Study Guide Pittsburgh Musical Theater 2007

This study guide was generously funded by a grant from The Hot TopicTM Foundation 2007 2

School Edition Contents: Letter from the Founding Director . . . . . . . . . . . . . .4 The History of Little Orphan Annie . . . . . . . . . . . . .5 Steps in the Musical’s Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Pre-Broadway Tryout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Broadway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Original London Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 National Touring Companies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Broadway Revival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 1999-2000 Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 2005-2007 Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Annie’s World: Life in America... . . . . . . . . . . . . . . . .8

The Great Depression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Franklin Delano Roosevelt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Orphans in America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Comic Strips in America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Harold Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

The Music in Annie . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Student Learning Activities . . . . . . . . . . . . . . . . . . .16 Student Guide Sheet . . . . . . . . . . . . . . . . . . . . . . . . .18 Comic Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 3

A Note to Teachers from the Founding Director The musical Annie, based on Harold Grey’s comic strip Little Orphan Annie offers proof that one medium in popular culture often influence the creation of another. In particular Annie joins the list of musicals whose creation was originally influenced by the comic strip: the comic strip Lil’ Abner inspired a musical of the same name, Superman from the comic stirp inspired the musical It’s a Bird...It’s a Plane...It’s Superman... and, of course, You’re a Good Man Charlie Brown and Snoopy were both created in response to the popularity of Peanuts. Comic strips have also inspired books, motion pictures, songs, and radio and television programs. In addition to offering students a delightful musical theatre experience as they watch Harold Gray’s indomitable character, Annie, recreated on the stage, attending this musical offers teacher and educators the opportunity to have their students learn about the development of the comic strip, study the comic strip as political commentary, and reflect on the influences of a variety of pop culture media. Teachers may also wish to use attendance at Annie as an impetus to study the 1930’s, the Great Depression, the New Deal, and a variety of other fascinating elements that grew out of that remarkable time. Towards the end of Act I, Daddy Warbucks tells Annie that he wants to share a story with her. “Does it have a happy ending?” Annie asks. “Yes,” says Warbucks, “or at least I hope so. Because I believe that, especially nowadays, all stories should have happy endings.” We hope Annie proves to be a happy ending to your theatre experience, and that it provides your students with the motivation to continue learning and creating. Ken Gargaro Founding Director, PMT 4

The

History of Little Orphan Annie

The musical we share with audiences could be traced back to the day Harold Gray conceived of his little red-headed orphan; however, like so many musicals or films based on another medium, Annie the musical has a life and a spirit all its own. Shortly before Christmas, 1971, Martin Charnin, lyricist, purchased a copy of Little Orphan Annie: Her Life and Hard Times, a comic strip collection intended as a present for a friend interested in pop culture. Charnin’s friend never received that gift, however, for Charnin, perusing his Christmas purchase, began to sense that he had found an idea for a new musical. Charnin called Thomas Meehan, with whom he had previously collaborated, to write the book for this new musical. At first disliking the idea, Meehan came to see that a musical based on

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the life of little orphan Annie, the child of indomitable spirit, lost and wandering in a hostile world, could stand as a “metaphor of courage, morality, innocence and optimism” in the face of the cynicism and pessimism of the early 70’s. The setting, New York City during the depression, would recall another period of hard times. Charles Strouse, who had previously composed the musicals Bye, Bye Birdie, Golden Boy, and Applause, was designated the composer of Annie. And so, Annie was conceived in 1971 and born in 1973. Due to the difficulty in interested producers; however, the show was not delivered on broadway until April 1977. During a ten week tryout at the Goodspeed Opera House in Connecticut, Mike Nichols saw the show and agreed to become one of its producers, and a Broadway opening was assured. By that time, Jimmy Carter was in the White House, and the country was in a more hopeful mood. But in the long run, whether the mood of the country was pessimistic or optimistic seemed to be irrelevant to the success of Annie, for everyone, it seemed, could be caught up in its hopeful spirit, wishing to believe that “the sun will come out tomorrow.” THE STEPS IN THE MUSICAL’S JOURNEY Pre-Broadway Tryout Annie made its World premiere on August 10, 1976 at the Goodspeed Opera House in East Haddam, Connecticut. Kristin Vigard was the first actress to play the title role. However, the producers soon decided that Vigard's genuinely sweet interpretation was not tough enough for the street-smart orphan. After a week of performances, Vigard was replaced by

