1. Playwright:
Know (Pre-Performance):
The term “playwright” comes from the combination of the two words “play” and “wright”. “Wright” is an
English term that means to create or build. So, the full definition of the word “playwright” is a person who
creates plays. For And Then There Were None, the playwright of this work is Agatha Christie, who also wrote
the book that the play is based off of. Christie is mostly known for her mystery novels and plays, such as
Murder on the Orient Express, The ABC Murders, Death on the Nile, and The Mousetrap. When an author adapts
a piece of literature into a play, whether it is their own or another author’s, it is called a literary adaption. This
term could also be relevant to any other piece of art or a movie that would be adapted into a play.
Consider (Pre- Performance):
And Then There Were None was originally written by Christie in 1939 as a book, and then adapted into a
movie in 1945 (the play was first performed in 1943). Have your class discuss the differences between these
two versions of the story if your students have read or seen And Then There Were None. Ask them to think
about the following questions: “What did they add or subtract in the movie from the original source?” “What
would be hard about adapting this particular book into a screenplay or a script?” When Christie originally
published the book, it was entitled Ten Little Indians after the nursery rhyme. Ask your class to consider yhy
they think the title of the book and play was changed.
Discuss (Post-Performance):
The majority of the play’s action comes from the nursery rhyme, “Ten Little Indians”. Have your students
look up the original nursery rhyme and compare the characters’ deaths with the way each Indian died in the
poem. If there are some parts of the rhyme that the students do not understand, have them look up those
unknown concepts. Ask them to consider some of these questions: “Would the murder mystery format
worked if she decided to use another nursery rhyme as inspiration for the play?” “How would have Christie
had to change the plot, characters, or setting of the play if she used a different source rhyme?”
Discuss and Write (Post- Performance):
There are many different ways that And Then There Were None can end. The original book and 2005 remount
of the show have a different ending than the original play written by Christie. Ask your students to think
about why all of these versions have different endings. Ask them why they think that Christie changed the
ending of the play rather than sticking with the original book ending.
There are many other ways that the play/ book could end. Ask you class to rewrite the ending of the play
using dialogue. Dialogue is the back-and-forth conversations that the characters have onstage. Ask them to
consider how the ending might impact the overall tone and theme of the show. Ask them to think about each
of the characters as they do this exercise, and would there be a character that you would want to bring back
(that’s not actually dead, Similar to Wargrave). Ask them: “Should all of the characters die in the end?”
“Should the police or other outside characters be involved?” Remind them that the ending can affect the way
the entire show is perceived.

2. Dramaturg
Know (Pre-Performance):
What is a dramaturg? This counterpart to a playwright may be less known to most people, but is still very
important! A dramaturg works with the director to make sure the play is accurate by researching the time
period and other aspects of the play. They try to understand the main themes, backstory, and historical
context of the play, and try to make them clearer if they are not. A dramaturg normally compiles a book filled
with research on the context of the play for the director, designers, and actors to use as a reference guide. The
notebook can help answer questions about the script that are relevant to the world of the show. The
dramaturg will also go to the rehearsals to work with the playwright (if it is a new work) and the director as
an extra set of eyes to see if the production is going the way the director and playwright envisioned. The
dramaturg acts as a critic and gives back response to make the production better.
Define and Research (Pre-Performance):
Have your students locate the definitions and/or the history of these terms and places. You can pick and
choose which terms you would like your students to look up. Higher- level students should be able to
complete all of these terms.
 Devon England, gulls, boatman, South Africa, whisky, ryvita, conviction, hypocrite, rogues, oilsilk,
revolver, scullery, countrified, resourceful, penal, gaol, gramophone, red herring
 Swan Song, Sedative, suicide, mackerel sky, forage, hypnotic, cardiac, Providence, skein, homicidal,
facetiousness, morgue,
 Pukka Sahib, Potassium Cyanide, sleeping draught, narcotic, barbiturates, chloral, hypodermic
syringe, kleptomaniac, chancery, barbitone
Research (Pre-Performance):
Ask your students to look up the original source material for And Then There Were None, the nursery rhyme
“Ten Little Indians”. Ask them to consider how the nursery rhyme and play work together. “In what ways
were the killings done to these lines similar and different to the actual lines in the play?” “How did Christie
reflect the tone and themes of the poem into the play?”
Consider (Pre- Performance):
The novel, And Then There Were None, was originally published in 1939, and the play was first performed in
1943. As a class, consider the historical events occurring during this time period in England (World War II).
Ask them to think about how these events might have shaped the content and the characters of the play. Ask
them to think about the issues that are bought up in the book/ play. “What issues discussed in And Then There
Were None what the general public in England was experiencing during this post war period?”
Research and Create (Post-Performance):
One major duty of a Dramaturg is to create a book with all of the research they collect for the show. Ask you
students to research one aspect of the play (ex.- Murder in England, World War II, Agatha Christie, The
original novel, etc.) and create a page of a dramaturg’s book. This page could include a collage, paragraphs of
their writing, or articles on the topic that they found online. Once everyone completes their page, put the
completed pages in a binder and keep the dramaturg book as a reference guide for your current and future
classes.

