PLAY REVIEW

You must see two full-length plays or musicals as part of this course during the semester! You must write a play review for both plays (one review for each) and your play reviews MUST follow my instructions CLOSELY – see below!

New Revisions in light of COVID-19

1. Due to the health crisis, you will need to see a play with one of the following methods I have posted below. I post other live theatre options online that you can review. You must see a full-length play or musical using one of the sites below. If you want to review from a different site, you MUST ask me first!

–Digital Theatre + (GCC has a FREE account and they usually have a FREE one week trial) www.digitaltheatreplus.com(Links to an external site.)

For DT+ try these: username: remote / password: remote OR try this user ID and password to see if they still work – Group username: student.glendaleCC Group password: dt123

–Broadway HD (one week free trial): https://www.broadwayhd.com (Links to an external site.)

Offers a one week free membership.

–PBS (select plays not films): Download the FREE PBS app to see one of their excellent selection of plays and musicals recorded live. OR Google “PBS Great Performances” or “PBS Broadway” or click here: https://www.pbs.org/show/great-performances/collections/broadway-pbs/ (Links to an external site.)

–National Theatre Live (Youtube channel): https://www.youtube.com/channel/UCUDq1XzCY0NIOYVJvEMQjqw (Links to an external site.)

CUT AND PASTE THE QUESTIONS BELOW INTO A WORD DOC.

THE PLAY OR MUSICAL MUST BE SEEN THIS TERM!

STAND UP COMEDY, SHORT PLAYS (LIKE AN IMPROV SET) OR CIRCUS PERFORMANCES (LIKE CIRCLE DU SOLEIL) WILL NOT BE ACCEPTED FOR PLAY REVIEWS!

Review #1 and Review #2 must be of any full-length professional or collegiate play that you can find online using the sources above and that was recorded in front of a live audience. A full-length play/musical = 80 minutes or longer.

GUIDELINES:

A “critique” as defined by the Webster’s New Collegiate Dictionary as “an act of criticizing; a critical estimate or discussion; the art of evaluating or analyzing with knowledge and propriety works of art or literature.”

TIP: Read examples of critiques through the Los Angeles Times, Burbank Leader, New York Times, Variety, and other sources to see what critics focus on. Also, the textbook briefly outlines a theatre critic’s duties.

PLAY REVIEW FORM RUBRIC: 10% of overall grade total.

-All questions are answered clearly with proper grammar and spelling as well as specific designer, actor, director names given as evidence to back up statements. (4%)

-You have included critical thought and analysis within the answers, with specific evidence to back up general statements and opinions (HINT: Use designer names, actor names, and other specifics here as well). (4%)

-You have an understanding of terminologies such as theme, plot, and summary. (2%).

TOTAL = (10% / 10 points)

Other items to consider when writing your play review:

Content and Analysis

Is there a mature approach to the subject matter?

Was there use of slang incomplete sentences?

Is this college-level work?

Class concepts/general theatre

Are there specifics on acting, directing, theme, technical theatre?

Does the critique/review present conclusions based on class/textbook concepts?

Grammar/Spelling/Sentence Structure

Does the critique present adequate support of opinions and does it have good grammar and spelling?

Following Directions/Proof of Attendance

You must submit on time. Late work cannot be accepted. Note deadlines.

Frequently Asked Questions:

Q: How does one write a critique/review?

A: First place to start is research. Either a newspaper or internet server can help you here. Do not “cut and paste” the synopsis from a website. Use your own ideas and critical thought.

Q: What is contained in a critique?

A: What was your experience like? Was this your first time seeing this particular play? What were your expectations? Did those expectations change? Since you are “analyzing” as stated in the definition above, how would this compare to other works that you have experienced? How was the acting? The story? The technical elements (such as costumes, set design, sound design)?

Q: What if I completely disliked the experience?

