Study Guide

Rumpelstiltskin

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About this guide

This education resource has been developed for Windmill Theatre Co and State Theatre Company of South Australia’s co-production of Rumpelstiltskin, within the framework of the Australian Curriculum, The Arts: Drama. Activities have been created to suit each of the achievement standards from Years 3 to 10 and content descriptions within each learning area as well as the general capabilties. If required, activities can be adapted to suit any year level through the adjustment of expectations and alignment to the achievement standard. This resource provides teachers with information to help prepare students before attending the performance as well as structured learning activities for the classroom after viewing the performance.

The general capabilities are embedded within specific learning activities and can be identified with the following icons:

Synopsis

Rumpelstiltskin is a story of spinning gold. It is more than the story of the man himself. The story follows the journey of Harriet Scraps, from Western Wangaroo who comes to the city to make it big and become ‘someone’. She is relentless in her determination to make it to the top. Meanwhile Rumpelstiltskin, a shadowy being, repulsive, rejected by the world is exiled to a citadel where he is the head of the fashion label that bears his name. From the citadel he spins his magic creating beautiful clothing that everyone wants and is willing to pay a high price to obtain. Despite his success, and relationships with his two companions, Rat, his life coach, and Crow, his financial advisor, he longs for meaningful human connection and love. Rumpelstiltskin shuns human interaction because he is ugly and fears rejection. When he stumbles across Harriet sleeping rough in the city and admiring his creations, he speaks to her from the shadows. A relationship develops based on her careless wishes and his extraordinary creative power.

As in the traditional tale, Harriet unwittingly promises her most precious future possession, her baby, to win the love of Malcolm, an attractive actor hired to play Rumpelstiltskin in public and to be the face of the fashion empire. Malcolm, full of his own insecurities, has meanwhile fallen in love with Tootie, Harriet’s assistant. He is fooled into falling in love with Harriet. When Rumpelstiltskin abducts the baby from Harriet and Malcolm, they must discover his name and say it three times to break the spell and bring Baby home. As the story draws to its conclusion, and the spell is broken, all parties must consider how best to parent Baby who now loves his biological parents and Rumpelstiltskin.

Co-writers' Note Rosemary Myers and Julianne O'Brien

Everyone loves a fairy tale. The authorless fairy tale is carried from generation to generation because it is loved. We champion the fabulous characters wrestling with indisputable values and incontrovertible truths in preposterous stories of impossible stakes! And everyone – parent, grandparent, carer who tells a bedtime fairy tale to a child feels free to add his or her own individual spin on it.

We, as the writers of Rumpelstiltskin, relish that freedom and ownership, too. We learned a lot about how to adapt this type of story from our experience with Pinocchio. The script has to be fast, funny, uncomplicated yet full of love, and opportunities for great music and eye-popping visuals!

Our new story is a cheeky melding of classic elements and contemporary obsessions. It speaks to an all-ages audience about desire, greed, devastating regret and ultimate redemption. We have tried to keep our story-telling as brave and as fresh as the very first time it was told – possibly hundreds of years ago – at some enthralled child’s bedside.

When Windmill Theatre Co and State Theatre come together to make a show it is always a great ride. We have a fantastic friendship forged by our desire to make great theatre here in South Australia. It takes a lot of people to realise a show like this and the excitement is shared across all the departments from the amazing set and costume makers, to our producers and the broader company teams.

We are also very grateful for all our other amazing partners from individuals who love the arts, to our State Government who have such a great vision for the arts here in South Australia and many supporters in between. We could not do it without you.

This show has been created by our artists with a great passion. We were particularly excited to develop the role of Rumpelstiltskin with the phenomenal talent of Paul Capsis as a source of inspiration. This has been amplified multiple times as we cast the other actors and by our wonderful creative team. We all make this work because we believe art and stories are fundamental to understanding our humanity and oh… because it is awesome fun. We hope you enjoy the show.

Cast and Creatives

Rose Myers

Director, Co-writer

Under Rose’s leadership as Artistic Director, Windmill creates and presents work inspired by the vibrancy, sophistication and inventiveness of young people and the exhilarating challenges they pose to creating theatre of relevance in this modern time.

