TEACHERS' RESOURCES

Unless your class regularly attends live theatre, your first lesson should always be the Mandatory Lesson or a review of that lesson. In any case, a reminder of the rules is in order. If you have time for only one other lesson, please make that a review of the story (or plot line) of the play. H.M.S. Pinafore is singing theatre. Follow that link for the history of this art form. There is a synopsis and notes provided for your use. In addition to the synopsis, there is a glossary with links to definitions as the words apply to this play. Many of the expressions are not in common use today and all students should look at this list. It may be especially useful to your ESL students, and you might wish to use this list before going through the synopsis.

LANGUAGE ARTS
Many potential lessons are available from this play. This is just a brief list of suggestions.

Have your students write a review of the play (after the performance.) Be sure they understand that they must justify their opinion. Give this assignment before they attend so they will be looking for evidence.

If your students are having trouble using quotation marks correctly, use a script to help them understand who is talking when. Introduce the concept of a script. Then have them write a mini-play using the script format. Follow up by having them write additional dialog outside of the script format to ensure they understand the use of quotation marks.

There are several examples of a play on words in H.M.S. Pinafore. (A lass vs. alas and birth vs. berth.) Have your students define what constitutes a play on words and find examples such as puns and other kinds. Be sure they understand why these work. This is especially difficult for students for whom English is their second language.

This play is a comedy. What makes this one funny? Have your students explain why they think it is. Use the synopsis to help them understand that it is a study in contrasts. The characters are caricatures and the incorrect ages of the characters and their proper roles make it “work.”

The various songs in this play are all written in verse. Depending on your class's level of experience/expertise, have them write a verse or a poem to replace one in the play. Be sure they understand that it must "fit" the place where it is to be used.

Author Study
Your students should understand that singing theatre is the result of collaboration between a composer (who writes the music) and a librettist (who writes the words). In this case, Gilbert and Sullivan were a very successful team. Have your students study several of their works and determine why they think that is true. They could compare and contrast this work with The Mikado, Iolanthe or The Pirates of Penzance. Pirates would be a good fit because it focuses and spoofs the British tradition of "DUTY" before everything.

Have your students compare and contrast the personalities of William Schwenk Gilbert and Sir Arthur Sullivan. Have them determine if they believe they were similar or different. Be sure they use evidence to support their claim. You may choose to have them offer an opinion about the probability of these two men collaborating successfully over time. What factors seem to have affected the actual collaboration?

Gilbert and Sullivan were closely associated with the D'Oyly Carte Opera Company. Have your students research Richard D'Oyly Carte and his influence on this collaboration. Be sure they find out how critical this role was. See the article on the Producing Pinafore for further information.

CHARACTER STUDY AND SOCIAL STUDIES
The plot of this play depends on the obsession of the characters with “rank” or social status. Have you students look at this phenomenon and find comparisons with society today.

Part of the British class system is the use of titles. The British Peerage includes the royal family, at this time Queen Elizabeth II and Prince Phillip and their children. In addition, there is an entire list of titles. While these are very nominal today, they were far less so at the time of this play. Have your students examine the peerage titles and investigate what "perks" go with those titles. (Look at the royals, especially.) Why could such a system lead to abuses? Is the class system alive today? In Britain? In the United States? In other countries of the world? Name some countries and compare and contrast the formal and informal class systems that exist today.

Sir Joseph’s name carries the initials K.C.B. Men who have served in the military of Great Britain use the initials of their highest honor after their name, e.g. V.C. for Victoria Cross. American service veterans do not. Have your students study the office of Knight Commander of the Bath and discover why it was such an important title. (A king is most vulnerable while in his bath. Only his most trusted subordinates would be allowed to assist him there.)

Each of the characters in H.M.S. Pinafore is a caricature. Have your students choose one of these people and compare and contrast the person in the play and what that person would have been like if they were depicted “in true life” fashion.

