Study guide created by Megan Alexander, Education Associate with guidance from the Autism Society of Cincinnati.

Support for Theory of Mind is provided by

The Robert and Adele Schiff Family Foundation The Ruth J. and Robert A. Conway Foundation, KeyBank, dunnhumby

Target Corporation and Toyota Motor Engineering and Manufacturing North America, Inc.

Scripps Howard Foundation Class Act! workshops are supported by Scripps Howard Foundation.

The Playhouse is supported by

ArtsWave, Ohio Arts Council & The Shubert Foundation and NEA.

Cincinnati Playhouse in the Park Education Department education@cincyplay.com 513.345.2242

Mark Lutwak, Education Director

Megan Alexander, Education Associate

Anita Trotta, Education Associate

Kristin Schneider, Community Engagement Coordinator

EDUCATORS’ STUDY GUIEDUCATORS’ STUDY GUIDEDE

Common Core Anchor Standards addressed through this performance and educators’ guide include:

CCSS.ELA-LITERACY.CCRA.R Key Ideas and Details, Craft and Structure,

Integration of Knowledge and Ideas

CCSS.ELA-LITERACY.CCRA.W Text Types and Purposes

CCSS.ELA-LITERACY.CCRA.SL Comprehension and Collaboration

CCSS.ELA-LITERACY.CCRA.L Vocabulary Acquisition and Use

THEORY OF MIND

By Ken LaZebnik

I am very happy that we are able to bring THEORY OF MIND to your school.

This play is the first new script that I helped to develop when I came to the Playhouse in 2008. Play-wright Ken LaZebnik had strong and very personal reasons for writing this play; his own son was diag-nosed with Asperger’s Syndrome and his nephew is on the high-functioning end of the autism spectrum. We had the good fortune to have Ken at the Playhouse to work various drafts of the script and also to help with rehearsal. He was very concerned that his characters were individuals. Bill’s disability is just part of who he is, not a label or a box. He wanted his play to introduce his audience to an understanding of one particular life on the autism spectrum. Of equal importance, as we learned when we toured this play 6 years ago, the problems and challenges faced by these two characters are not so different from those faced by teens of many different abilities.

Indeed, in the post-show discussions that followed each performance, we found students who could re-late to both adolescent characters. We had the privilege of sparking and becoming part of several very exciting and important conversations about disability but also about the difficulties of communication and relationships. We believe very strongly that this reflects the power of live theatre.

When an audience connects with performers, something special happens. An empathetic bond forms. Every aspect of theatre — the literature, the acting, the choreography, the design — contributes to and rests on this bond. As we forge this connection, we in the audience are drawn into a world that has its own rules of time and space. We experience its sensations as if we were there and, most importantly, we share the feelings of its characters as if their experiences were our own. The theatre offers a special kind of experiential learning; it allows us to walk in the shoes of others. We empathize with and feel the char-acters’ pride, exhilaration, joy, fear and other strong emotions, even as we are able to sit back and con-sider the impact of their lives. It is a rich experience that we share from the safety of our seats.

This heightened experience is made possible not only by the quality of the script, but by the many aesthetic choices made by all the artists — the actors; the designers; the director; and other artists and artisans. At every moment, they have asked themselves, “How can we help tell this story?” So, every moment is 100 sat-urated moments. Our brief time in the theatre contains thousands of hours. It is a powerful experience.

I hope your students enjoy the play and afterward are able to discuss not only the story, its characters, and its importance to them, but also the work that brought it into existence.

Thanks for bringing your students to see live theatre. Thanks for cultivating the well-rounded citizens of the future. Thanks for helping them imagine the infinite possibilities.

Best,

Mark Lutwak Director of Education

FROM THE DIRECTOR OF EDUCATION

This guide contains writing prompts, discussion questions, and classroom activities. We would love to know how our materials are being used in your classroom. Please share your students’ work or your own thoughts and suggestions with our education department.

education@cincyplay.com

Theatre is live. There are no edits, no CGI, no re-takes. Every moment is real, performed by real liv-

ing people in front of your eyes.

Turn off your cell phone.