A: I would like to know about it. A particular product isn’t for everyone, but I would like to know why. You are analyzing it from a critical point of view, which means explaining to an “audience” who hasn’t been to the play or film about the experience and why or why they shouldn’t attend.

Other HELPFUL HINTS:

– Write in “third person” – rather than “I really liked this show”, state your opinion so you are giving a general perspective: “PCPA’s production clearly depicted the playwright’s intention through the directorial concept and portrayal of the complex characters”

– Take a pencil and pad with you when you watch the performance to jot ideas down.

– Use the names of the actors, director, and designers in your critique (information that is found in the program). Be specific as possible.

Where can I find the names of the performers? Producer? Designers? Playwright? Watch the end credits and/or do research if needed.

PLAY REVIEW FORM QUESTIONS: Cut and paste and include them in a document, convert it to a PDF and then submit it under the correct assignment link. You can also type in manually here if you’d prefer, just make sure you answer all of the questions listed in order to receive full credit.

NOTE: This is not an essay, but I do expect well-written sentences when asked to comment.

For the rating section, you may highlight or simply include your rating AND a brief comment about why you scored a certain role (actor, director, etc.) as you did.

FORMAT – COPY THE REVIEW FORMAT BELOW AND PASTE IT INTO A WORD DOC:

——————————————-

PLAY REVIEW #

DATE OF REVIEW:

FIRST NAME:

LAST NAME:

PLAY TITLE:

AUTHOR/PLAYWRIGHT:

PRODUCER(S):

THEATRE (Name and Location):

PERFORMANCE DATE (ex. 12/22/2017) and DATE YOU WATCHED IT:

PLATFORM or SITE used to view the play (e.g. Broadway HD, PBS, etc.):

WOULD YOU RECOMMEND THIS PRODUCTION FOR OTHERS TO SEE? Why or Why not? Explain briefly.

OVERALL REACTION TO THE SHOW:

EXPLAIN your OVERALL REACTION (using critical thought). Give a brief justification as to why you rated your overall reaction as you did :

BRIEFLY OUTLINE THE STORYLINE OF THE PLAY:

WHAT WAS THE THEME OF THE PLAY? (What was the playwright want you to walk away with upon the play’s conclusion?) :

DESCRIBE THE TWO MOST COMPELLING ASPECTS OF THE PRODUCTION. EXPLAIN YOUR CHOICE (Aspects of the production include direction, set design, lighting design, costumes, sound design, make up, acting, dance, music, stage combat, etc.)

DESCRIBE THE LEAST SUCCESSFUL ASPECT OF THE PRODUCTION. EXPLAIN:

WHAT DO YOU SEE AS THE PLAY’S MOST RELEVANT TOPIC IN REGARD TO YOUR LIFE? (TIP: All stories are relatable to the human condition in one way or another – go deep to explore this through your critical analysis to help find the answer)

Below is a scale system 1 -5 (which you may highlight, circle, or indicate how you wish. Remember to use your program to find the names of the artists responsible.

TIP: Have you included names and details in your answers above? Back up evidence, which includes designer, actor, director names and details from the show will help you be most successful for this assignment and give the reader a sense of attending. Again, ask yourself “WHY?” you rated them as you did. Write a one-sentence explanation of why you scored them the way you did. Go beyond one-word conclusions to describe (e.g. “boring”).

RATE DIRECTION:

1 = BAD; 2= SO-SO; 3= OKAY; 4 = GOOD; 5 = WOW

DIRECTOR’S NAME:

RATE SET DESIGN:

1 = BAD; 2= SO-SO; 3= OKAY; 4 = GOOD; 5 = WOW

SET DESIGNER’S NAME:

RATE LIGHTING DESIGN:

1 = BAD; 2= SO-SO; 3= OKAY; 4 = GOOD; 5 = WOW

LIGHTING DESIGNER’S NAME:

RATE COSTUME DESIGN:

1 = BAD; 2= SO-SO; 3= OKAY; 4 = GOOD; 5 = WOW

COSTUME DESIGNER’S NAME:

RATE MAKE-UP DESIGN:

1 = BAD; 2= SO-SO; 3= OKAY; 4 = GOOD; 5 = WOW

MAKE-UP DESIGNER’S NAME:

RATE OTHER TECHNICAL AREAS (e.g. If there were notable aspects of the production that weren’t listed above such as Sound Design, Music, etc.):

RATE ACTING:

1 = BAD; 2= SO-SO; 3= OKAY; 4 = GOOD; 5 = WOW

If it was a one person show, just list one actor.

