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“A groundbreaking work for the fields of special education, approaches for
working with those on the spectrum, and others dealing with particular mental
health challenges.”
Don Waisanen, PhD, author, Improv for Democracy

“The approach described by the authors is quite innovative, both to watch it in

action and to read about . . . Well planned and organized.”
Inna Fishman, PhD, associate clinical director, SDSU
Brain Development Imaging Laboratories

“Combining the art of improvisation along with science-based methodologies,

Gary Kramer and Richie Ploesch have created a powerful, unique, and easy-to-
use tool for educators and therapists. This transformative curriculum provides a
fun and engaging way for neurodiverse individuals to cultivate social connections
and is founded in a strengths-based approach to learning. Add this tool to your
therapeutic toolbox and watch your students and clients grow in confidence and
connectedness.”
Sue Faber-Pew, MA, speech-language pathologist,
San Diego Unified School District

“The world is a better place because Mr. Kramer and Mr. Ploesch have written
this book. They have provided us with a way to enjoy the valuable and creative
human capital of those of us with social skill challenges. Hilarity, poignancy,
and health benefits are just bonuses to this awesome truth. Hurry up and play.”
Les McGehee, author, Plays Well with Others
9 Taylor & Francis
Taylor & Francis Group
http://taylorandfra ncis.com
IMPROVISED
THEATRE AND
THE AUTISM
SPECTRUM

This guide provides educators, professionals, and parents with an easy-to-follow

and comprehensive approach to utilizing improvised theatre as a tool to teach
social and communication skills to individuals on the autism spectrum.

Opening with the philosophy of the curriculum and the considerations of mental
health, play, and environmental factors on individuals with autism, the book
then breaks down specific activities, suggests course sequencing, and explains
how each activity works and applies to desired outcomes. Packed with dozens
of activities and explanations, the book includes all the information necessary
to design a full curriculum or create an at-home learning program for parents.

By combining the fun and engaging atmosphere of improvisational theatre with

the systematic teaching of social skills, professionals and parents can cultivate
learning in a way that keeps students engaged while providing long-lasting
improvements in social interaction, self-confidence, and communication.

Gary Kramer is a producer, director, and actor, and artistic director and founder
of the National Comedy Theatre. In addition, he is the executive director of
Unscripted Learning.

Richie Ploesch, MA, BCBA, has been working in the field of special education
for over 15 years. His specialty is educating students and young adults with
autism spectrum disorder. Richie is the program director of Unscripted Learning.
9 Taylor & Francis
Taylor & Francis Group
http://taylorandfra ncis.com
IMPROVISED
THEATRE AND
THE AUTISM
SPECTRUM
A Practical Guide to Teaching
Social Connection and
Communication Skills

GARY KRAMER AND RICHIE PLOESCH

Cover image: © Getty Images
First published 2022
by Routledge
605 Tird Avenue, New York, NY 10158
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 Gary Kramer and Richie Ploesch
Te right of Gary Kramer and Richie Ploesch to be identifed as authors of this
work has been asserted by them in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the
publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identifcation and explanation without intent to
infringe.
Library of Congress Cataloging-in-Publication Data
Names: Kramer, Gary, author. | Ploesch, Richie, author.
Title: Improvised theatre and the autism spectrum : a practical guide to
teaching social connection and communication skills / Gary Kramer and
Richie Ploesch.
Description: New York, NY : Routledge, 2022. | Includes bibliographical
references and index.
Identifers: LCCN 2021022503 (print) | LCCN 2021022504 (ebook) |
ISBN 9781032075518 (hardback) | ISBN 9781032075501 (paperback) |
ISBN 9781003207627 (ebook)
Subjects: LCSH: Children with autism spectrum disorders—Education. |
Improvisation (Acting) | Games. | Social skills in children—Study and
teaching. | Drama—Terapeutic use. | Drama in education.
Classifcation: LCC LC4717 .K73 2022 (print) | LCC LC4717 (ebook) |
DDC 371.94—dc23
LC record available at https://lccn.loc.gov/2021022503
LC ebook record available at https://lccn.loc.gov/2021022504
ISBN: 978-1-032-07551-8 (hbk)
ISBN: 978-1-032-07550-1 (pbk)
ISBN: 978-1-003-20762-7 (ebk)
DOI: 10.4324/9781003207627
Typeset in Adobe Garamond Pro
by Apex CoVantage, LLC
CONTENTS

PREFACE IX
ACKNOWLEDGMENTS XI
ABOUT THE AUTHORS XII

CHAPTER 1: INTRODUCTION 1

PHILOSOPHY 2
PLAY 3
MENTAL HEALTH 3
ENVIRONMENT 4
FORMULA 5

CHAPTER 2: STRUCTURE OF CLASS 7

FIRST 5 MINUTES 7
OPENING 8
WARMUP 9
GAME/DEBRIEF 9
CLOSING 10

CHAPTER 3: THE GAMES 12

WARMUP GAMES 12
SCENE WORK/STORYTELLING GAMES 21
PANTOMIME GAMES 79
CHARACTER GAMES 102
viii | Contents

EMOTION-BASED GAMES 149

QUICK-THINKING/DELIVERY GAMES 164

CHAPTER 4: SAMPLE CURRICULUM 194

SAMPLE SCHEDULE: WEEK 1 196

SAMPLE SCHEDULE: WEEK 2 202
SAMPLE SCHEDULE: WEEK 3 208
SAMPLE SCHEDULE: WEEK 4 212
SAMPLE SCHEDULE: WEEK 5 217
SAMPLE SCHEDULE: WEEK 6 222

CHAPTER 5: TERMINOLOGY 227

INDEX 229
PREFACE

The sold-out audience started arriving early, and it was getting warm backstage.
The lights were on and the speakers were playing a soft, easy melody to set the
tone. We were in the crowded green room with 15 students reviewing some
last-minute notes before the beginning of the show. No one was rehearsing lines
that were pre-written because there was no script. They were preparing for a
completely improvised, 90-minute performance.

These were not typical students, however. Every one of them was either on the
autism spectrum or had a diagnosis of a related disorder and was a participant
in a social skills program, which uses improvised theatre as its foundational tool.

Some of these students had language delays as children, others had crippling
social anxiety, and yet, through the program, they had learned to communicate
better, read social cues, and express themselves more clearly. And now they
found themselves in a place that their families would not have foreseen . . . on
stage in front of a live audience.

One by one, the students were greeted on stage with a sensory-friendly level of
applause. By the time the performance was over, there was not a dry eye in the
house. The audience, made up mostly of family and friends, rose to their feet,
amazed at how deliberate the performance was, and how focused, communica-
tive, and hilarious the students had been throughout. Their emotional response
made it hard to maintain the sensory-friendly applause as the pride and joy felt
at seeing their sons and daughters complete such a tremendously difficult and
brave performance was overwhelming.

Imagine someone’s son, daughter, or student attaining the same level of growth
that would allow them to succeed in such a program. How might you help them
achieve that accomplishment? Can this program be codified and replicated, in
x | Preface

an easy-to-follow format, to reach more individuals worldwide? This book is the

result of answering those questions.

