THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE

THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE
LA CAGE AUX FOLLES • APRIL 24 – MAY 6, 2012 •
THE HOBBY CENTER
RATED
PG-13
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THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE
TEXAS ESSENTIAL KNOWLEDGE AND SKILLS
English Language Arts and Reading
Grade 8: 110.20 (14, 15, 16, 17, 18, 22, 23, 24, 25)
English I: 110.31 (13, 14, 15, 16, 20, 21, 22, 23)
English II: 110.32 (13, 14, 15, 16, 20, 21, 22, 23)
English III: 110.33 (13, 14, 15, 16, 20, 21, 22, 23)
English IV: 110.34 (13, 14, 15, 16, 20, 21, 22, 23)
Social Studies
United States History since Reconstruction: 113.41 (10, 25, 26, 29)
Music
Grade 8: 117.39 (6)
Level I: 117.60 (6)
Level II: 117.61 (6)
Level III: 117.62 (6)
Level IV: 117.63 (6)
Theatre
Grade 8: 117.40 (5)
Level I: 117.64 (4, 5)
Level II: 117.65 (4, 5)
Level III: 117.66 (4, 5)
Level IV: 117.67 (4,5)
Please visit http://ritter.tea.state.tx.us/rules/tac/ for more information.
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Photo courtesy of Joan Marcus 2010.
THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE
A Brief Summary
Georges and his lover, Albin, who stars as Zaza at their drag
nightclub, La Cage aux Folles, have lived happily together for many
years. Problems arise when Georges’ son, Jean-Michel, announces
he is engaged to Anne Dindon who is the daughter of a well-known
anti-gay politician. Anne’s parents want to meet Jean-Michel’s mother
and father. Jean-Michel wants to keep Albin away from the Dindons.
Albin is hurt and insists on making an appearance in the comical
meeting of in-laws. In the end, the Dindons are forced to allow Anne
to marry Jean-Michel in order to keep their reputation. For a more
detailed synopsis, see pages 6 and 7 of this study guide.
PARENTAL GUIDELINES
La Cage Aux Folles contains some sexual references and suggestive costumes. Some material may be inappropriate for
children under 13. TUTS gives the show a movie rating of PG-13.
Adult Language
The word bitch is sung in Mascara.
Violence
Francis wears a neck brace in Act I and a sling in Act II and claims it’s because he’s dating Hanna.
Drugs/Alcohol
Georges and Albin drink brandy at the café. Georges, Albin, Jean-Michael and the Dindons drink wine and champagne
at their apartment and Jacquline’s resturant.
Sexual References
La Cage is a drag night club. Les Cagelles and Zaza are male drag performers who often wear revealing and skimpy
outfits. They perform a Cabaret-style show and their numbers, We Are What We Are, Mascara, La Cage Aux Folles
and the Finale, contain sexual innuendos, sexual references and suggestive dancing. George and Albin are homosexual
partners. Jean-Michael and Anne kiss while walking along the beach. Jean-Michael’s mother is described as a whore. In
I Am What I Am, Albin sings about how he feels as a drag performer. Georges’ dinner plates have naked men on them.
The Dindons dress up in the Les Cagellas costumes to escape the press at the end of the musical.
RATED
PG-13
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THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE
TABLE OF CONTENTS
FRONT ROW: A Little More Mascara
STORY BEHIND THE STORY
MOVIE VS MUSICAL
CHARACTER DESCRIPTIONS
CURTAIN CALL: Learning Activities
WHO’S WHO: GEORGE HAMILTON
LOOKING BACK: 1970S FAMILY VALUES
HISTORY: DRAG
LEARNING ACTIVITIES
......... 5
......... 5
......... 6
......... 9
......... 10
......... 11
......... 12
13 .........
14 .........
15 .........
16 .........
7/8 .........
TUTS STUDY GUIDE
TUTS creates online study guides for use by educators and parents in an effort to enhance
and build upon students’ theatrical experiences. These study guides contain background
information, historical facts, discussion questions, project ideas and learning activities
to encourage students to engage in analysis, research and personal reflection that will
hopefully create life-long appreciation and enjoyment of musical theatre.