ACTOR’S NAME:

ACTOR’S NAME:

ACTOR’S NAME:

Module 4 – SLP

DOMESTIC SECURITY AND CYBERTERRORISM

View the following video clips:

a.Police corner mass killer in Pulse Nightclub
Warning: This is not a simulation, but an actual event that occurred on June 12, 2016 at an Orlando, FL nightclub. Therefore, video content is graphic; language is graphic. Police are wearing body cameras. Shooter (now deceased) was deemed a terrorist.

b.Timeline of the Orlando nightclub massacre.

Respond to the following:

1.Comment on how law enforcement have organized their approach to finding the shooter; i.e., the dispersion of agents in the scene.

2.Comment on the number and types of emergency respondents.

3.Considering the law enforcement response to the Orlando shooting, advocate a position for or against police militarization.

SLP Assignment Expectations

Length: This SLP Assignment should be at least 5-7 pages not counting the title page and references.

References: At least two references should be included from academic sources (e.g. peer-reviewed journal articles). Required readings are included. Quoted material should not exceed 10% of the total paper (since the focus of these assignments is critical thinking). Use your own words and build on the ideas of others. When material is copied verbatim from external sources, it MUST be enclosed in quotes. The references should be cited within the text and also listed at the end of the assignment in the References section (preferably in APA format).

Organization: Subheadings should be used to organize your paper according to question.

Grammar and Spelling: While no points are deducted for minor errors, assignments are expected to adhere to standard guidelines of grammar, spelling, punctuation, and sentence syntax. Points may be deducted if grammar and spelling impact clarity.

The following items will be assessed in particular:

Relevance: All content is connected to the question.

Precision: Specific question is addressed. Statements, facts, and statistics are specific and accurate.

Depth of discussion: Present and integrate points that lead to deeper issues.

Breadth: Multiple perspectives and references, multiple issues and factors considered.

Evidence: Points are well-supported with facts, statistics and references.

Logic: Presented discussion makes sense, conclusions are logically supported by premises, statements, or factual information.

Clarity: Writing is concise, understandable, and contains sufficient detail or examples.

Objectivity: Avoid use of first person and subjective bias.

___________________________________________________________________________________________

Module 4 – Background

DOMESTIC SECURITY AND CYBERTERRORISM

Required Reading

Cyberterrorism: The invisible threat stealth cyber predators in a climate of escalating risk. (2010). Foreign Affairs, 89(6), 24A. Retrieved from the Trident Online Library.

Haddal, C. C. (2010). Border security: The role of the U.S. Border Patrol. Congressional Research Office. Retrieved from: http://www.fas.org/sgp/crs/homesec/RL32562.pdf

Homegrown violent extremist mobilization indicators. (2019). Retrieved from the Office of the Director of National Intelligence at https://www.dni.gov/files/NCTC/documents/news_docu…

Read pages 87-90 in:
Hughes, G. (2011). The military’s role in counterterrorism: Examples and implications for liberal democracies. U.S. Army War College. Retrieved from http://www.strategicstudiesinstitute.army.mil/pdff…

Merutka, C. E. (2013). Use of the Armed Forces for domestic law enforcement. Defense Technical Information Center. Retrieved from www.dtic.mil/get-tr-doc/pdf?AD=ADA589451

McNeal, G. S. (2008). Cyber embargo: Countering the internet Jihad. Case Western Reserve Journal of International Law; 2007/2008, 39(3), 789. Retrieved from ProQuest in the Trident Online Library.

