Ruben Guthrie - Education Notes - La Boite Theatre Company

Performance notes for educators
Photography: Justine Walpole
EDUCATION
PARTNER
VOCATIONAL
TRAINING PARTNER
Page 1

Performance notes for educators
PrePared by marion Welsh
The purpose of this document is to provide educators with the information and resources for
La Boite Theatre Company’s production of Ruben Guthrie. The resources contained in this document
are designed as the starting point for educators in developing more comprehensive lessons for
this production.
table of contents
The Production Team 3
About the Director 3
Cast 4
Characters 4
Synopsis 5
Curriculum Connections 6
Interview with Director David Berthold 7
Interview with Actor Gyton Grantley 8
Interview with Actor John McNeill 9
Pre-Performance Activities/Questions 10
Post-Performance Activities/Questions
Lesson #1 17
Lesson #2 18
Lesson #3 19
Appendix 20
La Boite recieves assitance from the Queensland Governement through Arts Queensland
Cover Photography by Justine Walpole
Page 2

the Production team
Director David Berthold
Designer Renée Mulder
Lighting Designer Jason Glenwright
Sound Designer Guy Webster
with Gyton Grantley, Caroline Kennison, Kathryn Marquet, Lauren Orrell, John McNeill, Darren Sabadina and Hayden Spencer
about the director
David is one of Australia’s leading theatre directors and has directed for most of Australia’s major theatre companies. He is
the Artistic Director of La Boite Theatre Company. He was Artistic Director of Sydney’s Griffin Theatre Company (2003-2006),
Artistic Director of the Australian Theatre for Young People (1999-2003), Associate Director of Sydney Theatre Company
(1994-99) and Artistic Associate of the Queensland Theatre Company (1991-94). He was the Festival Director of World
Interplay 2007, the world’s largest festival of young playwrights.
His 20 productions for Sydney Theatre Company include the premieres of Nick Enright’s Blackrock (two seasons and tour),
Enright’s Chasing the Dragon, Louis Nowra’s The Jungle, Tony McNamara’s The John Wayne Principle (STC and Playbox
Theatre, Melbourne), Tommy Murphy’s Saturn’s Return (two seasons), David Williamson’s Third World Blues, Elaine Acworth’s
Solitary Animals, Vanessa Bates’ Darling Oscar; the Australian premieres of Brad Fraser’s Poor Super Man and Sam
Shepard’s Simpatico; and Pinter’s Betrayal, David Williamson’s After the Ball, Alan Seymour’s The One Day of the Year (and
tour), Congreve’s Love for Love, and Karin Mainwaring’s Stiffs.
For Griffin Theatre Company, his productions include the premieres of Tommy Murphy’s adaptation of Timothy Conigrave’s
memoir Holding the Man (with seasons for Sydney Opera House, Belvoir, Melbourne Theatre Company and Brisbane
Powerhouse), Louis Nowra’s Boyce Trilogy - The Woman with Dog’s Eyes, The Marvellous Boy and The Emperor of Sydney
- Tommy Murphy’s Strangers in Between (national tour), Ian Wilding’s Torrez (co-production with Black Swan, Perth), Debra
Oswald’s The Peach Season, Caleb Lewis’ Nailed and Stephen Sewell’s The Secret Death of Salvador Dali.
For ATYP, his productions include Philip Ridley’s Sparkleshark and Brokenville (Sydney and National Theatre, London),
Kinderspiel (with Theater an der Parkaue, Berlin, for the Sydney Festival at the Sydney Opera House), Stephen Sewell’s
version of Aristophanes’ Birds (for the 2000 Olympic Arts Festival at the Sydney Opera House), Nick Enright’s Spurboard (in
association with STC, and tour), Operation Marlowe (Edward II and The Massacre at Paris), Hamlet, and Matthew Ryan’s The
Dance of Jeremiah.
For QTC, his productions include Wendy Wasserstein’s The Heidi Chronicles, Katherine Thomson’s Diving for Pearls, Jumping
Stories, Hannie Rayson’s Hotel Sorrento and the premiere of Elaine Acworth’s Composing Venus.
Other productions include Arthur Miller’s All My Sons (Auckland Theatre Company), Jim Cartwright’s Road (La Boite), Tolstoy’s
The Fruits of Enlightenment and Neil LaBute’s The Shape of Things (NIDA), Blackrock (QUT), Low (Theater an der Parkaue,
Berlin).
His most recent productions are Holding the Man in London’s West End, Hamlet, Julius Caesar, and I Love You, Bro for
La Boite, and Cosi fan tutte for Opera Queensland. He won the 2010 Matilda Award for his direction of Hamlet
and I Love You, Bro.
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cast
characters
Ruben Guthrie
Played by Gyton Grantley
Zoya
Played by Lauren Orrell
Ray
Played by Hayden Spencer
Peter
Played by John McNeill
Susan
Played by Caroline Kennison
Damian
Played by Darren Sabadina
Virginia
Played by Kathryn Marquet
ruben
Ruben Guthrie is the Creative Director of Subliminal Advertising and is extremely talented at what he does. He is in his late
20s and lives with his Czech supermodel girlfriend, Zoya. However, underneath all of his brilliance lies a dependence on
alcohol. Zoya can no longer stand his alcoholic behaviour and leaves him to return home to live with her mother in Prague.
Throughout the play, Ruben tries reaching out to his boss, Ray, as well as his parents for comfort and support, but mostly
to no avail. He wishes he had a closer relationship with his father, but he soon finds out that most of his relationships revolve
around alcohol.
Zoya
Zoya is the gorgeous Czech supermodel girlfriend of Ruben. At 19/20, Zoya still has great expectations for her life and finds
that Ruben’s constant drinking and alcoholic behaviour are holding her back. She leaves Ruben and returns home to study.
After a series of desperate phonecalls from Ruben, she does return to Australia, but only briefly - finding Ruben has entered
into a new relationship with someone from AA.
Page 4