CENTER STAGE: I Am What I Am
DETAILED SYNOPSIS
BACKSTAGE: About Musical Theatre
A BRIEF HISTORY
RECIPE FOR CREATING A MUSICAL
THEATRE ETIQUETTE
ABOUT TUTS
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FRONT ROW: A Little More Mascara
Story Behind the Story
La Cage Aux Folles is based on Jean Poiret’s 1973 French play of the
same name. The musical was also a loose adaptation of the 1978 film La
Cage Aux Folles. Film producer Allen Carr wanted to make his Broadway
debut with a La Cage musical based on the film. He could, however, only
get the rights to the original play, so that is the version he used. He hired a
top notch creative team, but when executive producers Fritz Holt and Barry
Brown came on board, they fired Carr’s original creative team in favor
of recruiting Gypsy director Arthur Laurents, book writer Harvey Fierstein,
and Hello, Dolly! and Mame composer and lyricist Jerry Herman. Fierstein
was a gay rights activist, while Laurents was not a fan of gay-themed
projects, but with Herman as the moderator, the three were able to work
together.
The team was concerned, however, at the lack of affection between Albin
and Georges, since it is a love story. Their compromise came in the form
of a kiss on both cheeks shared by the characters; a French custom that
is more acceptable in the public eye. Despite the fact that La Cage was
opened in the middle of the AIDS epidemic, when much of the public
was homophobic, the show did better than its creative team could have
imagined.
La Cage opened on Broadway on August 21, 1983 and ran for four years,
racking up six Tony Awards including Best Musical, and three Drama Desk
Awards. La Cage has been revived numerous times internationally. The most
recent revival, on Broadway in 2010, featured TUTS’ Humphreys School of
Musical Theatre alumnus Logan Keslar. TUTS has produced La Cage once
before in 1992.
Photo courtesy of neoseeker.com
Photo courtesy of moviereview.com
Movie vs Musical
Arthur Laurents
The 1978 movie version of La Cage Aux Folles is a French-Italian
adaptation of Poiret’s play. This foreign film had to be dubbed into English
by the original cast into English and shares the same basic plot line as the
musical. La Cage won the Golden Globe for best foreign film and was the
number one foreign film to be released in the U.S. for many years. The film
does not feature any of the same music as the musical since Carr could not
get the rights to use it.
Two sequels were made to the film: La Cage Aux Folles II in 1980 and La
Cage Aux Folles 3 - Elle’ se Marient in 1985, neither of which did very
well in the U.S. In 1996, Robin Williams and Nathan Lane starred in an
American remake of the film, The Birdcage. The Birdcage kept the same
basic plot line, but altered a number of details and moved the story to
Miami Beach. The movie also featured several Stephen Sondheim songs,
but none of the songs from the musical version of La Cage Aux Folles.
Photo courtesy of broadwayworld.com
Photo courtesy of guardian.co.ukPhoto courtesy of topnews.in
Harvey Fierstein
Jerry Herman
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Photo courtesy of Joan Marcus 2010.
FRONT ROW: A Little More Mascara
Character Descriptions Characters
Anne Dindon
Jean-Michel’s fiancée who
loves him despite her parents’
disapproval.
Albin (Zaza)
Georges long-time partner and
Jean-Michel’s mother figure. He is
a well-known star who performs
at La Cage as Zaza. He pretends
to be Jean-Michel’s mother when
Sybil, Jean-Michel’s birth mother,
cannot come to the dinner.
Photo courtesy of playbill.com
Jacob
Georges and Albin’s live-in butler
who has dreams of starring in
La Cage. He accidentally burns
Jean-Michel’s important dinner.
Jean-Michel
Mrs. Dindon
Anne’s mother and Mr. Dindon’s
wife. She does not want Anne to
marry Jean-Michael because of
his family and the bad publicity
that would come with the union.
Son of Georges and his birth
mother Sybil, he was raised by
Georges and Albin. He wants to
marry Anne Dindon, but he needs
her parents to approve of his
family before they can wed.
Photo courtesy of Joan Marcus 2010.
Photo courtesy of Joan Marcus 2010.
Mr. Dindon
Anne’s father, anti-gay activist and the
head of the “Tradition, Family and Morality
Party.” He does not want Anne to marry
Jean-Michael because it would tarnish his
reputation.
Georges
Jean-Michel’s father and Albin’s
long-time partner. He owns La
Cage and often plays the role
of the mediator, trying to keep
peace and keep everyone happy.
Jacqueline
Albin’s friend and restaurant
owner. She helps blackmail the
Dindons.
Photo courtesy of Joan Marcus 2010.
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Photo courtesy of Joan Marcus 2010.
