MAR 19–APR 14

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All original material copyright © Seattle Shakespeare Company 2019

 Welcome

Dear Educators,

Welcome to our production of She Stoops to Conquer! This fun, light-hearted play is a hilarious
examination of the role that societal expectation plays in our lives, and what happens when
people subvert that for a variety of reasons. Of course, as this play was written in the 18th Century,
expectations were much more strict than they are today, but that only serves to exaggerate the
comedic effects of not conforming! This play can be a great jumping-off point for a conversation with
students about modern societal norms, or it it can be watched as a history piece that demonstrates
the joyful nature of Restoration Comedy.

All spring, we are exploring plays about women who take their fates into their own hands. We hope
you’ll join us for more shows this year, from She Stoops to Conquer — featuring Kate, who disguises
herself to put her future husband at ease; to As You Like It — featuring the irrepressible Rosalind
in her quest to save herself and woo Orlando; to Macbeth and Romeo and Juliet — featuring the
iconic leading ladies of Lady Macbeth and Juliet, who take control of their lives, hoping to achieve
greatness before their stories end in tragedy. For better or for worse, these classic stories put
women in positions of influence as they try to steer their own fates.

Thank you for joining us, and enjoy the show!

Best,
Michelle Burce
Education Director

seattleshakespeare.org/education
206-733-8228 ext. 251 or [email protected]

2018–2019 Student Matinees

Richard III Arms and All’s Well That She Stoops Macbeth Romeo and As You Like It
Sept 27* the Man Ends Well to Conquer (tour) Juliet (tour) Apr 30
Oct 3 Nov 1* Jan 15 Apr 4 Mar 26 May 3 May 2
Oct 4 Nov 8 Jan 17* Mar 27 May 7 May 9
Nov 14* Jan 24 Mar 28 May 14
Nov 15 Jan 31* Mar 29 May 16
Apr 2
Apr 5

* tentative dates are dependent on bookings.

 Contents

Plots and Characters 1

At-a-Glance 2

Articles
Biography of Oliver Goldsmith 3
Comedy of Manners & Restoration Comedy 4

Our Production 5

Reflection & Discussion Questions 6

Activities
Criticism of She Stoops to Conquer 7

Production Sponsors
 Plot and Characters

Plot Synopsis
Wealthy countryman Mr. Hardcastle arranges for his daughter
Kate to meet Marlow, the son of his friend, a rich Londoner,
hoping the pair will marry. Unfortunately, Marlow prefers
lower-class women, finding them less intimidating than
women of high society. On his first acquaintance with Kate,
the latter realises she will have to pretend to be ‘common’
to get Marlow to woo her. Thus Kate ‘stoops to conquer,’ by
posing as a maid, hoping to put Marlow at his ease so he falls
for her. Marlow sets out for Mr. Hardcastle’s manor with a
friend, George Hastings, an admirer of Miss Constance Neville,
another young lady who lives with the Hardcastles. During
the journey the two men get lost and stop at an alehouse, The
Three Jolly Pigeons, for directions.

Tony Lumpkin, Kate’s step-brother and Constance’s cousin,

comes across the two strangers at the alehouse and, realising
their identity, plays a practical joke by telling them that they The Hardcastle Household
are a long way from their destination and will have to stay Mr. Hardcastle, the husband of Mrs. Hardcastle,
overnight at an inn. The “inn” he directs them to is in fact the father of Kate, and step-father of Tony. A good friend
home of the Hardcastles. When they arrive, the Hardcastles, of Lady Marlow.
who have been expecting them, go out of their way to make Mrs. Hardcastle, the wife of Mr. Hardcastle, the mother
them welcome. Marlow and Hastings, believing themselves of Tony and Kate.
at an inn, behave extremely disdainfully towards their hosts. Kate Hardcastle, the daughter of Mr. Hardcastle,
Hardcastle bears their unwitting insults with forbearance, half-sister of Tony, and cousin of Contstance.
because of his friendship with Marlow’s mother. Intended by her father to marry Charles Marlow.