3. Director
Know (Pre- Performance):
The director’s main objective is to bring the play to life by working with the actors, designers, and dramaturg
to communicate their vision(atmosphere/ look) for the show. They tell the actors where to move and how to
act; they tell the designers to communicate their needs for the show, and they work with the dramaturg to
make the show is as clear and accurate as possible. The director is similar to a teacher, with the class being
the cast, designers, and dramaturgs: the teacher (director) creates a good environment for the class
(cast/designers) to learn what the teacher needs them to learn to be successful in the class (show)!
Storyboard (Pre-Performance):
A storyboard is a very important tool for the director. It allows him or her to lay out the order of events in the
play and to show their visionfor the designers. Each frame of the storyboard shows a change that will occur
on stage, either by the actors or by the different design aspects of the show. Using a story from class or And
Then There Were None, Have the students take a scene or section of the story and draw what they think the
visual progression of the scene should be using the storyboard worksheet on the next page. The lines bellow
the frames can be used to write in dialogue/ lines or sound effects that will be happening in the scene that
will help the actors and designers better understand what is happening in that frame. There are many
questions the students should consider before starting their storyboard like:
 How many performers are needed to complete this scene?
 Where and when does the scene take place (the overall setting)?
 What is the important event of the scene?
 What mood/tone is conveyed in this scene?
Have the students write the answers to these questions down on a separate sheet of paper. Have them use it
as a road guide to making the storyboard as clear as possible. Also ask your students to consider these
designer questions and write them down as well.
 What colors need to be used by the lighting and costume designer so the mood comes off the way
they want it to?
 What kind of light is needed for the scene to make sense (Is it sunny outside? Is it nighttime? Is the
moon out? Is there candlelight or a fireplace in the room? Are the lights on or off in the room?)?
 What sounds are needed for the scene (creaky doors/stairs, thunder, animal sounds, explosions,
doorbells, music)?
Remind them that there are no wrong answers to these questions, and that everyone’s storyboard will look
different. It is their vision, not their friends. While some my look similar, everyone will have some differences
in their storyboards. Once they’re finished, have them work with a partner who is acting as a dramaturg. Have
the partner work out any spots in the storyboard that might be unclear.
Direct (Pre-Performance):
One of the director’s many jobs is to create and communicate their vision to the actors, designers, and
production staff. In turn, it is the actor’s job to be able to use that visionand communicate what it is to the
audience. A good way to have your class experience this relationship is by having the class work as both the
director and actor with the storyboards that they created in the above activity. Split the class up into pairs
and have them go back and forth between who is the director and who is the actor. The director should be
clear in communicating what they want for the actor, and the actor must followwhat the director wants and
not go off and do their own thing.
Reflect (Post-Performance):
Once you and your class see And Then There Were None, discuss as a class if they thought the direction helped
to enhance the story. Ask them to think about: “What were some aspects of the direction that they liked or did
not like?” “Would they have done anything differently?” If their answer is yes, “what would they have done?”

