Education Resources

WELCOME!
Welcome to the Education Resources for Brisbane by Matthew Ryan. These resources
are designed to work alongside the play and offer inspiration before and after your
visit to the theatre. There are worksheets and activities as well as ideas for
responding. Feel free to pull these resources apart and use what works best for you
and your students.
Best, Heidi Irvine
Producer, Education and Youth Programs.
CONTENTS:
1.
2.
3.
4.
5.

At the theatre
The fine print
About the play
Activities and Resources
Online Resources

Page 2
Page 3
Page 4
Page 6
Page 19

AT THE THEATRE:
Wed like to welcome you to the experience of attending a live performance while
we know you get all the etiquette stuff, heres a reminder of some simple information
you can pass on to your students.
1. We ask you to get involved in the performances by applauding and laughing
at appropriate moments. If you have a question ask your teacher at the
interval/end of the show or one of the cast, if you have a chance for a
Question & Answer session.
2. Food or drink is not permitted in the theatre
3. Live theatre is different to TV the actors on stage can hear and see you and
there are other members of the audience to think about. If you need to leave
the performance for any reason, please ensure this is done quickly and quietly
and at an appropriate break in the action
4. Switching your phone to silent isnt the only thing to do. Please ensure that
you switch off your mobile phone and leave it in your bag before the
performance begins. The glow of the iPhone screen is obvious to others and is
very distracting!

THE FINE PRINT

Location: The Playhouse, QPAC. 11 May 2 May. Writer: Matthew Ryan.
Brisbane, 1942: a big country town jumping at shadows, never knowing if that buzz
in the air is a cicada or a squadron of merciless Japanese Zeroes. World War II took
the citys innocence, and that of 14-year-old Danny Fisher.
Danny's dashing pilot brother has been killed in the Bombing of Darwin. As Danny's
devastated family unravels, the teen finds a surrogate sibling in Andy, one of the
Americans stationed in Brisbane. The American pilot takes Danny under his wing,
and as the tension begins to rise between the Yank and Aussie servicemen, Danny
hatches a reckless revenge plan against those who took his brother.
A QTC world premiere drawing on true stories from the leafy streets of Brisbane in
the middle of wartime, Matthew Ryans Brisbane is a life-affirming coming-of-age
tale, with moments of sublime comedy amid a heartfelt tale of a family fragmented
by tragedy. A living, breathing picture postcard from a time that could have been the
making or breaking of a city.
Suitability: Years 9 -12
Duration: 2 hours 20 minutes (including interval)
Warnings: Adult references to death, grief and war. Sexual references. Low level
coarse language.

Director: Iain Sinclair

Designer: Stephen Curtis
Lighting Designer: David Walters
Composer/Sound Designer: Guy Webster
Dramaturg: Louise Gough

Cast:
Matthew Backer ENSEMBLE
Conrad Coleby FRANK/ANDY WEST
Harriet Dyer PATTY
Lucy Goleby ROSE
Dash Kruck DANNY
Daniel Murphy ENSEMBLE
Veronica Neave ANNIE
Hugh Parker ENSEMBLE
Hayden Spencer JOHN

ELEMENTS
Mood
Tension
Role
Time

RECOMMENDED THEMES FOR DISCUSSION

Brisbane brings to the stage many social, political and
historical issues concerning Australians.
Whilst the location of Brisbane itself is critical to the
historical aspect of the play, the emotional journey faced
by each of the characters through their desire, grief and
ambition, is universal.
War, being a prevalent theme, will raise the questions
around its purpose and the role we played in WW2.
From this, students can discuss perceptions of America
and Japan, and our place in the global landscape.
The characters journey (particularly the Fisher family
and Rose) through their grief for Frank and how they
cope with his loss, will ask many questions around how
we speak of grief and the impact of war for everyday
Australians.

ABOUT THE PLAY AND ITS STYLE

Brisbane sits within the style of Realism and Magic Realism.
Realism
Characters are believable, everyday types.
Costumes are authentic.
The realist movement in the theatre and subsequent performance style have
greatly influenced 20th century theatre and cinema and its effects are still
being felt today.
Stage settings (locations) and props are often indoors and believable
The box set is normally used for realistic dramas on stage, consisting of three
walls and an invisible fourth wall facing the audience.
The drama is typically psychologically driven, where the plot is secondary and
primary focus is placed on the interior lives of characters, their motives, the
reactions of others etc. realistic plays often see the protagonist (main
character) rise up against the odds to assert him/herself against an injustice of
some kind.
Magic Realism
Magic realism or magical realism is a genre where magic elements are a

natural part in an otherwise mundane, realistic environment.