ACT ONE
The master of ceremonies, Georges, welcomes the
audience to his St. Tropez drag nightclub, La Cage Aux
Folles. The Cagelles, his chorus line of drag performers,
introduce themselves to the audience (We Are What
We Are). Georges and his partner, Albin, have lived
together for years in an apartment above La Cage with
their butler Jacob. Albin is a drag queen and the star
performer of La Cage aux Folles.
Albin prepares to perform while dramatically arguing
that Georges is going to leave him after twenty years
together (Mascara). Georges’ son, Jean-Michel, the
product of an experimental affair with a woman named
Sybil, comes home with the news that he is engaged
to Anne Dindon. Georges does not approve of the
engagement right away, but Jean-Michel professes to his
father that he is in love with Anne (With Anne on My
Arm).
Anne’s father, however, is the head of an organization,
the “Tradition, Family and Morality Party,” whose primary
goal is closing the drag clubs in town. Anne’s parents
want to meet Jean-Michel’s parents, but Jean-Michel has
been lying to Anne about his parents. Jean-Michel begs
Georges to redecorate the apartment and replace Albin
with Sybil for the visit, even though Sybil has barely seen
him since birth.
Photo courtesy of Joan Marcus 2010.
CENTER STAGE: I Am What I Am
Detailed Synopsis
Photo courtesy of broadwayworld.com
When Albin returns from performing, Georges suggests
that they take a walk to discuss the matter. The pair
almost run into Jean-Michel and Anne, but Jean-Michel
hurries Anne away before she figures out what’s going
on. (With Anne on My Arm Reprise).
Georges attempts to soften the blow of Jean-Michel’s
requests to Albin (Song on the Sand), but Albin has to
make it back to La Cage in time for the next show before
Georges is able to break the bad news about not being
invited to dinner.
Albin takes the stage once more as Zaza (La Cage Aux
Folles) and while he is performing, Georges and Jean-
Michel quickly redecorate the house. As Albin is changing
for his next number, he notices the two carrying his gowns,
and Georges is forced to finally tell Albin of Jean-
Michel’s dinner party plan.
Albin does not get mad but rather excuses himself to
return to the stage. Half way through the song, he sends
Les Cagelles away and sings alone to convey his distress
and state that he refuses to change for anyone (I Am
What I Am). At the end of the song, he throws his wig at
Georges and storms off.
7

CENTER STAGE: I Am What I Am
ACT TWO
Detailed Synopsis
Georges finds Albin the next morning and apologizes
(Song on the Sand Reprise). Georges suggests to Albin
that he dress up for dinner as a macho “Uncle Al”.
Even though Albin is still upset, he reluctantly agrees to
act like a heterosexual for Jean-Michel, and Georges
attempts to teach him how to act more like a man
(Masculinity).
Photo courtesy of Joan Marcus 2010.
Back at Georges’ redesigned apartment, “Uncle Albert”
is reveled to Jean-Michel. He does not like the idea of
“Uncle Al” or the fact that Albin is gay. Georges angrily
reminds Jean-Michel of how good Albin has been to
him over the years (Look Over There). They receive a
telegram from Sybil saying that she is not coming, but
before Albin and Georges can tell Jean-Michel, Anne’s
parents arrive (Dishes).
Attempting to save the dinner, Albin comes out as Jean-
Michel’s forty-year-old mother. Jacob burns the dinner, so
a trip to the restaurant, Chez Jacqueline, which belongs
to a friend of Albin and Georges, is arranged.
At the restaurant, Jacqueline does not realize who Albin
is pretending to be, or what’s going on, so she asks Albin
Photo courtesy of Joan Marcus 2010.
Photo courtesy of nymag.com
to sing as Zaza.
After some hesitation, Albin agrees to sing (The Best of
Times). The restaurant patrons, including Anne’s mother
enthusiastically take part in the song. With his usual
performance vigor, Albin tears off his wig at the song’s
end, ruining his disguise and reveling his true identity.
Georges, Albin, Jean-Michel and their guests rush back
to the apartment where the Dindons plead with Anne to
abandon her fiancé because they are appalled by his
homosexual parents. Anne states that she is in love with
Jean-Michel and refuses to leave him. Jean-Michel, now
ashamed of the way he treated Albin, apologizes to his
parents (Look Over There Reprise).
Anne’s parents attempt to leave Georges and Albin’s
apartment, which is located above the club, but are
blocked by Jacqueline. Jacqueline has come with the
press to photograph the anti-homosexual Dindons at La
Cage and with Zaza. Mr. Dindon is furious, but Georges
and Albin agree to help him avoid the press if he gives
his blessing for Anne and Jean-Michel to marry. Georges
helps the Dindons escape through La Cage Aux Folles
dressed in drag and posing as members of the nightclub’s
revue (Finale).
