The Secret Garden Resource Pack

A Spellbinding New Family Musical28 November 2009 to 23 January 2010Adapted from the novel by

Frances Hodgson Burnett

Book by Garry Lyons

Lyrics by Garry Lyons and Tim Sutton

Music and Arrangements by Tim Sutton

Director Ian Brown

Designer Ruari Murchison

Musical Director Stephen Ridley

Choreographer Ann Yee

Lighting Designer Paul Pyant

Sound Designer Mic Pool

Casting Director Kay Magson

Teacher Resource Pack

West Yorkshire Playhouse / The Secret Garden / Resource Pack

IntroductionWelcome to the West Yorkshire Playhouse Resource Pack

for The Secret Garden

Adapted from Frances Hodgson Burnett’s well-known novel, writer Garry Lyons, composer Tim Sutton, with director Ian Brown, have brought this enchanting children’s story to life as a brand new musical for the stage. Follow Mary’s story from India to the Yorkshire Moors where she meets a whole host of new friends and makes some very interesting discoveries.

This resource pack contains information on the production, including director and actor interviews, as well as activities for you and your pupils to try out exploring the story and its themes. The cross curricular activities directly link to key elements of the English, Geography, PSHE and Citizenship National Curriculum for Key Stage 2 and 3, and may also prove useful to the work of any ‘nurture groups’ or other similar services provided to pupils at your school. Please make the resource pack known and available to relevant members of staff.

The pack is intended only as a guide and aid to further developing work related to the production, we hope that you can find interesting ways of adapting the activities to suit you, and your pupils’ needs.

I hope that you and your pupils find this pack useful.

Best wishes,

Alison Evans

Placement student from The Central School of Speech and Drama.Arts DevelopmentWest Yorkshire Playhouse.

With thanks to:West Yorkshire Playhouse Arts Development and Communications DepartmentsIan BrownJayne WisenerThomas AldridgeGarry LyonsRuari Murchison

Creative Education at West Yorkshire Playhouse is running a full programme of activities alongside this production. Please contact us for more information on 0113 213 7290. Full details of our work can be found on the website www.wyp.org.uk


ContentsWhat was life like in the 1800s?

The Story

Characters

Interview with Ian Brown (The Director)

Rehearsal Notes

Rehearsal Notes Glossary

Interview with Jayne Wisener (Playing Mary Lennox)

Interview with Thomas Aldridge (Playing Dickon Sowerby)

Exploring CharactersExtract 1Extract 2

Character Profile

Discussion of Themes

Practical Activity – Image Theatre

Geography Enquiry

Practical Activity – Mapping

English Activity – Creative Writing

English Activity – Script Writing

Reviewing and ReflectingWhat did you think of the production?Practical Reviewing

Costume Sketches


What was life like in the 1800s?

The Secret Garden was written by Frances Hodgson Burnett, who was born in 1849. When Burnett was just fifteen years old she had to move from industrial Manchester to a rural area of America, following her father’s death. Later in life, Burnett returned to England, where she lived in a country house and spent lots of her time gardening. A walled rose garden became her workroom where, in the late 1800s, she began to write The Secret Garden, a story about a young girl’s journey very similar to her own.

Life in England in the 1800s was very different from the way we live now.

Here are some interesting facts:

In the late 1800s nearly a quarter of all boys and girls aged 10 to 14 were already working rather than • attending school. Some of their jobs included selling flowers in the street, sweeping chimneys, and many were street beggars.

Young children didn’t have many toys, so often created their own outdoor games. ‘Hopscotch’ and • ‘British bulldog’ were particularly popular, and still are today!

Before 1918 boys often wore dresses until they were 8 years old! After reaching this age an occasion • known as ‘breeching’ would take place and they then wore trousers.

Doctors still had very little knowledge compared to all that we know today. Many diseases that do not • trouble us now would be a very serious threat, and would sometimes kill many people. Doctors would treat patients in the best way they knew how, but would often not give the correct treatment.

Many local villagers would take the role of servants, working for the wealthy in their large country • estates. Some of these servants would live on the estate throughout the year, often in very cramped conditions.

Bread, cheese, porridge and potatoes were the main foods for the poorer working class. If there was • enough money, families may have enjoyed a piece of bacon two or three times a week to eat with these other foods.

An orange would often be the only gift that many children would receive at Christmas.•


Mary Lennox, a 10 year old girl, lives in India with her father, an army captain, and her glamorous mother. Mary’s parents are always too busy to spend any time with her, leaving Mary feeling miserable and lonely. She is often very rude to the people around her.

Mary’s life is suddenly turned upside down when an outbreak of cholera, a devastating disease, leaves nobody in the household alive but herself. After being found by a group of soldiers, she is sent to live with her only remaining relative, her Uncle Archibald Craven. Mary must travel across the world to her new home, a huge mansion of over 100 rooms located on the Yorkshire Moors, England.