4. Have the students compare and contrast this production with clips of the movie. “What are the similarities
and differences between these two stagings/ directions?”

5. Designer
Know (Pre-Performance):
The design team supports the director and makes their vision come to life on the sage through building and
creating the different aspects of the show. The design team includes:
 Set Designer- The set designer works with the director and other design team members to create
the set (the environment where the story takes place) for the show. They start by creating models,
paint elevations, and scale drawings of the set. Once all of the production team agrees on the set, the
set designer works with the build crew to help it come to life.
 Property Master- The property master works to create, purchase, or find the props that are needed
for the production. Props are the items that are onstage that are touched and used by the performer.
If it is on the set, but not touched by the actors, it is considered a set decoration.
 Costume Designer- The costume designer creates, purchases, or finds the clothing that is worn by
the actors on stage. They can work with the hair/wig designer and/or makeup designer to create
an overall look for the characters. The costume designer must take into consideration the character’s
personality, mood, social status, time period, and director’s vision when creating costumes for the
show (have the students think about which previous production staff person could help the costume
designer accomplish this).
 Lighting Designer- The lighting designer work with the production team to create the mood, feeling,
look, environment, or time period for a certain moment in the show by using the lighting on stage.
The lighting designer must also take into consideration if the lighting will be safe for the actors, if the
lighting lets the audience have good visibility, and if the lighting is cost effective for the theatre.
 Sound Designer- The sound designer helps decide on, find, purchase, manipulates, ore creates the
sounds that are used in the production. Some sounds may include doorbells, thunder, clocks, or wind.
Draw (Pre-Performance):
Using the templates on the next page, ask your students to become costume designers! Ask the students to
pick three of the characters listed below and create outfits based on the descriptions given. The drawings
should be based on the student’s understanding of the characters and their imaginations.
 Vera Claythorne- Mrs. U.N. Owen’s secretary and former nanny to the Hamilton family. Her ward,
Cyril, died due to drowning while in her care. Vera is very young and is considered to be quite
attractive to those around her. She is one of the last characters to be alive on the island.
 Philip Lombard- A former soldier for England who was stationed in Africa. He is accused of
abandoning a tribe of African men that he was protecting, which led to their deaths. He is one of the
last characters to be alive on the island.
 William Blore- A former police inspector who lies at the beginning of the play about his true
identity. He sent an innocent man to prison (and eventually his death) due to a bribe from a prison
gang. He is the 8th person on the island to die.
 Emily Brent- An old, very religious women who was invited to the island for a vacation. She is
accused of causing the death of her servant, Beatrice Taylor, who was pregnant out of wedlock and
drowned herself due to rejection from Brent and her parents. She is the 5th person on the island to
die.
 Sir Lawrence Wargrave- A former judge and the main antagonist of the play. He poses as Mr. and
Mrs. U.N. Owen (Unknown) to get every character to the island (Do not tell you students this:
Wargrave is reveled to be the killer of his guests) He is accused of purposefully sentencing multiple
criminals to unnecessary deaths.
 Dr. Armstrong- A prestigious doctor who before his fame killed a lady who he was operating on due
to intoxication. Many characters suspect him of being the murderer because of his medical past. He is
the 7th person on the island to die.

6. Reflect (Post- Performance):
After seeing And Then There Were None, discuss as a class the choices that the designers used for the show.
Ask your students to consider: “What were some of the aspects you liked or did not like?” “What choices were
confusing to you?” “Were there some choices that you would have done differently?” If their answer is yes,
“what would you have designed differently?”