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Andrea McArdle, who played one of the other orphans. Vigard went on to become McArdle's Broadway understudy. Broadway The original Broadway production opened at the Alvin Theatre on April 21, 1977 and starred Andrea McArdle as Annie, Reid Shelton as Daddy Warbucks, Dorothy Loudon as Miss Hannigan, and Sandy Faison as Grace Farrell. It was nominated for 11 Tony Awards and won 7, including Best Musical, Best Score, and Best Book. Replacements for McArdle in the lead role included then-child actors Shelley Bruce, Sarah Jessica Parker, Allison Smith, and Alyson Kirk. The show closed on January 2, 1983 and ran for a total of 2,377 performances. Original London cast In 1978, a London cast of Annie opened on West End in London. Though Andrea McArdle played the title role for forty performances, Ann Marie Gwatkin did the role for most of the show and also appeared on the cast recording. Miss Hannigan was played by Sheila Hancock, and Daddy Warbucks was played by Stratford Johns. National Touring Companies During the Broadway run of Annie, there were four touring companies that were launched from the original production to bring the to show to major U.S. cities. The 1st National Touring Company of Annie opened in Toronto in March of 1978. After playing a few more cities, it landed in Chicago where it played for 32 weeks before continuing on the road in April of 1979. The 2nd National Touring Company (sometimes

referred to as the West Coast or Los Angeles Production) opened in San Francisco on June 22, 1978 with Patricia Ann Patts starring as Annie and the then-unknown Molly Ringwald playing one of the orphans. The show landed in Los Angeles on October 15, 1978 for an open-ended run at the Schubert Theatre. The 3rd National Touring Company of Annie was launched in Dallas on October 3, 1979 with Roseanne Sorrentino in the title role. This company toured to 23 cities playing mostly shorter runs of a month or less. It closed in September of 1981. The 4th National Touring Company of Annie opened on September 11, 1981. This production was a "bus and truck" tour, with a slightly reduced cast, that traveled the country often playing in two cities a week. This company was still touring when the original Broadway production closed in January 1983, making Kathleen Sisk the final performer to play Annie from the original production team. This final production closed in September of 1983. Broadway revival A Broadway 20th anniversary revival opened in 1997. In this revival, a black miniature poodle named Dartanian played a small part when he ran across in the stage during Act I of the play to be caught by an actor playing a dog catcher. During intermission, an

announcement was made to the crowd saying that the dog had been abused by his previous owners and was found wandering the streets of New York City. The announcement then said that the dog was being put up for adoption. Many people went backstage after the show to sign adoption papers for the dog, and after the running of the show, the pound in possession of Dartanian selected a family from Westchester, NY to adopt him. The family changed his name to DC; he lives in Westchester with this family to this day. 1999-2000 tour Starting in August of 1999, the post Broadway National Tour continued with Melissa Rocko playing July, Gianna Belino playing Molly, Ashley Wronski playing Duffy, and Nina Ducharme playing Tessie. 2005-2007 tour Starting in 2005, a 30th anniversary traveling production of Annie by Networks Tours embarked on a multi-city tour. Due to its popularity, the tour's initial 11-month run was extended into 2007. This production is directed by Martin Charnin and stars Conrad John Schuck as Daddy Warbucks, Alene Robertson as Miss Hannigan, and Marissa O'Donnell as Annie. A 30th anniversary cast recording with Marissa O'Donnell performing the role of Annie will be released Winter 2007 on Time Life Records.