When she arrives at Misselthwaite Manor, Mary finds herself again very much on her own. With all the servants busy at work, and no children to be seen, Mary is told quite clearly by the housekeeper Mrs.Medlock: “you’ll have to learn to play by yourself. Just like other children who don’t have a family”. Encouraged by her kind maidservant Martha Sowerby, Mary starts to spend time outside investigating the grounds of the Manor. Quickly she makes an intriguing discovery…

Mary is guided by a friendly robin – introduced to her by Ben Weatherstaff, the gardener – to a key buried in the ground. Mary finds out that this key is the lost key to a locked garden which nobody has set foot in for over 10 years! After speaking with Martha, Ben, and Dickon – a Yorkshire lad who has grown up on the moors – Mary finds out that the garden belonged to her Aunt Lily, the wife of Archibald Craven who sadly died 10 years go. In his grief Master Craven had locked the garden, hidden the key and forbidden anybody to enter the garden again. With the key in her hand, Mary’s next step is to find the entrance to the secret garden.

There are other secret places in the huge Misselthwaite Manor. Mary has been strictly told not to enter the East Wing of the house, but she keeps hearing strange cries coming from there at night and wants to investigate. One night Mary hears the sound again, loud and clear, and she finally makes her journey down the long dreary corridors of the East Wing. She eventually reaches a room where she finds a boy lying in his bed whimpering. Mary discovers that he is her cousin, Colin Craven, the son of her Uncle Archibald Craven. Colin asks Mary to visit him every day because he is too ill to go outside with her and Dickon. She agrees to do this but the two of them keep this a secret from Mrs Medlock and the servants.

While outside playing one day, Mary comes across the robin, who flies around the grounds, encouraging Mary to follow him. The robin eventually comes to a stop sitting on a wall covered in ivy, which, when blown back by the moor’s breeze, reveals a hidden green door. Excitedly, Mary takes the key from her pocket and tries it in the keyhole. For the first time in 10 years the door to the secret garden is open…

What new discoveries will Mary make there?

The Story


CharactersMary Lennox – At only 10 years old Mary’s life changes dramatically as she is sent to live with her uncle Archibald Craven in Yorkshire, England, following the sudden death of her parents in India. In such unfamiliar territory, having little company and unable to get her own way, Mary is left to explore her new surroundings and find out more about her family, uncovering a number of secrets along the way.

Colin Craven – Colin Craven is Archibald Craven’s ten-year-old son and heir, also making him Mary’s cousin. Colin’s mother died very soon after his birth, and with his grieving father still unable to look at him, Colin is very much alone. Treated as an invalid throughout is childhood, Colin’s servants have been commanded to obey his every word and desire, shaping him into the selfish and unpleasant young man we meet at the start of the play.

Archibald Craven – The master of Misselthwaite Manor, Colin’s father and Mary’s uncle. Not wishing to spend any time at the Manor or with his son, Archibald spends much of his time abroad, still suffering from great sadness since the death of his wife. An overwhelming surprise meets him on his long awaited return to Misselthwaite, which in turn brings a change of heart to this troubled man.

Lilias Craven – Archibald’s late wife, and Colin’s mother, who died ten years before we meet anyone in the story. Lilias was the sister of Mary’s mother, and so, Mary’s Auntie. She was dearly loved by all who knew her.

Dickon Sowerby – Only 2 years older but very unlike Mary and Colin, Dickon has little or no experience of wealth and sees the world in a very different way. Having lived on Missel Moor his entire life he has a very special and close relationship with the land and all the creatures that live there. Dicken has the power to charm and teach both animals and people, and makes a great impact on the lives of Mary and Colin.

Martha Sowerby – As Mary’s maidservant, Martha is one of the first people at Misselthwaite Mary meets and eventually makes friends with. She is charming, level-headed and kind, much like her brother Dickon, and proves to be quite a positive influence on young Mary.

Mrs. Medlock – The housekeeper at Misselthwaite Manor, Mrs. Medlock does everything within her power to make sure that Master Archibald Craven’s orders are carried out correctly. Though she may appear stern, Mrs. Medlock has a kind heart, and seeks to do what is right.

Dr. Craven – Archibald’s brother and Colin’s uncle, he tends to Colin during his illness, ensuring that nothing disturbs his nephew. Dr. Craven is often very sure that he knows best, however may be proved wrong when Colin, and his condition, begin to change.

Ben Weatherstaff – The elderly gardener of Misselthwaite Manor who, out of love and loyalty to the late Mistress Craven, has tended to the secret garden while it was locked for ten years. Although on first impressions Ben may appear a little grumpy, he introduces Mary to the robin and helps the children in their quest to transform the garden.


InterviewIan Brown (Director)

What made you choose The Secret Garden as this year’s Christmas production in the Quarry Theatre?

The Christmas show is very important to West Yorkshire Playhouse. It’s an opportunity to have new audience members and lots more young people in the theatre. We have often used enduring children’s stories that seem to really understand childhood. Through the story of The Secret Garden, the three children – Mary, Dicken, and Colin – start to find their place in the world. We see them changing and becoming more independent. The Secret Garden is a story about possibilities. The Secret Garden has always been in the back of my mind as it is such a powerful story and impacted me when I first came across it.

Could you tell us a little about the rehearsal process for a production like The Secret Garden?

We gave ourselves a little more time than we would usually have, because this is going to be a new musical. In the very early stages we spent a long time getting the script just right, so that children and adults enjoy it just the same! The actors playing the main characters came into rehearsals slightly earlier than the rest of the company. During this time we looked at the script, the story itself, and the journey that each character takes. The lead actors also learnt their songs and began to feel confident with their parts. When the whole company joined rehearsals we began working through the show in order, solving problems along the way. When this is completed we will then go back to the beginning and work through each section in more detail.