Kate learns of her suitor’s shyness from Constance and a Tony Lumpkin, the son of Mrs. Hardcastle, step-son
of Mr. Hardcastle, half-sister of Kate. Intended by his
servant tells her about Tony’s trick. She decides to masquerade
mother to marry his cousin, Constance.
as a serving-maid (changing her accent and garb) to get to
know him. Marlow falls in love with her and plans to elope Constance Neville, the orphaned neice and ward of
but, because she appears of a lower class, acts in a somewhat Mrs. Hardcastle, cousin of Kate and Tony. Intended
bawdy manner around her. All misunderstandings are resolved by Mrs. Hardcastle to marry Tony.
by the end, thanks to an appearance by Lady Marlow. Servants, maid

The main sub-plot concerns the secret romance between Others

Constance and Hastings. Constance needs her jewels, an
Lady Marlow, the mother of Charles and a good friend
inheritance, guarded by Tony’s mother, Mrs. Hardcastle, of Mr. Hardcastle.
who wants Constance to marry her son, in order to keep the
jewels in the family. Tony despises the thought of marrying Charles Marlow, the son of Lady Marlow. Intended
by his father to marry Kate.
Constance — he prefers a barmaid at the alehouse — and
agrees to steal the jewels from his mother’s safekeeping for George Hastings, a good friend of Charles Marlow.
Constance, so she can elope to France with Hastings. The Landlord of the Three Pigeons Alehouse, drinking
play concludes with Kate’s plan succeeding, she and Marlow companions of Tony Lumpkin
become engaged. Tony discovers his mother has lied about
his being “of age” and thus entitled to his inheritance. He
refuses to marry Constance, who is then eligible to receive
her jewels and become engaged to Hastings, which she does.

Adapted from Wikipedia

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 At-a-Glance

Broads on A World of Contradictions

the Boards City vs. countryside, men vs. women, rich vs. poor. She
In 1660, women were Stoops to Conquer is filled polarities and Goldsmith uses
allowed to act onstage in them to create comic opposition.
England for the first time.
Iconic characters like
Rosalind, Viola, and Juliet
were no longer played A Chaotic Debut
by adolescent boys (as
they had been during Oliver Goldsmith
Shakespeare’s lifetime) scrapped his original
and new plays gave title, The Mistakes of a
professional actresses Night, for She Stoops to
opportunities to shine Conquer just minutes
and subvert. “Breech-roles” — female characters disguised before curtain on
as men — made up 25% of London productions during the opening night (March
Restoration and allowed women to embody the swagger 15, 1773). Meanwhile
and sexuality of the period’s male rakes. the actresses playing
Kate and Mrs. Hardcastle quarreled over who would
deliver the epilogue. Luckily, the play was a huge
success. It is credited with saving English theatre from
the dullness of Sentimental Comedies and remains one
Changing Times
of the most produced English comedies.
She Stoops to Conquer came along as the Industrial
Revolution brought huge changes to England. City life
took center stage and the old country traditions were
threatened. The play comically reflected all the upheaval Instant Classic
people were experiencing both socially and economically.
She Stoops to Conquer created a fundamental change in the
theatrical repertory of the 18th century. It was an antidote to
the insipid Sentimental Comedies of the time with its fresh
witticisms and new view of what comedy could be.
The play was so popular that it became fashionable to bring
the script to read along at performances and shout the
jokes with the actors on stage!

Truth Stranger Than Fiction

Legend has it that the play was inspired by true events.
Goldsmith was tricked into thinking that a friend’s country
home was local inn. He didn’t realize the error until he asked
for the bill the next morning!

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 Article

Biography of Oliver Goldsmith

Oliver Goldsmith was born to Anglo-Irish clergyman, the Rev.
Charles Goldsmith, in Kilkenny West, County Westmeath,
Ireland Nov 10, 1730. His complicated relationship with his
mother eventually lead to their estrangement. He spent
unhappy years in college, including being under the tutelage
of Theaker Wilder, who was known to have savage temper
and mistreatment of his pupils. Goldsmith was even expelled
for rioting with other students, and eventually obtained a
B.A. from Trinity College in 1749. It is said he planned to move
to America to escape his troubles, but on the day he was
supposed to cross the Atlantic, he missed the boat. He was
given 50 pounds to study law, but lost the money gambling.
He moved to Edinburgh in 1752 to study medicine. No medical
degree was acquired, but the title of Dr. Goldsmith stuck with
friends. He traveled through Europe on meagre funds and
settled in London, penniless, in 1756.

His rise from obscurity to fame and society started with

odd jobs, including an apothecary’s assistant, school usher,
then on to translating, reviewing, and writing history and
essays. His lively style, readability, and believable characters
set him apart from other writers. The Citizen of the World,
a series of his essays, was published in the journal The
Public Ledger in 1762. He became well known for his poem
“The Traveller,” in 1764, which was the first work to which
he put his name. He then became regarded as a novelist
for The Vicar of Wakefield in 1766, which Goldsmith had
written in 1762. The play, She Stoops to Conquer, was written
in 1773 and was an immediate success. While clearly
taking inspiration from Restoration Comedies, Goldsmith’s
mission was to render a more natural take on the comedy
of his time, and to strike a decisive blow at the “genteel”
or “sentimental” comedy of his contemporaries (Fort). She
Stoops to Conquer has outlived almost all other English-
language comedies from the early 18th to the late 19 th
century.