8

CURTAIN CALL: Learning Activities
Who is George Hamilton?
Who’s Who: George Hamilton & Christopher Sieber
George Hamilton is noted for his dashing, sporting, jet-setter image and perpetually
bronzed skin tones in commercials, dramatic and comedic film roles and reality shows.
His first film, a lead in Crime & Punishment, USA (1959). He was the recipient of
a Golden Globe for “Most Promising Newcomer” as well as being nominated for
“Best Foreign Actor” by the British Film Academy (BAFTA). This led to a series of film
showcases such as Home from the Hill, All the Fine Young Cannibals, Light in the Piazza
and Two Weeks in Another Town. He performed several roles in numerous films but
is best known for MGM films in the 1960s’ Where the Boys Are. Hamilton made two
memorable bio-pics: Your Cheatin’ Heart in 1964, in which he portrayed the countrywestern
music legend Hank Williams and in 1971, Evel Knievel, the life story of the
motorcycle daredevil. A wonderful comeback for him came in the disco-era Dracula
spoof Love at First Bite (1979). Nominated for a Golden Globe as the campy neckbiter,
he continued on the parody road successfully with Zorro, the Gay Blade (1981)
in the very best Mel Brooks tradition. This renewed popularity led to a one-year stint
on “Dynasty” (1981) and a string of fun, self-mocking commercials. In 1989 he started
a line of skin-care products and a chain of tanning salons. On the tube he can still pull
off a good time, whether playing flamboyant publisher William Randolph Hearst in
Rough Riders (1997) (TV), playing Santa Claus in A Very Cool Christmas (2004) (TV).
He has broken through the “reality show” ranks by hosting “The Family” (2003) and
participating in the second season of ABC’s “Dancing with the Stars” (2005/I), where his
charm and usual impeccable tailoring scored higher than his limberness. Hamilton was
honored with a star on the Hollywood Walk of Fame in 2009, on his 70th birthday.
Who is Christopher Sieber?
Two-time Tony nominee Christopher Sieber plays the role of Albin/Zaza in La Cage aux
Folles. Nominated for his performances in Shrek and Spamalot, Christopher Sieber’s
Broadway credits also include Thoroughly Modern Millie, Into the Woods, Beauty and
the Beast, Triumph of Love and A Christmas Carol. His other New York stage credits
include Off-Broadway’s The Kid, Avow and The Boys in the Band. His television and film
credits include “Morning Glory,” “Pushing Daisies,” “Johnny and the Sprites,” “See You
in September,” “It’s All Relative,” “Two of a Kind,” “Sex and the City,” “Ed,” “Guiding
Light,” “All My Children” and “Another World.”
Learning Activities
Imagine and Write
Imagine that like George Hamilton’s The George and
Alana Show, you have the opportunity to have your own
talk show. Would you have a cohost, and who would
it be? What kinds of things would you talk about and
feature? Would you invite any guests or music artists to
perform? What time of day would your show come on?
Write about what your talk show would be like.
Imagine that it is 40 years from now and you have
become famous. Write a brief biography for yourself.
What have you accomplished? What are you famous
for? Are you married? Do you have any kids? What do
you want the public to know about you? Do you support
any causes?
Creation Challenge
Photos courtesy of La Cage
Think and Create
Hamilton launched his own line of skin care products
and a chain of tanning salons. Think about what kind
of product or chain you would launch. Would you
create clothes, sports equipment or a new invention
altogether? Or would you open a new restaurant or
hair salon chain? Create a brochure, commercial or
presentation advertising your product or business.
Think about what kind of marketing techniques you
would use to make your product/business successful.
Would you have a jingle or a catchy slogan? Then
Create one and see if family and friends would want to
buy your product/business.
9

CURTAIN CALL: Learning Activities
Looking Back: 1970s Family Values
The Culture of the 1970s
The war and social change that defined the 1960s continued into the 1970s and early
1980s. The Vietnam War spurred anti-war marches on Washington and university campuses,
which in turn led to the stereotype of peace-loving hippies whose lifestyle seemed popular
in the 70s. [Women gained political power with the advent of Affirmative Action and the
idea that minorities should have quality education and employment rose to the forefront of
political debate.] Gay rights was a hot topic with the Stonewall Rebellion in 1969 and the
first Pride Parade in 1970. The economy saw the worst recession in 40 years, and New
York lost almost 10% of its population as people moved out of the city due to budget cuts,
pay cuts and infrastructure rot.