In 1977, Annie won Tony Awards for Best Musical, Best Book of a Musical, Best Original Score, Best Actress in a Musical, Best Scenic Design, Best Costume Design, and Best Choreography. It won the Theatre World Award, and won Drama Desks awards that same year for Outstanding Musical, Outstanding Book, Outstanding Featured Actress in a Musical, Outstanding Choreography, Outstanding Director of a Musical, Outstanding Lyrics, and Outstanding Costume Design.

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Annie’s World: Life in America that shaped her creation

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Annie is arguably a pure product of her time. In actually reading the comic strip, it is impossible not to see how thoroughly it is a product of not only its time, but of the political opinions of its author. So, when watching Annie, it is important to have an understanding of just what the country was like when the little orphan was created. The Great Depression American enjoyed a boom of economic prosperity during the 1920s. There were high profits in a few industries due, in part, to greatly expanded credit buying by low-paid workers. Prices on the American stock market rose dramatically between 1924 and 1929. However, the health of the stock market proved deceptive. Lurking beneath the boom were dangerous economic weak spots, including a depressed agriculture sector and weaknesses in coal mining, railroads, and textiles. By 1928, the construction boom had peaked. The beginning of the collapse of the market was dramatically sudden. Thirteen million shares of stock were sold on October 24, 1929. The following Tuesday, October 29, saw 16 million shares of stock sold. The day has since been called Black Tuesday. Panic struck. Hundreds of banks failed; thousands of businesses failed; millions of workers found themselves unemployed without warning. Even those fortunate enough to hold on to their jobs had their pay dramatically reduced. With no income, the unemployed were unable to pay their bills or meet other financial obligations, lowering the overall financial health of the country. There was a glut of products which very few people could afford to buy. As a result, prices fell. The agricultural segment of the economy almost failed completely. At the same time, the country suffered a serious drought which created

the "Dust Bowl" of the 1930s and led to the displacement of vast numbers of Great Plain farmers. Unfortunately for Herbert Hoover, the Great Depression coincided with his term as president of country. Hoover was in office from 1929 to 1933 and during that time, industrial stocks in the U.S. lost approximately 80 percent of their value; approximately 11,000 banks failed (causing the loss of $2 billion in depositors' money); farm prices fell by more than 50 percent ; and the gross national product declined at a rate of over 10 percent per year. Additionally, one fourth of the labor force was out of work and more than 90,000 businesses failed completely. As overwhelming as these statistics are, they can only begin to communicate the extent of the nation's suffering. Hundreds of ramshackle shantytowns sprang up all over the nation to house the huge numbers of homeless Americans. These "villages" which consisted of primitive shelters made of packing boxes and bits of scrap metal were called "Hoovervilles" in ironic reference to President Hoover. Old newspapers, under which thousands of the homeless slept outside, were called "Hoover blankets." "Hoover flags" were empty pants and jacket pockets turned inside out. In the countryside, jackrabbits caught for food were called "Hoover hogs," and "Hoover wagons" were the bodies of broken vehicles pulled by mules. For the few who had jobs, typical annual earnings dropped dramatically: public school teacher, $1,227; registered nurse, $936; secretary, $1,040; textile worker, $435. Since only a relative few had any income for discretionary spending, it didn't much matter that a new home could be bought for fewer than $3,000, a man's suit sold for about $10, shirts were offered for fewer than 50 cents, a pound of steak cost 29 cents, and a loaf of bread cost a nickel. The depression caused not only deflated income

and economic conditions but deflated hope as well. People waited, often by the hundreds, in bread lines and soup lines in every American city hoping for a bit of food. More than 20,000 American committed suicide in 1931. At this time there were no federal programs to help working people from slipping into economic disaster. In addition, the ability of government to help relieve the country's economic distress was severely hampered by the limited flow of tax revenue to the government. President Hoover also opposed government intervention in the economic distress. In 1932, he took only one major action: creating the Reconstruction Finance Corporation to lend money to failing corporations. The measure was seen by most voters as too limited a response to the situation and in the 1932 election Hoover was soundly defeated by Franklin D. Roosevelt. Roosevelt's first inaugural address, in March, 1933, is best remembered for his statement that "the only thing we have to fear is fear itself." During his first year in office, the new president was primarily concerned with the creation of the National Recovery Administration. The effort was abandoned after the Supreme Court, in 1935, declared the NRA unconstitutional. During his second term Roosevelt shifted his focus to public works. By 1939 the government spent about $4 billion constructing highways and public buildings. The Civilian Conservation Corps recruited young men from the streets and employed them planting forests and draining swamps. During Roosevelt's presidency, an average of more than 2 million people were employed in occupations ranging from musician and playwright to laborer by the Works Progress Administration. In addition, through the Farm Credit Administration, the government refinanced about 20 percent of the country's farm mortgages.