ay
Ray is Ruben’s boss at Subliminal Advertising and struggles with his own alcohol issues. He is reluctant to admit that he has
a problem, much like Ruben was at the start. He wants Ruben to start drinking again as he feels that Ruben is better at his
job when he is ‘on the sauce’.
Peter (ruben’s dad)
Ruben’s Dad is a stubborn older man who can only communicate freely with his son if there is alcohol involved. He has
recently left his wife to live with Sun Ye, a woman who he met at a local restaurant.
susan (ruben’s mum)
Ruben’s Mum is good-hearted and loves both Peter and Ruben but she desperately wants them to clean up their ways. She
desperately wants to change the way things have become, but she doesn’t know how to.
Virginia
Virginia, in her late 20s, is Ruben’s saviour. At least, that’s what Ruben thinks. Virginia attends the AA meetings and starts
offering Ruben support, comfort and advice. In no time at all, Virginia has moved in with Ruben, filling the home with scented
candles and Ruben’s head with all sorts of advice.
damian
Damian is Ruben’s gay best friend but at times it seems like all they have left are their old memories. Their relationship very
heavily revolves around alcohol, and there is some sexual tension between them at times - most likely due to Damien’s longstanding
infatuation with his friend. Damien has recently returned from work overseas and is looking to put all his troubles
behind him.
“Brendan Cowell’s new play wins the trifecta: it’s great entertainment, cutting social criticism, and quality literature.”
Time Out, Sydney
“Brendan Cowell’s Ruben Guthrie earns a spot on the top shelf of contemporary Australian comedies.”
Sydney Morning-Herald
“With a gift for punchy one-liners, Cowell also writes dialogue with a remarkable balance between comedy and compassion.”
synoPsis
Sydney Morning-Herald
Hello my name is Ruben Guthrie and I am… Here!
Ruben Guthrie is on fire. He’s 29, he’s the Creative Director of a cutting-edge advertising agency and he’s engaged to a
Czech supermodel. He pours himself a drink to celebrate, a drink to work, a drink to sleep. As far as Ruben’s concerned (his
Dad too), it’s unAustralian not to enjoy a regular tipple. One spectacular night at an infamous industry awards ceremony, he
drinks so much he thinks he can fly. Next thing he knows, he’s off to AA with the biggest hangover of his life…
Play of the Year (Time Out, Sydney)
Shortlisted for the 2008 Sydney Theatre Award for Best New Australian Work
Shortlisted for the 2009 NSW Premier’s Literary Awards
Shortlisted for 2009 AWGIE Award (Stage)
Duration | 2hrs (including interval)
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curriculum connections
dramatic languages and PersPectiVes
• Elements of drama Role, relationship, situation, tension
• Skills of performance Acting, voice, directing
• Styles and their conventions Contemporary, realism, Australian, comedy
• Dramatic Conventions non-linear narrative, music, monologue
themes & ideas
• Alcoholism
• Denial
• Family
• Relationships
• Advertising & Marketing
• Consumerism
• Addiction
• Communication
resources
• Education Notes provided
• An in-school workshop on Realism is available for students
• Free after show discussion on Tuesday & Wednesday evening and matinee performances, subject to availability
and demand.
la boite rating
• High level, frequent coarse language
• Mid level, infrequent sexual references
• Mid level, infrequent adult themes
• Drug Use
our adVice
Ruben Guthrie is suitable for Year 11 - 12 Drama and English Students, including those studying
• Scriptwriting
• Australian Theatre
• Comedy
• It will also be of interest to students studying SOSE, Marketing, Business, Design
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an interVieW With daVid berthold, director
1. What was it about Brendan Cowell’s play that you were drawn to, both as Director and
Artistic Director of La Boite?
I loved how this play dealt with a common and often serious problem in such a comic and truthful way. And what a
great central role! An acting part to die for. I worked a little on Brendan’s first play, Men, and have seen all of his plays
since. I think Ruben Guthrie is his best - great storytelling, great dialogue, lively characters, always intelligent and always
charming.
I was also aware that Brendan’s work had never been seen in Brisbane - so in that sense alone I thought it would be
interesting programming for audiences. But of course it’s more than that - I also have the feeling that the
adventurous La Boite audience will really appreciate a play with this kind of life.
2. What can audiences expect when they come to see the show?
A good night out with quality work. We’ve been blessed with a really wonderful cast for this. There are seven actors, six of
whom play characters in various relationships with Ruben - fiancé, new girlfriend, boss, father, mother, best mate. Hayden
Spencer as Ruben’s advertising boss will eat up the role, and Caroline Kennison as Ruben’s mum will be a cracker.
Kathryn Marquet is the new hippy girlfriend - very funny. There are some newbies to La Boite, too - Darren Sabadina is
from Mission Beach (and a recent NIDA grad) who below me away in this audition, Lauren Orrell is a recent QUT grad
who plays the Czech supermodel girlfriend - and Lauren used to be a model - and John McNeill will be a treat as Ruben’s
dad. He’s just moved back to Brisbane after many years, but I’ve seen him do wonderful stuff in other cities.
3. What is your favourite scene from the play and why does it speak to you?
I can’t say that I have a favourite scene. My interest changes from day to day of course, and when I get further into
rehearsals that will change again. I’m conscious of balancing the tone of the production - the play is very, very funny, yet
Ruben’s life is very much falling apart and there’s nothing funny about that. Keeping control of the tone will be tricky, and
some scenes will serve as usual signposts or touchstones.
4. In the play, Zoya refers to Australia as an ‘alcoholic country’, do you think this is an
honest assessment or not?
Yes, I think she’s being honest here. It’s her honest assessment. The proportion of people drinking at a risky/high risk level
has increased over the past three National Health Surveys, from 8.2% in 1995 to 10.8% in 2001 and 13.4% in 2004-05.
WHO statistics tell us that Australia’s annual consumption of alcoholic is high by world standards. Still, that doesn’t make
us an “alcoholic” country, whatever that is.
In Rehearsal - Gyton Grantley, Kathryn Marquet & Lauren Orrell | Photography by Al Caeiro
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an interVieW With actor gyton grantley
1. Just who is Ruben Guthrie…how would you describe him?
Ruben is one of those adults who is really just a big kid. He is fascinated by all things. Charming, handsome and witty. He
loves a laugh and most of all he loves a drink. An ‘ideas man’, Ruben is one of the country’s greatest creative directors.
He can pull an idea out nowhere and apply it to a product or brand to give it the stand out brilliance that only Ruben is
capable of.
However under this debonair exterior is a very lost and lonely boy. An only child sent to boarding school, Ruben is
isolated and terrified of being alone. He has a good heart but his good intentions have recently been clouded by the
ocean of liquor that he has been drowning in.
2. You have played a variety of roles in your career; did you have to do any specific research to play the
character of Ruben Guthrie?
Both my father and brother work in the advertising industry, so I have a lot of close contact with the industry. Also as an
actor I work with creatives on commercials regularly so I have a good knowledge of that ‘type’ of people. I have read
about the Alcoholics Anonymous meetings and spoken at length with Brendan Cowell about his ideas on Ruben.
3. What is your favourite scene from the play and why does it speak to you?
My favourite scene is the “bender scene” at the end of the play, purely because of all the chaos and the fact that there are
more than two actors on the stage! The mayhem is exciting and it feels dangerous when performing it.
Anything could happen.
4. Ruben tries to bond with a lot of characters throughout the play, sometimes successfully and sometimes not,
who do you think that Ruben connects with the most?
Himself
The character of Ruben likes to reminisce a lot about advertisements from his childhood - what is your
favourite advertising ‘jingle’ from your childhood?
Some of my favourite ads include:
Yogo
http://www.youtube.com/watch?v=YUwXDJ9goiY
Solo Man
http://www.youtube.com/watch?v=6T3RS78Tp58
7UP Fido Dido
http://www.youtube.com/watch?v=4c__yf0j1oI
In Rehearsal - Caroline Kennison, John McNeill & Gyton Grantley | Photography by Al Caeiro
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an interVieW With actor John mcneill
1. Just who us Ruben Guthrie….how would you describe him?
Ruben is a brilliant, imaginative, dynamic, high flying ad man and relentless party animal. He’s a fun guy to be with. He’s
got the world at his feet and alcohol’s always there to fuel him, to fire him up and also to fill a few gaps. You see, Ruben is
also a bit of a lost soul. He hangs on to guilt about his friend’s suicide and, despite having a gorgeous girlfriend, he can’t
seem to get love quite right. His life is bizarre, often hysterically funny and, at times a bit sad, but we sense he’s got a
good heart at core and we want him to find some true happiness as we watch him battle his demons.
2. Why do you think Peter is so reluctant to accept Ruben’s alcoholism and offer him fatherly advice?
If Ruben is an alcoholic then so too is Peter and that’s not a reality that delusional Dad is willing to accept (‘Dad, why
won’t you respect my position?’ - ‘Because you’re my son!’). He needs Ruben to continue to be ‘a normal guy who
enjoys a normal couple of drinks’ because he can continue to see himself in the same way. Like a lot of alcoholics, Peter
is heavily in denial and to offer fatherly support for Ruben’s battle with alcoholism, Peter would have to confront his own
issues with ‘the drink’. His fatherly advice is based around his own self-centered lifestyle (‘If you’re going to drink and
drive, do it at peak hour’ and marriage ‘ isn’t natural for us men, We’re built to conquer and we’re built to wander’).
Peter would like to bond with his son but he can only do this through ‘the drink’. Only at the very end do we finally get a
moment of honesty.
3. What is your favourite scene from the play and why does it speak to you?
OK, I have to cop out a little here. Brendan has crafted complex and engaging characters in hysterical and/or poignant
situations in every scene and it’s very hard to select just one. Of course, I love each of the scenes I’ve worked on as
Peter, but David and my wonderful fellow actors, lead superbly by Gyton, have made each scene memorable. There is
one scene that has the full cast involved. This is the chaotic ‘bender’ scene where all the characters come into Ruben’s
consciousness, as he starts to fall apart in a sea of alcohol and drugs, and it’s a key moment in the play. It brings together
a lot of Ruben’s deepest issues and his key relationships. Ruben has hit rock bottom, we know that. If he can survive it,
this is a pivotal moment in his journey.
4. How would you describe your character’s relationship with Ruben ?
Peter is so embedded in the patterns of alcoholism, that he can’t relate to Ruben without ‘the drink’ (Mum articulates
Peter’s alcohol obsession very effectively in 2.2). Peter is very self-centered and if Ruben will just bond with him in a
drinking session then Peter can feel validated in his own alcohol-soaked world (‘Righto then. Let’s get pissed
and catch up’).
We presume long work hours and heavy drinking meant Peter was never a very ‘hands on’ Dad and he’s very insensitive
to others, to say the least. However Peter can be emotional, he just lacks the ability to communicate his feelings without
a few drinks on board.
I think he does love Ruben in his own dysfunctional way. Despite his earlier put downs, when he says ‘I may fast forward
the ads, but I’m proud of you’, there’s some sincerity there. He’s also very insistent that Ruben have his ‘tests’ when he’s
forty and not ‘be an idiot and leave it ‘til it’s too late alright?’. When he drops his guard at the end and concedes all is not
well, we suspect he’s hoping Ruben might make a better go of things.
5. The character of Ruben likes to reminisce a lot about advertisements from his childhood - what is your
favourite ‘jingle’ from your childhood?
I was a big fan of the ‘You need Uncle Sam’ deodorant ad. My friends and I were also known to break into a few bars of
‘O, Oh, Razzamataz, Razzamataz, O, Oh’. I think that one was for hosiery. A lot of the ads in the play are very familiar e.g.
‘ My Dad picks the fruit’ Cottee’s ad and, of course, we all loved the sporting themes in the ‘How do you feel’ beer ads.
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Pre-Performance actiVities/Questions
coVert adVert
Ruben works as the Creative Director of Subliminal Advertising Agency, and in the scene below, he is reminiscing about
popular ads with his boss, Ray.
After reading the scene, please complete the following activities.
2.3
Subliminal Agency (warning: strong, infrequent sexual references)
Ray enters. Singing.
Ray My Dad picks the fruit that goes to Cottees! To make the cordial - that I like best! Sing it with me. Aussie
kids, are Wheat Bix kids, I said Aussie kids, are Wheat - Bix - kids! Or our special little favourite duet!
They count each other in. They could do the ‘happy family’ actions. Making cakes and sipping drinks like they do in the 1990
TV advertisement.
Ray So Good on your cakes and your biscuits.
Ruben So Good!
Ray So Good in your puddings and pies.
Ruben So Good!
Ray So Good on your cereal.
Ruben So Good as a drink.
Ray & Ruben So Good is the reason why…So Good is so good!
Ray So! The big guns are releasing a brand new pre-mix vodka drink for young girls, y’know the deal: pumped
full of booze and sugar so the 16 year old girls can slam down five in an hour ‘cos they ‘just can’t believe
how nice it tastes!’. And then they toddle off to the toilet but for some reason they trip over their barstool and
onto the floor of the niteclub they go! With their legs akimbo and their fresh little wet twats in the air for all to
see! What was the one that started it all?
Ruben Sub Zero.
Ray Bingo!
Ruben With grenadine.
Ray Similar vibe here, sexy thin bottle, a selection of citrus flavours, slimming yet fun - they want a ‘flashyaggressive
yet sexy Paris Hilton on a horse’ type advert - hit me!
Ruben Ray.
Ray Shall we sing? Good on ya’ Mum…
Ruben Please, no more iconic Australian jingles.
Page 10