Picture of the 1970s Family
Although abortion was legalized in 1973 and the rising divorce rate left more women as
single moms in the 1970s, families were still portrayed more traditionally and conservative
in appearance. The Brady Bunch basically served as a comedic model for the acceptable
contemporary family. Homosexual couples could not marry, nor could they adopt children,
so it was extremely rare to see a child with homosexual parents.
1970s Family Values Movements
Family values were stressed in many homes, but television began to address taboo topics
like sex, race, abortion, teenage pregnancy and homosexuality through shows like Saturday
Night Live and All in the Family. The violence of the Vietnam War was broadcast on the
news, bringing the fighting into families’ homes. This sort of shift in media and societal
attitudes toward what was acceptable led to the creation of many groups similar to
the Dindon’s “Tradition, Family and Morality Party.” These kind of family-value-based,
conservative groups attempted to suppress moral permissiveness and return America to its
traditional and conservative roots. The Family Planning Act, developed in 1970, broadened
the role of government in family planning and served as turning point in the movement to
re-strengthen families. It also established Planned Parenthood facilities. A Senate hearing,
titled “American Families: Trends and Pressures,” was also held in 1973 and addressed
statistically the state of the American family structure.
Picture of Today’s Modern Family
Today, like the ABC sitcom Modern Family, families come in all shapes and sizes. While same
sex marriage is still not overtly supported by everyone, homosexuals can now get married in
6 states and in Washington, D.C. Same-sex couples can also adopt children in more than 22
states. Families no longer look to the Brady Bunch as their model, but rather they are free
to change and live in whatever way is best for them.
Compare and Contrast
Compare and Contrast an episode of the Brady Bunch
with an episode of Modern Family. Do you see the
different family values in each show? How are the
family structures the same? How are they different?
Which show do you relate to more? Which show can
your parents or grandparents relate to more?
The Brady Bunch
LGBT Marriage
Movement
ABC’s Modern Family
Learning Activities
Research and Discuss
Research the “American Families: Trends and
Pressures” senate hearing of 1973. What was
discussed? Why was the hearing called? What impact
did the hearing have on the family values movement?
Are there any lasting impacts from the hearing that
can still be seen today? Discuss your findings.
Photos courtesy of nytimes.com
10
Photos courtesy of sitcomsonline.com
Photos courtesy of sitcomsonline.com

Photo courtesy of logotv.com
CURTAIN CALL: Learning Activities
History: Drag Through the Ages
Drag is the practice of men dressing up in women’s clothing. There are many different types of drag professionals,
and contrary to popular belief, not all drag queens are homosexual or transgendered individuals. The most common
reasons individuals do drag are for comedic, dramatic or satirical effect, artistic expression and show.
When did Drag get its start? Drag on the Stage
In the 13th century the church did not allow females to perform
on stage, but did allow males to dress up and play women.
Nearly all of the original Shakespeare plays were performed
with an all-male cast and the same was true for early plays in
China. Women were not allowed to perform on stage until 1660.
Drag queens reached a bump in the road in the 1950s and 60s
when a fear of communism spread through the U.S., and anything
subversive was also deemed a security risk. Despite these
setbacks, the first organized drag queen group, the Imperial
Court, was formed in New York in 1964. Several police raids in
1969 on the Stonewall Bar, the only gay bar in New York and
home to a number of drag queens, including the Imperial Court,
occurred before the drag queens and gay patrons began to fight
back. The response to the Stonewall raid marked the first time
the LGBT (Lesbian, Gay, Bisexual and Transgendered) community
came together, and in 1970, the first Pride celebration was held.
While drag was not widely accepted in 1970, it was no longer
illegal and that allowed the practice to expand.
Drag on TV
Photos courtesy of dace-matherly.blogspot.com
After vaudeville, drag queen performers made sure the art
continued onto TV. Variety shows, like The Ed Sullivan Show and
The Dean Martin Show, had drag queen acts on several episodes.
Performers like Bob Hope and Milton Berle moved from vaudeville
onto variety shows and other telvised specials with their comedy
drag acts. The long-standing comedic bit about a man falling
in love with a girl who turns out to be a man in drag has been
featured on numerous sitcoms and TV shows. Self-proclaimed
drag superstar, Rupaul Andre Charles has his own show, RuPaul’s
Drag Race, which is the most popular drag show today. Drag
Race is a competition between drag queens to determine who will
be the next “drag superstar”. Competitions include everything
from clothes to lip syncing.