We welcome discussion about the play, but it is not appropriate to discuss during the play. Please

keep chatter and distracting sounds to a minimum.

Use the restroom before the show so you don’t miss the best parts of the play.

Pay attention. Listen! If you miss something, there’s no rewind. Theatre is deep.

Let it take you in and the payoff is huge.

Respect the actors. They can see and hear you. They want you to react, to laugh,

to respond. Give them your absolute focus and they will reward you with the

best performance they have ever given.

Script

We can provide you with a copy of the script for this play before your students see the performance. You may use it to preview the play or have your students read it to themselves or aloud in class.

Study Guide

This study guide is designed to be used. Please copy and share it with students and fellow teachers. It contains background material, activities, and questions to help strengthen understanding and build con-nections to the play.

Scripps Howard Foundation Class Act! Program Workshops

Class Act! is a free, single-session classroom workshop (45 -60 minutes) led by a professional teaching artist, that uses drama activities to prepare students for a Playhouse touring production. We also can work with students after they see a show to help them connect their experience to the curriculum. To schedule a free workshop contact Megan Alexander, education associate at 513.977.2031.

Please take a moment to prepare your students

for the theatre by reminding them:

We ask that teachers model this behavior for their students. When students see adults talking, reading or using their phones

during a play they get the wrong message about respect and focus.

BEFORE THE SHOW

SEEING LIVE THEATRE

Bill, 17, a young man with autism who has had years of intensive intervention and now attends a small private high school in Los Angeles. His autism has been a private matter — his parents and he have nev-er told his small circle of friends. What these friends might notice about Bill are certain strengths: an incredible memory; an ability to draw precisely and with great detail; a charm and good nature that are endearing.

Hilo, 17, a resolute nonconformist, comfortable in her own eccentric skin. She knows Bill well and con-siders him a good friend. She is a devout member of her church. She values all living things. She has a pet goat.

Police Officer, Parking Attendant, Box Office Guy, various adults who wield power.

THE CHARACTERS

Bill arrives at Hilo’s house to find a barefoot girl feeding her goat, Gruff. Hilo is Bill’s date. He is taking her to see his favorite band, Sharon Jones and the Dap-Kings. She has decided to go along because she wants him to return to their church youth group. Bill, already feeling anxious because he had trouble parking and is now three minutes late, has some awkward conversation with Hilo before they leave for the concert. On the road they begin talking in typical friendship fashion. Hilo, a free spirited animal lov-er, explains how animals have free will. Bill brings up their college applications and then tells Hilo more about the band they are about to see. In the blink of an eye, the car runs over a squirrel. Hilo is dis-traught over the death of this very important “living thing.” They stop the car to check on the very dead squirrel. Bill is indifferent and wants to get back on the road. Hilo and Bill begin to argue over the fate of the squirrel as a police officer approaches them. Bill, an obsessive rule follower, freezes in panic. he cop intervenes kicking the squirrel to the side of the road and tells them they must keep moving or he will issue Bill a ticket. Back in the car ,their conversation takes another turn. Bill reveals personal facts that put Hilo on edge. First he tells her he sees a therapist which peaks her interest. In passing, he nonchalantly refers to Hilo as his girlfriend which she explains is not the case at all. They arrive at the parking garage. Bill gets in-creasingly frustrated when he can’t find the parking permit. Hilo offers to pay, which further pushes Bill who has it in his mind they are on a date, and on a date he is supposed to pay for everything. To make matters even worse, Bill realizes the tickets must have blown out of the car when they were dealing with the squirrel and now they are stuck outside the concert. The way he planned this evening, the way he rehearsed it, is not going according to plan. In the midst of everything going so wrong, Bill reveals that he is on the spectrum; the autism spectrum. Hilo’s response to Bill is honest and sincere, though she doesn’t quite know what to make of this infor-mation. To her, Bill is just Bill. He has quirks, but so does everyone else. Sitting outside the concert, Hilo proposes they use the night as a practice date. They listen to the distant music of the Dap-Kings and talk about life and college and dreams and what comes next. Run time: approximately 50 minutes, immediately followed by a Q&A with the actors in-role.