Julianne O'Brien

Co-writer

Julianne is a playwright with numerous stage and screen credits including Blue Heelers (Southern Star) and Backberner (ABC-TV Sydney). She consults as a dramaturg for theatre companies throughout Australia and lectures in story design at Victoria University.

Paul Capsis

Performer

Spanning an extensive career, Paul is best known as a theatre, concert and cabaret performer. His theatre highlights include Angela’s Kitchen, Little Bird, The Threepenny Opera, Boulevard Delirium, Three Furies, The Rocky Horror Show and All About My Mother.

Michaela Burger

Performer

Michaela first studied at the Adelaide Conservatorium of Music before moving to the UK and going on to obtain a Masters in Musical Theatre at Mountview Academy of Performing Arts in London, performing in many well-known venues around the world.

Mitchell Butel

Performer

Mitchell is the recipient of four Helpmann Awards, three Sydney Theatre Awards and two Green Room Awards for his work as an actor, singer and director.

Elena Carapetis

Performer

Elena studied drama at the National Institute of Dramatic Art (NIDA). Since graduating, Elena’s credits include 4:48 Psychosis, This Uncharted Hour (Brink Productions), Translations (Malthouse Theatre) and Assassins (Flying Penguin and AFTC).

Sheridan Harbridge

Performer

Sheridan is an actor, playwright, singer and comedienne, graduating from NIDA in 2006. Her musical Songs for the Fallen won Best Musical, and Outstanding actress at the New York Music Theatre Festival in 2015, and has toured Australia and New Zealand.

Ezra Juanta

Performer

Ezra graduated from Adelaide College of Arts in 2006. Since graduating, Ezra has featured in numerous screen and stage productions, the most notable being his portrayal of The Lion in Windmill Theatre Co’s production of The Wizard of Oz.

Alirio Zavarce

Performer

Alirio is a multi-award-winning director and theatre maker who has created numerous projects with a variety of companies all across Australia. He is a founding member of The Border Project and has also co-created and performed in all of their productions.

Jonathon Oxlade

Performer

Jonathon studied Illustration and Sculpture at The Queensland College of Art and has designed sets and costumes in Australia for Windmill Theatre Co, Queensland Theatre, LaBoite Theatre, Is This Yours?, Aphids, Circa, Arena Theatre Company and many more.

Jethro Woodward

Performer

Jethro is a composer, musician and sound designer known for his expansive and highly layered film, theatre and dance scores. He is a multi Green Room Award winner and nominee, working with some of Australia’s leading major and independent companies.

Gavin Norris

Lighting Designer

Gavin’s theatrical and TV lighting designs include: Hot Shoe Shuffle (UK tours), Tap Dogs (London West End & Worldwide tours), Kat and the Kings (UK and Europe), Mum’s the Word (London West End), Gumboots (London West End & Worldwide tours).

Chris Petridis

Technical Manager

Chris completed his Technical Production course at the Adelaide Centre of the Arts. Since graduating, he has been working extensively and continuing to develop his experience across theatre, dance, and other live events both in Australia and overseas.

Andrew Howard

Sound System Designer

Andrew is a founding member of the The Border Project and a sound engineer at the Adelaide Festival Centre. Credits include Despoiled Shore Medeamaterial Landscape with Argonauts (The Border Project) and Disappearance (The Border Project).

Chris Edser

Animator

Chris currently lives and draws in Melbourne, Australia. He has created illustration and animated pieces for diverse clients ranging from Nike and The Chicago Bulls in the sports world to fashion projects for Valentino and L’Officiel Hommes magazine.

Carol Wellman Kelly

Movement

Carol was made in Australia and studied dance at the Victorian College of the Arts. She has extensive experience in performing, teaching and choreographing both nationally and internationally. From 1992 – 1999, she worked as a freelancer in London.

Paul White

Musician

Paul White is one of Adelaide’s most sought after musicians, producers, composers, and educators. He has worked with an extensive list of the who’s who of Australian music including Brian Cadd, Stevie Wright, Troy Cassar Daly, The Party boys and many more.

Characters

Rumpelstiltskin

Rumpelstiltskin is the tortured genius, an incredible fashion designer with a fashion label making extraordinary creations that everyone wants. Despite all this he longs for a real human connection. Rumpelstiltskin, an imp, also has the qualities of a poltergeist or shape-shifter who can only be conquered when named by a human.