Starting as early as the 1910s, drag was found on vaudeville
and Broadway. William Julian Dalton was a well-known drag
queen who started performing at the age of 10, toured the
vaudeville circuits and appeared on Broadway. Women liked
his acts in vaudeville because his elaborate gowns and panache
represented glamour. Bert Savoy was another performer of
Dalton’s era whose drag style was rougher and focused more
on pantomime of women. Nonetheless, up until vaudeville’s
demise in the 1920s, drag queens had their own acts where
they sang, danced and acted like females. Stage shows including
contemporary drag began to appear in the 1970s with the
underground musical The Rocky Horror Picture Show and rock
acts like David Bowie and The New York Dolls. La Cage was
the original breakthrough drag musical, but the roles of Edna in
Hairspray and Angel in Rent are well known drag roles.
Drag in Film
Naturally drag queens moved from vaudeville and Broadway
to film. Plenty of movies, including the La Cage series and The
Birdcage, feature drag queens and drag performers. Classic
drag movies, like Glen or Glenda starring Ed Wood and Some
Like It Hot with Marilyn Monroe, Tony Curtis and Jack Lemon were
made in the 1950s, while Victor/Victoria, starring Julie Andrews
debuted in 1982. Drag movies have gained popularity in recent
decades with films like Kinky Boots, Connie and Carla, the film
versions of Rent and Hairspray. A Shade Before Pink and Priscilla
Queen of the Desert have been well received by the public.
Besides these drag based movies, comedic bits about drag or
drag queen characters have appeared in countless movies.
Photo courtesy of boston.com
11

Photo courtesy of newyorktimeout.com
CURTAIN CALL: Learning Activities
Research and Discuss
Activities
Harvey Fierstein not only wrote La Cage Aux Folles,
but he has performed in the show numerous times, most
recently as Albin in the 2010 revival. Research Harvey
Fierstein’s career. What other shows has he written?
What other shows and/or movies has he performed
in? How and why did he get started performing in La
Cage? How long has he been performing in La Cage?
Discuss your findings.
Harvey Fierstein
The Stonewall Rebellion was a turning point in the
LGBT equality movement and led to the first Pride
celebration. Research the Stonewall Rebellion. Who
was involved? What happened? How did it start? How
has it impacted the state of LGBT rights today? Has
anything like the Stonewall Rebellion taken place in
recent years? Discuss your findings.
Online Resources
Videos:
La Cage 2010 (http://www.lacage.com/media.html)
Rupaul’s Drag Race (http://www.logotv.com/shows/
rupauls_drag_race/season_3/series.jhtml)
Websites:
La Cage the 2010 revival (http://www.lacage.com/index.
html)
HSMT’s Logan Keslar(http://broadwayworld.com/article/
GYPSY_OF_THE_MONTH_Logan_Keslar_of_LA_CAGE_AUX_
FOLLES_20100902)
George Hamilton
(http://www.biography.com/articles/George-
Hamilton-9542321)
1970s Family Values (http://sites.google.com/
site/1970sus08/)
Read and Compare
Read “La Cage Aux Folles” the play, by Jean Poiret
and Compare it to the musical. What parts are the
same? What is different? Is the basic story line/plot
the same in both? Which do you like better?
Watch and Compare
Watch the 1978 foreign film La Cage Aux Folles and
Compare it to the musical. What is the same? What is
different? Which did you enjoy more?
Watch The Birdcage and Compare it to the musical La
Cage Aux Folles. The Birdcage is the American version
of the story, so are there any cultural differences?
What else is the same? What else is different? Did
you like the actor choices for The Birdcage? Which did
you enjoy more? Which do you think tells the story
better?
Imagine and Write
Imagine you are in Jean-Michel’s position and need
to get someone else’s family, who is the complete
opposite of your own, to approve of your family.
Would you want to try and change your family?
What kinds of things would you change about them?
How would you convince them to go along with your
changes? Write about what you would do.
Imagine a time when a parent/teacher/family
member/friend has embarrassed you. What
happened? Why were you embarrassed? Was it really
the other person’s fault? What did you do about the
situation? Write a personal narrative describing the
embarrassing situation.
Think and Create
Albin sings the song, I Am What I Am, to describe to his
family and the audience that he is not ashamed of who
he is or what he does. Think about who you are. What
defines you? Is it your race, your age, your family or
an activity you like to do? Create a poem or a song
describing who you are to others.