In March 2017, Richie Ploesch and I were having drinks next door to the
National Comedy Theatre following a rehearsal for our improvised comedy
show, which had been running for almost 20 years in San Diego. We were
discussing Richie’s work as a BCBA (Board Certified Behavior Analyst), and
what techniques he uses to work with individuals on the autism spectrum. What
he described included the concepts of active listening, eye contact, recognizing
verbal and physical cues, keeping conversation in the same realm, and acknowl-
edging and accepting other viewpoints.

We both quickly realized that these concepts lined up exactly with the core con-
cepts taught in improv theatre training. The question then arose, “What if there
was a way to adapt improv training so it could be used formally in a setting for
individuals on the spectrum?”

Within the year we had formed a non-profit organization, Unscripted Learning,

and embarked on researching and developing a curriculum, and subsequently
teaching classes to kids and teens with ASD. The program caught on quickly,
and has continued to thrive and grow as more parents find out how well this
approach works.

Improv allows students to leave behind the behavioral scripts that they are so
often taught as young children, and instead react to real-world scenarios, which
are always unscripted. The fun and play aspect of the training also helps mask
the deeper lessons that are woven within.

This book is the result of hundreds of hours of preparation and classroom time
spent experimenting with different exercises and activities designed to teach
communication and social skills using the same techniques that are found in
improvised theatre. Many of the activities result in genuinely funny moments
for the students, and we have watched their confidence in communicating, not
only with each other but in front of groups of people, grow tremendously. We
hope that this book acts as a guide and reference tool towards creating a vibrant
curriculum for educators seeking to teach social skills, creative thinking, and
communication in a fun and engaging way.

Gary Kramer, Executive Director

Richie Ploesch, Program Director
ACKNOWLEDGMENTS

We would like to thank the following people and organizations for their help
and guidance in creating our program, and for their continued support, both
moral and financial.

Raquel Benguiat, Andreea Borcea, Cliff Boro, David Brown, Susan Clausen,
Alex Deddeh, Sue Faber, Inna Fishman, PhD, Josh Hermsmeier, Steve Hohman,
Mikaela Kinnear, PhD, Betsy Lenahan, Caitlyn McTaggart, Katherine Paszek,
Beth Ploesch, Gary Poon, Dave Pressler, Anna Rowland, Laurel Schulz, and
Jonah Weinberg.

Also, the fine folks at Autism Society of San Diego, Autism Speaks, Founda-
tion for Developmental Disabilities, National Comedy Theatre, National
Foundation for Autism Research, Nordson Foundation, Protostar Group, and
Samuel I. & John Henry Fox Foundation.

And all of the parents and students of Unscripted Learning.

ABOUT THE AUTHORS

Gary Kramer is a producer, director, and actor, and is the artistic director
and founder of the National Comedy Theatre, as well as executive director of
Unscripted Learning. His production of the National Comedy Theatre is cur-
rently the longest running show in San Diego history, with over 6000 perfor-
mances since opening in 1999. In addition to the San Diego production, Gary
also directed the New York company of the show and has taught extensively for
over 30 years. He has participated in countless shows across the country, as well
as internationally. Gary has also served as executive director and vice president
of the Board of the San Diego Performing Arts League.

Richie Ploesch, MA, BCBA, has been working in the field of special education
for over 15 years. His specialty is educating students and young adults with
autism spectrum disorder. He earned his teaching credential in 2006, a master’s
degree in 2008, and became a Board Certified Behavior Analyst in 2009. Since
then, he has not only taught special education classes but also has taught as an
adjunct professor, consulted with family members internationally, and provided
in-home behavioral therapy to improve social skills and increase independence.
 CHAPTER 1

INTRODUCTION
Many books written about improv are written solely about the games.

This book, however, is meant to dive deeper into the concepts that are taught
using improv and how those concepts can help individuals with social skills
deficits. This isn’t merely a list of improv games and how to play them. This is a
view into the world of teaching social skills to individuals with autism and other
related special needs. We wanted to demonstrate the use of theatre-style improv
and how the practices that make good improvisers can also make connected and
social individuals. In other words, how we can use improv to teach us to build
better social relationships.

In this book, we break up each game into multiple aspects, teach each one of
those aspects, and then tie them all together so that anyone can play the game
or use the skills in their daily lives. Improv is about inclusivity and is a way to
teach students of various abilities. Many of these games were designed to fill a
gap for our students and are not common to the improv world. By dissecting
each game in an intentional way, we have a format that will help teach these
traditional games to non-traditional learners.

The critical aspect of this program is not that we have a list of hundreds of games.
It is that we have the intention of doing the little things right every single session.
We handle the little things to create routine and consistency with every class
meeting. This is a huge aspect to the program that makes it work. The structure
we provide allows for the highest level of discovery during each game – this is

DOI: 10.4324/9781003207627-1
2 | Introduction

when learning happens. By following the routine, students can focus on the skills
they need to improve upon, rather than exhausting their mental energy following
a changing process. We often take for granted how flexible thinking can be very
mentally taxing. There is a deliberate philosophy behind how we address that
and other concerns for our students.

Philosophy
There are many common attributes in both improv training and autism educa-
tion. In each of these, there is a focus on improving social awareness, recogniz-
ing verbal cues, and non-verbal communication. For the students in each of our
classes, this comes down to a few main lessons. Active listening, understanding
emotions, and flexibility in thinking are just a few of the things that students
in both groups need to learn. The skills that make us good improvisers are the
very skills that make us socially connected members of society and so should be
taught to students with autism.

Throughout this book we are going to break down these topics and others. In
order to share with you the thought process, it is first beneficial to understand
the philosophy behind the program and the reasoning for each of the structural
concepts.

Teens and young adults with autism often struggle from isolation and co-occurring
diagnoses. These additional diagnoses can include mental health challenges
that stem from the lack of social connectedness, including anxiety, depression,
suicidal ideation, and other barriers. This is not from a lack of desire for social
connectedness but a lack of opportunities and a lack of successes with these
limited exposures. Various methodologies built into this curriculum have been
systematically designed to address these challenges. Independent research has
measured such attributes as anxiety, social competence, general wellbeing, and
empathy. Positive growth has been demonstrated in each of these general areas
of mental health in a relatively short amount of time. This growth is evident in
both anecdotal data and qualitative data, but that does not mean we have all of
the answers. We are sharing what has worked so far in the hopes that it will help
and work for others.

The philosophy behind this curriculum comes from a combination of vari-

ous sources. Our students have the potential to create endless connections and
learning opportunities, and we’ve tried to do the same. So, we’ve pulled from
multiple different sources to craft this environment. Play-based interventions
 Introduction | 3

combine with various mental health supports, and we pull proven philosophies
from applied behavior analysis for a well-rounded, scientific approach. This cur-
riculum will help disguise social skills therapy sessions as play and improv.