Is it sometimes difficult to direct a production which already exists as such a well known novel and has also been made into a film?

If I’m honest, not really. I really enjoyed the film when I saw it, I thought they did it really well. But the thing is, we’re doing it so differently that it just feels like a completely different thing. There is a BIG difference between film and stage; we are creating the garden and the other environments in a very artistic and imaginative way using colour and lighting, very different to a film which makes everything look as real as possible.

Biggest challenge?

It is always a challenge trying to fill the big stage we have at the Playhouse. There are so many grand locations and environments included in the story – India, the sweeping moors, the large manor house and all its corridors, the garden – and it was a big challenge to try and find a way that these would all work together on the stage and bring the story to life. I had lots and lots of meetings with the designer!

What have you enjoyed most about directing The Secret Garden?

I have really enjoyed putting the cast together and working with the whole team. It has been a real group effort and everybody has contributed in such a positive way.

InterviewContinued


The rehearsal period at West Yorkshire Playhouse is usually just four weeks, however the cast of The Secret Garden have a little longer as this is a new musical for the stage. This means that the script, the music and all the songs have been newly written just for this production of The Secret Garden. Through the rehearsal period actors learn all of their lines, movement and songs, often rehearsing for up to twelve hours each day. During this time all of the costumes are made and the set is constructed by in house production departments in our workshops. All of the production elements such as lighting, sound, set, costume and actors come together in ‘Production Week’. It takes just a few days for our production teams to transform the Quarry stage so it is ready to be performed upon, and then the technical and dress rehearsals take place.

The actors have been rehearsing in the Barber Studio, the largest rehearsal space at the theatre and about the same size as the playing space of the Quarry stage. The scenery is still being constructed in the workshops, which means the actors will not be able to rehearse on the proper set until production week, just a week before the show opens to viewing audiences. This can make it very difficult during the rehearsal process, because actors can only have a rough idea of what it will be like to perform on the actual set. For The Secret Garden the actors will have to work on a rotating stage, so the whole team is finding it very tricky to imagine how this might work in reality!

Around the rehearsal room are diagrams and pictures of the set, a small model of the set, and stage dimensions are taped all over the floor so the actors know the space they have to work in. In the centre of the room there is also a structure with ramps attached, resembling the rotating platform as much as possible.

There will be lots of work to do and changes made during the technical and dress rehearsals, when all the set, costumes and props can be used properly.

There are around 100 people involved in getting The Secret Garden ready for the stage – the production team working behind the scenes, the directors, choreographer, and actors. Everybody must remain flexible and adaptable to change, and also be a very hardworking and supportive member of a large team.

Rehearsal Notes


TRY THIS!

A practical tip you could try when rehearsing for a performance…

During rehearsals for The Secret Garden, the cast returned to the very beginning of the show to practice the opening song and entrance on the stage. This had already been rehearsed, so the actors knew all of their movements when the music began to play. The choreographer suddenly stopped the song part way through and gave the cast some new instructions:

“I want you to come onto the stage and take up your opening positions, but then I want you to stay there. Forget all of the movement we have previously rehearsed and stand still in these positions. I want you to tell me the story through your voices and facial

expressions alone. Tell me the story through your eyes.”

The cast followed these instructions, now focussing their attention on how they were communicating to the audience clearly without moving their bodies. It was then decided that this would be the new opening, as the simplicity was much more affective and engaging than lots of people moving around the stage.

Why not try this with your class while they rehearse lines for a play, or role-play activity?

Ask pupils to restrict their movements to expression in the face and head, seeing how this • changes and emphasises what you are saying.

Sometimes lots of movement in our body can distract from the words we are communicating. • We can communicate so much just by using the voice in interesting ways. Encourage pupils to really think about the motive behind their movements when on stage…are they all necessary?

As we can see from this exercise, sometimes only a little movement may seem too simple, but is • very effective!

Rehearsal NotesContinued


Reheasal Notes Glossary

DIRECTOR – The director takes on a number of responsibilities throughout the planning and rehearsal of a production. They work very closely with many other professionals to choose the story/script, cast the actors, decide on the design of the show, and direct the actors on how to play their parts.

CHOREOGRAPHER – The choreographer works with the director, producer, designer and actors to create the dance or movement sequences needed for the production. Many changes and adjustments are made through the rehearsal process.

DESIGNER – The designer works closely with the director to decide how the production will look on the stage. They design the set, props, and often the costumes, giving the production team detailed drawings of their ideas so that these different elements can be made for the stage.

SET – The set is all of the different parts of scenery and props that you see on the stage during a performance. Sometimes the set can be very bare, or very complicated, but always different for every performance. The set for a production is very important in creating the right atmosphere and environment for a performance.

PRODUCTION WEEK – This takes place just one week before the show opens to its audiences. During production week, the set will be assembled on the stage and the actors can begin rehearsing in the space they will actually perform. Technical and dress rehearsals will take place to make sure that all is ready before the show opens.

TECHNICAL REHEARSAL – The technical rehearsal is part of the production week, and is co-ordinated by the production team. This is an opportunity to test all of the technical elements involved in the production – lighting, sound, machinary, and special effects. The team can deal with any problems and make sure that all will run smoothly in the real performance.

DRESS REHEARSAL – This is a full uninterrupted rehearsal with the actors in costumes and all other technical elements in place. The production is performed as though it is the real thing in front of an audience.