Rat

Rumpelstiltskin’s long serving employee and life coach. Rat is sassy and together with Crow, helps Rumpelstiltskin run his fashion emporium.

Crow

Rumpelstiltskin’s long serving employee and financial advisor, Crow is direct and honest with Rumpelstilstkin.
Paired with Rat, she is a friend to Rumpelstiltskin.

Tootie

She is Harriet’s whistle, which Harriet nearly choked on when she was three. Tootie becomes Harriet’s assistant and Malcolm’s love interest. She is not very smart.

Harriet

Harriet is a girl from the country who has aspirations to create a bigger and better life for herself. She is willing to do anything to get ahead.

Malcolm

Malcolm is the actor hired to be Rumpel’s double. He is the more attractive, not so intelligent, public face of the fashion label. Malcolm is full of insecurities and relies on his bunchie, a blanket comforter.

Baby

Harriet and Malcolm’s baby, their most precious possession.

Old Woman

Rumpelstiltskin disguises himself as an old woman with an intriguing question for Harriet.

Themes

Creativity

Rumpelstiltskin’s capacity to create is great. He has the power to turn a task into something magical, to create a product of beauty. With each new fashion collection he rises to new heights, his brand and his artistry rising with him.

Rumpelstiltskin is challenged as to how to use his gift of creativity. As the play begins it is clear that he is no longer excited by creating desirable fashion. When he comes across Harriet he finds that his creativity is what draws them together as he asks her, “Do you believe that a caterpillar can become a moth? Then you’ll believe how an apple can become a dress… and how maybe a dress can become a brand new life…”

However, his magic is also the source of heart-ache for many of the characters as the contract he creates with Harriet for her “most precious future possession”, also leads to Baby’s abduction and turmoil for all the characters. In this way, Myers and O’Brien remind the audience that it is one thing to have the talent of creativity, but another to use your creativity and talents for positive, productive endeavours.

Self-esteem

Rumpelstiltskin believes he cannot be loved because he is ugly. His success as a fashion designer, juxtaposed with his desire for human connection leads him to think that he can win Harriet’s affection by creating magic for her and giving her what she wants – to get to the top. Rumpelstiltskin will not show his face for fear of alienating Harriet and so we see that he lacks the confidence to create meaningful relationships with others.

In a society that often values how we look over who we are, Malcolm is hired to be the good-looking public face of Rumpelstiltskin’s fashion empire. We see that despite this outward façade, Malcolm has poor self-esteem and considers himself stupid because he is only judged from the outside. He says to Tootie as she looks inside his ear, “The brain is meant to be big and spongey and wrinkly. But mine is small and smooth and grey. Look! It just sits there like a pebble on the bottom of a pond”. Malcolm’s insecurities are manifest in his need for his bunchie, a soothing comfort blanket.

Similarly, Tootie’s purpose in life is to bring order to Harriet’s life as her whistle and her personal assistant. She feels as if her purpose is only for helping and entertaining others.

Myers and O’Brien, through the journey of the characters, explore the importance we all have to be seen for ourselves and to be valued for our nature, not our looks, abilities or talents.

Love and human connection

The one thing that unites us all as human beings is our desire to love and be loved and have meaningful connections with other humans. Rumpelstiltskin, despite his success as a fashion designer, longs for love. While his companionship with Rat and Crow has been supportive and loving, he wants to find love with a human.

After abducting and caring for Baby, Rumpelstiltskin truly learns the meaning of selfless love, as he copes with all the fun of parenting, dealing with rules, food with bits in it, learning to ‘read’ your child and stinky nappies!

Greed

In society today our need for new things and more stuff is reaching new heights. According to creditcardfinder.com.au 70% of Australians have credit cards, with a total of 16 million credit cards in use in Australia, netting a national debt accruing interest of around $32 billion.

Our desire to have it ‘here and now’ means that we neglect to read the fine print and credit ultimately catches up with you. Myers and O’Brien remind us that media spin sets us in a culture of high fashion and branding where we are constantly told that we should want more than we really need.