Play
For starters, it is well known that we all grow and develop by using play as a
means for learning. Early learning and early discovery show that much of what
we describe as play is really exploration of our immediate surroundings. This
starts at a young age with cause-and-effect play, social play, and even word play.
But our need for growth does not stop at an early age, but rather continues
into our adulthood. Play is good for growing the mind and body, and this is an
important key for us to understand in this program. We are teaching new skills,
but doing so in game format leads to quicker acquisition of skills, long-term
retention of these skills, and ease in generalizing these skills to novel situations.
This is because play science tells us that as children with developing minds, play
will fire neurons that lead to novel connections in the brain.

Many children with autism struggle with developing play skills at a young age.
As a result, many early intervention programs invest heavily in teaching play and
play imitation. However, as students enter early elementary age, the focus shifts
to academic learning and structured social opportunities. There is less room for
the mistake of saying too much, or speaking too loudly, or sharing off-topic
information. This discovery is replaced with failure and isolation, which leads
to withdrawal and limited success. Play is a way to reinvigorate enthusiasm for
learning and attempting challenging skills. If you were to learn a new game,
such as baseball, it would be more fun to go to a game, play a game, or watch a
game than it would be to engage in drills for 3 hours a day. This is the approach
we need to bring to our teens to reinvigorate the success and desire for learning.
Play science tells us discovery is a wonderful teacher, and play leads to that exact
discovery.

Mental Health
Mental health and wellbeing are not to be taken lightly. As mentioned ear-
lier, our student population struggles with this, and that impacts each of our
students and their families. By imbedding aspects of positive psychology, we
are reframing the perspective of our students. Minor acts of gratitude have
4 | Introduction

been shown to lead to major changes in someone’s perspective of the world.

By engaging in regular practice of sharing gratitude for small successes, we are
shaping our mindset to focus on the good things that have happened instead of
the negative things. It is hard to see how sharing about a delicious apple can make
a difference, but that small readjustment leads to larger shifts and a more positive
outlook overall. This is similar to a gratitude journal that so many people are
now keeping – it helps train individuals to see the good in what is happening.

Each class starts with a daily moment of positive psychology in the form of shar-
ing one small positive thing that has happened. We often think that good things
have to be these large occasions (trips, new cars, straight A grades), but we forget
that getting a good night’s sleep is good as well.

Additionally, each class starts with a moment of mindfulness by sharing a brief

meditation exercise. This consists of taking two deep breaths and helps ground
us. This also acts as a separation between the world outside of our safe zone and
the world within. In the outer world, we need to focus on being correct. In our
class, confidence is the right answer and that leads to more success. By engaging
in this brief act of meditation, we are allowing ourselves to acknowledge that
the environment is changing, and we can change with it. We are also accepting
that in this safe space we are not judged and thus can be our true selves, which
is a freeing experience (for students, teachers, and parents).

Environment
To set up this engaging environment that is inviting, welcoming, and judgement-
free, we pull from some teachings of applied behavior analysis (ABA), as well
as general didactic teaching methodology. We discussed setting up visual and
kinesthetic activities to remind us of change, but it is also effective to include
for some very common ABA strategies. By writing a schedule and reviewing it
prior to starting, you are allowing students to focus their working memory on
the games rather than the structure of the class. When they feel self-doubt, they
can find reassurance in knowing what is coming and when. Students do well
with these expectations being outlined ahead of time and this eases tension.
By shifting that off of their working memory and mental capacity, they can focus
on the games at hand and allow themselves to learn and discover. The structure
of the class allows for maximum discovery of the lessons presented in play.

The basic tenets of didactic teaching include a concept of scaffolding, which

many of you may already understand. The concept of scaffolding is that you
 Introduction | 5

are building on previously mastered skills. In order to do this, you must first
teach various skills. In this environment, if you haven’t taught it, don’t expect it.
Students will fill in the gaps with their own creativity, but you must provide the
structure, the insight, the knowledge, and the clarity of expectations. Without
these things the students will get lost and your lessons won’t make sense.

The final and possibly most important aspect of this entire curriculum is the
concept of a debrief. For many of us we have an internal voice that we use to
discuss how things went – from job interviews, to dates, to parties, to trips to
the grocery store. We have an ability to debrief the successes and failures of each
event. What went well? What stood out? Would you repeat those same choices?
Was the experience worth your energy? If you cannot conduct this internal
debrief, you cannot grow and learn from your experiences. Our students strug-
gle with this debrief and we must model this discussion for them to help them
learn this skill both during improv and during normal daily experiences. This
then allows typical daily interactions to become learning opportunities.

Formula
One topic we have not yet discussed is our formula for funny. This is a concept
that will come up regularly during your classes. This is not meant to be the driv-
ing focus of your class, but it is a good thing to highlight for students as they
are finding success (or not) during each week. In order for a joke to be funny it
must meet three criteria: be on topic, be specific, and be said with confidence.

If a joke is two of the three, it may be funny but is more likely to fall flat. For
example, a strong statement that is specific and said with confidence but which
is not on topic will shock the audience, confuse stage partners, and devolve the
scene. This example happens frequently with students who are not sure what
or how to contribute. They are often looking for a “right” answer or forcing a
joke from another context. Reminding students of these three characteristics for
a successful joke will help them be appropriate with their jokes and not force
them into scenes.

The coming sections are written with these concepts in mind. Each game has
these practices built into the structure and flow. At the end of this book, there
is a sample, outlining approximately 6 weeks of classes. Keeping in mind all
of these factors (scaffolding, preparing the environment, using the formula for
funny) you will be able to use your existing skills to create a successful learning
environment.
Within a few weeks of joining the group, we knew that my daughter had
found the right place to be. She was the only girl in the group at the time.
It was pretty obvious that, before she joined, the boys had gotten used to
a certain kind of humor, which is perfectly understandable. One of the
students made a joke that made her feel uncomfortable. She spoke up,
advocating for herself, and explained that she wasn't okay with that kind
of thing. What impressed us was that one of the older group members
could see that she was still upset, so he stepped in and explained to the
other boys why that joke was inappropriate. Once they were told how she
felt, not only did the boys accept the explanation, they quickly apologized,
and that kind of thing never happened again.

The members of the improv group build a bond as they work together
to overcome their challenges while enjoying each other’s sense of humor.
After being part of the group for a couple of years, her birthday rolled
around, and she decided that she wanted to invite the other kids to a
birthday party. It was the first time in many years that she invited people
to a party and was not confident that people would attend. It was the
best birthday she ever had. Not only did all the kids show up, but the
event prompted the creation of other outside activities, further building
the friendships that started in improv.

Jane, Parent of 18-year-old teen

 CHAPTER 2

STRUCTURE OF
CLASS
Each class follows a set protocol that incorporates all the philosophies mentioned
earlier in a modified and digestible way.

In this section we will outline the standard process for each class and the reason-
ing behind it. We will mention various therapies and provide scripts of things to
say and highlight. The details for each game are included later in the individual
descriptions of them. For now, this chapter is all about the overall structure of
each class. Know that every aspect of this structure has a purpose, a “why” to
speak of. This section explains each “why” so that the instructors have a deeper
understanding and can replicate the structure and the therapeutic intent of that
structure.

