Using the Four Temperaments to Inspire Character Movement

THE FOUR TEMPERAMENTS
by
REV. CONRAD HOCK

Revised and enlarged by
Rev. Nicholas M. Wilwers, S.A.C.; M.A.; S.T.B.

NIHIL OBSTAT:
H. B. RIES
Censor librorum

IMPRIMI POTEST:
OTTO BOENKI, S.A.C.
Superior Maior


CONTENTS

FOREWORD

CHAPTER

I THE FOUR TEMPERAMENTS
Introduction. The Four Temperaments in General. How to Determine One's Temperament.
The Knowledge of Temperaments Very Important.

II THE CHOLERIC TEMPERAMENT
Character. Dark Sides. Bright Side. Things to be Observed by the Choleric in His Training. Special Considerations in the Training and Treatment.

III THE SANGUINE TEMPERAMENT
Character. Fundamental Disposition. Dark Side. Bright Sides. Methods of Self-Training. Points of Importance in Dealing with and Educating a Sanguine Person.

IV THE MELANCHOLIC TEMPERAMENT
Characteristics. Fundamental Disposition. Peculiarities. Bright Side. Dark Side.
Method of Self-Training. Important. Points in the Training.

V THE PHLEGMATIC TEMPERAMENT
Nature. Fundamental Disposition. Bright Side. Dark Side. Training.

VI MIXED TEMPERAMENTS

VII QUESTIONNAIRE
Character Traits arranged according to Temperaments. Sanguine Temperament.
Choleric Temperament. Melancholic Temperament. Phlegmatic Temperament.


FOREWORD

1. Modern educators realize more and more that a well rounded, complete education demands not only training of the intellect but training of the will and of the heart as well. In other words, the formation of character is as important as, if not more important than, the acquisition of knowledge.

2. Intellectual ability is no proof that a man will be able to master the difficulties of life and to adhere to right principles of action in times of distress. Only a strong will and a firm character enable man to stand such trials unshaken. Life is filled with trials; hence the necessity of character formation.

3. The formation of character requires, first of all, the knowledge of an ideal that will "give direction, measure, and value to effort," (Monsignor William J. Kerby) from which the aim and the ways and means of education must be derived. The man who aims at being the perfect gentleman, i.e., the Christian, will of necessity follow other ways and use other means than he whose aim is only to make as much money as possible.

4. It requires also a fair knowledge of one's self, of one's powers of body and soul, of one's strong and weak points, of one's assets and defects. The old Greek saying, "Know yourself!" holds true also today.

5. There is no lack of, nor interest in, books on self-improvement. Man is painfully conscious of his many shortcomings and feels a great desire to eliminate unsatisfactory personality traits in order to achieve greater harmony within himself and with his environment.

Such self-knowledge is often offered in learned and high sounding phrases, but more often than not is of little help in daily life. A knowledge of the Four Temperaments, (though sometimes frowned upon by modem psychology), has proved very helpful in meeting and mastering the situations of everyday living. A short but valuable knowledge with practical suggestions is supplied by Conrad Hock, 'The Four Temperaments'. Having been out of print for some years it is now herewith revised, enlarged and offered to the public.

The Pallottine Fathers Milwaukee


CHAPTER I

THE FOUR TEMPERAMENTS

I INTRODUCTION
Socrates, one of the most renowned of the Greek sages, used and taught as an axiom to his hearers: "Know yourself."

One of the most reliable means of learning to know oneself is the study of the temperaments. For if a man is fully cognizant of his temperament, he can learn easily to direct and control himself. If he is able to discern the temperament of others, he can better understand and help them.

II THE FOUR TEMPERAMENTS IN GENERAL
If we consider the reaction of various persons to the same experience, we will find that it is different in every one of them; it may be quick and lasting, or slow but lasting; or it may be quick but of short duration, or slow and of short duration. This manner of reaction, or the different degrees of excitability, is what we call "temperament." There are four temperaments: the choleric, the melancholic, the sanguine, and the phlegmatic.

The sanguine temperament is marked by quick but shallow, superficial excitability; the choleric by quick but strong and lasting; the melancholic temperament by slow but deep; the phlegmatic by slow but shallow excitability. The first two are also called extroverts, outgoing; the last two are introverts or reserved.