actiVities
1. Working in pairs, list as many jingles from ads that you can remember - you can’t use any that have already
been mentioned in the script above. If you get:
1-5: You mustn’t watch a lot of television/You are immune to advertising.
5-10: Your brain is a super-sponge!
10+: Amazing! Do you have superpowers?
2. In your pair, quickly rehearse a medley of all the ads you could remember. In turns, you must perform this for
your class - and yes, you must sing and dance!
3. Ruben later goes on to say:
“I can’t make ads anymore Ray, they’re a symptom of my fear. I always wanted to be a writer, a novelist, but instead I
make ads! I hide behind this job Ray, behind the luxury of it, the façade - the delusion”.
In a different pair, you are to do Ruben’s work for him and create an ad for the new alcoholic drink that Ray described
(see above script). You should write a brief outline of the script and then rehearse for performance. The advertisement
should be created in a satirical style.
4. Ruben certainly has a gift for advertising - particularly for taking situations and manipulating them for his
advertising gain. Take this advertisement that he pitches in 1.4 for example:
“Picture the most fascinating 22-year-old girl you have ever seen. In a tight singlet.
Tears streaming down her face and onto her small cleavage.
CUE: Death Cab For Cutie - Translanticism - BAM!
Pull back, reveal:
She and her boyfriend are having this enormous fight - it’s a break-up.
So emotional - like some amazing cable drama.
He breaks down in the lounge room, scratching at his own face.
She hurls his stuff at him - the broken portrait on the floor.
So much pain.
She loves him so much.
He loves her so much.
But she throws him out of the house, after the most INTENSE goodbye kiss.
She walks back into the kitchen, so sad, sobbing and sweating into her singlet.
She opens the fridge.
Pulls out an Xtra Light Wheat Beer.
Cracks it open.
Slams it down.
And feels
Powerful
Again.
‘X Wheat Beer.
Yes, it hurts.”
In small groups, discuss the following:
• What stereotypes does Ruben reference in the advertisement?
• Does Ruben break down or challenge any of these stereotypes? If so, how?
• What symbolism has been used in the advertisement?
• Choose one symbol and discuss its meaning.
• Discuss how Ruben’s advertisement might relate in some way to his real life.
Page 11