The summary for each class follows.

First 5 Minutes
The first 5 minutes or so of each class are reserved for casual conversations
among staff and students. This is really an opportunity for staff to “check in”
with students to see how they are doing. These conversations are a very enlight-
ening and critical aspect of trauma-informed care, and are used by many schools
in their multi-tiered systems of support. By conducting the informal check in,
you are building rapport with students, they are building rapport with each

DOI: 10.4324/9781003207627-2
8 | Structure of Class

other, and you are learning student stressors – all under the disguise of a casual
conversation. Greet each student. Encourage students to connect to each other
and have playful, engaging conversations. Require students to put away devices
and share with each other. Spend an extra minute or two checking in with
students who have had a difficult time over the past week or at a previous class.
Review the written schedule or rules if students need it. This 5 minutes is all
about your relationship with each student. If you don’t have a relationship with
them, they won’t trust you when you ask them to be vulnerable on stage.

Opening
There are several parts to the opening, but overall, the opening only takes about
5–10 minutes. Everyone stands in a circle on stage for the entirety of the opening.

The first thing you do is engage in a moment of mindfulness, starting by closing

your eyes and taking two deep breaths. The script is the same every class: “Let’s
start by closing our eyes and taking two deep breaths . . . (inhale, exhale) one
more . . . (inhale, exhale). Great! That’s our cue to leave everything out there,
out there, and just be here.” That script has been repeated hundreds of times in
exactly that fashion. It models mindfulness practices for the students, reminds
other staff why we are there as a group, and acts as a grounding exercise before
class starts.

The next exercise is a practice in positive psychology, whereby all participants

share the smallest positive thing that happened since the last class. This feels
strange at first, so be flexible as students are getting comfortable, but ultimately,
we want the smallest positive thing (not the trip to Disneyland or the vacation
we just went on). As mentioned earlier, this helps our students focus on the
positive aspects of their day/week instead of hyper focusing on the negatives.
It is very easy for our students to get “stuck” seeing the negatives. This is one
way to shift that thinking.

Next, the schedule for the day is reviewed. The general plan for the day has
already been written on a white board or some other visible format for all stu-
dents to see. If students need an individual schedule, you can either provide that
here or during the first 5 minutes of class in a private conversation. This helps
alleviate anxiety for students about what is coming, when, and in what order,
etc. This will then allow them to focus all of their attention on the games.
 Structure of Class | 9

Warmup
The purpose of the warmup game is less about achieving a goal and more about
a feeling. If students are relaxed, laughing, and engaged with each other, you
have accomplished your goal. You are simply spending a few minutes to get
the improv muscles warm and flexed. The goal is not to get things right, just
to get them ready to think differently. These are short exercises (generally
5 minutes, but can go a minute or two longer/shorter depending on the mood
of the group). Don’t be afraid to end a warmup on a good laugh. That energy
will carry into the rest of class.

As part of the warmup, we add in the concept of “failure” and what that really
means. Students occasionally get so focused on doing an exercise perfectly that
they are unable to pivot when things don’t go as planned. It’s not a failure if,
during a game, someone makes a mistake. In fact, most of the warmups depend
on mistakes being made frequently and then diving right in again.

To shake off any mistake, we use the “Aa-Ooh-Ga” technique to restart every
game. The technique involves everyone putting their hand in the center of
the circle (similar to a sports team before a game) and all saying the phrase
“Aa-Ooh-Gah!!!,” which is the sound of an old-time car horn. Everyone throws
their hand in the air, and then we start again. It’s a fun way to clean the slate and
immediately start again without allowing anyone to dwell on an error.

Game/Debrief
This process is the cornerstone of the class and is meant to be repeated as many
times as necessary. The general format of each game is that you introduce the game
first, give a few examples, answer some questions, and share the concepts of the
game. Then, allow students to participate as outlined in the individual game
section. Afterwards, debrief each game. Discuss what worked, what didn’t, what
students learned, and why we play this game. There are more details available
in the individual sections, including topics to highlight, but this is the general
format to follow and an easy one to rely on if the group is stuck. Occasionally
the debrief will get into an in-depth conversation. That is entirely OK and a
welcomed part of each class. Do not end a debrief early to get to the next game.
It is more important to dissect the conversation than it is to play the next game
– you can always play it next week.
10 | Structure of Class

Closing
This process is similar to the opening in that it involves everyone being on stage
in a circle. During the closing, everyone in the circle shares either a) one thing
they liked today or b) one thing they learned. This is the “check out” process,
where you get to see how students are ending the class feeling and if their mood
has changed at all from the onset of class. This is also an opportunity to hear
their insight into what stood out for them and what you could build upon in the
future. Feel free to praise student efforts along the way as the group shares, but
keep this section positive, particularly as it is a whole-group activity.

The lead teacher always shares last and generally provides a few words of insight
about the day. Highlight something that stood out, whether it be an effort by
the group, the attempts at a new character or game, the general tone of the class,
etc. This is a chance to shape future classes by providing reassurance, praise, or
constructive feedback of what could be better next time. Also, have the humility
to share something that stood out to you. By modeling the vulnerability of shar-
ing that, you are allowing them the same opportunity in the future.
The Unscripted Learning program has really been a godsend for my son.
It’s the only activity he’s ever asked me to sign him up for, vs. me strongly
suggesting it. Such a great opportunity and vital experience. When class
was able to take place in person, I would see him on the stage working
through the improv and being brilliant. It made my heart so happy! I also
saw it making his heart happy as well! He would talk to me about each
class on our drive home afterwards. He loved to relive the moments and
laugh all over again. I can tell he is still getting a tremendous amount of
experience and it’s keeping his communication skills sharp. He still looks
forward to class each week.

Everyone in his immediate life has noticed the change in his confidence
since starting the class, and his ability to communicate with more ease.
The program has definitely given him the platform he needed to help
develop the communication skills he was lacking.

My husband and I couldn’t be more grateful for the Unscripted Learning

class. It has meant all the difference in my son’s growth and confidence.
It’s truly given him the tools he needs in his toolbox as he transitions into
adulthood and independence.

Barbara, Parent of 17-year-old teen

 CHAPTER 3

THE GAMES
WARMUP GAMES
Every improv class begins with a quick series of warmup games that typically last
5–15 minutes in total. There are a number of reasons as to why these are utilized,
and each activity addresses specific skills.

It begins with creating a safe space, where the issues outside of the rehearsal stu-
dio or classroom are left at the door. Starting with a blank slate and remaining
“in the moment” is a basic tenet of improv, and running through a quick series
of silly and fun exercises is a positive way to introduce any class.

There are a myriad number of warmup games available, and we have outlined
several popular examples in this curriculum. The games are designed specifically
to do the following:

• Create a common shared voice among the participants

• Allow the participants to “fail” at an unimportant task so that they get used
to the concept of not being afraid of failure, and instead embrace the pos-
sibility
• Wipe clean the events of the day outside of the studio
• Jump start everyone’s mind to allow them to begin to think quickly

There are several pitfalls that can happen in the warmup process that are very
common. You might find that students can get hung up on rules or on being
right or wrong in a warmup exercise. Students might become frustrated with
themselves or count the number of times that they make a mistake. Occasion-
ally you will see a game slow to a crawl as the students desperately attempt to
be overly accurate.