Disguised as an old woman, Rumpelstiltskin seeks out Harriet when she is sleeping rough on the street, “I thought you were a Believer.” Naively she questions, “Believer?” before Rumpelstiltskin entices her to want more, “In the Beyond. Beyond what you have. Beyond what you are. Beyond what there is.”

Harriet’s irresponsible use of credit results in the ultimate error: unknowingly giving away her unborn child. As an audience we are reminded that all credit comes at a cost that can rapidly get out of control if we do not use it carefully.

Success

For a long time the desire for success has driven Rumpelstiltskin as he has built his fashion empire, but it has left a deficit in his personal life. For Harriet, she has come to the city determined to become ‘someone’. Her obsession to move up in life manifests itself in her need to purchase fashion items from Rumpelstiltskin’s emporium to look the part. She will do anything to get that Rumpelstiltskin dress in the window and to get to the top floor. When Harriet asks, “What’s at the top?” Rumpelstiltskin replies “Beautiful people. Powerful people. Happy people. People with money. They make all the important decisions. They make the world run.”

Myers and O’Brien challenge their audience to consider our constant desire to work our way up the ladder at all costs. They question whether it is really worth being successful if it is only to impress others.

When Baby is born, Harriet realises that success in life is greater than being someone of importance and marrying the right person. As a woman, she is challenged by pressures to have it all; career, vibrant marriage and beautiful child. The overriding message is that love is more important than material  possessions and is actually a true indicator of our success in life.

The child in our society

Myers and O’Brien cleverly question our treatment of children in modern society and families. Rumpelstiltskin was exploited by his parents, as a child with magical talents, and he was only affirmed when his mother realised that “he could spin diamonds”. He reveals to Baby that his mother was very beautiful and he “wanted her to love me. And she tried, I guess. But I never remembered her smiling at me”. Ultimately, Rumpelstiltskin, with his parents sailing away without him, was a neglected and abandoned child.

Myers and O’Brien carefully establish Baby’s disappearance as child abduction, where Baby is forcibly removed from his home. As in the Grimm version of Rumpelstiltskin, it continues to be a shocking and fear-inducing event.

At the end of the play Myers and O’Brien remind us that the emotional well-being of our children is more important than our desire for our children to keep us happy. Triumphantly, Baby finds his voice and we are reminded to listen to the voices of our children.

Designer Statement Jonathon Oxlade

In all of Windmill’s work, with Rumpelstiltskin being no exception, we aim to create a fully immersive experience. That means that we want all the theatrical elements to be working at the same level. The sound, the storytelling, the lights and the animations, whatever they may be. The audience should feel like they are stepping into another world. It could be a gentle world, like Grug, or a more intense world like Rumpelstiltskin.

Our version of the story of Rumpelstiltskin is a musical. This means we use songs to tell part of the story. As the designer, I get to hear the tone of the music very early in the development process. This translates into the costumes, the set and the animation. Some of the animation in the show is timed precisely to the musical numbers, almost like a video clip. When designing, I perceive the music containing colours, flavours and feelings that I can translate into aesthetics.

When creating a new world the team looks to inspiration in all sorts of things. We are influenced by visual art, songs, films, cartoons, fashion and all sorts of expressive art. We then zero in on the things we like about the influences that link to the storytelling. Early inspiration for me came from the filmmaker George Meiles and the film The Cabinet of Dr Caligari. Both of these references use simple technology and very theatrical devices to create pictures.

When building the design vocabulary for the world of Rumpelstiltskin we looked to certain eras in fashion and architecture. We loved the combination between the 1920s in architecture and the 1960s in fashion. The bold black and off-white geometric shapes and lines are found in both eras. We were influenced by the fashions of Edith Head and the visual art of Bridget Riley.

The nature of the storytelling in these large musicals is that they travel to different locations quite quickly. To help us change locations we use animation and projection, designed by Chris Edser, to make these transitions quicker. In The Wizard of Oz, Pinocchio and Rumpelstiltskin we use this device to also help give scenes energy. We can literally animate the stage and assist the performers with moving elements. Gavin Norris then has the delicate task of designing the lighting to enhance both the set and projections, to specifically illuminate the action.