Temperament, then, is a fundamental disposition of the soul, which manifests itself whenever an impression is made upon the mind, be that impression caused by thought - by thinking about something or by representation through the imagination - or by external stimuli. Knowledge of the temperament of any person supplies the answer to the questions: How does this person deport himself? How does he feel moved to action whenever something impresses him strongly? For instance, how docs he react, when he is praised or rebuked, when he is offended, when he feels sympathy for or aversion against somebody? Or, to use another example, how does he act if in a storm, or in a dark forest, or on a dark night the thought of imminent danger comes to him?

On such occasions one may ask the following questions:

1. Is the person under the influence of such impressions, thoughts, or facts, quickly and vehemently excited, or only slowly and superficially?

2. Does the person under such influences feel inclined to act at once, quickly, in order to oppose the impression; or does he feel more inclined to remain calm and to wait?

3. Does the excitement of the soul last for a long time or only for a moment? Does the impression continue, so that at the recollection of such impression the excitement is renewed? Or does he conquer such excitement speedily and easily, so that the remembrance of it does not produce a new excitement?

The replies to these questions direct us to the four temperaments and furnish the key for the understanding of the temperament of each individual.

The choleric person is quickly and vehemently excited by any impression made; he tends to react immediately, and the impression lasts a long time and easily induces new excitement.

The person of sanguine temperament, like the choleric, is quickly and strongly excited by the slightest impression, and tends to react immediately, but the impression does not last; it soon fades away.

The melancholic individual is at first only slightly excited by any impression received; a reaction does not set in at all or only after some time. But the impression remains deeply rooted, especially if new impressions of the same kind are repeated.

The phlegmatic person is only slightly excited by any impression made upon him; he has scarcely any inclination to react, and the impression vanishes quickly.

The choleric and sanguine temperaments are active, the melancholic and phlegmatic temperaments are passive. The choleric and sanguine show a strong tendency to action; the melancholic and phlegmatic, on the contrary, are inclined to slow movement.

The choleric and melancholic temperaments are of a passionate nature; they shake the very soul and act like an earthquake. The sanguine and phlegmatic are passionless temperaments; they do not lead to great and lasting mental excitement.

III HOW TO DETERMINE ONE'S TEMPERAMENT
In order to determine one's temperament, it is not wise to study the bright or dark sides of each temperament and to apply them to oneself; one should first and foremost attempt to answer the three questions mentioned above.

1. Do I react immediately and vehemently or slowly and superficially to a strong impression made upon me?

2. Am I inclined to act at once or to remain calm and to wait?

3. Does the excitement last for a long time or only for a short while?

Another very practical way to determine one's temperament consists in considering one's reactions to offenses, by asking these questions: Can I forgive when offended? Do I bear grudges and resent insults? If one must answer: usually I cannot forget insults, I brood over them; to think of them excites me anew; I can bear a grudge a long time, several days, nay, weeks if somebody has offended me; I try to evade those who have offended me, refuse to speak to them, etc., then, one is either of choleric or melancholic temperament.

If on the contrary the answer is: I do not harbor ill will; I cannot be angry with anybody for a long time; I forget even actual insults very soon; sometimes I decide to show anger, but I cannot do so, at least not for a long time, at most an hour or two - if such is the answer, then one is either sanguine or phlegmatic.

After having recognized that one is of the choleric or melancholic temperament the following questions should be answered: Am I quickly excited at offenses? do I manifest my resentment by words or action? Do I feel inclined to oppose an insult immediately and retaliate? Or, do I at offenses received remain calm outwardly in spite of internal excitement? Am I frightened by offenses, disturbed, despondent, so that I do not find the right words nor the courage for a reply, and therefore, remain silent? Does it happen repeatedly that I hardly feel the offense at the moment when I receive it, but a few hours later, or even the following day, feel it so much more keenly? In the first case, the person is choleric; in the second, melancholic.

Upon ascertaining that one's temperament is either sanguine or phlegmatic one must inquire further: Am I suddenly inflamed with anger at offenses received; do I feel inclined to flare up and to act rashly? Or, do I remain quiet? Indifferent? Am I not easily swayed by my feelings? In the first case we are sanguine, in the second, phlegmatic.

It is very important, and indeed necessary to determine, first of all, one's basic temperament by answering these questions, to be able to refer the various symptoms of the different temperaments to their proper source. Only then can self-knowledge be deepened to a full realization of how far the various light and dark sides of one's temperament are developed, and of the modifications and variations one's predominant temperament may have undergone by mixing with another temperament.

