Other teaching guides in this series:

An experience largely forgotten by most productions of the show today.

According to the , to plagiarize means to:

In Act II, Jason will sing to God, "Are you there? There at all?" In Act I, Nadia will sing, "God ignores me." Significantly, Ivy has no relation to God or religion and virtually never mentions either one. But the rest of the students have the same problem as the leads and they voice their doubts in the "Hear My Voice" section of "Confession." Kyra and Tanya sing, "I don’t think you see me," and the others ask questions along the same lines. In "911 Emergency," even the alcohol induced vision of the Virgin Mary has complaints about the "first family" being unresponsive. And this abandonment by God and by the Church will figure prominently in the plot in Act II.

Learner Description: This page was created for 3rd-6th grade students in a classroom setting.

What is Plagiarism: (be sure to read all 3 pages)

first opened in Chicago, where its story is set, in 1971. To a large extent, the 1970s marked the end of the Rodgers and Hammerstein revolution. It was the decade that gave permanent berth to both the concept musical and the rock musical, both explored during the sixties but now taking their rightful place in mainstream musical theatre. These were shows that rejected the sunny optimism of earlier decades and instead revealed the feelings of rage and loss that pervaded America in this era of Vietnam and Watergate. The concept musical had been germinating since Marc Blitzstein’s very political, very angry in 1937, but it wasn’t until Stephen Sondheim and Hal Prince’s in 1970 that the concept musical was in a position to change everything. The rock musical had been born with in 1958 and became mainstream with in 1968, but it became a fixture on Broadway during the seventies, partly because the definition of was so pliable, so inclusive by then. A rock musical could be , ornone of which sounded anything like the others; and yet they all shared a disdain for authority, a taste for rebellion, and a sexual frankness to which only the language of rock and roll could give full voice.

I would be plagiarizing if I were to write an essay about the walrus and said:

It’s very hard to have perspective when you are in it, but–
1) Rufi’s problem isn’t motherhood. It’s that she is married to someone who does no childcare whatsoever. Maybe they need to renegotiate their values and relationships. And what kind of idiot leaves his underwear on the floor?
2) Yes, it’s impossible to get a lot done when your children are very young. If she does not have any more children it will be about 10 years of her life. Then she can have the next 40 to write her heart out.
3) There are PLENTY of writers who are mothers. I would say prob. 50% of the great ones. This need for drama and bohemian existential crises is a bunch of Hemingway bullshit. Plenty of writers kept to a strict schedule and wrote at set hours during the day. Thomas Mann. Marcel Proust. Yes, you can be a great artist IF you are a great artist, in small spurts every day, although it is harder.
4) Are those childless, neurotic writers (hello Franzen) really happy? Do you want to spend half your life in a lonely hotel room so you can reap praise in the paper? Or do you want a full life, with work, and family?
You are LUCKY, even if your days are long and sometimes frustrating.

Darphne Merkin wrote in  in 2005 at the time of Sandra Dee’s death:


Tolstoy’s wife wrote in her journal:

After Jason leaves, Peter gets the first of his soliloquies, "Role of Lifetime," setting up the central metaphor of the entire story, finding himself unhappy with the mask that he and Jason both wear. Here, Peter consciously works through the questions he was asking himself subconsciously, probably for the first time, in his crazy daydream. The second half of each verse introduces a new musical theme, the "mask" theme, representing the lies, the deceptions, the hiding, the denying of Peter’s own identity. Jason is comfortable with his mask; Peter no longer is. And this confusion is beautifully and insightfully described by lyricist Hartmere as "Thoughts battle words over deeds, a war with such casualties;" that war will be the central action of the entire show.

But when Watkins has a baby, her working life is thrown off-kilter:

Soon after, in the 1960s, rock and roll would morph into Pop and Top 40, and it would no longer be the exclusive domain of the young. The adult world could finally got a grip on it. Elvis had been sent overseas. Chuck Berry was sent to prison for sexual misconduct. Congress held "payola" hearings to ruin DJs like Alan Freed, who broadcast his last live radio show in November 1957. Now, rock and roll would become commercialized and forget its roots. This would continue to happen to rock every decade or so. But is about the beginning, when rock and roll was still pure, still naked, still dangerous, and America was still terrified of it.

In the Bible, in Luke chapter 14:27-33 Jesus says:

Rock and roll was responsible for an "emotional revolution" in America. It began as "race music" (in other words, music) and was initially declared unacceptable for young white ears. But it fast became the first truly racially integrated American art form, coming from equal parts black rhythm & blues and white country music. (And the kids in know R&B; Rizzo even references Bull Moose Jackson’s 1948 R&B song "Sneaky Pete" in the pajama party scene.) This was the first time in America that blacks and whites shared in the same culture, both consuming and creating it. And once Elvis appeared, rock and roll finally became (marginally) acceptable for white kids. For the first time in American history, white (young) people were being open and honest – even – about their emotions. This was the most nakedly emotional music most white Americans had ever heard. And it changed everything.

I have never heard that song before,

The score of is remarkable in its craft and authenticity, even referencing actual songs of the period. Many of the actual period songs that influenced the score were not chart toppers, because the kids didn’t always listen to the most popular music; they were more musically and culturally adventurous than that. They listened to songs you could only hear late night on Alan Freed’s radio show, "race songs," songs, songs that scared adults.