Each costume in Rumpelstiltskin is specifically designed for each character and each actor, as each performer brings so much to their role. Often actors only see their costumes on the first day of rehearsal. At Windmill, we like to work with actors to help develop a combined look well before they get to rehearsals. It’s very important to grab these initial ideas in creative development rehearsals and translate them into their looks for the character.

See also George Meiles’ A trip to the moon.

Costume Designs

Rumpel (magic)

Set Designs

Citadel exterior

Musical Theatre

A form of theatrical performance, musical theatre incorporates dialogue, dance and song to tell a story of emotion that is captured in the music and theatrical elements including design and movement as a whole.

The purpose of song in musical theatre:
– to advance the story
– provide commentary of the themes of the play and
– give greater insight into the character(s) and their feelings.

Windmill’s emerging tradition of creating whole scale family musicals has seen the company create their own unique versions of The Wizard of Oz and Pinocchio. Rumpelstiltskin combines the same award-winning creative team from these two previous musicals.

Composer and Musical Director, Jethro Woodward, began creating the original score right from the beginning of the creative development of Rumpelstiltskin. He works both with the text that Myers and O’Brien create, finding the musical genre that best amplifies the lyrics and mood of the piece, as well as devising in the rehearsal room working with the actors and other creatives.

During the performance most of the music is played live by Woodward and Paul White, with the actors supporting them with a host of instruments including cello, viola and percussion. Some prerecorded percussion and soundscapes assist in underscoring the action in many scenes. All singing is live with the actors wearing microphones.

In developing the movement for Rumpelstiltskin, Carol Wellman Kelly, is inspired by the genres within the musical score and the shape, line and restrictions of the costume design as well as by the ideas and movement that the actors bring to the rehearsal room.

Read more about musical theatre here.

Performance Literacy

Students viewing live theatre can experience feelings of joy, sadness, anger, wonder and empathy. It can engage their imaginations and invite them to make meaning of their world and their place within it. They can consider new possibilities as they immerse themselves in familiar and not so familiar stories.

Watching theatre also helps students understand the language of the theatre. It is part of the holistic approach to developing student literacy. They learn to ‘read’ the work interpreting the gesture and movement of a performer; deconstructing the designers’ deliberate manipulation of colour, symbol and sound; and reflecting on the director’s and playwright’s intended meaning.

While viewing the show, students’ responses can be immediate as they laugh, cry, question and applaud. After the performance, it is also extremely valuable to provide opportunities for discussion, encouraging students to analyse and comprehend how these responses were evoked by the creatives through the manipulation of production elements and expressive skills.

Having a strong knowledge and understanding of theatre terminology will assist students with this process. Therefore, before coming to see Rumpelstiltskin with your students, explore the different roles involved in making a performance happen, from writing, directing and performing, to lighting, projection, set and costume design and construction.

Theatre Etiquette

Visiting the theatre is very exciting. There are some guidelines that students can follow regarding appropriate behaviour in the theatre and during the performance that will allow their visit to be even more memorable.  Prior to visiting the theatre prepare students for what they will experience as an audience member using the following questions:

Where can you sit?

  • An usher (front of house – FOH) will help you find your seat so you need to follow their directions.

How do you know when the performance begins?

  • The lights will dim and/or you might hear a voice-over or sound. That’s your cue that it has begun and it is time to settle and be quiet.

How is going to the theatre different to going to the movies or watching television in your loungeroom?

  • Something unique to theatre is that it is ‘live’ and the actors are real. You can hear and see the actors, and they can hear and see you.

What is the relationship between the audience and the performers?

  • As the actors can see and hear you, your responses to the performance show your appreciation to the actors. So, show your enjoyment!

Final points to remember:

  • turn off your mobile phone (even the vibration of a phone or lit screen is distracting);
  • avoid eating in the theatre and rustling paper;
  • cover coughs and sneezes;
  • don’t film or photograph the performance due to intellectual ownership.


Curriculum Links and Activities



Additional Resources

Acknowledgements

Produced by Windmill Theatre Co. Originally compiled by drama education specialist Giselle Becker.

The activities and resources contained in this document are designed for educators as the starting point for developing more comprehensive lessons for this work.

© Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions.

This resource is proudly supported by the South Australian Department for Education and the Lang Foundation.

  •  Lang Foundation