Combine art and social studies by having your students create a series of coronets for a group of people. Perhaps they could do one for families: Father, Mother, Son, Daughter; for school personnel: Principal, Vice Principal, Counselor, Teacher, Aide, etc. or, if they are sophisticated enough, for the United States government: President, Vice President, Cabinet, Senate, House, etc.. Be sure they can tell why they choose each decoration and what the hierarchy is for their choice. You may allow them to decide on a "group" and defend who is in that group and why as well as the differences in "rank."

As the time of this play, Britain “ruled the waves.” They had the strongest, best navy in the world and colonies all over the planet. Compare the “navy” in the play to the real navy of the time. Compare Admiral Nelson to Captain Corcoran.

MUSIC
H.M.S. Pinafore is singing theatre. You should consider an early lesson on singing and the part music plays in our enjoyment of the theatre and other performance venues. Your students will know and recognize many theme songs from movies and some music from opera, such as The Toreador Song from Bizet's Carmen, Figaro’s aria from Rossini's The Barber of Seville, the Wedding March from Wagner's Lohengrin, or the "Lone Ranger Theme" from Rossini's William Tell. Although they may not know the music from Pinafore, they should be able to discuss how music affects us as we watch and listen to various forms of entertainment. Play one or more of the important songs (Three Songs) from the play for your students such as Sir Joseph aria. Ask for their reactions.

Have your students study the recitative of Captain Corcoran (below) and the crew. Ask them to compare it to a rap song. Look closely at the aria and the notes on the text. Have them write their own version, either as a recitative or as a rap. Have them highlight words and phrases that are unique to "here and now". Ask them to provide definitions such as those provided in our glossary and notes.

This play includes several types of music: ballad, barcarolle, etc. What characteristics of the music define each? There are also a variety of types of performances, solos, duets, octettes, etc. Have the students determine why they think each is used. Have them recommend changes, if they would like. Remind them to defend the changes with evidence as to why their change would help the play.

ART
Hold a discussion about the staging, including the scenery and costumes. Have your students choose a scene or a character that they would like to "dress." Have them present their work to the class, explaining why they chose that scene or character, what they did differently and why. Have the class comment on how the changes affect the play.

Have your students create a playbill to advertise this play. Decide in advance if they should use the performance you are to attend (or have attended) or if they should create one from the time of Gilbert and Sullivan, a possible date in the distant future, or other options. Another option would be to create a handbill.

Have your students criticize the scenery or costumes for this production. Have them look for authenticity. Would that be necessary in the United States today? Have them recommend any changes that they feel would enhance the play. Have them support their changes with sketches or drawings.

CAREERS
There are many people other than performers involved in this kind of production. There are two articles to help you here. The first, Creating an Opera, will tell your students about creating the performance itself, There are numbers of people who are involved in this process. The second, Unsung Heroes, will provide you with the people who are rarely, if ever, seen. Have your students look at this list and determine an area that interests them. Have them research the opportunities in that area and write a report on it.

CAPTAIN CORCORAN'S INTRODUCTION

Recitative
CAPT: My gallant Crew, good morning.
ALL:    Sir, good morning!
CAPT: I hope you're all quite well.
ALL:    Quite well; and you, sir?
CAPT: I am in reasonable health, and happy
          To meet you all once more.
ALL:   You do us proud, sir!

Song

CAPT:	I am the Captain of the Pinafore
ALL:	And a right good captain, too!
CAPT:	You're very, very good, And be it understood, I command a right good crew,
ALL:	We're very, very good, And be it understood, He commands a right good crew,
CAPT:	Though related to a peer, I can hand, reef, and steer, And ship a selvagee I am never known to quail At the fury of a gale, And I'm never, never sick at sea!
ALL:	What, never?
CAPT:	No, never!
ALL:	What, never?
CAPT:	Hardly ever!
ALL:	He's hardly ever sick at sea! Then give three cheers, and one cheer more, For the hardy Captain of the Pinafore!

Return to Pinafore Home Page

Revised January 2008
Please credit Lyric Opera San Diego when using this material.