PRODUCTION TEAM – The production team is made up of many different professionals who take on board the ideas of the director, designer, and choreographer and try in many different ways to make these happen practically. The team includes the production manager, set construction staff, wardrobe department, a scenic artist, lighting designer, sound designer, a stage manager and many more.


Interview – Jayne Wisener (Mary Lennox)

Could you tell us a little about your experience so far of playing the character of Mary Lennox?

When I was young I always liked Mary and her journey in The Secret Garden, even though she is so often described as such a ‘disagreeable child’. I’ve really enjoyed stepping into her shoes and finding those places where she softens and lets people in. Because I’ve always loved the story, it’s very exciting to be playing Mary…I have found myself frowning a lot though!

What would you say is the biggest challenge playing the character?

Mary is so young, and although I kind of remember what it was like being that age I can’t completely remember the thought processes a 10 year old girl goes through. So it’s been quite difficult at times to try and get inside her head and figure out what’s she’s thinking and why…the original book has been very helpful with that because it describes her thoughts and feelings in more detail. I also find it difficult to be so nasty! Mary has been brought up with no love, and she doesn’t understand a lot of things. She’s very spoilt, and all of those things can be hard to play.

Like you have said, Mary is a very young girl in the story, how do you manage to portray her character physically and vocally?

I naturally have a high pitched and bright tone to my voice, so I sound quite young…and look young too! The script is very helpful because the things Mary says come from a child’s point of view, so this really helps you to get into character with your movement and your voice. I think that children are probably physically freer than adults and a bit more fidgety, but Mary is still very contained. I think for Mary her childish nature comes through the way she is feeling and what she says.


What have you enjoyed most through the rehearsal process so far?

When we learn a song for the show we begin by learning our individual parts, but then when all the different harmonies come together and we are all singing it gives me tingles! It makes me so excited about what we’re creating and what the finished show will be like on stage. Another thing I’ve really enjoyed is meeting lots of new people. The cast have been great to work with, and we are all laughing so much! It’s amazing how you don’t know anyone when you arrive on the first day, and then a couple of weeks in you’re like a big family. You really bond with people through the process of creating things together.

What would you like to communicate most about Mary? How would you like the audience to respond to her?

I would say “don’t judge her too early”. I guess Mary’s journey through the story is about her growing up and learning to love. I’d like to show that, and also her getting the chance to be a child and have excitement.

Interviewcontinued


Interview – Thomas

Aldridge (Dickon Sowerby)

What do you like most about the character that you are playing?

There are lots of Dickon’s attributes that I really like. I think it’s great the way that he appreciates everything that is around him and really loves to be outside amongst it all. I think he’s quite fearless too, I admire that about him. The moors can be quite a wild place and he isn’t afraid of it, even when he spends so much time on his own there. I think I once heard somebody say that Dickon would be “just as at home in Buckingham Palace as he would be in a coal mine”. He’s comfortable speaking to anybody because he’s comfortable in himself, and doesn’t judge or hold prejudices.

Do you think you are similar to Dickon at all?

I had the same energy and loved being busy outside when I was a boy. If I’d have had the moors to explore like Dickon I think I would have been quite similar, but it was quite different growing up in Essex! As I’ve grown up I’ve learnt to appreciate the things that Dickon appreciates – going out walking in the countryside and enjoying nature – but I didn’t as much as he does at such a young age.

Dickon is an independent young boy, always out on the moors and, like you have said, comfortable with his own company. But who would you say is his closest friend?

At the start of the story perhaps it would be the animals. Dickon is always happy to make friends but maybe he hasn’t had a very close friend that stands out especially. By the end of the story I would have to say it’s Mary. They are so intrigued by each other because they are so different, almost charmed by one another. They grow to have a very special friendship, both learning from one another and creating new possibilities.

You have had to speak in a different accent to your own. Is this something that comes naturally to you, or does it require lots of hard work?

It doesn’t come naturally to me in the slightest! I actually find it a real struggle. It isn’t just the accent I have to think about though. I also have to think about Dickon’s age, his character, and the meaning behind everything he says. Every aspect of the voice needs to be correct for the character. The amount of time it takes me to get an accent right depends on which accent I am trying to use, and how different it is from my own. I don’t think I’ve quite mastered the Yorkshire accent yet, but I hopefully will have by the opening night of the show!


EXPLORING CHARACTERS

This exercise is designed to lead pupils to investigate the characters from The Secret Garden a little more, thinking about their characteristics and what might make them behave in the way they do.

TASK:

Split the class into smaller groups of 4-5 pupils, and hand them a copy of one of the two extracts • found on the following pages.

Ask pupils to read aloud the extract they have been given in their groups.•

Following this, ask the groups to talk together about the scene and its characters, using the questions • on the handout provided to guide their discussion.

Ask each group to feed back to the rest of the class some of their thoughts and discussion on their • extract.

SUGGESTIONS FOR DEVELOPMENT

Following this initial task, groups could work together on bringing this scene to life. You may • wish to split the class down further to groups of 3 so each plays a character, or keep the original groups of 4-5 with one or two members taking a directing role.

You may wish to use these extracts with the whole class rather than splitting into smaller groups. • Ask three volunteers to read aloud the extract of your choice, and lead the class in discussion using the questions on the handout as you feel appropriate.