Goldsmith made a decent income writing, but his indulgent

spending led to debt from time to time. His friends held
him in high esteem as a writer, but as a man was “one
of the oddest personalities of his time.” (Encyclopædia
Britannica). He was a gambler, was unattractive with oddly Sources
proportioned features and pock-marked skin, and while his Fort, Alice B. & Herbert S. Kates. Minute History of the Drama. New York: Grosset
& Dunlap, 1935. p. 62.
writing was fluent and graceful, the opposite could be said
“Oliver Goldsmith Biography” Biography.com April 2, 2014. https://www.
about his conversational skills. biography.com/people/oliver-goldsmith-9314751
“Oliver Goldsmith” Encyclopædia Britannica. March 29, 2018. https://www.
Goldsmith ultimately developed kidney disease, and britannica.com/biography/Oliver-Goldsmith-Anglo-Irish-author
decided to forgo treatment. He died in the spring of 1774 at
“Oliver Goldsmith.” FamousAuthors.org 6 September, 2012. https://www.
the age of 44. famousauthors.org/oliver-goldsmith

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 Article

Comedy of Manners Restoration Comedy

A “Comedy of Manners” is a genre describing plays that poke Not too long after Shakespeare’s time, London theatres were
fun at social and behavior codes and manners of the time. The shut down and demolished. For 18 years (1642–1660) during
comedy is often found in whether or not a character upholds the Commonwealth of England, the Lord Protector, Oliver
those societal standards, and what happens when there is Cromwell, believed that all of England should behave under
conflict between behavior and social expectations. Characters Puritan rules, and “pointless enjoyment” was unnecessary.
navigate this conflict in a humorous way, all while maintaining Under this strict moral code, celebrations of all kinds,
elegant wit and repartee. Famous examples include The including Christmas, were banned, as well as sports, colorful
Country Wife (1675), The Way of the World (1700), She Stoops to dresses, and makeup.
Conquer (1773), and Importance of Being Earnest (1895).
In 1660, Charles II took the throne, after living in exile in France.
Charles II enjoyed the theatre and culture of France, and upon
his return to England, financially supported arts and culture.
Upon regaining power, he licensed two theatre companies, the
King’s Men and the Duke’s Men, who began producing plays
at an astonishing rate — on tennis courts! (Remember: the
theaters had been demolished and not yet rebuilt.)

After 18 years of Puritan laws, England burst forward in color

and entertainment, and even introduced women on stage!
This time was coined the Restoration Period. Breaking free of
the strict regulations meant that plays often explored risqué
themes. Gone were the plain black and white clothes of the
puritans. Instead, clothing and costumes were colorful and
full of lace, ribbons, ruffles, and bows, and periwigs became
fashionable. It was such a celebratory time that famous
tragedies, such as Romeo and Juliet, were re-written with
happy endings!

If Puritanism is the fear that somewhere, somehow, someone

is enjoying himself (as stated by H.L. Mencken), the Restoration
period embodies the pursuit of all that was denied. These
characters want things and are actively pursuing them —
money, sex, gossip, and pleasure are driving forces. Characters
Kate Wisniewski, Connor Toms, Emily Grogan, and Kimberly King in The Importance
of Being Earnest (2014), photo by John Ulman. are good-looking and well dressed and they know it! Stock
characters of wits, fops, flirts, and country bumkins showed up
In She Stoops to Conquer, Charles Marlow should be treating in the more than 400 plays presented between 1660 and 1700.
Mr. Hardcastle — friend of his mother’s, and his potential
future father-in-law — with duty and respect, but because
Sources
Marlow believes he is at an inn, he is rude and demanding.
C N Trueman. “Life in England Under Oliver Cromwell” historylearningsite.
Additionally, Kate bucks polite society to impersonate a co.uk The History Learning Site, 17 Mar 2015. 16 Aug 2016. http://www.
barmaid, in order to learn what Marlow is like when he’s not historylearningsite.co.uk/stuart-england/life-in-england-under-oliver-
cromwell/
speaking to society women. Both of these examples show
Callow, Simon. Acting in Restoration Comedy. Applause Theatre Books, 1991.
characters behaving not as they are expected, and lead to the
Melody Anderson and Ian Drinkwater, University of Massachusetts Boston.
main humorous situation in the play. “Politics, Literary Culture &Theatreical Media in London 1625-1725: Women in
the Restoration Theatre” http://www.london.umb.edu/index.php/entry_detail/
women_in_the_restoration_theatre/theatre_intro/