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The Depression also was marked by increased labor union recruiting activity. The efforts of such men as Walter Reuther, John L. Lewis and Philip Murray resulted in the creation of new industrial labor organization and the growth in union membership from 3 million in 1932 to more than 10 million in 1941. This activity was made possible in large measure by the enactment of the National Labor Relations Act of 1935. While the Depression in the United States was severe, most of the countries of Europe, who were also struggling to recover from the extensive damage wrought by World War I, were struggling through even worse economic conditions. The international structure of world trade collapsed and each nation sought to protect itself by imposing high tariffs on imported goods, making matters worse. By the fall of 1931, the international gold standard had collapsed, further damaging hope for the recovery of trade. As trade declined, countries tended to become more nationalistic in their economic policies. This exacerbated the difficulties. Economic hardship strengthened the political extremists of both the right and the left. One result of this was Adolf Hitler seizing power in Germany. The Great Depression contributed must to the increasing tensions that culminated in World War II.

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Franklin Delano Roosevelt Franklin Roosevelt was born to a wealthy family and had every advantage; money, education and social position can buy. But he also knew great suffering as a result of a bout of polio which left him paralyzed for half of his life. He is best remembered for the many social programs instituted by his administration to alleviate the impact of the Depression. Just prior to Roosevelt's inauguration, millions of depositors in attempting to withdraw their savings from banks all over the country, severely threatened the banking system. On the day of his inauguration, FDR closed the banks by proclamation and summoned a special session of Congress to consider emergency legislation to address the problems of the banks. In less than a week, means were provided to give the banks the liquidity necessary to permit them to reopen. Unemployment insurance was created. The Social Security program was enacted and helped provide income for retired Americans. Laws were enacted that dramatically reduced the exploitation of child labor. The credit of the federal government saved millions of home and farm mortgages from foreclosure. The Tennessee Valley Authority was a major creation of Roosevelt's New Deal and allowed for public development of affordable electrical power.

Orphans in America In the 1800s, orphaned children were kept in almshouses with adults who were diseased, mentally ill and often abusive of the children. In some states, this practice continued as late as 1910. Children were indentured and more emphasis was placed on the amount of work they could do rather than the care provided for them. By 1933, children were no longer kept with adults, but the emphasis was still on their labor. Life in these orphanages was often deplorable. These conditions slowly changed as professionally trained and licensed caretakers took over from the unskilled caretakers of the past. Progress was not rapid until World War II when mothers went to work and day centers became popular. These women were often from well-to-do families and they were able to exert pressure to the government to regulate these care centers. Child labor laws existed in some states as early as 1912, but were aimed at mining and factory work. In 1933, there was no minimum wage and children were commonly used for all other types of work, including the domestic work described in Annie. The Fair Labor Standard Act, passed in 1938, created a minimum age (16) and established a minimum wage that must be paid. Comic Strips in America Comic strips are a popular form dating from the 1890s, when they were introduced into the Sunday color supplements of American newspapers as a means of promoting readership. A strip usually consists of a series of drawings depicting humorous or adventurous incidents involving a recurring cast of characters. The cartoons are continued in frames or panels, that follow in sequence across the page. Dialogue appears in speech balloons,