Tactical response and operations standard for law enforcement agencies. (2015). National Tactical Officers Association. Retrieved from http://ntoa.org/pdf/swatstandards.pdf

Theohary, C. A., & Rollins, J. (2011). Terrorist use of the internet: Information operations in cyberspace. Congressional Research Service. Retrieved from: http://www.fas.org/sgp/crs/terror/R41674.pdf

The police response to active shooter incidents. (2014). Critical Issues in Policing Series. Retrieved from http://www.policeforum.org/assets/docs/Critical_Is…

Required Websites

Department of Homeland Security. (n.d.). Active shooter preparedness. Retrieved from https://www.dhs.gov/active-shooter-preparedness

Federal Bureau of Investigation. (n.d.). Active shooter resources. Retrieved from https://www.fbi.gov/about/partnerships/office-of-p…

Federal Bureau of Investigation. (n.d.). Critical incident response group (CIRG). Retrieved from https://www.fbi.gov/services/cirg

K-12 School Shooting Database. Retrieved from https://www.chds.us/ssdb/category/graphs/

Storyful News. (2017, June 1) Police corner mass killer in Pulse Nightclub [Video file]. Retrieved from

News Direct. (2016, July 14). Timeline of the Orlando nightclub massacre [Video file]. Retrieved from

Task 4

Public Health Biology

Read about Disease Processes in the Human Body

Read about the chain of infection

Investigate the principles of vaccination (also available as pdf in Important Documents)

Describe the progression of the common cold, from infection to resolution, using a graphic to describe each step.

Lesson 4

Lesson 4

Activity 1: Herd Immunity Video and Discussion

Together watch the video, Vaccines – Calling the Shots – Herd Immunity

Activity 3: How to decrease spread of infection Poster

Together (or individually) based on what you know about the spread of infection, make a poster to quickly and graphically teach people how to decrease the spread of infection.

Submit to Dropbox below:

Project Assignment: (do not submit; keep for use when completing your project)

Determine, document, and detail the current and needed resources and services. What is already available in the community? What is needed? Be specific, give details, and document all of your information. For more information see Identifying Community Assets

Submit here

Week 5: Thinking Like an Assessor and Criteria/Validity

Please reply using 200.+words

CHAPTER 7

This is such an important and useful chapter, and it’s where we really start to head in the “backward” direction: Once we’ve crafted goals and essential questions, the next step is to plan our assessments. To begin, we need to figure out what will prove that our students “get it.” When the unit is done, what evidence will show that they truly understand what we want them to understand?

* We are urged to use a variety of assessments in a unit – collecting a “scrapbook” of evidence rather than just a single “snapshot.” These assessments should be viewed on a continuum, with informal checks at one end, followed by tests and quizzes and academic prompts, and culminating in performance tasks: projects that simulate real-world settings. Performance-based assessment is a necessity, not an option. These certainly take more time on our part.

* Tests and quizzes do have their place in the UbD framework, however. As an efficient way to check for basic, factual knowledge and application of skills, they should be used formatively to see if students are acquiring what they need in order to succeed on the performance assessment.

* To help us design assessments, the authors offer several really useful tools, including the GRASPS model for developing performance assessments, lots of examples from different content areas, and an explanation (figure 7.9) of how the six facets of understanding can help us craft just-right assessment tasks.

CHAPTER 8

“Appropriate criteria highlight the most revealing and important aspects of the work (given the goals), not just those parts of the work that are merely easy to see or score” (173). This is SO crucial, and I’m sure if we’re all honest with ourselves, we’ll admit to sometimes assessing for things that are simply easy to measure, regardless of how vital those things are to a deep understanding of our content. We need to be sure our criteria come directly from our goals.

What was your big “aha” moment in these chapters? What concept(s) will lead to the most significant change in the way you assess student understanding?