SYNOPSIS

CAST

CHRISTOPHER RICHARDSON KELSEY TORSTVEIT ALEX PURCELL

ARTISTIC/PRODUCTION STAFF

Director .......................................................................................................................................... BRIDGET LEAK

Assistant Director ........................................................................................................................ KATIE LUPICA

Stage Manager............................................................................................................................... TRACY HOIDA

Costume Designer ........................................................................................................................ MAGGIE DICK

Sound Designer .............................................................................................................................. TREY TATUM

Prop Manager ............................................................................................................................... ANNA GOLLER

Costume Shop Supervisor ............................................................................................ GORDON DEVINNEY

Production Manager.......................................................................... PHIL RUNDLE/AMANDA POWELL

Technical Director ............................................................................................................. VERONICA BISHOP

In the play, the character, Bill, is a big fan of Sharon Jones & the Dap-Kings. He knows a lot about the band

and their music. The Dap-Kings are, in fact ,a real band who can be heard on movie soundtracks and as

back up in the song “Rehab” by the late Amy Winehouse, as well as their own successful albums.

Sharon Jones & the Dap-Kings are a modern American funk/soul band. They

are spearheads of a revivalist movement that aims to capture the essence of

funk/soul music as it was at its height in the mid-1960s to mid-1970s.

Their album 100 Days, 100 Nights was recorded in 2006 using a completely

analogue system. They even released 45's on vinyl with the intent of creating

an old school sound reminiscent of the original funk of the 1960s. The first

track, also titled "100 Days, 100 Nights" to which Bill listens incessantly, is

written about love, making reference to this being the number of days need-

ed for a man’s heart to unfold.

The music video for “100 Days,100 Nights,” directed by Adam Elias Buncher, was shot exclusively using

authentic vintage cameras from the 1950s in a simple style likened to a performance on The Ed Sullivan

Show. Check it out here: https://www.youtube.com/watch?v=8ouI5KcyHfE

A NOTE ON THE MUSIC

COMMUNI#%(*@)%#N

Communication is constant and all around us, but as George Bernard Shaw has said, “ the biggest problem in communication is the illusion that it has taken place.” Even with all of the technology we have now, really speaking and listening is still a great challenge. Saying too much, saying too little, how you say it — these are all variables in communication. The challenge is ensuring that the person listening interprets and under-stands your meaning in the way that you intended. This is easier said than done — or maybe not…

Use these games in your classroom to explore the complexities of commu-nication. Following the play, discuss ways in which the characters were challenged by communication — verbal and nonverbal. Discuss how Bill has learned or has been coached to communicate in specific situations, as well as how Hilo interprets and responds.

Kung Foo Movie Subtitle This game is a variation on gibberish which can be played in any number of ways. Two students play actors in a movie. They speak only in nonsensical gibberish. Two other students interpret the gibberish and speak subtitles for each character. The actors must not only improvise and act out interesting scenes through nonverbal communication, but also listen to the interpreters to keep the story moving in a logical way. The interpreters must pay attention to the inflections in the actors’ voices and inter-pret their nonverbal communication in a way that makes sense. This game can be played in any movie genre (French romance, Russian action movie, Chinese sci-fi). You can play with interpreters or have the speakers discuss what they thought the conversation was about after the fact. Two aliens discussing Earth and its inhabitants.

A teacher teaches a lesson on the importance of exercise.

A young couple ”meeting cute,” breaking up, having a fight or discussing their upcoming marriage.

Look and Listen. YES! This is a simple game, but many people have difficulty playing by the rules. Students stand in a circle.

The leader points to someone and makes eye contact. The person being pointed to must say “YES”

which gives permission for the pointer to take his/her place. In order for the receiver to move he/she

must then point to someone else in the circle, make eye contact, and hear a verbal “YES” before moving

out of their spot.

This game forces students to listen to each other on both ends of communication. They must rely on a

response instead of their own commands. No one may move until they have permission. Push them to

keep the game moving quickly.

Word Origin and History for Communication n. http://dictionary.reference.com/browse/communication

late 14c., from Old French comunicacion (14c., Modern French com-munication), from Latin communicationem (nominative communica-

tio), noun of action from past participle stem of communicare "to share, divide out; communicate, impart, inform; join, unite, participate in," literally "to make common."

