

    How to write music notes

    Background on Wynton Marsalis and his contributions to jazz, education and global recognition

    Other protest songs

    Billie Holiday’s Strange Fruit (1939 protest of lynching and racism)

    Additional examples include Haydn’s Symphony No. 45, the “Farewell Symphony” (an example of a peaceful protest in 1772), Let There Be Peace on Earth (1955 world peace plea)       

    Helpful Hints

    Use a couple of excerpts of listening examples that resonate with the teacher and the student. Limit group size to 2-4 people so that all students are participating, and progress can more easily be achieved.

    Student Needs

    -Manuscript (music) paper

    -Pencils

    -Instruments

    -White board and markers

    Rubric 

    Prior Knowledge

    Students should know about current issues that are either local or global.

    Student Voice

    Since the group will have to successfully collaborate, students should be able to choose the people that comprise their group. Students should be allowed to choose the topic of their composition and the different roles for each child in the group, making sure that all are involved in both the written work and the actual live performance.

    Vocabulary

    protest, collaborate, predilection (used in “The Ever Fonky Lowdown”)

    Evidence/Assessment of Outcomes

    Students will be assessed on the written work that is turned in and the performance of the work. 

    1. Written assessment. Students will write lyrics or a speech and a short song (16 -32 measures). The message of the current event will be clear with descriptions of the local or worldly issue. Students will write the song with the proper notation including a clef sign that is appropriate for his/her instrument, time signature, key signature, and notes that are clearly and neatly written. A rubric for the lyrics and music will be given to students before starting the project. 

    2. Performance assessment. Students will perform their original work in front of the class. Clarity of presentation, all students participating, and use of instruments and voice are all items in the rubric. 

    Students will have 2 weeks to complete this project. They will work in groups of 2-4 people. Bonus points are available for those who choose to add movement/dance for one-fourth of the length of the presentation. Movement must reflect the theme.

    Enduring Understandings

    Students will discover different ways to express opinions.

    Students will experience putting themselves in the forefront and taking a chance on creating and performing.

    Students will understand that factors including ability to play notes accurately, hear notes that they want to play, write note legibly, and practice to improve accuracy are all imperative for musicians and composers in order to portray the work precisely. They can take with them the understanding that diligent, hard work and practice achieve positive results.

    Learning Plan

    Prompt

    Discuss the quote by Dexter Gordon, famous tenor saxophonist, “Jazz to me is a living music. It’s a music that since its beginning has expressed the feelings, the dreams, hope, of the people.”

    What does the prompt mean to you? How does music express dreams and hope? How can you use music to express views on issues in your city, state, or the world?

    Hooks

    Play “The Ever Fonky Lowdown” by Wynton Marsalis and distribute the libretto. Especially look at the “isms” section. If the recording is unavailable, use another from the examples above. Then play Billie Holiday’s “Strange Fruit” and discuss the lynchings, the recording industry’s unwillingness to record it and other background.

    Essential Questions

    Why use music in collaborative events such as protests? What outcomes can you expect to make for yourself and for society through a collaborative arts project?

    Resources

    as described under Teacher Needs and Student Needs

    Teacher and Student Performance Tasks

    • This lesson will take several class periods to complete.
    • Teacher introduces and students react to the prompt, hooks, and essential questions. 
    • Overview the project for the class.
    • Use a whole-class model to create a very short music theme of 8 measures or less. Students will practice writing notes on white boards and manuscript paper.
    • Then the whole class will contribute to writing a narrative that will be used before the 8-measure music theme. Students practice playing the theme and practice the narrative. Finally, 1 person will move to show how the song is expressed through dance. Class decides if the movements reflect the narrative or not and changes are made, if necessary.
    • Students break up into groups of 2-4 and find a space in the classroom or hallway to work. Emphasis will be placed on being inclusive and the fact that all students in the group are to actively participate.
    • Students collaboratively decide upon the local or global issue that will be used. 
    • All group members have a say in the composition of the music, the narration or lyrics, and the movement, if used.
    • Students practice their song and make changes as desired.

    Final Review

    Copies of the songs with narrations are submitted to the teacher to be graded with a rubric. Students perform their song with narration along with optional dance in front of the other classmates. This is also graded by means of a rubric.

    Lesson Reflection

    Teacher and students will hold a Socratic seminar to discuss the lesson, what was learned, what would they like to learn more about and was the final project different from their expectation or was it what they expected before they started working on it?

    Walking the Walk

    Developed by Julie Davis
    Tecumseh High School
    English/Language Arts
    Grade Level: High School

    Introduction

    ?