say What?!
Match the lines of dialogue on the left with the characters from Ruben Guthrie on the right.
[Teacher’s answer sheet provided]
All we do is box each other, in this two bedroom ring
every night! Me in the quiet corner - you in the drunken one. Ruben’s Mum
I mean, ok, I’m clearly not...I mean I’m not what you
guys are. With the whole title and everything. So don’t…
look at me like - But I will admit to favouring a drink. It’s
un-Australian not to! Ruben’s Dad, Peter
You think the only way I can do this job is drunk Ray? Zoya
And don’t think you can go calling yourself a writer.
John Grisham is a writer. Damian
You say what you like about Peter and myself but you’ll
soon find out it’s the drink Ruben, it’s the drink. And no one
steps in and says no more drinking, no one steps in and says
that’s enough, no one steps in because you’re all too bloody
scared to go without. Virginia
I’m going to a meeting because I feel unhinged and
discombobulated. It’s because you make me feel beautiful
and I’m still not comfortable feeling that way. Ruben
She’s made you need her like a step, like you need all
the other steps. Zoya
Look, if you want to get all religious, think about this:
Jesus Christ himself was a wine man. Zoya
Scented candles? You can’t stand scented candles. Ruben’s Mum
You need to consume everything for yourself don’t you,
you can’t have a minute where you’re not swallowing
everything in your path that you see. Ray
I was a monster on the sauce. Ruben
But these meetings, they fill your head with so much
hogwash; you come home blaming your parents for all
sorts of things. Ruben’s Dad, Peter
Page 12