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 Our Production

Our Production
“It is a show that is about love and a show about figuring out who
your are; it’s a show about generational change,” said director
Makaela Pollock at first reahearsal. “I think it’s about gender. I
think it’s about class. I think it’s about both fulfilling and bucking
expectations.” To amplify these themes, Pollock and her design
team have created a mashup world of contradictions that
invigorates this 1770s comedy with elements of 1990s prep and
counterculture, starting with music.

“Back then, pub songs sounded more like Mozart. That

doesn’t seem very pubby to us,” Pollock reflected. Looking
for a boisterous music of the people brought Pollock and
composer Brendan Milburn to ska-punk — a fast-paced, horn
heavy fusion of the Jamaican precursor to reggae and punk
that went mainstream in the 1990s. Led by Tony Lumpkin, the
ensemble band will play original songs on live instruments.

Set designer Julia Hayes Welch took inspiration from the

Capitol Hill pub, Smith. The resulting design is part Jacobean
hunting lodge and part hipster Man Cave, with plaid acting
as a bridge between the classic and anachronistic — creating
a single place that can serve as the alehouse, Hardcastle
home, and garden.

Footlights on the set will be used by lighting designer

Andrew D. Smith to amplify the story’s more ridiculous
moments with vaudeville cartoonishness.

Costume designer Chelsea Cook balances class and gender

contradictions with the addition of a city-country dynamic.
“One of the first things that we started out was defining what
is country and what is the city,” said Cook. In the country
“there’s herringbone and tweeds and plaids and greens and
golds — and then on the opposite side of that we have the
city which are plaids and brocades with brighter colors.” The
ensemble characters will move between class and gender
fluidly, removing and adding pieces that identify them with
different realms of the story.

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 Reflection & Discussion

Pre-Show Reflection
These questions will help students to think about some Students can discuss these in a small group, or write
of the big ideas behind the play before watching it. responses in a journal.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

How can unspoken expectations lead to Can you think of a time you were in a funny or uncomfortable
misunderstanding? Have you ever assumed you were situation because someone mistook who you were? Some
expected to behave a certain way, only to find out that examples: someone thought you were older or younger than
you were wrong? you really are, someone thought you were more or less skilled
at something than you really are, etc.
Do you behave differently in different situations? Can you
think of behaviors that are appropriate in one situation Have you ever tried to present yourself as someone that
(e.g. at a football game) that would be inappropriate in you weren’t?
another situation (e.g. at a fancy dinner)?

Post-Show Discussion
The following questions are to help lead a discussion Why do you think Tony Lumpkin plays the trick on
with your class after seeing the play. For all of these, Marlow, convincing him that the Hardcastle home is just
there are many possible answers and student responses an inn? Why does Kate pretend to be a barmaid?
will vary. Some possible responses are provided.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– How does a character’s perceived class impact how their
behavior is viewed?
Are these characters sympathetic? Are we laughing at • Mr. Hardcastle’s behavior is seen as absurd if he is an
them because they’re ridiculous, or laughing with them innkeeper, but reasonable if he is an upper class man.
because the situations they are in are humorous? • Kate is viewed several different ways by Marlow
depending on whether she is acting as herself
or a barmaid.
How do the expectations and societal norms cause the
misunderstanding and drama of the play? Give at least • Marlow feels he must behave in a certain way because
two examples. he is a high-class man. However, when he is not in the
presence of other high-class people, he can behave
how he wants.
Are there moments in the play when clearer
communication could have solved the conflict? How
would this affect the comedy of the situation? How would
this affect the happiness of the characters?

How important is social class during the 18th Century?

What is the role of social class in marriage arrangements?
(This may take some research.) How important is social
class today? Does it play a role in marriage decisions?

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 Activity

Criticism of She Stoops to Conquer

In this activity, students will read historical and opposing
criticisms of the play written 100 years apart. Then they
will write their own short review of the play.