7. Actor
Know (Pre- Performance):
Actors help to bring the story to life on the stage. They use their craft in many ways to help enhance the story.
Some of their tools include physical and mental agility, flexibility, spontaneity, control, and willingness to
interact and work creatively with other actors, directors, designers, and the audience.
These next activities require a large open space. Either clear away the desks or try to use a
gymnasium or other open room.
Warm- Up (Every Day):
Actors, likeathletes and singers, need to warm up their bodies and voices before auditions, rehearsals, and
shows. They stretch their bodies, strengthen their cores (sit-ups are the best, but other not-as-physical core
exercises work as well), and warm-up their voices with tongue twisters and vocal exercises. Have you
students go through a short warm up before they start to move and act. Some examples of actor warm-ups
are:
 Breathing: Have your students stand in a nice, neutral position (arms at the side, shoulders down,
legs shoulder width apart). Have your students breathe in though their noses for four counts. Have
them hold this breath for four counts, and then have them release it on a hiss for as long as they can
go. Repeat if desired.
 Tongue Twisters: Tongue twisters are a great way to get your class’s mouths moving and diction
flowing! Some examples of tongue twisters are:
o Unique New York
o Red Leather, Yellow Letter
o She sell sea shells by the sea shore
o Few folks find the fine flavor
 Drop Overs: Have your students stand in neutral position with their heads facing forward. Have the
students then roll down (head first) until their hands reach the ground. Their knees should be
slightly bent, their face relaxed, and their head completely facing down. Have them stretch in this
position for a few minutes, then have them rise back up slowly with their head being the last thing to
come up.
Develop (Pre- and Post-Performance):
When actors start developing their characters, they use the text and their inference skills to create the
characteristics of their character. Actors will think about what their character likes, dislikes, family, friends,
and other information that could help shape how their character acts, thinks, or feels. Have your students pick
one character from And Then There Were None and develop the character out of the descriptions given above
or the original source material (if it has been read). After the character has been developed, ask your students
to create a short improvisation, or scene that has not been rehearsed before and is made up based on what
the actor knows of the character. The characteristics of the character should be a guidebook to the way the
character would act and think. After seeing And Then There Were None, ask your students to compare and
contrast what characteristics they came up with for their improv with the characters they saw on stage.
Recognize and Explore (Post-Performance):
Actors use their whole bodies, including voice, to create the character they are portraying on stage. Have the
students go back and think of specific moments in the show where the actor used their whole body to create
their character and get their character’s point across. Ask them to think about if there were interactions that
were better than others at using the whole body to portray their character’s objective.

8. Critic and Audience
Know (Pre-Performance):
The audience is the last, but arguably most important, piece to the puzzle that is the production. They react to
the actors on stage, but every audience will react differently to the production. They might laugh, cry, clap,
sigh, jeer, or shout as reactions to the play. The actors never know what kind of reactions to expect each night
because everybody finds different things funny, sad, or good. The audience helps the actors to see what they
might need to improve on or what to keep on doing in their performances. The Fulton Theatre’s mission is to
nurture the mind and soul of our community with exceptional theatre performances.
A critic is a person who comes in and reviews the show for the theatre. They are another way for the
production staff and actors to get feedback, good or bad, for their performances and for the show. Most times,
critics post their feedback in the form of reviews, which can be published either in the newspaper, on
websites, or on social media.
Discuss (Pre-Performance):
Find out how many of your students have seen a play before. Discuss as a class the similarities and differences
between the theatre and other liveevents (movies, televisions, concerts, sporting events). Ask them the
following questions: “Are there different expectations for audience members in these events than for
audience members seeing a show?” “What might be acceptable at a liveevent that might not be acceptable at
the theatre?”
Consider (Post- Performance):
Almost all of the characters in And Then There Were None die on stage or in the play. Discuss in pairs how
these events could affect different members of the audience. Ask them to consider: “How would different life
stories cause people to react differently?” “What experiences could cause people to like or dislike the play?”
“Does life experience automatically determine if someone would like the play or not?”
Critique (Post- Performance):
Now it’s time to think likea critic! Write the Fulton Theatre a response letter about the performance. This can
either be done by themselves, in pairs, in groups, or as a class. When writing these critiques, ask your
students to consider the following questions: “What parts of the performance did you enjoy?” “What would
you have done differently?” “Did the production staff and actors reach their production goals?” “What show
would you like to see come to the Fulton Theatre next?” We love getting photos, poems, and drawings with
your critiques! They can be mailed to us at:
Director of Education and Outreach
Fulton Theatre
P.O. Box 1865
Lancaster, PA 17608-1865