As an alternative to group discussion, these extracts and questions could be geared towards • individual written response. This could then develop towards the writing of a monologue exploring one characters thoughts and feelings.


EXPLORING CHARACTERS

Read the extract aloud in your group, and together discuss what you think about the scene and its characters, answering the questions below.

Extract 1 – Act 1, Scene 11.

Briefly describe what is happening in this scene…•

What are Archibald and Percival trying to communicate to one another?•

Do they have different views?•

Why might this be?•

Do you think Archibald is dealing with his circumstances well?•

Why do you think this?•

Who else does Archibald affect by his behaviour and the choices he makes? How?•

Would you have any advice for Archibald? And what about Percival?•

Extract 2 – Act 2, Scene 12.

What do we already know about Ben Weatherstaff, Mary Lennox, and Colin Craven before this scene • takes place?

Briefly describe what happens in this scene…•

Is Ben Weatherstaff right or wrong in what he says to Colin?•

How do you think Colin feels about what Ben says?•

What do Colin’s words and actions tell us about his character?•

How does Mary act in this situation?•

What does this say about her character?•

How does this compare to when we first meet Mary in the story?•

Is there anything we can learn from the way Ben, Colin and Mary treat each other in this scene?•


ACT 1, SCENE 11.

PERCIVAL You’re going away again?

ARCHIBALD Yes. In a week or two, a long trip to Europe. I need time alone, away from here.

MEDLOCK How long will you be gone, sir?

ARCHIBALD The rest of the year.

PERCIVAL The rest of the year?

ARCHIBALD Perhaps longer.

PERCIVAL But Archie, the estate.

ARCHIBALD I’m sure you’re more than capable of looking after it, Percy.

PERCIVAL I have my medical practice.

ARCHIBALD Mrs Medlock can manage the household. The gardeners take care of the grounds. As long as you look after the accounts.

PERCIVAL It’s not just the accounts, is it? Archie, you have responsibilities, family responsibilities. Don’t run away from them.

ARCHIBALD I am not running away from them. You don’t know what you are talking about. My being here only makes matters worse.

PERCIVAL That’s not true Archie.

ARCHIE If you’d had a loss like mine, you’d understand.

PERCIVAL I do understand, but –

ARCHIBALD Then let me grieve in my own way.

PERCIVAL It’s been ten years.

ARCHIBALD Yes. And there’ll be ten more. Twenty. Thirty.

PERCIVAL And Mary?

ARCHIBALD What of her?

PERCIVAL Is it really fair to keep her at Misselthwaite? It would be so much easier if she were somewhere else.

ARCHIBALD You just don’t want to be bothered with her.

PERCIVAL No Archie. Believe me. I’m thinking of everyone. You. The staff. The girl herself.

EXTRACT 1


ACT 2, SCENE 12.

COLIN Do you know who I am?

(WEATHERSTAFF IS SPEECHLESS.)

Well, do you? Answer.

WEATHERSTAFF Ay, that I do. How ‘ave tha’ come here? You’re him. That poor weakling. The one who can’t walk.

COLIN I’m not a weakling.

MARY You can’t call him that.

WEATHERSTAFF Beg pardon. I don’t ‘ave the words, sir. But haven’t tha’ got a weak back?

COLIN No.

MARY He hasn’t. What if he had anyway?

WEATHERSTAFF But tha’ can’t walk. Hasn’t tha’ been in bed for years?

MARY So?

COLIN Who is this rude man?

(HE TEARS THE RUG FROM HIS LEGS.)

MARY Ben Weatherstaff, the gardener.

COLIN Hold the chair, Dickon.

WEATHERSTAFF What art tha’ goin’ to do?

COLIN I’m going to show you.

(HE STARTS TO STAND UP.)

MARY You can do it. You can do it.

COLIN IS UPRIGHT.

DICKON You’re tall as I am, Master Colin.

COLIN (TO WEATHERSTAFF) Look at me. Just look at me, you. See?

WEATHERSTAFF God bless thee. You’ll make a man yet.

MARY He’ll make a man anyway.

(COLIN SITS BACK DOWN IN HIS CHAIR.)

EXTRACT 2


CHARACTERPROFILE

Choose any character from The Secret Garden and answer these different questions about them. In the box, draw a picture of them, or use one of the pictures provided.

What is the character’s name?

How do they spend most of their time?

How should an actor bring this character to life?

Choose 3 words or short sentences to describe this character:

1.

2.

3.

Briefly describe their relationship with another character in the story.

How do you think this character feels at the beginning of the story?

And is there any change by the end of the story? If so, how have their feelings changed?

Put an image of the character here


DISCUSSION OF THEMES

Splitting the class into small groups, encourage students to discuss some of the themes found in The Secret Garden, using the leading questions below. Give each small group a different theme and ask them to share elements of their discussion with the rest of the class during a time of feedback.

Loneliness

Which characters do you think experience loneliness in the story? • In what way do they feel lonely? Is there a particular reason behind it?• Can you suggest some situations in which any of us might feel lonely?• Do you have any suggestions for how we might deal with the loneliness we, and others, feel?• How do the characters deal with their loneliness in The Secret Garden?•

Friendship

Do you think the characters in The Secret Garden find it easy to make friends?• Can you think of any reason why they do/don’t?• Are there moments in the story where friendships change? Can you identify these?• In what way do they change, and can you think of a reason why?• What have you learnt about friendship through the story of The Secret Garden?• What are the qualities of a good friend?•

Restrictions and Disability

Which of the characters have restrictions in their lives? What are these restrictions?• How do you think these restrictions affect them?• Would you say that Colin Craven had a physical disability?• What do you think caused this?• Do you have any thoughts on the different ways that we can respond to the restrictions we experience, • and those experienced by people we know?