DOI: 10.4324/9781003207627-3
 The Games | 13

The solution to any of these challenges is to explain to the students that the
object of the games is to push ourselves to the limit of failure, and to be able to
laugh at the failures of a silly game. If they are going slowly and accurately, they
are not actually doing the game. The point is to move so quickly that an error
is made, and then we attempt to do it again, but even faster. There is no “win-
ning” in a warmup game – the only win is to go faster than the last time – and
nobody is counting errors.

Surprisingly, this is a difficult concept for many students, and it can be addressed
very early on in the rehearsal or teaching process. The games are designed so that
most of them have a “failure” built in, and we all have an equal chance of “fail-
ing” at the games with no judgment.
14 | The Games

BUNNY
STRUCTURE OF ACTIVITY

Students stand in a circle.

DURATION OF ACTIVITY

2 minutes

EXPLANATION OF ACTIVITY

One player starts by holding their hands on either side of their head (as if they
are showing moose antlers) and quickly says “Bunny, Bunny, Bunny, Bunny”
(they can repeat “bunny” as many times as they like for a few seconds). The
person on their immediate right is doing the same thing but only holding up
their right hand, and the person on the left is using their left hand, so there are
three people participating, taking their lead from the central person. After a
few seconds, the center person “passes” the bunny to someone else in the circle
by clapping their hands together and pointing to the new person. That person
takes up the bunny, along with the person on their right and left, and the game
continues. The bunny is passed around the circle in this manner for a couple of
minutes. Each person who receives the bunny moves a bit faster.

PURPOSE OF ACTIVITY

This game is all about laughing and being silly. Getting students to let their
guard down is a great skill and will make class more enjoyable for them and for
you. This is a great way to remind students to just have fun and be silly (and
that it is OK to laugh).

TIPS FOR COACHING

There is no need to rush in this game, but if you can get the groups going faster
that will make things a bit more fun. Also, some students might be a bit hesitant
at first. That is OK, but work to get them more involved.

DEBRIEF

There is no need to dwell on this game too much. Maybe talk with students
about how they felt before the game and after. Are they more relaxed now and,
if so, do they recognize that being silly helped them get there?
 The Games | 15

GO
STRUCTURE OF ACTIVITY

Students stand in a circle with one person in the center of the circle.

DURATION OF ACTIVITY

1–2 minutes

EXPLANATION OF ACTIVITY

Students stand in a circle with one student in the center. The student in the
center points across the circle at another student, says their name, and walks
over to take their place within the circle. The selected student walks to the
center of the circle and points to a new person, and the process continues.

PURPOSE OF ACTIVITY

This game is great at teaching students to remember each other’s names while
moving around the stage and the circle. This is also good for practicing mak-
ing mistakes and doing so in a fun and light way. It is also a good mechanism
for making clear choices and communicating clearly to others on stage.

TIPS FOR COACHING

Have the students move as quickly as possible and attempt to point to a new
person each time they get to the center of the circle. It’s easy to suddenly forget
someone’s name while under pressure, so make sure they can laugh it off if this
happens.

DEBRIEF

Only do a debrief for the first several times you play this game. When doing
a debrief, talk to students about how they felt when they were called into the
middle of the circle. Explain that the feeling of being on the spot is ok and will
go away over time as they get more comfortable, but in that moment, encour-
age them to make a bold choice and remember that if others laugh, that is OK.
People will laugh at the things you do and say on stage, that is part of the reason
for doing it. Remind students not to confuse that with people laughing at them
as individuals.
16 | The Games

Happy/Sad
STRUCTURE OF ACTIVITY

Students stand in a circle.

DURATION OF ACTIVITY

5 minutes

EXPLANATION OF ACTIVITY

Students stand in a circle. The first student can turn to their right and say
“Happy!” or to their left and say “Sad!” This command then continues and
is repeated in the same direction, keeping the same emotion, unless a student
reverses direction by saying the other emotion. Additionally, as they pass the
command, they say the word happy or sad while playing/feeling that emotion.

As a variation, a player can also say “Anger,” and point across the circle as an
alternative to Happy or Sad.

PURPOSE OF ACTIVITY

This is a quick and easy way to get students showing some emotions. Emotions
are so important in improv and in life. The aim of this game is to get people
saying and showing emotions in a playful way.

TIPS FOR COACHING

Encourage students to show their emotions in various ways. There are multiple
levels of each of these – they can dial up or down the physicality, facial expres-
sions, tone, volume, etc.

DEBRIEF

There is not a big need for a debrief after a warmup game like this, but it is
always good to check in with the group about how they felt showing various
emotions and what they noticed from others. Were other students more vocal?
Less physical? More animated? etc. Use this information to guide you as you
play more scene games later.
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 GLOSSARY OF TERMS USED IN
CABINET WORK
A
Acanthus. The conventionalized leaf of the acanthus plant.
Anthemion. A Greek form of ornament made from the
conventionalized flower of the honeysuckle.
Apron. The ornamental wooden piece extending between the legs
of a table, below the body frame.
Applied ornament. One which is carved or sawed separately and
fastened upon the surface.
Armoire. The French term for cupboard.

B
Bail. The part of a handle, in ring or hoop shape, which is taken
hold of.
Bandy or Cabriole leg. One which is made in a double curve.
Banister back. A chair back made of vertical pieces of wood
extending between an upper and lower rail.
Baroque. A term applied to a style of extravagant over-
ornamentation.
Bead or Beading. A small convex moulding, sometimes divided and
cut like beads.
Beaufat or Bowfatt. A corner cupboard, extending to the floor.
Bergère. A French chair with a very wide seat.
Bible box. A box, usually of oak, for holding the Bible.
Block front. A term applied to the front of a desk or chest of
drawers, to indicate the blocked shape in which the drawer
fronts are carved or sawed.
Bombé. Kettle-shaped.
Bonnet top. A top made with a broken arch or pediment.
Bracket. The piece of wood of bracket shape, used in the angle
made by the top and the leg.
Bracket foot. A foot in bracket form.
Broken arch or Pediment. One in which the cornice is not
complete, but lacks the central section.
Buffet. A sideboard, or piece of furniture used as a sideboard.
Buhl. A form of inlaying engraved brass upon a thin layer of tortoise
shell, over a colored background. Named from its inventor,
Buhl, or Boulle.
Bureau. In early time, and even now in England, a desk with a
slanting lid. Now used chiefly to indicate a chest of drawers.
Bureau-table. A small chest of drawers made like a desk, but with
a flat top.
Butterfly table. A small table with turned legs and stretchers and
drop leaves, which are held up by swinging brackets with
the outer edge curved like a butterfly wing.