LIFE ON THE SPECTRUM

The autism spectrum is still a mystery. Scientists and doctors around the world are working diligently

to explain exactly how autism is caused and how it can be prevented or treated. There are many theo-

ries, though no solid answers. For those living on the spectrum,

life goes on. It may be difficult to understand what is occurring in

the mind of someone on the spectrum. In the play, Theory of Mind,

Bill realizes a metaphor. He and Hilo are stuck outside a concert

when he says, “This stands for my life. I can hear the music, but I’m not part of the concert.”

What is autism?

Autism spectrum disorder (ASD) is a developmental disability that can cause significant social, commu-

nication and behavioral challenges. People with ASD may not have any physical differences that set

them apart from other people, but they may communicate, interact, behave, and learn in different ways.

The learning, thinking, and problem-solving abilities of people with ASD can range from gifted to severe-

ly challenged. Some people with ASD need a lot of help in their daily lives; others need less.

I can hear the music, but I’m not part of the concert.

When Naoki Higashida was 13 he authored The Reason I Jump, in which he answers many questions about what it is to live on the spectrum.

In the book, which he wrote using an alphabet grid to form each word, sentence, and thought, he ex-plains how he interprets the world around him and how he attempts to interact with it. He asks the

reader to, “imagine how your life would be if you couldn’t talk.” Through-out the book he puts the reader in his shoes; shoes that have a hard time with inference, communication, emoting, and perceptions; but shoes that are completely normal to person walking in them. He asks the reader to “watch out for us” and “never give up on us” in spite of actions that seem contradictory, unfocused, or random.

Mr. Higashida is now 23. He was diagnosed with autism at age 5. He grad-uated from high school and lives in Kimitsu, Japan. He is an advocate, mo-tivational speaker, and the author of several books of fiction and nonfic-tion.

“I’ve learned that every human being, with or without disabilities, needs to strive to do their best, and by striving for happiness you will arrive at happiness. For us, you see, having autism is normal—so we can’t know for sure what your “normal” is even like. But so long as we can learn to love ourselves, I’m not sure how much it matters whether we’re normal or autistic.”

MEET NAOKI HIGASHIDA

We are all scared of the unknown. A loud noise in the middle of the night, the long wait for test results,

or a new kid in school who looks or acts differently — not knowing can be scary. This is exactly why ed-

ucation and understanding are essential in a world where 1 child in every 68 is identified with ASD.

Share this information with your students so they can respond with understanding and compassion.

UNDERSTANDING

What does autism look like?

Like all of us, every person on the autism spectrum is an individual. The term “spectrum” is used, is

because the range of behaviors and difficulties vary in degree. Some of those may include:

Difficulty understanding language, gestures and/or social cues.

Limited or no speech, or verbalizations that repeat or maintain a particular topic.

Limited or no eye contact.

Difficulty relating or participating in a back-and-forth conversation or interaction.

Social awkwardness.

Intense or odd interests in unusual topics or objects, unusual play.

Repetitive behaviors, such as pacing or lining things up, spinning, hand flapping, or rocking.

More or less sensitivity to light, sound, smell, taste or touch than usual.

Abnormal fears and/or lack of appropriate fear of real dangers.

Difficulty managing transitions, changes in routine, stress, frustration.

Strong visual skills.

Good rote and long term memory (math facts, sports statistics, etc.)

Adherence to rules, Honesty.

Intense concentration or focus, especially on a preferred activity.

Understanding and retention of concrete concepts, patterns, rules.

Musical, mathematical, technological or artistic ability or interest.

Where does autism come from?

There is no known cause for most cases of autism, though the best scientific evidence points toward a

combination of genetic and environmental influences. Autism is a neurological/biological disorder, not a

psychological/emotional condition. Autism is found in all social, racial and ethnic groups, and is 3 to 4

times more prevalent in boys than in girls.

http://www.autismspeaks.org/docs/family_services_docs/sk/

UNDERSTANDING continued

What do I need to keep in mind?

Individuals with autism can learn and many make dramatic improvements, especially with early and intensive intervention.