Transformation

What does the word ‘transformation’ mean to you?• Can you see any transformations that occur in The Secret Garden?• When are these? Who, or what, do they involve? How do they occur?• Are there any resulting effects of these transformations?• Would you like to share any experience of transformations which have happened to you or somebody • you know?


PRACTICAL ACTIVITY – IMAGE THEATRE

Image theatre is a technique developed by a theatre practitioner named Augusto Boal. You may find his book ‘Games for Actors and Non-Actors’ very useful, as it provides further details on image theatre and other techniques, plus lots of useful drama-based games.

Boal’s image theatre format can be adapted and used as a way to further develop the discussion of themes in The Secret Garden and also to encourage students to implement thought and action into different situations.

The Image Theatre Form

Step 1

Split the group into smaller groups of 3 to 6 pupils, depending on the size of the class and how you • feel they would work at their best.

Following on from responses given during discussion of the story’s themes, give each group a • significant moment or situation for one of the characters in the story.

Given the issue based and problem solving nature of this exercise, situations which show a struggle, • conflict or some sort of difficulty for the character would produce more effective results.

Example: “Mary arrives at Misselthwaite Manor, a huge new place where she has no one to play with. She feels scared and alone.”

Step 2

Having given each group a situation, ask them to show what is happening in their particular situation • through one frozen image. Pupils who have already come across frozen image or tableau perhaps in drama classes, will be familiar with this concept. You may need to encourage those who haven’t to think about facial expressions and use of the body to portray character and story in a frozen moment of time.

Ask one or two groups to show their image to the rest of the class, encouraging the audience to talk • about what they see in the image, what may be happening, and what the implications may be for the characters.

Step 3

Ask the groups to return to their situation but now form a frozen image showing the situation • resolved. Taking the example used earlier, Mary’s fear and loneliness are replaced by an image of her enjoying her time at Misselthwaite. These may seem rather obvious solutions for pupils to realise, but the exercise does not end here.


Step 4

Choose one group to firstly show their frozen image of the original situation, followed by their second • image of the situation resolved.

Encourage comments from the audience and clarify that all understand what is happening in this • circumstance.

There is now a new question to pose: We have the problem (image one), we have the solution (image • two), but how do we get from one to the other? What needs to happen in between to make it possible to achieve this end goal?! This will become the third image.

Invite a volunteer to come into the performance space and sculpt this new image using the members • of the group in question. When they are happy and satisfied that they have shown a way of reaching the solution, open it out to the rest of the audience, asking if they are also happy with this image, or can perhaps see a potential problem.

Anyone who wishes to change it or try out another idea is welcomed to do so, and here the forum • begins. Encourage the class to discuss with one another, respecting the opinions of their fellow classmates.

In facilitating this exercise you may be required to pick out potential difficulties in the pupils’ approach, • leading them to really think through actions, consequences, and the many options available.

Suggestions for developmentThere are many ways you could adapt this exercise:

Rather than using moments from The Secret Garden, groups could be given a similar situation • but removed from the story (see examples on the following page).If needed, moments from the story could be used as an introduction to producing frozen images, • and alternative situations more applicable to pupils’ everyday experience then used throughout the image theatre process.Encourage pupils to think of their own situations rather than providing one for each group. • The different small groups could all work from the same situation. It may be interesting to see • different representations of the same circumstance, and may further exploration more effectively under a time constraint.

Thought-trackingPausing after the creation and showing of the first image, audience members could be invited to • speak aloud the thoughts and feelings of one or more of the characters involved

HotseatingTo further explore this, a volunteer could then become one of the characters and bring this • character to life by answering questions asked by other audience members.


Moments from The Secret Garden:

Mary arrives at Misselthwaite Manor, a huge new place where she has no one to play with. She feels scared and alone.

Mary would really like to grow some flowers. She needs somewhere to plant her seeds but is too frightened to ask her Uncle Archibald about it.

Mary and Dickon spend a lot of time together playing outside in the gardens. Colin becomes jealous of their friendship, he feels he is always forgotten and left alone.

Colin has heard that his father will be leaving Misselthwaite to travel abroad for a year. He would really like to say goodbye, but is embarrassed to ask because his father may not want to see him.

Situation Examples:

Richard has just moved to a new school. It is much bigger than the school he has just come from, and he is worried that he won’t make any friends.

Sally has been given a really important history project, and has no idea how to even start it. She is too embarrassed to say anything to anyone.

A group of friends want to go on holiday together to an activity centre. Darren’s parents refuse to let him go, saying he is too young to go on holiday on his own.

Lisa is 12 years old and her mum often leaves her on her own in the house. Lisa doesn’t really feel comfortable with this but Lisa’s mum keeps telling her she’s old enough now.

Michael and Sam have been close friends for a long time, but recently Michael has noticed that Sam doesn’t really want to spend any time with him. Instead, Sam has been spending lots of time with another boy at school. Michael is upset because he doesn’t know why things have changed and doesn’t know what to do about it.