C
Cabinet. The interior of a desk, fitted with drawers and
compartments.
Cabriole leg. Bandy leg, curved or bent.
Capital. The upper part of a column or pillar.
Carcase. The main body of a piece of furniture.
Cellaret. A low, metal-lined piece of furniture, sometimes with the
interior divided into sections, used as a wine cooler.
Chaise longue. The French term for a day bed or couch.
Chamfer. A corner cut off, so as to form a flat surface with two
angles.
Claw-and-ball foot. The termination of a leg with a ball held in a
claw, usually that of a bird.
Comb back. A Windsor chair back, with an extension top, shaped
like a comb.
Commode. A chest of drawers.
Console table. One to be placed below a looking-glass, sometimes
with a glass between the back legs.
Court or Press cupboard. A very early cupboard with doors and
drawers below and a smaller cupboard above, the top being
supported by heavy turned columns at the corners.

D
Day bed or Chaise longue. A long narrow seat used as a couch or
settee, usually with four legs upon each side, and a chair
back at the head.
Dentils. An architectural ornament made of a series of small
detached cubes.
Desk. A piece of furniture with conveniences for writing.
Desk box. A box similar to a Bible box, made to hold books or
papers.
Diaper. A small pattern or design, repeated indefinitely on a
surface.
Dish top. A table top with a plain raised rim.
Dovetail. Fastening together with mortise and tenon.
Dowel. A wooden pin used to fasten sections together.
Dresser. A set of shelves for dishes.
Dutch foot. A foot which spreads from the leg in a circular
termination.

E
Egg and dart. A form of ornament made of egg-shaped pieces with
dart-shaped pieces between.
Empire style. A style which became popular during the First
Empire, largely formed upon Egyptian styles, found by
Napoleon during his Egyptian campaign. Later the term was
applied to the heavy furniture with coarse carving, of the
first quarter of the nineteenth century.
Escritoire. A secretary.
Escutcheon. The metal plate of a key-hole.

F
Fan back. The back of a Windsor chair with the spindles flaring like
an open fan.
Fender. A guard of pierced metal, or wire, to place before an open
fire.
Field bedstead. One with half high posts which uphold a frame
covered with netting or cloth.
Finial. The ornament which is used at the top of a pointed effect as
a finish.
Flemish foot or leg. An early scroll form with one scroll turning in
and the other turning out; found upon Jacobean furniture.
Fluting. A series of concave grooves.
French foot. In Chippendale’s time, a scroll foot terminating a
cabriole leg; in Hepplewhite’s time, a delicate form of a
bracket foot.
Fretwork. A form of ornament in furniture, sawed or carved in an
open design.

G
Gadroon or Godroon. A form of ornament consisting of a series of
convex flutings, chiefly used in a twisted form as a finish to
the edge.
Gallery. The raised and pierced rim upon a table top, usually in
Chinese fretwork.
Gate-legged, hundred-legged, or forty-legged table. An early
table with drop leaves and stretchers between the legs, of
which there are six stationary upon the middle section, and
one or two which swing out to hold up the drop leaves.
Girandole. A mirror with fixtures for candles.
Guéridon. A stand to hold a candelabra,—a candle-stand.
Guilloche. An ornamental pattern formed by interlacing curves.

H
High-boy. A tall-boy or chest of drawers upon high legs.
Hood. The bonnet top of a high-boy.
Husk. The form of ornament made from the bell-flower, much used
by Hepplewhite.

J
Jacobean. A term applied to furniture of the last quarter of the
seventeenth century, although properly it should apply to
the period of James I.
Japanning or Lacquering. In the eighteenth century a process
copied from the Chinese and Japanese lacquer; in
Hepplewhite’s time a method of painting and gilding with a
thin varnish.

K
Kas or Kos. A Dutch high case with drawers and doors, made to
hold linen, and extending to the floor, from which it was
sometimes held up by large balls.
Kettle front or bombé. A form of chest of drawers or secretary, in
which the lower drawers, toward the base, swell out in a
curve.
Knee. The term applied to the upper curve, next the body, of a
bandy leg.
Knee-hole desk. A desk with a table top, and an open space below
with drawers at each side.

L
Lacquer. A Chinese and Japanese process of coating with many
layers of varnish.
Ladder back. A chair back of the Chippendale period, with
horizontal carved or sawed pieces across the back.
Low-boy. A dressing-table, made to go with a high-boy.

M
Marquetry. Inlay in different woods.
Mortise. The form cut in a piece of wood to receive the tenon, to
form a joint.
Mounts. The metal handles, escutcheons, or ornaments fastened
upon a piece of furniture.

O
Ogee. A cyma, or double curve, as of a moulding.
Ormolu. Mountings of gilded bronze or brass, used as ornaments.

P
Pie-crust table. A table with a raised edge made in a series of
curves.
Pier-glass. A large looking-glass.
Pigeon-hole. A small open compartment in the cabinet of a desk or
secretary.
Patina. The surface of wood or metal acquired by age or long use.
Pediment. The part above the body of a bookcase or chest of
drawers, with an outline low at the sides and high in the
middle, similar to the Greek pediment.
Pembroke table. A small table with drop leaves, to use as a
breakfast table.

R
Rail. The horizontal pieces across a frame or panel.
Reeding. Parallel convex groovings.
Ribband or Ribbon-back. A chair back of the Chippendale period,
with the back formed of carved ribbon forms.
Rococo. A name derived from two words, rock and shell—applied to
a style of ornamentation chiefly composed of scrolls and
shells, used in irregular forms, often carried to extremes.
Roundabout or Corner chair. An arm-chair, the back of which
extends around two sides, leaving two sides and a corner in
front.

S
Scroll-top. A top made of two curves broken at the center, a
bonnet top.
Secretary. A desk with a top enclosed by doors, with shelves and
compartments behind them.
Serpentine or Yoke front. A term applied to drawer fronts sawed
or carved in a double curve.
Settee. A long seat with wooden arms and back, the latter
sometimes upholstered.
Settle. A seat, usually for two, made with high wooden arms and
back, to stand in front of a fire. Often the back turned over
upon pivots to form a table top.
Slat-back. A chair back very commonly found, with plain horizontal
pieces of wood across the back in varying numbers.
Spade foot. A foot used by Hepplewhite and Sheraton, the tapering
leg increasing suddenly about two inches from the end, and
tapering again forming a foot the sides of which are
somewhat spade-shaped.
Spandrels. The triangular pieces formed by the outlines of the
circular face of a clock and the square corners.
Spanish foot. An angular, grooved foot with a scroll base turning
inward.
Spindle. A slender, round, turned piece of wood.
Splat. The upright wide piece of wood in the middle of a chair-back.
Squab. A hard cushion.
Stiles. The vertical pieces of a panel, into which the upper and
lower rails are set, with mortise and tenon.
Strainers or Stretchers. The pieces of wood extending between
the legs of chairs or tables to strengthen them, and in early
times to rest the feet upon, to keep them from the cold
floor.
Swell front. A front curved in a slightly circular form.