It is usually considered very difficult to recognize one's own temperament or that of another person. Experience, however, teaches that with proper guidance, even persons of moderate education can quite easily learn to know their own temperament, and that of associates and subordinates.

Greater difficulties, however, arise in discovering the temperament in the following instances:

1. A person is habitually given to sin. In such cases the sinful passion influences man more than the temperament; for instance, a sanguine person, who by nature is very much inclined to live in peace and harmony with others can become very annoying and cause great trouble by giving way to envy and anger.

2. A person has progressed very far on the path of perfection. In such cases the dark sides of the temperament, as they manifest themselves, usually, in ordinary persons, can hardly be noticed at all. Thus, St. Ignatius Loyola, who by nature was passionately choleric, had conquered his passion to such an extent, that externally he appeared to be a man without passions and was often looked upon as a pure phlegmatic. In the sanguine but saintly Francis de Sales, the heat of momentary, irate excitement, proper to his sanguine temperament, was completely subdued, but only at the cost of continual combat for years against his natural disposition.

Saintly people of melancholic temperament never allow their naturally sad, morose, discouraging temperament to show itself, but by a look upon their crucified Lord and Master, Jesus Christ, conquer quickly these unpleasant moods.

3. A person possesses only slight knowledge of himself. He neither recognizes his good or evil disposition, nor does he understand the intensity of his own evil inclinations and the degree of his excitability; consequently he will not have a clear idea of his temperament. If anyone tries to assist him to know himself by questioning him, he gives false answers, not intentionally, but simply because he does not know himself. If such persons begin to devote themselves to a more spiritual life, they can usually acquire a fairly reliable diagnosis of their temperament only after they have practiced meditation and examination of conscience for some length of time.

4. A person is very nervous. With such persons the signs of nervousness, as restlessness, irritability, inconstancy of humor and resolution, the inclination to melancholy and discouragement, manifest themselves so forcibly that the symptoms of temperament are more or less obscured. It is especially difficult to discern the temperament of hysterical persons, if the so-called hysterical character is already fully developed.

5. A person has a so-called mixed temperament. Mixed temperaments are those in which one temperament predominates while another temperament also manifests itself. It will be a great help in such cases to know the temperaments of the parents of such person. If father and mother are of the same temperament, the children will probably inherit the temperament of the parents. If father and mother are of a choleric temperament, the children will also be choleric. If, however, the father and mother are of different temperaments, the children will inherit the different temperaments. If, for instance, the father is of a choleric temperament and the mother melancholic, the children will be either choleric with a melancholic mixture, or melancholic with a choleric tendency, according to the degree of influence of either of the two parents. In order to learn the predominant temperament, it is absolutely necessary to follow closely the above-mentioned questions concerning the temperaments. But it also happens, although not so often as many believe, that in one person two temperaments are so mixed that both are equally strong.

In this case it is naturally very hard to judge with which temperament the respective person is to be classified. It is probable, however, that in the course of time, e.g. on occasion of ordeals or difficulties one of the temperaments will manifest itself predominantly.

A very valuable help for the discernment of the mixed, and especially of the pure, temperaments is the expression of the eye and more or less the manner in which a person walks. The eye of the choleric is resolute, firm, energetic, fiery; the eye of the sanguine is cheerful, friendly, and careless; the eye of the melancholic looks more or less sad and troubled; the eye of the phlegmatic is faint, devoid of expression.

The choleric steps up firmly, resolutely, is more or less always in a hurry; the sanguine is light-footed and quick, his walking is often like dancing; the gait of the melancholic is slow and heavy; that of the phlegmatic is lazy and sluggish.

The expression of the eye rather quickly reveals the choleric temperament (the well-known type of Napoleon, Bismark) and the temperament of the melancholic (perhaps the Cure of Ars). If, from the expression of the eye neither the resoluteness and energy of the choleric nor the gloom of the melancholic can be discerned, it is safe to conclude that a person is either sanguine or phlegmatic. After a little experience, one quite easily determines a person's temperament, even at the first meeting, or even after a casual observation on the street. Physical symptoms of different temperaments, however, such as the shape of the head, complexion, color of the hair, size of the neck, etc., are worthless despite the insistence on such like characteristics frequently found in popular writings.