    Click here to view/download this lesson plan as a PDF

    Inspiration

    Michelle Agins, photojournalist at the New York Times, spoke to Muse Machine advisors during our Advanced Teacher Training Seminar in NYC in 2018. I was most struck by how she never once complained about any part of her life, which was not an easy one. She approached life with a smile and determination and was resourceful in finding a way around obstacles. She displayed respect towards others and her word was her bond. She told us that one of the most important aspects of her photos is the caption under each picture. It needs to capture the story in very few words and in a powerful way. I was inspired to ask my students to emulate her work.

     

     

    Overview

    Summary

     Students choose an honoree to photograph and write a caption about the picture that captures their story in a brief and powerful way. These documents provide compelling evidence of the importance of respect, responsibility and resourcefulness to us individually and as a community.

    Standards

    College and Career Readiness Anchor Standard 6
    Acquire and use accurately a range of general academic and domain specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level etc.

    Most importantly I have matched it to our Tecumseh District Goal #1, listed in the Lesson Reflection below. 

    Objectives/Outcomes

    To honor positive role models in our school while learning about the power of photographs. 

    Teaching Approach

    Lecture, independent work

    Assessment

    Students were asked to take several pictures at different angles and choose the best one for display in an Honoree Installation. They were then to write a caption for the photo.  If they completed this, I assigned them 30 points. 

    Lesson Preparation

    Teacher Needs

    The traits of respect, resourcefulness, and responsibility: have become the pillars of Tecumseh High School. The “3 R’s” were put into place by our principal. They are displayed on banners in the cafeteria and painted on the walls in the hallways to help reinforce them to our students on a regular basis. The traits are meant to guide students to be successful. 

    Phone Photography 101: How to Take Good Pictures with Your Mobile Device – Students could be guided to this website for more guidance on taking good pictures:

    Writing Photo Captions – This site helps describe the need for a catchy but honest rendering of the events of the picture/story:

    Michelle Agins ’77 – Refusing to be defeated:

    Teacher Information

    Selecting an inspirational person was a must for me! Having Michelle Agins speak to us sparked my interest in this project. I kept the students excited about creating an Honoree Installation that will remain in our school for some time. It will be a beacon for the students who come after them. 

    Helpful Hints

    Have a good photographer come to your class to guide students in the process of photography. Show a few sample captions with newspaper photographs. 

    Student Needs

    • A phone with a camera

    Prior Knowledge

    Exposure to the 3 R’s in the classroom or other school space. Practice using the tips provided by the guest photographer. Some knowledge of the use of succinct language when writing short descriptors. Familiarity with the purpose of captions.

    Student Voice

    The ability to choose the subject of their photograph

    Vocabulary

    grid, editing, caption

    Evidence/Assessment of Outcomes

    Each student will have a photograph along with a caption that they will share with the class. The students will help to display the photos with captions in the display case. If complete, they will be awarded the 30 bonus points promised.

    Enduring Understandings

    Students recognize and appreciate those adults who represent the values of respect, responsibility, and resourcefulness. 

    Learning Plan

    Prompt

    Can you name any role models in your life?

    Hooks

    What if you could honor them in some way?

    Essential Questions

    What behaviors, attitudes and actions make a person a role model? 

    Resources

    School Resource Center to print photographs; a presentation by a local photographer

    Teacher and Student Performance Tasks

    • Teacher will tell students about the story of Michelle Agins’ life. Emphasize her undying resourcefulness in the face of many obstacles. The emphasis will be on the “3 R’s” and how Ms. Agins possesses those traits.
    • Secure a professional photographer to speak to the students about the best ways to capture an image that tells a story. 
    • Emphasize the requirement for a good caption to go with each picture. Students will demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression (as they write their captions).
    • Students must take photographs, select the best one and write a powerful caption for it.  
    • Students will work with the school Resource Center to have the pictures printed and readied for display. 
    • Teacher will work with the principal to display the photos in the glass cases in a prominent school location.

    Final Review

    Each of the pictures and captions speak for themselves. The expectation is that they will demonstrate the “3 R’s” of our school.

    Lesson Reflection

    “The Tecumseh board believes that the Tecumseh Public School’s Exit Learner Outcomes represent the characteristics we wish to see in all graduates. It is the Board’s goal that Tecumseh graduates are responsible adults with a joy for learning, who contribute to their community and are driven to seek personal success and happiness.”

    Did the students gain any insight into the ways that the 3 R’s of Respect, Responsibility and Resourcefulness were a part of the success of their role model? Do they understand how these traits impact their own future success and happiness?