A realistic narrative and naturalistic technique are combined with surreal
elements of dream or fantasy.
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Taken from an article by Zamora, Lois Parkinson and Wendy B. Faris (1995) on
Magical Realism Theory.
CHARACTERISTICS OF MAGICAL REALISM INCLUDE FIVE PRIMARY TRAITS:

An "irreducible" magic which cannot be explained by typical notions of natural

law.
A realist description that stresses normal, common, every-day phenomena,
which is then revised or "refelt" by the marvelous. Extreme or amplified states
of mind or setting are often used to accomplish this. (This distinguishes the
genre from pure myth or fantasy.)
It causes the reader to be drawn between the two views of reality.
These two visions or realms nearly merge or intersect.
Time is both history and the timeless; space is often challenged; identity is
broken down at times.

SECONDARY CHARACTERISTICS OFTEN INCLUDED ARE:

The work is often metafictional or self-referential.

The text may employ a "verbal magic" where metaphors are treated as reality.
Phenomenological states may include the primitive or childless that seem to
dislocate our initial perceptions/understandings.
Repetition, as well as mirror reversals, are employed.
Metamorphoses take place.
Magic often is used against the established order.
Collective symbols and myths rather than individual ones haunt the work.
The fiction in form and language often embraces the carnivalesque.

ACTVITIES AND RESOURCES

The following ideas and resources can be used both pre and post-show.
BEFORE YOU START
What do you know about the play?
What does the title make you think the play is going to be about?
What do you know about the history of Brisbane?
Can you name some prominent Brisbane identities?
Can you name some Brisbane landmarks or historical places?
What do you know about WW2?
What do you know about Australias involvement in WW2?
AUSTRALIA AND THE SECOND WORLD WAR
Taken from http://rslnsw.org.au/commemoration/heritage/the-second-world-war

Served Overseas: 575,799

Died: 39,429
Wounded: 66,563
Men awarded the Victoria Cross: 20
The First World War had been called the war to end all wars but by the 1930s
tension throughout the world was becoming increasingly dangerous. Mussolini had
assumed power in Italy with plans to restore Italy to the status enjoyed by the
Roman Empire. The post-war years were tough for Germany suffering the burden of
significant reparations to the victorious countries and hyper-inflation. There was a
view among many Germans that they had never been defeated in the First World
War as the surrender they signed was not unconditional and that the Allied Powers
had treated them harshly at the Peace of Versailles. The Great Depression brought
about extreme hardship leading to support for the Adolf Hitler and his Nazi party
whom openly advocated the expansion of German territory through military
conquest. Japan also started on a campaign of conquest with a view to creating an
empire in Asia and the Pacific.
Throughout the late 1930s, Germany, Italy and Japan pursued their expansionary
plans, initially assisted by an appeasement approach by Great Britain and France
and an isolationist approach from the USA. The invasion by Germany of Poland on 3
September 1939 led Great Britain and France to declare war on Germany. Australia
moved quickly to support Great Britain and also declared war.
This time, there was none of the enthusiasm and joy that had greeted the news of
the outbreak of the First World War.
A million Australians, both men and women, served in the Second World War
500,000 overseas. They fought in campaigns against Germany and Italy in Europe,
the Mediterranean and North Africa, as well as against Japan in south-east Asia and
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the Pacific. The Australian mainland came under direct attack for the first time, with
Japanese aircraft bombing towns in north-west Australia and Japanese midget
submarines attacking Sydney Harbour.
The Royal Australian Navy was involved in operations against Italy in June 1940.
Australians flew in the Battle of Britain in August and September 1940. The
Australian Army was not engaged in combat until 1941, when the 6th, 7th, and 9th
Divisions joined operations in the Mediterranean and North Africa.
Following early successes against Italian forces, the Australians suffered defeat with
the Allies by the Germans in Greece, Crete, and North Africa. In June and July 1941
Australians were part of the successful Allied invasion of Syria, a mandate of the
French Vichy government. 14,000 Australians held out against repeated German
attacks in the Libyan port of Tobruk, where they were besieged between April and
August 1941 The Rats of Tobruk. After being relieved at Tobruk, the 6th and 7th
Divisions departed for the war against Japan. The 9th Division remained to play an
important role in the Allied victory at El Alamein in October 1942 before it also left
for the Pacific. By the end of 1942 the only Australians remaining in the
Mediterranean theatre were airmen serving either with 3 Squadron, Royal Australian
Air Force (RAAF) or in the Royal Air Force (RAF).
After expanding its territories throughout Korea and China, Japan sought to extend
territory through south-east Asia but realised that would not be tenable to the United
States so Japan engineered an extremely successful pre-emptory strike on the US
Naval Fleet stationed at Pearl Harbour, Hawaii, in December 1941. The United States
declared war on Japan and also Germany and Italy. Japan followed up their success
at Pearl Harbour a series of victories, resulting in the occupation of most of south-east
Asia and large areas of the Pacific by the end of March 1942. Singapore fell in
February, with the loss of an entire Australian division.
After the bombing of Darwin that same month, all RAN ships in the Mediterranean
theatre, as well as the 6th and 7th Divisions, returned to defend Australia. In
response to the heightened threat, the Australian government also expanded the
army and air force and called for an overhaul of economic, domestic, and industrial
policies to give the government special authority to mount a total war effort at home.
In March 1942, after the defeat of the Netherlands East Indies, Japan's southward
advance began to lose strength, easing fears of an imminent invasion of Australia.
Further relief came when the first AIF veterans of the Mediterranean campaigns
began to come home, and when the United States assumed responsibility for the
country's defence, providing reinforcements and equipment. The threat of invasion
receded further as the Allies won a series of decisive battles in the Coral Sea, at
Midway, on Imita Ridge and the Kokoda Track, and at Milne Bay and Buna.