say What?! - teacher’s ansWer sheet
Match the lines of dialogue on the left with the characters from ‘Ruben Guthrie’ on the right.
All we do is box each other, in this two bedroom ring
every night! Me in the quiet corner - you in the drunken one. Zoya
I mean, ok, I’m clearly not...I mean I’m not what you
guys are. With the whole title and everything. So don’t…
look at me like - But I will admit to favouring a drink. It’s
un-Australian not to! Rubenr
You think the only way I can do this job is drunk Ray? Ruben
And don’t think you can go calling yourself a writer.
John Grisham is a writer. Peter
You say what you like about Peter and myself but you’ll
soon find out it’s the drink Ruben, it’s the drink. And no one
steps in and says no more drinking, no one steps in and says
that’s enough, no one steps in because you’re all too bloody
scared to go without. Ruben’s Mum
I’m going to a meeting because I feel unhinged and
discombobulated. It’s because you make me feel beautiful
and I’m still not comfortable feeling that way. Virginia
She’s made you need her like a step, like you need all
the other steps. Damian
Look, if you want to get all religious, think about this:
Jesus Christ himself was a wine man. Ruben’s Dad, Peter
Scented candles? You can’t stand scented candles. Zoya
You need to consume everything for yourself don’t you,
you can’t have a minute where you’re not swallowing
everything in your path that you see. Zoya
I was a monster on the sauce. Ray
But these meetings, they fill your head with so much
hogwash; you come home blaming your parents for all
sorts of things. Ruben’s Mum
Page 13

get the facts straight
What is alcoholism? - QuiZ
Have students complete this quiz to introduce them to the topic of alcoholism and gauge how much they know/don’t know.
1. Alcoholism is a disease.
a) True
b) False
2. Alcoholism is strictly genetic.
a) True
b) False
3. Alcohol addiction is defined as:
a) drinking alcohol
b) experiencing negative effects from alcohol
c) continuing to use alcohol in spite of negative consequences
d) compulsive use of alcohol, regardless of the consequences
4. Most people with alcohol dependence sooner or later seek treatment for their disease.
a) True
b) False
5. Learning to drink is a part of growing up for teenagers, with no long term consequences.
a) True
b) False
6. Tolerance for alcohol increases the more you use it, so it is not doing as much harm.
a) True
b) False
7. Alcoholism is responsible for more social ills than any other factor in our society.
a) True
b) False
8. You can recognise an alcoholic easily by the fact that they are always drunk.
a) True
b) False
9. The best way for an alcoholic to stop drinking is to cut down little by little.
a) True
b) False
10. If an alcoholic stops drinking, he/she will immediately feel better.
a) True
b) False
AC
Page 14

get the facts straight
What is alcoholism? - QuiZ ansWer Key
Answer Key
1. A 6. B
2. B 7. A
3. D 8. B
4. B 9. B
5. B 10. B
Sourced from http://www.vea.com.au
get the facts straight
Alcoholics Anonymous is referenced many times throughout Ruben Guthrie. In order to give students some more background
information, have them access the Alcoholics Anonymous (Australia) website and complete the following tasks. If your class
doesn’t have access to computers, simply print off hard copies of the relevant pages and distribute.
1. What is AA? Read the following and familiarise yourself with what AA is and what they do.
http://www.aa.org.au/new-to-aa/what-is-aa.php
2. What are the 12 Steps? Read the following and familiarise yourself with what the 12 Steps are.
http://www.aa.org.au/members/twelve-steps.php
3. Who? Go to the ‘Personal Stories’ page and choose one of the stories to either read or listen to.
http://www.aa.org.au/new-to-aa/personal-stories.php
These tasks can be done individually, in pairs or in small groups. You may also wish to discuss the information
with your class afterwards - in terms of thoughts, feelings and emotions.
In Rehearsal - Gyton Grantley, Lauren Orrell & Darren Sabadina | Photography by Al Caeiro
Page 15

toy soldiers
The song Toy Soldiers by Martika is referenced a few times by Ruben in the play. The song contains powerful
imagery which could be seen to act as metaphors for some of Ruben’s emotions - i.e. does he see himself as
a ‘toy soldier’? After playing the song for the students, discuss the lyrics and have them highlight any powerful
imagery. Discuss as a class.
Toy Soldiers is a song by Martika appearing on her eponymous debut album in 1989. The single was a number-one
hit in the United States. It was sampled by Eminem in his 2004 single, Like Toy Soldiers.
Video: http://www.youtube.com/watch?v=LvdLovAaYzM
Step by step
Heart to heart
Left, right, left
We all fall down
Like toy soldiers
It wasn’t my intention to mislead you
It never should have been this way
What can I say
It’s true, I did extend the invitation
I never knew how long you’d stay
When you hear temptation call
It’s your heart that takes, takes the fall
Won’t you come out and play with me
Step by step
Heart to heart
Left, right, left
We all fall down
Like toy soldiers
Bit by bit
Torn apart
We never win
But the battle wages on
For toy soldiers
It’s getting hard to wake up in the morning
My head is spinning constantly
How can it be?
How could I be so blind to this addiction?
If I don’t stop, the next one’s gonna be me
Only emptiness remains
It replaces all, all the pain
Won’t you come out and play with me
Step by step
Heart to heart
Left, right, left
We all fall down
Like toy soldiers
Bit by bit
Torn apart
We never win
But the battle wages on
For toy soldiers
We never win
Only emptiness remains
It replaces all, all the pain
Won’t you come out and play with me
Step by step
Heart to heart
Left, right, left
We all fall down
Like toy soldiers
Bit by bit
Torn apart
We never win
But the battle wages on
For toy soldiers
Step by step
Heart to heart
Left, right, left
We all fall down
Like toy soldiers
Bit by bit
Torn apart
We never win
But the battle wages on
For toy soldiers
Page 16