although some text may occur between frames or within the panel. James Swinnerton's cartoon strip "The Little Bears and Tigers," run by the San Francisco Examiner in 1892, was the first newspaper comic strip. The first successful comic series was Richard Outcault's "Down in Hogan's Alley," which debuted July 7, 1895, in Joseph Pulitzer's New York World as a single picture, or tableau, of life in an 1890's slum. Its central character, "The Kid," was a bald, impish tyke with a knowing grin. In 1896, the printed applied yellow ink to his costume, a night shirt, and he became widely known as "The Yellow Kid." William Randolph Hearst, published of The New York Journal and Pulitzer's chief-rival, noted the success of "The Yellow Kid" and hired Outcault away from Pulitzer. Pulitzer retaliated by employing the World artist George Luks, later a leading Ashcan School painter, to carry on the same cartoon; as a result "Hogan's Alley" appeared in both papers simultaneously. The term "yellow journalism," referring to sensational journalistic practices, was inspired by this rivalry. The first strip to make regular use of speech balloons was Rudolph Dirk's "The Katsenjammer Kids," which first appeared in 1897. In 1906, two first-rate graphic artists entered the comic strip lists: both Lyonel Feininger and Winsor McCay achieved an aesthetic quality that went beyond the popular notion of cartooning. Feininger created two strips, "Wee Willie Winkie's World" and "The Kin-der Kids," in a style that lay somewhere between Art Nouveau and expressionism. Feininger went on to become one of the most renowned artists of the German Bauhaus school. Winso McCay, a master of Art Nouveau illustration, produced "The Dreams of a Rarebit Fiend" and "Little Nemo in Slumberland." His sweeping use of perspec-

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tive and distortion for dream sequences was an inspiration to surrealists 20 years later. McCay was also a pioneer in the production of animated cartoons. George Herrimans' "Krazy Kat" (1911), a comic drama of love and rejection in the manner of a surreal commedia dell'arte, proved a hit with intellectuals because of its wit and advanced style. More typical of the cartoonist's hatched drawing style were the strips of Melt Gross and Rube Goldberg. Gross' "Dave's Delicatessen" (1930s) made use of Jewish ethnic humor; Goldberg's ingenious mechanical inventions represented a triumph of naivete over perverse absurdities. George McManus pioneered the domestic comic strip in "Newlyweds" (1904) and "Bringing Up Father" (1913). In brilliant calligraphic lines he satirized the pretentious settings and absurd fashions of the newly rich Maggie and Jiggs. In 1908, Bud Fisher's "Mutt and Jeff" became one of the first strips to appear daily in a paper. After 1914, various syndicates distributed the funnies to papers throughout the country. New comics abounded, but they lacked some of the inventive draftsmanship and robust humor of the pioneer cartoonists. Harold Gray's durable and persevering "Little Orphan Annie" appeared in 1924. Flappers, working girls and sundry youths followed. Carl Ed's "Harold Teen" displayed the beanies and plus-fours of 1920s drugstore cowboys. Chic Young's "Blondie" is a survivor of that era. Domestic scenes were represented by "The Gumps," "Toots and Casper," the vulgarian Moon Mullins and Skeezix of "Gasoline Alley." In the lives of these innocent characters, poverty seemed a virtue, violence comic, and death nonexistent. The 1930s Depression created a public ready and willing to escape realities. The freaky characters of Chester Gould's "Dick Tracy," begun in 1931, were on

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a par with such exotic adventure strips as "Tarzan," "Terry and the Pirates" and "Prince Valiant." These, and the science fiction series "Buck Rogers" and "Flash Gordon," created an appetite for further adventure heroes: "Superman," "Batman" and "Wonder Woman." Super-adventure was rendered in a super realistic style that included chiaroscuro and anatomical accuracy, an approach introduced by cartoonists Harold Foster and Alex Raymond. The invincible super heroes served as models for the GIs of World War II. The violence common to many comic books and strips came under attack during the 1950s and a convention of artists agreed (1954) to eliminate such material. The new strips, characterized by a breezy and original drawing style, returned to the funnypaper traditions of the past. Walt Kelly had already created (1949) "Pogo," a strip in which animals parodied the contemporary political scene. Most strips dealt with less controversial matter. The kids in Charles Schultz's still popular "Peanuts," begun in 1950, spoke to the aspirations and frustrations of adults through the actions of children, while the all comic-strip satirical monthly, Mad Magazine (1952), also appealed to people of all ages. Comic books, which began as complications of newspaper comic strips, took on a life of their own in the mid-1930s as new heroic characters were created who lived only in the books. The favorite reading matter of several generations of children, the most popular comic books dealt luridly with crime and horror stories. When criticism of the industry resulted in the creation of the 1954 Comics Code, comic book sales declined. The 1960s counterculture revolution and the easy availability of inexpensive printing technologies encouraged the publication of the "underground"