Further Allied victories against the Japanese followed in 1943. Australian troops
were mainly engaged in land battles in New Guinea, the defeat of the Japanese at
Wau, and clearing Japanese soldiers from the Huon Peninsula. This was Australia's
largest and most complex offensive of the war and was not completed until April
1944. The Australian Army also began a new series of campaigns in 1944 against
isolated Japanese garrisons stretching from Borneo to Bougainville, involving more
Australian troops than at any other time in the war. The first of these campaigns was
fought on Bougainville in New Britain and at Aitape.
While Australia's major effort from 1942 onwards was directed at defeating Japan,
thousands of Australians continued to serve with the RAAF in Europe and the Middle
East. Although more Australian airmen fought against the Japanese, losses among
those flying against Germany were far higher. Australians were particularly
prominent in Bomber Command's offensive against occupied Europe. Some 3,500
Australians were killed in this campaign, making it the costliest of the war.
Over 30,000 Australian servicemen were taken prisoner in the Second World War.
Two-thirds of those taken prisoner were captured by the Japanese during their
advance through south-east Asia within the first weeks of 1942. While those who
became prisoners of the Germans had a strong chance of returning home at the end
of the war, 36 per cent of prisoners of the Japanese died in captivity.
Nurses had gone overseas with the AIF in 1940. However, during the early years of
the war women were generally unable to make a significant contribution to the war
effort in any official capacity. Labour shortages forced the government to allow
women to take a more active role in war work and, in February 1941, the RAAF
received cabinet approval to establish the Women's Auxiliary Air Force (WAAF). At
the same time, the navy also began employing female telegraphists, a breakthrough
that eventually led to the establishment of the Women's Royal Australian Naval
Service (WRANS) in 1942. The Australian Women's Army Service (AWAS) was
established in October 1941, with the aim of releasing men from certain military
duties in base units in Australia for assignment with fighting units overseas. Outside
the armed services, the Women's Land Army (WLA) was established to encourage
women to work in rural industries. Other women in urban areas took up employment
in industries, such as munitions production.
On 7 May 1945 the German High Command authorised the signing of an
unconditional surrender on all fronts: the war in Europe was over. The surrender
was to take effect at midnight on 89 May 1945. On the 14 August 1945 Japan
accepted of the Allied demand for unconditional surrender. For Australians, it meant
that the Second World War was finally over.