lesson #1
‘My name is Ruben Guthrie and I am…here!’
[This lesson is best done pre-performance]
1. Warm-up Game: Objectify
This is a simple warm-up game that links to the themes of persuasion and advertising throughout the play. It also links into
the idea that sometimes things aren’t always what they appear to be. Students will also have fun trying to out-do each other
with their explanations.
Students stand in a circle, facing inwards. An object is handed to them (any object - a mug, a ball, a wig etc) and they must
create a new use for the object, persuading everyone else in the circle that their explanation is the only one. After each person
finishes, they pass the object to the next person, who must begin with ‘That is absolutely not what this is!’ and continue with
their own explanation. Continue around the circle until everyone has had a turn.
2. Animals
Read students the synopsis of the play, followed by information on the themes and characters (from the Education Pack).
Display the various animal images around the classroom (see Appendix 1) and ask students to walk around and study
each image. When they have finished, have them attach an animal to a character. For example: students may associate the
butterfly with Zoya because she is delicate, yet a beautiful supermodel. After students have finished, discuss with the class.
NB. It would also be interesting to do this activity after students view the performance, to see
if their choices have changed.
3. Denial
Denial is a prominent theme within the play, as many characters are in denial about certain aspects of their lives. For example:
Ruben is in denial that he is an alcoholic, Damian is in denial that he didn’t ‘make it’ overseas.
Have students form pairs and allocate one of the following scenarios - there will always be one ‘accuser’ and one person who
is in denial. Students choose their roles and develop a short scene that will be performed in front of the class.
• Parent confronts teenage child about stealing money from their purse
• Girlfriend confronts boyfriend about reading the messages on her phone
• Friend confronts friend about the spreading of a rumour
• Sister confronts younger sister about ‘borrowing’ her favourite shoes
• Teacher confronts student about cheating on their exam
After the students have performed once - have them perform the scene again, but conclude the
scene with a different outcome.
Page 17

lesson #2
‘My name is Ruben Guthrie and I am in Advertising!’
[This lesson is best done pre-performance]
1. Warm-up Game: Trust Journey
Trust is another prominent theme within the play, as Ruben not only has to learn to trust certain people in his life, but he also
has to learn to trust himself. In this simple warm-up, students are paired and one becomes ‘A’, while the other becomes ‘B’.
‘A’ is blindfolded first and ‘B’ must lead them around the classroom space, ensuring that ‘A’ does not walk into anything. The
students can talk to each other, but ‘A’ must remain blindfolded, trusting that ‘B’ will look out for them and lead them safely
around the room. After 1-2 minutes, have the students stop and switch roles. After students have had a turn at being both ‘A’
and ‘B’ - have a quick class discussion on how it felt to play each role.
2. Conscience Alley
Individually, have students read the script extract between Ruben and Zoya (see Appendix 2). Explain to students that they
will be participating in an activity called conscience alley, an activity used to explore the emotions of a character. Explain to
the students that they will be acting in role as either Ruben or Zoya, in the moments directly after the scene they just read has
ended. The class forms two lines facing each other, while one person takes on the role of either Ruben or Zoya. The person
walks slowly between the lines as each member of the group calls out their advice and/or feelings. When they reach the end
of the alley, they must turn and make a public response.
Perform the Conscience Alley again until a few students have taken on the role of both Ruben and Zoya.
Discuss - How did it feel? What might have changed?
3. Compare and Contrast
The character of Ruben Guthrie bears some similarities to the character of Don Draper in the show Mad Men. For example:
Don has a gorgeous wife, Ruben has a gorgeous girlfriend. Both men take these women for granted - Don cheating on his
wife with a ‘beatnik’ and Ruben getting together with a ‘hippie’ after his girlfriend leaves him. What other similarities do the
two characters share?
If available, show students an episode from Season 1 of Mad Men and have them look at the character of Don Draper.
Compare and contrast the character of Don Draper with Ruben Guthrie. There are also many clips available on Youtube, as
well as from http://www.amctv.com/shows/mad-men
Page 18

lesson #3
‘My name is Ruben Guthrie and…how exciting is this?’
[This lesson must be done post-performance]
1. Warm-Up
• Explain to students that they will be participating in this warm-up game using only non-verbal communication. Ie. No
writing, no mouthing of words etc.
• Ask students to line up across the room in ascending order of their birthdays (just months).
• Emphasise again how important it is to only use non-verbal communication.
• After students have completed this, debrief with them and ask how it felt to communicate in a different way? Did they
have difficulties being understood/heard? Connect back to the theme of communication in the play.
Break students into groups and have each group rotate through each of the ‘stations’. You will need to
organise these prior to the lesson - hanging paper on the walls, a box for the letters etc.
2. Station One - Love, Loss And Regret
Love, loss and regret are three issues that involve all of the characters of the play at some stage. Take on the role of one
of the characters and think of something they either loved or lost, or something that caused them to feel regret. As the
character, write a letter and add it to the box. (For example: Ruben’s Mum might write a letter to Ruben expressing her
regret that she didn’t do anything sooner about his father’s drinking.) Repeat this process until you have written letters
from two characters. Do not share your answers!
3. Station Two - Denial
Denial is another integral theme throughout the play, as all the characters are in denial about some aspect of their lives.
Under each character’s name, write something that you think they have been/are in denial about (see Appendix 3). For
example: Zoya may have been in denial that her relationship with Ruben was disintegrating. If someone else has already
chosen your answer, simply place a tick beside it. Are any of the characters in denial about the same thing?
4. Station Six - Role On The Wall
Inside the outline of each character (on the paper on the wall), write as many descriptive words and phrases as you can
to describe what the character was like. On the outside of the outline, consider the external qualities of the character (See
Appendix 4).
After each group has rotated around all of the stations, bring the students together to discuss their thoughts and
answers. You may decide to choose a couple of the letters to read out, as well as summarising the answers written on
the ‘denial’ and ‘role’ sheets.
5. Moments Of Tension
There are many moments of tension within Ruben Guthrie, which Ruben is often at the centre of. In a group discussion,
ask students to think of examples of tension from the performance - mainly tension of task and tension of relationship.
After the discussion, have students re-enact some of these moments of tension - this will enable them to make
greater sense of the tension as they will be feeling it themselves as they re-enact the moment.
Page 19