comic book, a new genre represented by the irreverent works of Robert Crumb. The pointed political satire in Garry Trudeau's popular "Doonesbury" (begun 1970) won a Pulitzer Prize For Editorial Cartooning for its creator in 1975. This was a milestone in cartoon history as never before had this prize gone to a comic strip (it had always been awarded to "political" cartoonists). Pop Art practitioners such as Roy Lichtenstein and Andy Warhol used the comics' mechanical, "rat-tattat" style as both technique and social commentary. A new breed of comicbook superhero emerged in the 1960s and it still popular today. Though endowed with superhuman powers, characters such as Steve Ditko's "Spider Man" and Jack Kirby's "Hulk" (both 1962) experience ordinary human emotions" The "Teenage Mutant Ninja Turtles" began their existence in 1983 as the heroes of an underground, adult comic book. RAW, "The Comics Magazine for Damned Intellectuals," featured "Maus," Art Spiegelman's Pulitzer-winning comicstrip (Special Citation In Letters - Leapin' Lizards!) treatment of his father's Holocaust experiences. It was exhibited in New York's Museum of Modern Art in 1991 and given CD-ROM rendering in 1994. In the early '90s, Marvel Comics' "X-Men" titles (including "The Uncanny X-Men," "Excalibur,"

"Generation X," "The New Mutants" and a top-rated animated series) became the most popular comic books of all time. Comic book collecting has become a viable and profitable investment option and the industry continues to boom. Harold Gray Harold Gray, the creator of "Little Orphan Annie," was born on a farm in Kankakee, Illinois, on January 20, 1894. He graduated from Purdue University and then went to Chicago to work at The Chicago Tribune. Gray died in May 1968. An assistant took over the strip after his death, but Gray never revealed the true origins of Annie. One widely accepted legend based the name from a poem by James Whitcomb Riley written in 1885 and called "Little Orphan Annie." Another story is that Gray drew some sample strips featuring Little Orphan Otto. When shown to the Tribune's editor, he remarked that Gray's depiction of Otto looked too girlish and said, "Put a skirt on him and we'll call it Little Orphan Annie." The strip debuted in The New York Daily News on August 5, 1924. Annie was taken home from the orphanage "on approval" by Mrs. Warbucks, who mysteriously disappeared from a yachting trip shortly

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after the appearance of "Daddy" Warbucks in the strip. When Annie was first taken in by Oliver Warbucks, the Tribune cancelled the strip. Who wanted to read about a rich orphan? Reader displeasure was so swift that the strip reappeared on the front page the next day with an apology and two episodes: that day's strip and the canceled one. Sandy entered the strip in early 1925 as a small puppy and was allowed to grow to become a big dog; Annie, on the other hand, remained eleven years old forever. Sandy was lost in 1933 and Henry Ford promptly sent a telegram urging that the poor canine be found as soon as possible. "Little Orphan Annie" is one of the most popular and longest-lasting comic strips in history, spawning a decade-long radio show, three movies, and two New York stage musicals, Annie and Annie Warbucks.