12

BACKSTAGE: About Musical Theatre
A BRIEF HISTORY OF MUSICALS
The origins of musicals can be traced back to 500 B.C. when the ancient Greeks first
performed shows with song and dance. Looking forward into the 19th century, European
operas and operettas began to influence American musical culture. In 1860, Laura Keene
starred in the first musical “burlettz” (burlesque) The Seven Sisters. Six years later (1866), the
first show to resemble a modern day musical, The Black Crook, premiered in New York City. In
1907, Florenz Ziegfeld’s first revenue of popular songs, Follies, was born with lavish costumes,
ornate sets and a display of star performers.
Photo courtesy of broadwayworld.com
THE BEGINNING
Photo courtesy of valdosta.edu
THE GOLDEN AGE
THE 1920s & 1930s
The 20s and 30s introduced famous composers such as Irving Berlin and George
Gershwin, among others, to the musical scene. The collaboration of Jerome Kern, Oscar
Hammerstein II and Ziegfeld led to the ground-breaking Show Boat in 1927, which
integrated a book, score and songs to tell a narrative. In 1934, Cole Porter and Ethel
Merman teamed up for Anything Goes. Richard Rodgers and Lorenz Hart opened The Boys
from Syracuse in 1938, which was the first Broadway show to be adapted from a work of
Shakespeare.
The Golden Age stretched from 1940 to 1960. Rodgers and Hammerstein’s Oklahoma!
was the first musical to incorporate dance and music into the plot in 1943. The hits kept
coming in the following years with: Irving Berlin’s Annie Get Your Gun in 1946, Rodgers and
Hammerstein’s South Pacific in 1949, Harold Prince’s The Pajama Game in 1954, Lerner and
Loewe’s My Fair Lady in 1956 and West Side Story in 1957 with music by Leonard Bernstein,
lyrics by Stephen Sondheim and choreography by Jerome Robbins. Highlights from the
1960s include: How to Succeed in Business Without Really Trying in 1961, Fiddler on the Roof in 1964
and Bob Fosse and Gwen Verdon’s Sweet Charity in 1966.
CONTEMPORARY MUSICALS
Beginning with Hair‘s rock music score in 1968, the age of Contemporary Musicals focused
on unique concepts and ideas. Stephen Sondheim and director/producer Harold Prince
became the musical leaders of their generation with the revolutionary Company in 1970.
Andrew Lloyd Weber opened his controversial Jesus Christ Superstar in 1971. Michael
Bennett’s acclaimed A Chorus Line debuted in 1975, its success even overshadowing
Bob Fosse’s Chicago, which opened the same year. 42nd Street opened in 1980 and the
adaptation of Victor Hugo’s novel, Les Miserables opened in 1987. Walt Disney’s animated
film favorites were welcomed onto the stage with Beauty and the Beast in 1994 and Lion King
in 1997. Meanwhile in 1996, Jonathan Larson’s Rent, broke all barriers and was put in a
class of its own.
MODERN MUSICALS
Revivals of old shows have been frequent since 1977 , but there has been a host of new
shows in the past decade. Mel Brooks’ musical about making a musical, The Producers
opened in 2001 and Hairspray debuted with big haired Tracy in 2002. The extravagant
version of OZ, Wicked premiered in 2003 and Avenue Q brought its puppet cast to life in
2004. The 25th Annual Putnam County Spelling Bee allowed audiences into the minds of preteens
in 2005 and Spring Awakening told the tale of teenagers in 2007. Most recently,
Bono created the expensive and dangerous, yet thrilling Spider-Man in 2011. The Book of
Mormon, by Trey Parker, Robert Lopez and Matt Stone swept the 2011 Tonys with its fresh
and funny story.
Photo courtesy of musicals101.com
Photo courtesy of theatremania.com
Photo courtesy of nytimes.com
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BACKSTAGE: About Musical Theatre
RECIPE FOR CREATING A MUSICAL
STEP 1: Gather the Ingredients
Combine the writer’s script with the composer’s songs and the lyricist’s
lyrics to create a show that tells a story. The show itself should include
several of the following elements: characters, conflict, humor, romance,
costumes, sets, singing, dancing, animals, puppets and/or special
effects. Meet with the producer to determine budget and the target
audience.
STEP 2: Mix it up
Add in the creative team, which includes the director, choreographer,
music director, costume and set designers, stage manager, lighting and
sound directors to the mix. Define the vision of the show and decide
what it should look like. Discuss and plan what needs to be done to
make the show come to life.