aPPendiX 1
animal Kingdom
Page 20

aPPendiX 2
scriPt
1.2.
A kitchen.
Ruben pops the cork from a champagne bottle. Pours two glasses.
Ruben Champagne Zoya?! Zoy’?! Champagne, I got Krug here - your favourite fizz!
Zoya enters with a wheelie-suitcase. She gathers bags and things throughout the scene, leaving and re-entering constantly.
Zoya I have to go now.
Ruben Right now?
Zoya Yep.
Ruben Ok. How long is the shoot for?
Zoya Um. The shoot is for three days.
Ruben Cool, you’ll be home in three days then!
Zoya The shoot is in Munich Ruben, I told you but you were drunk so again you ask.
Ruben Munich Munich Munich yes!
Zoya I am going to the shoot then I am going home. I am going now. To go home.
Ruben Home? I’m confused - you are home.
Zoya Home no to Prague. Home to my mother’s home. My real home.
Ruben To visit - on your way through?
Zoya To stay. To stay.
Ruben You’re fucking…you’re going to…Holy shit…back up the truck - you’re what!?
Zoya Going home to live with my mother yes -
Ruben Going home to live with your mother yes and do what?
Zoya Yes. I intend to study and
Ruben Study?? HA!
Zoya Just what I expect, this arrogant this…
Ruben You have no qualifications Zoya! I mean, HA! There certainly ain’t a huge swimsuit scene
happening in downtown Prague is there?!
Zoya No Ruben there isn’t. You got me with that one.
Ruben Zoya, oh come onnnnnn!
Zoya Goodbye red face.
Ruben Who’s a red face? I got a tan face - I tan.
Zoya Not so HQ magazine as when I met you. Beer belly.
Ruben You’re fucking with me. HA! Is this - ha! Is this all because of ‘the pool incident’?
Zoya No. I like what the pool incident has done!
Page 21

Ruben I don’t see why you’re making such a rash decision to leave and -
She turns on him now.
Zoya All we do is box each other, in this two bedroom ring - every night! Me in the quiet corner - you in the
drunken one.
Ruben I’m in Meetings now Zoya? Meetings!
Zoya ONE meeting. You go to ONE meeting. Which your mother and I dragged you to! And in that one meeting
you went to humiliating us in front of everyone in the church hall room and now you are drinking this
Champagne and -
Ruben holds up his glass.
Ruben I’m celebrating my first meeting!
Car horn beeps.
Zoya Goodbye.
In Rehearsal - Gyton Grantley & Lauren Orrell | Photography by Al Caeiro
Page 22

aPPendiX 3
denial
RUBEN ZOYA
Eg. She is in
denial that her
relationship
with Ruben is
disintegrating
RUBEN’S
DAD
RUBEN’S
MUM
VIRGINIA DAMIAN RAY
Page 23

aPPendiX 4
role on the Wall
Page 24

STUDENT NAME:
TEACHER NAME:
EXAMPLE STATE HIGH SCHOOL
PERFORMING ARTS
12 Drama
ASSESSMENT CONDITIONS:
SEMESTER
YEAR
ITEM
NUMBER
TYPE
FORM CLASS:
You must adhere to the school assessment policy.
This cover sheet must be attached to your assignment.
Each stage of the task must be submitted to your teacher for monitoring before continuing the task.
Time Allowed:
Assignment
Issued:
Draft Checked:
Due Date:
Length:
Technique/Genre:
TASK:
Class and home time
800-1000 words
FORMING
Summative
You are to write an additional scene for Ruben Guthrie, written by Australian, Brendan Cowell. Your scene should
be an extension of an already existing scene (see below) and stay true to the play and style.
Additional scene may take place after:
Ruben first meets and talks with Virginia at AA
Ruben visits Zoya in Prague and she is heading out to a documentary screening
Ruben kicks Damian out of the house
Ruben firsts visits his Dad and tries to tell him about his alcoholism
You will also need to include the following:
A short rationale with your script, outlining your creative choices
A list of characters
The script should be 800-1000 words long and should be set out in conventional script form.
RESULTS:
OVERALL RESULT
Student Statement of Authenticity:
I certify that this assignment is all my own work and I have acknowledged all material and sources used in the preparation of
this material. I also acknowledge that I have read the school Assessment Policy and understand the implications of the policy. I
understand that plagiarism is a serious matter and that I may be penalised if this declaration is false.
Student Signature: ______________________________ Date: ___________________
NB. Teacher/HOD reserves the right to interview the student where ownership of work comes into question.

EXAMPLE STATE HIGH SCHOOL – 12 DRAMA – FORMING TASK
Name…………………………………………………….Teacher…………………………………
CRITERIA A B
Knowledge and
understanding of
dramatic languages and
perspectives
Human context
Language
Tension
Realism
Explore and interpret
ideas to create and
shape dramatic action
and meaning.
Management and
application of dramatic
languages,
experimenting and
making judgements
Human context
Language
Mood/symbol
Extensive knowledge and
insightful understanding of the
dramatic languages:
human context
language
tension
Informed by the dramatic
perspective of
Realism
Narrative shape
Innovative and discerning
exploration of ideas, through
research, adhering to script
writing conventions to create,
shape and interpret dramatic
meaning.
Competent management and
proficient structuring of the
following dramatic languages:
human context
language
tension
creating an engaging and
challenging interpretation and
judgement about dramatic
action and meaning.
OVERALL RESULT: _____________
COMMENTS:
Thorough knowledge and
significant understanding of the
dramatic languages:
human context
language
tension
Informed by the dramatic
perspective of
Realism
Narrative shape
Meaningful exploration of
ideas, through research,
adhering to script writing
conventions
to create, shape and interpret
dramatic meaning.
Skilful management and
proficient structuring of the
following dramatic languages
human context
language
tension
creating an engaging
interpretation and judgement
about dramatic action and
meaning.
Evidence of knowledge and
understanding of the dramatic
languages:
human context
language
tension
Informed by the dramatic
perspectives of
Realism
Narrative shape
Exploration of ideas, through
research, adhering to script
writing conventions to create,
shape and interpret dramatic
meaning.
Management and application of
the following dramatic
languages:
human context
language
tension
creating an interpretation and
judgement about dramatic
action and meaning.
Evidence of some knowledge
and understanding of the
dramatic languages:
human context
language
tension
Informed by the dramatic
perspectives of
Realism
Narrative shape
Replication of ideas, through
research, adhering to script
writing conventions to create,
shape and interpret dramatic
meaning.
D E Rating
Uses some
dramatic languages:
human context
language
tension
creating a simple interpretation
about dramatic action and
meaning.
Evidence of knowledge of a
few of the dramatic
languages.
Shaping of simple dramatic
action.