T
Tambour. A term applied to a door or cover made from small strips
of wood glued to a piece of cloth which is fastened so that
it is flexible.
Tenon. The form of a cut which fits into a mortise so as to make a
firm joint.
Torchère. A candle stand.

V
Veneer. A very thin piece of wood glued upon another heavier
piece.
Vernis Martin. A French varnish with a golden hue, named for its
inventor.

W
Wainscot chair. An early chair, usually of oak, with the seat and
back formed of solid panels.
 INDEX OF THE OWNERS OF
FURNITURE
A
Albany Historical Society, Girandole, 395;
forty-legged table, 247.
Alexander Ladd House, Portsmouth. Chair, 161;
double chair, 224.
Allen House. Stairs, 427.
American Antiquarian Society, Worcester. Desk, 127;
double chair, 225;
high chair, 156;
looking-glass, 376;
slate-top table, 245;
tall clock, 354.
American Philosophical Society, Philadelphia. Chair, 177.

B
Barrell, Mrs. Charles C., York Corners. Looking-glass, 380, 382.
Baxter, James Phinney, Portland. Sideboard, 97;
dressing-glass, 50.
Bigelow, Francis H., Cambridge. Andirons, 319;
candelabra, 345;
cellaret, 111;
chairs, 183, 185, 197, 206, 207;
clock, 359;
desk, 129, 151;
lamps, 344;
 looking-glass, 41, 403, 406;
secretary, 150;
sconce, 340;
settee, 228;
sideboard, 104,105;
sofa, 230;
table, 251, 253, 269;
time-piece, 368;
washstand, 60.
Bigelow, Mrs. H. H., Worcester. Looking-glass, 10.
Bigelow, Irving, Worcester. Clock, 362;
table, 266.
Blaney, Dwight, Boston. Andirons, 318;
bureau, 52;
chair, 163, 198;
desk, 133;
high chest, 26;
looking-glass, 400;
music-stand, 303;
settle, 215;
sideboard, 108;
table, 243, 244, 245, 246, 253, 262, 276;
what-not, 267.
Boston Art Museum. Clock, 354;
looking-glass, 402.
Bostonian Society. Clocks, 356.
Burnside, Miss H. P. F., Worcester. Looking-glass, 64;
table, 275.

C
Carroll, Mrs. Elbert H., Worcester. Bureau, 48.
Chase Mansion, Annapolis. Doorway, 445;
looking-glass, 389.
Chickering & Co. Piano, 302, 310.
Clark, Charles D., Philadelphia. Clock, 357.
“Cliveden,” Germantown. Entrance and stairs, 446;
mantel, 447.
Coates, Miss Mary, Philadelphia. Chair, 161, 176, 187, 189, 204;
table, 253.
Colonial Dames of Pennsylvania. Bedstead, 79;
sideboard, 110;
sofa, 220.
Concord Antiquarian Society. Bedstead, 69;
chair, 190;
couch, 217;
looking-glass, 242;
settee, 234;
table, 262, 264.
Connecticut Historical Society, Hartford. Chest, 14.
Cook-Oliver House, Salem. Mantel and doorway, 413.
Corbett, George H., Worcester. Bedstead, 82.
Crowninshield, Frederic B., Marblehead. Settee, 233.
Cutter, Mrs. J. C., Worcester. Chair, 209.

D
Dalton House, Newburyport. Doorway, 414;
mantel, 416, 417;
stairs, 418.
Darlington, Dr. James H., Brooklyn. Piano, 294, 327.
Deerfield Museum. “Beaufatt,” 90;
chair, 182;
chest, 11, 15;
dulcimer, 304;
settle, 214;
spinet, 282.
Dyer, Clinton M., Worcester. Table, 258;
table and chair, 267.

E
Earle, Mrs. Alice Morse, Brooklyn. Chair, 187;
desk, 138.
Essex Institute, Salem. Chair, 158;
cupboard, 88;
 settee, 216.

F
Faulkner, Dr. G., Roxbury. Clock, 363.
Flagler, Harry Harkness, Millbrook. Andirons, 320;
candle-stand, 343;
chair, 164, 186, 188, 195;
clock, 359;
double-chair, 222;
dressing-table, 39;
fender, 320;
high chest, 37;
lantern, 346;
looking-glass, 39, 386, 404;
side table, 93;
settee, 221;
table, 254, 255, 256, 258, 261;
writing table, 136.

G
Gage, Mrs. Thomas H., Worcester. Bureau, 53, 56;
case of drawers, 55;
desk, 152;
looking-glass, 398;
sofa, 239.
Gage, Miss Mabel C., Worcester. Desk, 120.
Garrett, The Misses, Williamsburg. Mixing table, 116;
stairs, 448.
Gay, Calvin, Worcester. Clock, 372.
Gilbert, J. J., Baltimore. Bedstead 71;
bookcase, 143;
chair, 199;
table, 256;
music-stand, 306.
Gilman, Daniel, Exeter. Chest of drawers, 36.
Girard College. Settee, 229.
Graeme Park, Horsford. Mantel, 443;
stairs, 442.
Grisier, Mrs. Ada, Auburn. Piano, 295.

H
Harrison, Mrs. Charles Custis, St. David’s. Mixing-table, 115.
Henry, Mrs. J. H., Winchendon. Desk, 153.
Herreshoff, J. B. F., New York. Double-chest, 33.
Historical Society of Pennsylvania. Chair, 173, 201;
desk, 112.
Hogg, Mrs. W. J., Worcester. Settee, 227.
Holmes, George W., Charleston. Bookcase, 144;
looking-glass, 409;
side-table, 94.
Hosmer, The Misses, Concord. Couch, 218;
sofa, 235;
table, 268.
Hosmer, Walter, Wethersfield. Chair, 180;
couch, 218;
cupboard, 88;
desk, 125, 126;
dressing-table, 35.
Huntington, Dr. William R., New York. Desk with cabinet top, 130.
Hyde, Mrs. Clarence R., Brooklyn. Comb-back rocker, 175;
chair, 202;
knife-box, 100;
settee, 232;
table, 275.

I
Independence Hall. Doorway and stairs, 441.
Ipswich Historical Society. Bedstead, 67;
chair, 170, 171.

J
Johnson-Hudson, Mrs. Stratford. Bedstead, 66;
bureau, 47;
candle-shades, 332;
 kas, 91;
looking-glass, 332;
screen, 338;
table, 259.

K
Kennedy, W. S. G., Worcester. Chair, 190, 203;
clock, 364;
desk, 149;
looking-glass, 392;
piano, 293;
sideboard, 113;
sofa, 230.
Kimball House, Salem. Mantel, 431.
Knabe, William & Co., Baltimore. Harpsichord, 285.
Kohn, H. H., Albany. Looking-glass, 315.

L
Ladd House, Portsmouth. Chair, 161;
settee, 224.
Lang, B. J., Boston. Piano, 308.
Larkin-Richter House, Portsmouth. Doorway, 433.
Lawrence, Walter Bowne, Flushing. Chair, 208.
Lawton, Mrs. Vaughan Reed, Worcester. Harp, 313.
Lee Mansion, Marblehead. Bedstead, 70;
fireplace, 316;
mantel, 422;
stairs, 425.
Lemon, E. R., Sudbury. Chest of drawers, 19;
fire-frame, 328;
looking-glass, 349, 374.
Lincoln, Waldo, Worcester. Chair, 209, 210;
sideboard, 109.
Lindall-Barnard-Andrews House, Salem. Mantel, 432.