STEP 3: Stir well
Hold auditions or try-outs for musicians, dancers, actors and singers.
Hold call-back auditions to invite qualified performers for a second
round of auditions. Determine and hire the performers and musicians
that are a best fit for the show. Cast performers in appropriate
character, ensemble and musical roles.
STEP 4: Bake at high temperature
Teach the performers and musicians the show. Everyone should
memorize their lines, know the correct notes to their songs and the
rhythm and order of the choreography. Rehearse, rehearse, and
rehearse. Bring the performers, musicians, stage hands, lights, music,
costumes, sets and all other elements of the show together for a full
dress rehearsal – otherwise known as a complete practice of the show,
just without the audience. Work out all costume and set changes and
really make sure everyone is comfortable in their roles, both on stage
and backstage. Set the curtain call or bows.
STEP 5: Serve with a smile
Add in the audience on opening night and perform. Broadway shows
are usually performed in the evening, multiple days a week and
sometimes in the afternoon for matinee shows. Don’t forget to smile.
Ingredients
• Writer
•Composer
•Lyricist
•Set Designer
•Costume Designer
•Prop Master
•Music Director
•Stage Manager
•Producer •Stage Hands
•Director
•Musicians
•Lighting/Sound Directors •Performers
•Choreographer
(singers/dancers/actors)
•Audience
Vocabulary
Musical Mixing Bowl
The
Story
Choreographer – the person who creates the dances and
movement patterns for the show
Stage Manager – the person who manages and takes care of the
stage, sets and all special effects; directs the stage hands
Stage Hands – technicians and trained individuals who work side
stage and back stage before, during and after the show to make
all special effects, scene changes and clean-ups happen.
Prop Master – the person in charge of getting, storing,
maintaining and sometimes creating the props used in the show.
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THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE
Photo courtesy of Joan Marcus 2010.
THEATRE ETIQUETTE
Applaud after scenes, songs, acts and
at the end of the show. Otherwise try
to keep quiet during the show.
FOOD
Don’t eat food inside the theatre.
Save snacks for intermission.
Coming up in the 2011/12 Season
June 5-17, 2012
RATED
PG-13
9
6
12
Arrive at the theatre at least 30
minutes before the show starts and
try not to leave the theatre, except
during intermission.
7:55 P.M.
OFF
Turn off cell phones before the show or
put them on silent. Make sure not to text or
use a cell phone during the show. Texting
and the light from your cell phone are very
distracting to both the performers on stage
and the audience members around you.
3
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THEATRE UNDER THE STARS • 2011/12 STUDY GUIDE
ABOUT TUTS
Theatre Under The Stars (TUTS) is Houston’s acclaimed
non-profit musical theatre company. Founded in 1968
by Frank M. Young, TUTS’ name originated from its first
performance venue, Miller Outdoor Theatre. Since its
founding, TUTS has produced more than 300 musicals
including local, national and world premieres, making it
a nationally renowned company.
TUTS created the Humphreys School of Musical Theatre
in 1972 as a way to provide stage experience and
instruction to both students and professionals. TUTS
expanded their education offerings in 2010 when The
River, a program for children with special needs, became
an affilite of TUTS. Since 2002, TUTS has presented the
Tommy Tune Awards annually, which honor the up and
coming stars of Houston’s high school theatre programs.
TUTS is now housed in the Hobby Center for the
Performing Arts where the fiber-optic ceiling keeps
TUTS “under the stars” all year long. TUTS is pleased to
present its 2011/12 season, “Seeing is Believing!”
TUTS thanks our Sponsors
Season Sponsor
The Hobby Center. Photo by Leah Polkowske Photography.
Connect with TUTS!
Theatre Under The Stars • 713.558.2600
800 Bagby Suite 200, Houston, TX. 77002
www.tuts.com • twitter.com/tutshouston
www.facebook.com/TheatreUnderTheStars
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THEATRE UNDER THE STARS • • 2011/12 STUDY GUIDE
TUTS STUDY GUIDE
Thank you!
As a parent/educator, you are the only person qualified to determine what is
appropriate for your child(ren)/student(s), but we hope the information and rating
system in this guide were helpful. This was designed and written by Dana Lizik and
overseen by David Greiss, Mandi Hunsicker-Sallee, Jacqueline Martin and Scott Howard.
Please feel free to copy and distribute. Printed in the United States of America. First
Digital Edition: July 2011.
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