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The Music in Annie Act I

Act II

Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . Orchestra

Entr'acte . . . . . . . . . . . . . . . . . . . . . . . . . . . .Orchestra

Maybe . . . . . . . . . . . . . . . . . . . . . . .Annie & Orphans

Maybe (2nd Reprise) . . . . . . . . . . . . . . . . . . . . .Annie

It's the Hard Knock Life . . . . . . . . .Annie & Orphans

You're Never Fully Dressed Without a Smile . . Healy, Boylan Sisters

It's the Hard Knock Life (Reprise) . . . . . . . .Orphans Tomorrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Annie Hooverville . . . . . . . . . . . . .Hooverville-ites & Annie Little Girls . . . . . . . . . . . . . . . . . . . . . .Miss Hannigan Little Girls (Reprise . . . . . . . . . . . . . .Miss Hannigan

You're Never Fully Dressed Without a Smile (Children) . . . . . . . . . . . . . .Orphans Easy Street (Reprise) . . . . . . . . . . . . .Miss Hannigan, Rooster, Lily Tomorrow (Cabinet Reprise) . . . . .Annie, Roosevelt, Warbucks, Cabinet

I Think I'm Gonna Like It Here . . . . .Grace, Annie & Servants Something Was Missing . . . . . . . . . . . . . . .Warbucks

N.Y.C. . . . . . . . . . . . . . . . . .Warbucks, Grace, Annie, Annie . . . . . . . . . .Grace Farrell, Drake and The Staff Star-to-Be, Chorus I Don't Need Anything But You . . . . . . . . . .Servants, Warbucks, Annie, Easy Street . . . . . . . . . .Miss Hannigan, Rooster, Lily Grace, Drake, Chorus Why Should I Change a Thing? . . . . . . . . .Warbucks Maybe (Reprise) . . . . . . . . . . . . . . . . . . . . . . . .Annie You Won't Be an Orphan for Long . . . .Grace, Drake, Servants, Annie, Warbucks Annie . . . . . . . . . . . . . . . . . . . . . .Grace and Servants Maybe (Reprise) . . . . . . . . . . . . . . . . . . . . . . . .Annie

New Deal for Christmas . . . . . . . . . . . . . . . . . . . .All Bows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . All Exit Music . . . . . . . . . . . . . . . . . . . . . . . . . .Orchestra 15

Student Learning Activities 1. To prepare students to see the production of Annie, the following list of activities are suggested: Explain to the students that Annie is based on the comic strip “Little Orphan Annie” that was a popular newspaper comic strip during the 1930’s, 40’s and 50’s. Explain Annie’s background, her appearance, her problems, her dog Sandy, and her life with Daddy Warbucks Show students examples of the “Little Orphan Annie” comic strip so they may come to understand Annie’s character and Harold Gray’s philosophy. Explain that since this musical takes place in the 1930’s, there are many references (allusions) to things, people, and events of the 1930’s and that to have a full appreciation of the musical, they need to know what those unfamiliar terms are. If appropriate for your grade level, utilize the study guide sheet on references in Annie to help students become familiar with what may be unfamiliar allusions. (See the study guide sheet prepared for your use.) Utilize whatever research method is appropriate for your grade level. Students may be assigned one of several terms to research in the library. This research activity may be followed by a whole class sharing activity in which students share their information and complete their guide study sheets. Another option is to create a group research scavenger hunt and have groups compete to see who can complete the assignment most quickly and comprehensively. Play selections from the album to motivate student interest in the production. Ask the students to speculate on the appearance of various characters. Have them suggest names of actors or actresses who might be appropriately cast in the various roles. 2. Gave students study the comic strip form. If appropriate to the grade level, have the students bring in a favorite comic strip and explain why they consider it their favorite. 3. Explain the different types of comic strips: adventure, detective, human interest, political and social satire. Have students choose a type that would be appropriate to their grade and interest level and create a comic strip. Have them brainstorm the type of comic strip, the purpose of their strip, the recurring characters in the strip, etc. Have them create a strip or a series of comic strips to tell a story or to make their point. Students may also create a comic strip based on a novel or short story which they have read or are currently reading in class. Display or publish their efforts in some form. 16