M
MacInnes, J. C., Worcester. Side-table, 106.
Manor Hall, Yonkers. Mantel, 438, 439, 440.
Marsh, Mrs. Caroline Foote, Claremont-on-the-James. Chest, 13.
Meggatt, William, Wethersfield. Lantern clock, 349.
Metropolitan Museum of Art. Basin-stand, 59;
chair, 191;
dressing-table, 24;
high-boy, 27;
looking-glass, 393, 411;
table, 262, 277.
Moffett, Charles A., Worcester. Clock, 369.
Moore, D. Thomas, Westbury. Clock, 371;
chair, 196.
Morse, Charles H., Charlestown. Bureau, 58;
clock, 366;
dressing-table, 54.
Morse, Mrs. E. A., Worcester. Bedstead, 77;
chair, 194, 208;
clock, 361, 364;
table, 279;
washstand, 62.
Morse, Miss Frances C., Worcester. Andirons, 324;
bedstead, 78, 81;
bureau, 45, 51;
candlesticks, 333;
chairs, 166-168, 169, 172, 174, 178, 184, 193, 200, 212;
clock, 350, 357, 360, 362, 364;
coasters, 102, 252;
desk, 146;
high chest, 30;
lamps, 329;
looking-glass, 84, 280, 378, 392, 396, 407, 410;
low-boy, 30, 40,378;
mirror-knobs, 394;
night-table, 62;
piano, 290;
piano-stool, 298, 300;
secretary desk, 147;
settee, 321;
 sideboard, 102;
sofa, 236;
table, 250, 252, 260, 265;
washstand, 61, 63.
Mount Vernon. Lamp, 335;
mantel, 324.
Myers, Barton, Norfolk. Mantel, 450;
settee, 232;
table, 274.

N
Newburyport Historical Association. Cradle, 65;
desk with cabinet top, 137;
table, 244.
Newman, Mrs. M., New York. Sofa, 241.
Nichols, The Misses, Salem. Chair, 205;
looking-glass, 399.

O
“Oak Hill.” Peabody. Stairs, 428.
“Octagon,” Washington. Doorway, 434;
mantel, 435.
Ogle House, Annapolis. Looking-glass, 300.
Orth, John, Boston. Clavichord, 288.
Otis, Harrison Gray, House, Boston. Mantel, 425;
stairs, 424.

P
Parker-Inches-Emery House, Boston. Doorway, 420.
Pendleton Collection, Providence. Hall lantern, 348;
knife urn, 99.
Pennsylvania Historical Society. Chair, 173, 183, 184;
desk, 124.
Penny-Hallett House, Boston. Mantel, 419.
Philadelphia Library Association. Looking-glass, 384.
Pilgrim Society, Plymouth. Chairs, 157;
cradle, 65.
Poore, Ben: Perley, Byfield. Bedstead, 72, 75;
candle-stand, 330, 342;
cellaret, 111;
chair, 159, 160, 162, 172, 181, 186, 204;
chest on frame, 18;
clock, 352;
looking-glass, 117, 154;
screen, 342;
sofa, 240.
Potter, Mrs. M. G., Worcester. Looking-glass, 213.
Pratt, Miss Emma A., Worcester. Miniature tall clock, 360.
Prentice, Mrs. Charles H., Worcester. Dutch chair, 179.
Preston, Mrs. William, Richmond. Looking-glass, 397.
Priest, Mrs. Louis M., Salem. Piano, 296.
Pringle House, Charleston. Chandelier, 336.
Prouty, Dwight M., Boston. Andirons, 322;
chair, 166, 192, 202;
chest, 17;
chest of drawers, 20;
clock, 368;
bureau, 42;
hall lantern, 347;
looking-glass, 375, 384, 388, 408;
music-stand, 307;
screen, 341;
settee, 219;
side-table, 107;
stool, 167;
table, 248, 263, 270.

R
Rankin, Mrs. F. W., Albany. Desk, 119, 120;
table, 249.
Rines, Albert S., Portland. Chair, 192;
secretary, 135;
settee, 226.
Robart, F. A., Boston. Dressing-table 23;
high-chest, 22.
Robinson House, Saunderstown. Stairs, 426.
Rogers, Mrs. N. F., Worcester. Cheval glass, 405.

S
Sargent-Murray-Gilman House Gloucester. Mantel, 429;
stairs, 430.
Schoeffer, Dr. Charles, Philadelphia. Sofa, 212.
Schuyler House, Albany. Mantel, 436.
Shapiro, L. J., Norfolk. Sideboard, 114;
table, 272.
Sibley, Charles, Worcester. Bureau, 46.
Smith, John, Worcester. Table, 273.
Stevenson, Cornelius, Philadelphia. Screen, 341.

T
Tappan, Mrs. Sanford, Newburyport. Piano, 292.
Tilton, Miss M. E., Newburyport. Table, 251.
Turner, Frank C., Norwich. Clock, 369.

U
Unitarian Church, Leicester. Chair, 200.

V
Valentine Museum, Richmond. Stairs, 449.
Verplanck, Samuel, Fishkill. Desk with cabinet top, frontispiece.
W
Warner House, Portsmouth. Bedstead, 76;
bill of lading, 139;
bookcase, 142;
bureau, 43;
chandelier, 334;
double chest, 32;
 dressing-table, 34;
high chest, 28;
sofa, 337;
stove, 327.
Waters, Charles R., Salem. Bedstead, 74;
bureau, 44;
candelabra, 325;
chair, 155, 160, 194, 196, 203;
chest, 16;
chest upon frame, 18;
cupboard, 87;
desk box, 118;
desk with cabinet top, 128;
hob grate, 325;
looking-glass, 383;
lantern clock, 350.
Wing, Mrs. John D., Millbrook.
Music stand, 303.
Woodward, Mrs. Rufus, Worcester.
High chest, 29.
Woodward, Mrs. Samuel B., Worcester.
Bedstead, 80;
bureau, 57;
table, 268.
Worcester Art Museum. Table, 274.
 GENERAL INDEX
A
Adam, Robert and J., 4, 5, 99, 184.
Adam leg, 235, 241.
Adams, John, quoted, 284.
Allen house, 427.
Andirons, 317.
Argand lamp, 334.
Astor piano, 292.

B
Baldwin, Christopher Columbus, quoted, 314.
Banister-back chair, 168.
“Banjo” clock, 366.
Basin-stand, 58.
Beaufet or beaufatt, 89, 90.
Bedstead, claw-and-ball foot, 69;
cording of, 73;
coverlid for, 78;
early, 65;
field, 67;
French, 82;
Hepplewhite, 73;
low post, 80;
ornaments for concealing bed screws, 77;
press, 66;
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