Instructions 3. Give each of the groups that forms a couple minutes

to discuss why they feel the way they do. Then have a
1. Hang signs around the room that read “Strongly Agree,”
spokesperson from each group present whey they agree/
“Somewhat Agree,” “Somewhat Disagree,” or
disagree with the sentiment.
“Strongly Disagree.”
4. Repeat steps 2 & 3 for the Percy Fitzgerald review.
2. After watching the play, read Horace Walpole’s review of
the play aloud. Have students move to the sign that best 5. Finally, have students work in pairs to write their own
describes how they feel about this review. 1-paragraph review of the play.

Dr . Goldsmith has written a Comedy—no, it is the lowest of all farces. It is not the subject I
condemn, though very vulgar, but the execution. The drift tends to no moral, no edification of any
kind. The situations, however, are well imagined, and make one laugh, in spite of the grossness of
the dialogue, the forced witticisms, and total improbability of the whole plan and conduct. But
what disgusts me most is, that though the characters are very low, and aim at a lower humour, not
one of them says a sentence that is natural or marks any character at all. It is set up in opposition to
sentimental comedy, and is as bad as the worst of them.
Horace Walpole, 1773

That delightful comedy, She Stoops to Conquer, would indeed deserve a

volume, and is the best specimen of what an English comedy should be.
It illustrates excellently what has been said as to the necessity of the plot
depending on the characters, rather than the character s depending on
the plot, as the fashion is at present ... What a play! Whenever tire of it.
How rich in situations, each the substance of a whole play! At the very
first sentence the stream of humour begins to flow.
Percy Fitzgerald, 1870

Seattle Shakespeare Company 7

 SEATTLE SHAKESPEARE COMPANY
Mission Statement
With the plays of William Shakespeare at our core, Seattle Shakespeare Company engages
our audiences, our artists and our community in the universal human experience inherent
in classic drama through the vitality, immediacy and intimacy of live performance and
dynamic outreach programs.

ABOUT US EDUCATION PROGRAMS

Seattle Shakespeare Company is the Puget Sound region’s In-School Residencies, Matinees, and Workshops
year-round, professional, classical theatre. The company’s • In-School Residencies bring active, customized
growing success stems from a deep belief in the power and curriculum into schools across Washington State.
vibrancy of the time-tested words and ideas of Shakespeare Professional teaching artists plan with teachers to tailor
and other classical playwrights along with a commitment to each residency to fit the needs and objectives of the
artistic excellence on stage. The results have been provocative classroom. Seattle Shakespeare Company residencies
performances that both challenge and delight audiences while inject vibrant, active exercises into lessons that unlock
fostering an appreciation for great stage works. the text, themes, and actions of a Shakespeare play.
• Student Matinees bring over 3,000 students annually to our
Our combined programs — which include indoor performances, mainstage productions in the Seattle Center. Teachers are
free outdoor productions, regional tours, educator and youth provided free study guides, and student groups are invited
programs — reach across barriers of income, geography, and to stay after the show for a free Q&A session with the cast.
education to bring classical theatre to Washington State.
• Pre-show and post-show workshops can be booked to
accompany mainstage matinees. These workshops include an
introduction to the play itself, student activites, and insights
EDUCATION STAFF CONTACTS into direction and design choices of our specific production.
In-School Residencies and Camps Touring Productions
Michelle Burce, Education Director
• Fresh and accessible 90-minute productions tour across
206-733-8228 ext. 251 Washington State each Spring, reaching more than 14,000
[email protected] students and adults. These nimble productions perform as
easily in school gymnasiums as professional theatre facilities.
Touring Productions
Teachers are provided free study guides and students enjoy
Casey Brown, Touring Program Manager free post-show Q&A sessions with the cast.
206-733-8228 ext. 241
[email protected] • Schools have the opportuniy to book accompanying in-school
residencies with touring productions, led by members of the
Student Matinees touring cast and additional teaching artists.
Lorri McGinnis, Box Office Manager
Camps and Classes
206-733-8228 ext. 220
[email protected] • Our summer “Camp Bill” series in Seattle and Edmonds offers
young actors a variety of camps to choose from or combine.
General Camps range from a One-Week Introduction to a Three-Week
Ticket office: 206-733-8222 Production Intensive, with many options in between.
Administrative offices: 206-733-8228 • In our Fall and Spring after-school “Short Shakes” programs,
Fax: 206-733-8202 young actors develop their skills and gain hands-on
Seattle Shakespeare Company performance and production experience.
PO Box 19595 • Seattle Shakespeare Company occasionally offers adult classes
Seattle, WA 98109 and workshops to our community featuring guest artists who
seattleshakespeare.org work on our stage.