Communication challenges can encompass a broad range, both in terms of understanding and speak-ing (understanding gestures or spoken language, delays in processing, inability to form sounds or full sentences, word retrieval difficulties, misunderstanding idioms or sarcasm, timing of body move-ments or conversational exchanges, remaining on topic, etc.)

Communication challenges can encompass a broad range, both in terms of understanding and speak-ing (understanding gestures or spoken language, delays in processing, inability to form sounds or full sentences, word retrieval difficulties, misunderstanding idioms or sarcasm, timing of body move-ments or conversational exchanges, remaining on topic, etc.)

Many people with autism are visual learners, or have attention difficulties that make visual supports essential.

Most are concrete thinkers and literally interpret jokes, idioms or sarcasm.

Social skills are underdeveloped, but interest in friendships and social interaction is often present.

Anxiety and frustration are common.

Each student is an individual — with a distinct set of likes and dislikes, strengths and challenges, and a unique personality.

How can I make a difference?

Be welcoming and supportive. Meet person where he is and learn from him. Respect the individual. Do not mock or make fun of the person.

It is important to think of each individual with autism as intelligent, even if language or behavioral difficulties might not reveal abilities in the way one might expect.

Recognize that behavior is communication.

Be aware of the person’s sensory needs, and adjust supports and expectations as appropriate. Avoid or prepare for known triggers, such as fire alarms. Give breaks for self-regulation.

Expect growth and keep standards high with small steps and supports to allow the person to exhibit success. Promote age appropriate interests, behavior, independence and life skills.

Use the person’s interests to engage and motivate him.

Educate peers and promote acceptance and understanding. Support social development with role playing, modeling, rewards. Include the person when you hang out with your peers.

Communicate among people in your and the individual’s life, including parents. Ask questions, share what works and problem-solve what does not. Keep learning. Be creative.

Assume intelligence, promote independence and be respectful.

Relax, have fun, celebrate successes and be a good friend!

http://www.autismspeaks.org/docs/family_services_docs/sk/

Theatre is a collaborative art form; many artists work together to create a play.

The script provides all the basic information from which all the other artists work. The playwright worked on multiple drafts of this script before having it produced. Even then within its first pro-duction the playwright might continue to make changes to the script.

The actors learn the lines and invent the behavior that makes them believable. Our actors rehearsed for five hours a day, six days a week, for four weeks for this production. The actors in this production are all members of the Bruce E. Coyle Acting Intern Company, a professional internship for young ac-tors.

The set designer plans the environment of the performing space. This play is unique in that there was no set designer. The director chose to use simple pipe-and-black drapes as a blank slate onto which you can project your imagination. Typically, though, our scenery is built by carpenters and other artisans in the Playhouse shop.

The costume designer researches, plans and designs clothing that help us understand the world of the play and the characters. The costumes are built, found, and altered by the members of our cos-tume shop. Some of the costumes for this play were purchased however, they all required altering to match the designer’s vision and to fit these actors.

The sound designer is responsible for all of the recorded sound that you hear, including music that he may have composed.

The director works with all of the other artists to coordinate their work. She has an overall vision of the play, and works to make sure that everyone tells the same story in the same style. She works with the actors in rehearsal to decide where and how to move and speak the lines.

The stage manager schedules rehearsals, helps the director keep track of everything, and then runs the show once it has opened — she calls the cues, which determine when every new sound occurs and when and how the scenery is moved. For this touring production she also is in charge of running the set up, break down and transportation of each performance.

Discussion Question: How did the various designers, playwright, actors, and theatre staff support the play with their work. Cite specific examples from the play or script. (See page 3 of this guide for infor-mation on how to obtain a script).

Writing Prompt: Pretend you are a theatre critic who is reviewing the show. Write a newspaper review answering the following questions: Did you like it? Was it funny? Was it sad? Was the story interesting? Did the story make sense? What there anything special about the play? Were the actors believable? Choose two technical elements and explain how they helped or detracted from the play. Would you rec-ommend the play to others? Why or why not?

THEATRICAL ELEMENTS

Set design for Accidental Friends 2012/13 touring play.