GEOGRAPHICAL ENQUIRY

At the beginning of The Secret Garden, Mary Lennox makes a long journey from India, where she lived with her parents, to Yorkshire in England, where she will live in her Uncle’s mansion. On arriving in England Mary discovers that this new place is very different from the one where she has grown up.

But how different is India from England, and are there any connections or similarities between the two?

TASK

Looking at different books, encyclopaedias, atlases and the internet, answer the questions below about both India and England to find out how different these two countries are.

What continent is the country a part of?•

How many countries lie next to it? Can you name them?•

What is the population of the country?•

How many different languages are spoken?•

On average, how much money does a person earn each year?•

What are the weather patterns through the seasons? •

Does this vary between the North and the South of the country?•

Have there been any natural disasters, such as earthquakes, hurricanes, floods, tsunamis, volcanoes, • landslides?

Describe some of the different types of landscape you can find there.•

What is the size of the largest City?•

How many people live there?•

What are the main types of work?•

What is the most common form of transport used? How many people own a car?•

What types of wildlife can you find in the country and where?•

What types of food can grow there?•

What does England buy from India? What does India buy from England?•

There are lots of differences between India and England, but can you think of any possible similarities between them, and the people who live there?


PRACTICAL ACTIVITY – MAPPING

Mapping is a technique which can be used in a variety of ways to encourage participants to explore their own thoughts, ideas, and what makes them who they are, and to share this with others in their community. Good communication skills and sensitive group work are important through the process of mapping as participants ask questions of, and share with, one another. You may adapt such an exercise to suit your class and individual pupils as you feel would be appropriate.

To start this activity a statement is made, or a question posed, to which participants then respond, 1. ‘mapping’ their responses in a variety of ways: through photography, drawing/painting, forming a sculpture using objects in the room or from outside, bringing in their own belongings from home.

The class could work individually or together in small groups while mapping their response, depending 2. on the medium and the statement or question they are responding to. It may be interesting for different pupils in the class to perhaps respond through different mediums, or for all to use the same medium set by the teacher.

When sharing the results of the mapping exercise, pupils are first given the opportunity to 3. communicate anything they wish to about their ‘map’. Time should also be given for class members to just look at what has been produced before jumping in straight away with questions or comments. If the pupils sharing are happy to continue, other members of the class are then welcomed to ask questions about what they have seen and heard so that they can understand more. You can develop or bring the process to an end at any time as you feel is appropriate.

Possible statements/questions…

What is your favourite place? / My favourite place is…Who is your closest friend? / My best friend is…Where is your home? / What is home like? / Where I live…/ My home…I am happiest when…Sometimes I worry about/ when…I don’t like it when…My family…


ENGLISH ACTIVITY – CREATIVE WRITING

Use one or more of these themes as a starting point for pupils in your class to write their own piece of creative writing.

Make your own discovery.If there were any secret place you could discover and explore, what and where would it be? This could be a real place where you have always wanted to go, or an imaginary place. Some things to think about:

Where is this secret place?• How do you get there? Describe your journey.• How big, or small, is it?• Does anybody else know about this place? Is anyone with you while you explore?• What do you find there? Do you make a significant discovery?• How long do you spend there?• When you leave, how do you make sure nobody knows that you were there?•

YOUR secret garden…If you had a secret garden like Mary, what would it be like? A magical secret garden can be as magical as you like, so really try and use your imagination! Some things to think about:

How do you enter your secret garden? Who is allowed to enter?• What colours, smells, and sounds are there in your garden?• What would you plant there? Flowers, trees, food?• Would there be anyone or anything living there?• How would your garden change through the seasons?• Is there anything magical about your garden? • How is YOUR secret garden different to any other?•

What happens next?The story of The Secret Garden ends when Mary, Dickon and Colin are still very young. What do you think happens next in the story, or perhaps even further on in the future? You could perhaps take one of the characters and develop their own story, or think about a number of them together. Some things to think about:

What is Misselthwaite Manor like after Master Craven’s return?...and the garden?• How does Colin’s relationship with his father develop? Do they get to know one another better?• Do Mary, Dickon and Colin remain friends? What other adventures do they have?• What are they like when they grow up? Have they changed?• Does Mary ever return to India? If so, why, and what does she do there?•

Pupils could also use the theme of ‘My favourite place’, introduced through the mapping activity, as a starting point for a piece of creative writing.


ENGLISH ACTIVITY – SCRIPT WRITING

On the hand-out provided you will find the following script writing task for you to give directly to your class. A model script layout is also attached to support this exercise if needed.

When Mary Lennox arrives at Misselthwaite Manor she is not told anything about the place she has come to, or given any information about her family. She has to find this out piece by piece on her own. Her Uncle Archibald refuses to speak of the past and commands everyone else to keep quiet too. Mary is never able to ask Master Craven all of the questions she is desperate to find the answers to.

If you were in Mary’s position, and finally had the opportunity to sit and talk properly with your Uncle, what would you want to say to him? How would he respond?

Imagine you are in that very situation…and start to question:Where are you?• At what point in the story are you having this conversation?• What state of mind is Mary in at this time?• How does this make her feel towards her Uncle?• How does Master Craven feel about being questioned?• Are you alone? Is your conversation private?•

TASKWrite a script of Mary’s conversation with her Uncle Archibald Craven. Remember to set out your page in the correct way.