4. Examine national events of the 1930’s and have students discuss how those events help to shape the tone and message of “Little Orphan Annie.” Have the students choose another decade in the history of the county and create a comic that deals with issues of that time. Students could choose also to deal with current issues. Display or publish their efforts in some form. (Templates for making comic strips are on pages 23-25.) 5. Have students read a variety of current comic strips from a Sunday paper. Have students examine the various strips and determine their types. Then have students choose a strip they think could be adapted into a musical. Have them write a one-page “proposal” for their new musical: what would the plot of the musical be, how would characters be portrayed, what setting will be used, what special effects will be needed. Have the teacher play the part of the theatre manager and have the students pitch their “new musicals” for production at the teachers theatre. Have the students attempt to persuade the teacher that their’s is the musical that has the greatest chance of success. 6. Utilize Annie to study the 1930’s and the New Deal if appropriate to your grade level and curriculum.

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Student Guide Sheet: Allusions in Annie NAME: DIRECTIONS: Follow you teacher’s directions for researching the allusions in Annie, and sharing your information with the class. (Allusions are references made to things, people, or events. Knowing these allusions will better help you understand the musical and the period of the 1930’s.) 1. Calvin Coolidge

2. Herbert Hoover

3. Hoovervilles

4. The Great Depression

5.Franklin Delano Roosevelt

6. The New Deal

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7. Al Smith

8. Don Budge

9. Walter Winchell

10. Tommy Manville

11. John D. Rockefeller

12. Mahatma Ghandi

13. Dussenbergs

14. J. Edgar Hoover

15. Dillinger Case

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16. Gunderson (FBI)

17. Farly, Perkins, Ickes, Wallace, Morgenthau, Roper, Swanson

18. Cordell Hull

19. Lou Gehrig

20. Bernard Baruch

21. The Mona Lisa

22. World War II

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23. Rembrandt

24. The Civilian Conservation Corps

ADDITIONAL NOTES:

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WORD SEARCH

Find the words below associated with Pittsburgh Musical Theatre’s production of Annie and circle them. Words can be found horozonally, vertically, and diagonally and can appear in any direction (left to right, right to left, top to bottom, or bottom to top).

Y A W D A O R B F A D O P T I O N A W I R O P P

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E R T H O B X S I A P B I L L I O N A I R E I O

V F H E I G A S T O M O R R O W M E A O N T T L

L A E E T Z S E R V A N T S T E W E L L T E E U

O N B N A B J W E D C R F V T G A A X S A O R M

Act Adoption Annie Billionaire Broadway Children Comic Daddy Dance

W N W C R E B Y A M E R T B A E R L B E A T S I

B I B H M A B U R R R E S H G K D U T R O N S E

L E C A U R E O Y D D A D T H O R D O R P H N R

A I T N S R N E H P P H V S D G O L B A A S B E

B L G E C A N C P E I T J A H T W M L T E A C C

L E I H K T S T A G E D I M S E W O A M A R R H

R S P E T C T A Z A E S U P I T O L B E B E L I

Depression Dogcatcher Ensemble Hannigan Lighting Locket Maybe Molly Orphanage

E P I S T I O T O W N S P E O G L L E R U H Y L

D O T S P E N L R H I J O H A N E Y C Z R C Y D

H B T I R Q U G A C A T S A A N E W O W A T R R

E I S N O R P H A N A G E N E N N A M E A A O E

A U E G A U E L O V E M O E F F N A I A U C O N

D B A B E T T E O G T C W A C S I I C T O G S A

R C U L B H M D A N C E H I A N J R G C H O T A

B O T O E V R E L I L E F N B V S R E A J D E G

T G Y A S G O M P O L T D W Y A G M B E N G R S

A S T R A N S F O R M Y T I O N S E I Y A G G I

Pittsburgh Musical Theatre Redhead Rooster Sandy Sing Smile Stage Tomorrow Warbucks

L R O V S A E N D E P R E S S I O N A L R A S N

E B W A R B U C K S Y O W O E A R O E L E A C T

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Pittsburgh Musical Theatre 2007