CLASSROOM CONNECTIONS

Integrate the ARTS into Your Classroom Use the following activities and project ideas to support core standards in your classroom.

And Then... Read the script as a class or individually (see page 3 of this guide for how to obtain a copy of the script). Have students write “part 2.” What happens next in this story? Prompt students with questions such as: What is the conversation between Hilo and Bill on the ride home from the concert? What happens on graduation day? Do Hilo and Bill maintain their friendship? If yes, does knowing Bill is on the spectrum affect Hilo; affect Bill; affect their relationship? If no, what causes them to break apart? Students can write a narrative or as a playwright using just dialogue and stage directions.

This project targets close script analysis, critical thinking, inference, and prediction skills.

Self Portrait Collage Can you describe yourself in five words or less? Would those five words give a complete and fair image of who you really are? Does one selfie show who you really are? We are often very quick to judge others with absolute certainty in just a few words even though each of us knows that every individual is unique. Each of us has skills and talents, flaws and weaknesses, traits that make us likeable, and mo-ments when we are not.

Collaborate with an art teacher to create student collages. Use a human template and then have students fill in the body with clippings, colors, illustrations, textures —a nything that expresses who they are. Complete the image with a background.

This project targets social emotional learning, and arts standards for responding, creating, and connecting.

Expectations The character Bill has been practicing behaviors his whole life so that he can fit in and do what is “expected” in normal circumstances. Everyone has to learn these behaviors, though for Bill and others like him it is more challenging. Divide the class into small groups. Give each group a location/situation. Give them time to create a non-verbal scene showing expected behaviors in their assigned situation. The audience (class) then guesses where and who they are. Examples of situations: on a hike; in church; in the White House; in the basement; at an interview; at a party; on a first date; with grandparents; at a wedding; greeting someone for the first time.

Once the expectations have been established, have students research how this behavior varies in other cultures and countries or at different ages of life. Have them demonstrate these behaviors for the class.

Discussion Question Why do behaviors vary around the world? What is the significance or importance of learned behaviors? Why can’t we all do whatever we feel like? Why do we have societal expectations?

This project targets social studies standards, and arts standards for performing, creating, and connecting.

Vocabulary From the Script CCSS.ELA-Literacy.RI.__.4 Craft and Structure

Labels only make sense in the zoo.

-Hilo, Theory of Mind

permit gullible monologue vulnerable appetizer

Use these questions as discussion or writing prompts.

Story

Is this play a work of fiction or non-fiction? How do you know?

What is the setting of the play?

List the major plot points of the story. What is the major conflict?

Why did it take so long for Bill to park at the beginning of the story?

Why didn’t Bill want Hilo to pay for the parking garage?

Who is the main character? Whose story is being told? Explain your answer.

Production

What surprised you about this production? Was there anything used or done in a unique way that

really impressed you?

Describe the set in detail. Why do you think the director chose to use such a simple set?

Three small roles are played by one actor. How does he differentiate the three characters? How does

he use his voice, costume, posture, or movement? Be specific in your answer.

How does sound impact the production? The playwright specifies the song “100 Days, 100 Nights”

but everything else is selected and mixed by the sound designer. How do his choices affect the mood

and action of the play?

What significance does the talk-back have? What is the impact on you as an audience member of

having the actors stay in character and break the “fourth wall”?

Thinking Deeper

Perceptions

What assumptions did the characters make about each other? How did their thinking affect their

relationship and the events of that night?

How do our perceptions of each other change as we get to know someone? Think of someone in

your school or neighborhood. What was your first impression of them? Has it changed since you’ve

gotten to know that person? In what ways?

Communication

Recall moments in the play when the characters made mistakes in communicating. What advice

would you give to them? How could they have avoided conflict through communication?

Both Hilo and Bill kept secrets from each other. How did this affect their communication and their

relationship? What happened when they were honest with each other? Have you ever been in a sim-

ilar situation?

Dating

In the play, Hilo states, “This is not a date.” But Bill clearly thinks it is. What would you have done in

this situation?

Write a rule book for dating. What are your expectations for a date? How can you be more aware

and respectful of what your date is saying and feeling? Know what to do if you feel uncomfortable

on a date.

AFTER THE SHOW