SUGGESTIONS FOR DEVELOPMENTIf time is available, students could work in groups to rehearse and develop their scripts, and • finally perform or read them aloud to the other members of the class.

Placing other characters from The Secret Garden in new situations may also inspire students in • script writing.

A script writing exercise could be used in conjunction with the ‘Creative Writing’, ‘Discussion of • Themes’, or ‘Exploring Character’ sections of this resource pack.


WRITING A SCRIPT

Look at this extract from Act 1, Scene 3 of The Secret Garden. When you have finished, carefully read the instructions for the task below.

MEDLOCK

MARY

MEDLOCK

MARY

MEDLOCK

When Mary Lennox arrives at Misselthwaite Manor she is not told anything about the place she has come to, or given any information about her family. She has to find this out piece by piece on her own. Her Uncle Archibald refuses to speak of the past and commands everyone else to keep quiet too. Mary is never able to ask Master Craven all of the questions she is desperate to find the answers to.

If you were in Mary’s position, and finally had the opportunity to sit and talk properly with your Uncle, what would you want to say to him? How would he respond?

Imagine you are in that very situation…and start to question:• Where are you?• At what point in the story are you having this conversation?• What state of mind is Mary in at this time?• How does this make her feel towards her Uncle?• How does Master Craven feel about being questioned?• Are you alone? Is your conversation private?•

TASKWrite a script of Mary’s conversation with her Uncle Archibald Craven. Remember to set out your page in the correct way.

Why you’re being brought to Misselthwaite Manor, I’ll never know. I suppose there’s no other choice. Your uncle won’t trouble himself about you. He never troubles himself about anyone. Oo, he’s become a sour man. It’s a shame. He were so happy an’ charming when he were younger. Married your mother’s sister, Lily, despite his looks.

I never knew my mother had a sister. Not till a few weeks ago.

Oh ay. Sweet, pretty thing she was. No one thought she’d marry him. But she did. Ant it weren’t for his money. Oh no. But then she died.

No one told me any of this.

It were like a curse on him. Like sommat’s put a blight on him. He’s away travelling most of the time now. And when he is at home, he shuts himself away in his study. Don’t expect to see him, because ten to one you won’t.


Scene Number: Scene Title

Short description of where the scene takes place and how it begins___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

(stage direction)

Name of character: What he or she says ___________________________________________________ ___________________________________________________ Next character: What he or she says in response ___________________________________________________ ___________________________________________________ ___________________________________________________

(stage direction)

There you go! It’s pretty easy setting out a script so you’ll definitely get the hang of it quickly. Just in case you forget, here are a few points to remind you:

Always put the name of who is speaking down the left hand column.• Write down what they say next to their name.• You don’t need to use speech marks in scripts. Phew!• Stage directions always go in brackets.• Try to make your script neat and clear so it’s easy for the actors reading a part to follow.•

Well done, you are now a successful script-writer!


WHAT DID YOU THINK OF THE PRODUCTION?

Knowing where to start when writing a review can be difficult. Here are a couple of exercises aimed to help you get started. Listed below are six different categories. Taking them one at a time, ask the class to write down everything they can remember about this part of the performance. Alternatively, you could use these headings as the beginnings of a mind mapping exercise. Afterwards, encourage the class to feedback on what they wrote for each category. Pupils can then use these ideas as a starting point for writing up a review.

Pupils may find some sentence starters helpful when beginning to write up their play review, here are just a few suggestions…

On _______, we went to see ___________________ at West Yorkshire Playhouse.My favourite part of the play was…The funniest moment in the play was when__________________ however, the saddest moment was when __________________________________________.I found it frightening in the part when …The character I liked the most was ________________, and this was because…In contrast, the character I liked least was ________________, because…I thought the set design was…My favourite costume was __________________. Two reasons for this were because __________________________________ and__________________________________.I thought the lighting was effective when…

PERFORMANCE

MOVEMENTACTING

COSTUME

SOUND EFFECTSMUSIC

SET

LIGHTING


PRACTICAL REVIEWING

AGREE OR DISAGREE?

Ask your pupils to choose a statement from their production review, and one by one (or just a few individual volunteers) ask them to share their statement with the group. The rest of the group show whether they agree or disagree with the statements by standing in either the ‘agree corner’, the ‘disagree corner’ or somewhere in between. When the class have chosen their places, ask one or two to share the reason for placing themselves where they have, and their opinion on the statement given.

If there is not space available to perform the activity in this way, the class could perhaps respond to each others’ statements using particular facial expressions or arm movements (chosen by yourself), one for “I agree”, one for “I disagree”, and another for “I’m not sure”.

“ANYONE WHO…”

As an alternative, this exercise may be another useful way to engage the class with sharing their thoughts on the production, and spark group discussion…

The group sits in a circle with one less chair or space than there are group members. The person with no chair stands in the middle of the circle and makes a statement about what they thought about the show, beginning with “Anyone Who…”. All the group members who agree with this statement

stand up and swap places. The speaker must try to move into a seat. One person will be left with no chair and they then make the next statement.

For example, the person in the middle says “Anyone whose favourite character was Dickon”, and all those who also thought Dickon was the best character stand up and swap places.




Documents

The Secret Garden Resource Pack