CHARACTER MAP
Create a map of the main characters and with the matrix below. This is useful to do
directly after viewing the performance so students understand the narrative and
nature of the work. This can also help later when constructing a response or critique.
Name

Relationships

Status

How is this
demonstrated?

Other notes

Danny

Frank

Rose

Patty

Annie

John

STARTER QUESTIONS
What experiences of Australian theatre have you had?
Define what makes all these examples Australian.
What would you define as Australian theatre?
Think about: images, characters, themes and issues, symbols and metaphors,
language, setting and landscape, cultural and political context, comedy and irony,
atmosphere, element of biography and Australian identity (Hint: If it was performed
overseas how would other audiences identify it as Australian AND when performed
here what do Australian audiences identify with on a variety of levels?)
SCRIPT EXCERPT

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In pairs ask students to read the scene aloud.

Encourage students to try out extreme possibilities as actors might do during
rehearsals.
Ask pairs to go through the scene twice, trying out two contrasting sets of
desires/movement/intentions and share their work.
Ask students to think about replaying the scene in a range of different
scenarios and locations/contexts, for example; as a hurried mobile phone
conversation, in a really noisy assembly, passing notes between each other in
class.
How do the circumstances and surrounding affect what is being said? Does
the audience pick up on different agendas or attitudes when the surroundings
change?

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SCENE BREAKDOWN TEMPLATE

You can use this template to analyse a scene, giving students an opportunity to break
apart its components for responding.
SCENE:
CHARACTER DEVELOPMENT: Where does the character start and in what state do they
end the scene?

OBJECTIVES, TACTICS, AND OBSTACLES: List these and whether you think the
characters are successful or fail in achieving these

BLOCKING: Draw a small diagram of the stage and movement paths of the characters.

PHYSICALITY: What is the physicality of the characters on stage and what

changes/develops?

THINGS TO REMEMBER: Is there one thing you want to remember about the scene?

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RESPONDING TO LIVE THEATRE WORKSHEET

NAME OF PLAY:
WRITTEN BY:
DIRECTED BY:
ACTORS:
Narrative:
(Briefly outline the plot in 75 words or less and then evaluate how effectively the
play entertained the audience)
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Themes and Issues:
What themes and issues are illuminated in the play? Explain how. What questions
are raised for the audience? Was meaning created?
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Characters:
Why are the characters so engaging? You can elaborate on one character more
however you need to address at least two of the characters in the play.
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Dramatic Tension:
Identify the major tensions in the play that entertain the audience/elaborate on one
of the major themes. Analyse two specific examples.
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RESPONDING TASK IDEAS

If you are responding to the performance, here are some resources that will help
students to get writing. Both of these resources can easily be reproduced as
handouts for your students.
How can I use the Elements of Drama?
The Elements of Drama can enhance a students understanding of a production and
its effectiveness.
The Elements of Drama include:

2007 Syllabus
Focus
Space
Role
Relationships
Situation
Place
Time
Tension
Language
Movement
Mood
Symbol
Dramatic Meaning

2013 Syllabus
Dramatic Focus
Space
Role
Relationships
Situation
Place
Time
Tension
Language
Movement
Mood
Symbol
Character
Contrast
Dramatic Meaning

Here are some activities which can enhance your students understanding of some of
the elements.
Character: Character exercises are vital and you may want to start with exercises
that focus on awareness of facial expression, tone of voice, body language and
movement. You could incorporate improvisations here or choose excerpts from
scripts. Some concepts you might also like to explore here are making offers,
accepting offers, accepting and committing to the fiction, conviction/belief, status,
and action/reaction.
Time/Place/Situation/Tension: Improvisation is key here. Play around with scenes
that allow students to explore not only some typical situations but some unusual
ones as well e.g. underneath a rock, at the bottom of the ocean etc. Really focus on
the concept of conflict here.