ASSIGNMENT EXTENSION – TEACHER USE ONLY
If illness, family circumstances or other difficulties will prevent you from presenting your assessment on the due date, you must explain this and submit
appropriate certification if seeking an extension. Extensions must be authorised by the Head of Department at least 24 hours before the due date.
………………………………………………………………………………………………………………………………………
An extension has been granted until __________________. Head of Department ____________________ Date ___________
THE ASSESSMENT POLICY AS PER EMOS MUST BE FOLLOWED

STUDENT NAME:
TEACHER NAME:
ASSESSMENT CONDITIONS:
You must adhere to the school assessment policy.
This cover sheet must be attached to your assignment.
Each stage of the task must be submitted to your teacher for monitoring before continuing the task.
Time Allowed:
Assignment
Issued:
Draft Checked:
Due Date:
Length:
Dimension:
TASK:
Class time, work independently at home
1000-1200 words
RESPONDING
“Bit by bit
Torn apart
We never win
But the battle wages on
For toy soldiers”
[Lyrics from “Toy Soldiers” by Martika]
After viewing La Boite’s production of Brendan Cowell’s Ruben Guthrie, you are to write an analytical
essay.
How successful was the Director in portraying Ruben as a „toy soldier‟ who still „battled on‟ in his
direction of Ruben Guthrie? In your analysis, you are to consider the manipulation of human context,
and tension as well as any dramatic styles and conventions used.
RESULTS:
OVERALL
RESULT
EXAMPLE STATE HIGH SCHOOL
PERFORMING ARTS
Year 12 Drama
SEMESTER
Student Statement of Authenticity:
I certify that this assignment is all my own work and I have acknowledged all material and sources used in the preparation of
this material. I also acknowledge that I have read the school Assessment Policy and understand the implications of the policy. I
understand that plagiarism is a serious matter and that I may be penalised if this declaration is false.
YEAR
ITEM
NUMBER
TYPE Summative
FORM CLASS:
Student Signature: ______________________________ Date: ___________________
NB. Teacher/HOD reserves the right to interview the student where ownership of work comes into question.
Page 1

EXAMPLE STATE HIGH SCHOOL – 12 DRAMA – RESPONDING TASK
Name…………………………………………………….Teacher…………………………………
CRITERIA A B C D E DRAFT RATING
Knowledge and
understanding of
dramatic languages
and dramatic
perspectives:
Human context
Tension
Realism
Analysis, evaluation,
synthesis and
reflection.
Use of drama
terminology,
referencing and
language.
Insightful communication of an
informed and justified position
from the performance of “Ruben
Guthrie” about dramatic
meaning and action, coherently
applying extensive knowledge
and understanding of the
dramatic languages:
Role/Relationship
Tension
Skills of Performance
and dramatic perspective of
Realism.
Critical analysis, evaluation,
synthesis and reflection on
dramatic action by interpreting
dramatic meaning of the
performance of “Ruben Guthrie”.
Proficient use of appropriate
drama terminology, referencing
and language conventions:
spelling
punctuation
paragraphing
structure
fluency
OVERALL RESULT: _____________
COMMENTS:
Communication of a justified
position from the performance of
“Ruben Guthrie” about dramatic
meaning and action, coherently
applying knowledge and
understanding of the dramatic
languages
Role/Relationship
Tension
Skills of Performance
and dramatic perspectives of
Realism.
Critical analysis, evaluation and
reflection on dramatic action by
interpreting dramatic meaning of
the performance of “Ruben
Guthrie”.
Credible use of relevant drama
terminology, referencing and
language conventions:
spelling
punctuation
paragraphing
structure
fluency
Communication of a
viewpoint from the
performance of “Ruben
Guthrie” about dramatic
meaning and action, applying
knowledge and
understanding of the
dramatic languages
Role/Relationship
Tension
Skills of performance
and dramatic perspectives of
Realism.
Analysis and evaluation of
dramatic action by
interpreting dramatic
meaning of the performance
of “Ruben Guthrie”.
Use of drama terminology,
referencing and language
conventions:
spelling
punctuation
paragraphing
structure
fluency
Conveys an opinion
from the performance of
“Ruben Guthrie” based
on some knowledge of
the dramatic languages
Role/Relationship
Tension
Skills of Performance
and dramatic
perspectives of Realism.
Description of dramatic
meaning and action of
the performance of
“Ruben Guthriet”.
Use of some drama
terminology and
language conventions
spelling
punctuation
paragraphing
structure
fluency
Conveys an opinion
from the performance
of “Ruben Guthrie”.
Some description of
dramatic action of the
performance of
“Ruben Guthrie”.
Sporadic use of some
drama terminology.
ASSIGNMENT EXTENSION – TEACHER USE ONLY
If illness, family circumstances or other difficulties will prevent you from presenting your assessment on the due date, you must explain this and submit appropriate certification if
seeking an extension. Extensions must be authorised by the Head of Department at least 24 hours before the due date.
………………………………………………………………………………………………………………………………………
An extension has been granted until __________________. Head of Department ____________________ Date ___________
Page 2