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Language/Sound: Voice workshops are a brilliant starting point. Have students

become aware of their breath, throat and diaphragm. Consider doing an accent
workshop. Have them work with scripts to explore clarity, volume, pitch, pace,
inflection, emphasis and pause. Consider how atmosphere can be created using
soundscapes and body percussion. Explore scenes that use no sound or language.
Atmosphere/Mood/Symbol: Watch some film excerpts that use music to guide the
audiences feelings in a scene. Consider the use of colour and set in costumes and
what they mean to the audience.
Audience Engagement/Dramatic Meaning: At the conclusion of every exercise
always ask the class what it was about the Elements of Drama that made the
audience feel engaged in the action on stage and what they understood was
happening on stage because of that element. In adding this in to your classroom
discussion you are helping your students become critical thinkers and theatre
appreciators.
Writing an Analytical Essay Where do I start?
After watching a performance, you will have quite a strong sense of whether or not it
was effective. This is usually reinforced through your feelings of whether or not you
were engaged, moved, excited or disinterested in the performance. The following
categories and questions may assist students in writing an Analytical Essay.
Introduction
Include the name of the play you are analysing, the name of the playwright, the
director and key themes; Also make sure you state what you will be analysing (refer
to your task sheet) in the order in which you will analyse it
Brief Plot Outline and Themes/Issues
This is the actual action that happens on stage. Try to reduce the whole story into a
brief paragraph that includes all the main events. Remember, you dont need to list
everything that happens we saw it! You need to state the main events and how
they relate back to your chosen theme/topic for analysis. The themes and issues
carry the message of the play and are important in helping the audience gain
meaning from the performance. You should also analyse the directorial concept.
Comment on the directors interpretation of the play, and how the choice of dramatic
form and performance style helps to communicate the plays themes and issues.
Analyse Character Objective and Motivation
Describe and analyse the characters. To find the characters objective, ask yourself
the question: What does the character want to achieve by the end of the play? To
find the characters motivation, ask yourself the question: Why does the character
want to achieve their goal? Remember: strong topic sentences at the beginning of
each paragraph set up a strong essay.
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Evaluate the Performer

(Give examples wherever possible!)
How well did the actors use body language to express their character?
Were their movements and gestures appropriate for their character?
How well did they use their voice to express character and deliver lines?
How focused did they seem during their performance?
How convincing did the performer seem in their portrayal of their character?
Comment on the use of the Elements of Production
Discuss how effective you think the use of sound, lighting, set and costume were in
the performance:

Were the costumes suitable for the characters? How did the choice of colours
and designs suit the overall look of the performance?
Was the set an effective use of space? Was the set easy for the actors to
manoeuvre around? In terms of colour and layout, did its design enhance the
performance?
How did the elements of production support the directorial concept?
Did the signs and symbols used within the production enhance meaning?
Was special lighting used at any time for a particular effect?
Did the use of live or recorded sound enhance or detract from the
performance?
How did lighting and sound establish location and create atmosphere?

Conclusion
Sum up the overall success of the play.
Use the Responding to Live Theatre Worksheet for guidance. It is a way to get
students thinking about their live theatre experience and is broken down into
sections so they can plot out their ideas easily and simplistically. It can be the
beginnings of a review or essay response.
Responding Task Question Ideas:
1. Choose several scenes then recall from the production the identifying thematic
concerns and ideas, performance style, techniques and conventions and the
impact these production choices had on you and the audience. As a whole,
evaluate the impact of Sinclairs directorial choices on your appreciation and
understanding of Ryans text.
Read the article below and then explore the following questions, alongside viewing
the play.

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2. Danny escapes from reality into fiction, where life does what you want it to.
Stories are his refuge; the cinema is his church. (Matthew Ryan, 2014)
How does the play swing between reality and fiction? Thinking about the
elements of Realism and Magic Realism (page 4/5) how does director Iain
Sinclair take the world of Danny Fisher and connect you into the moment?
Consider the production design elements such as lighting, set and sound.

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ONLINE RESOURCES

Playbriefing

https://www.youtube.com/watch?v=451gfzcriVA&feature=youtu.
be
Watch the Play Briefing, where the actors and creative team
discuss the play and the world of Brisbane.
http://rslnsw.org.au/commemoration/heritage/the-second-worldwar
The RSL page with resources on WW2.

http://www.queenslandtheatre.com.au/
The Queensland Theatre Company website.
http://www.queenslandtheatre.com.au/Plan-YourVisit/Download-a-Program
Read the Brisbane program and learn more about the show.
http://www.hitfix.com/motion-captured/40-films-that-manageto-get-magical-realism-right-where-winters-tale-failed
Some great film resources on Magic Realism

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