IV THE KNOWLEDGE OF TEMPERAMENTS VERY IMPORTANT
It may be difficult in many cases to decide upon the temperament of any particular person; still we should not permit ourselves to be discouraged in the attempt to understand our own temperament and that of those persons with whom we live or with whom we come often into contact, for the advantages of such insight are very great. To know the temperaments of our fellow men helps us to understand them better, treat them more correctly, bear with them more patiently. These are evidently advantages for social life which can hardly be appreciated enough.

A choleric person is won by quiet explanation of reasons and motives; whereas by harsh commands he is embittered, hardened, driven to strong-headed resistance. A melancholic person is made suspicious and reticent by a rude word or an unfriendly mien; by continuous kind treatment, on the contrary, he is made pliable, trusting, affectionate. The choleric person can be relied upon, but with a sanguine person we can hardly count even upon his apparently serious promises. Without a knowledge of the temperaments of our fellow men we will treat them often wrongly, to their and to our own disadvantage.

With a knowledge of the temperaments, one bears with fellow men more patiently. If one knows that their defects are the consequence of their temperament, he excuses them more readily and will not so easily be excited or angered by them. He remains quiet, for instance, even if a choleric is severe, sharp-edged, impetuous, or obstinate. And if a melancholic person is slow, hesitating, undecided; if he does not speak much and even if he says awkwardly the little he has to say; or if a sanguine person is very talkative, light-minded, and frivolous; if a phlegmatic cannot be aroused from his usual indifference, he does not become irritated.

It is of the greatest benefit furthermore to recognize fully one's own temperament. Only if one knows it, can he judge correctly himself, his moods, his peculiarities, his past life. An elderly gentleman, of wide experience in the spiritual life, who happened to read the following treatise on temperaments said: "I have never learned to know myself so well, as I find myself depicted in these lines, because nobody dared to tell me the truth so plainly as these lines have done."

If one knows one's own temperament, he can work out his own perfection with greater assurance, because finally the whole effort toward self-perfection consists in the perfection of the good and in the combating of the evil dispositions. Thus the choleric will have to conquer, in the first place, his obstinacy, his anger, his pride; the melancholic, his lack of courage and his dread of suffering; the sanguine, his talkativeness, his inconsistency; the phlegmatic, his sloth, his lack of energy. The person who knows himself will become more humble, realizing that many good traits which he considered to be virtues are merely good dispositions and the natural result of his temperament, rather than acquired virtues. Consequently the choleric will judge more humbly of his strong will, his energy, and his fearlessness; the sanguine of his cheerfulness, of his facility to get along well with difficult persons; the melancholic will judge more humbly about his sympathy for others, about his love for solitude and prayer; the phlegmatic about his good nature and his repose of mind.

The temperament is innate in each person, therefore it cannot be exchanged for another temperament. But man can and must cultivate and perfect the good elements of his temperament and combat and eradicate the evil ones. Every temperament is in itself good and with each one man can do good and work out his salvation. It is, therefore, imprudent and ungrateful to wish to have another temperament. "All the spirits shall praise the Lord" (Ps. 150,6).

All of man's inclinations and peculiarities should be used for the service of the Lord and contribute to His honor and to man's welfare. Persons of various temperaments who live together should learn not to oppose but to support and supplement one another.


CHAPTER II

THE CHOLERIC TEMPERAMENT

I CHARACTERISTICS OF THE CHOLERIC TEMPERAMENT
The choleric person is quickly and vehemently excited by any and every influence. Immediately the reaction sets in and the impression remains a long time.

The choleric man is a man of enthusiasm; he is not satisfied with the ordinary, but aspires after great and lofty things. He craves for great success in temporal affairs; he seeks large fortunes, a vast business, an elegant home, a distinguished reputation or a predominant position. He aspires to the highest also in matters spiritual; he is swayed with a consuming fire for holiness; he is filled with a yearning desire to make great sacrifices for God and his neighbor, to lead many souls to heaven.

The natural virtue of the choleric is ambition; his desire to excel and succeed despises the little and vulgar, and aspires to the noble and heroic. In his aspiration for great things the choleric is supported by:

1. A keen intellect. The choleric person is not always, but usually endowed with considerable intelligence. He is a man of reason while his imagination and his emotions are poor and stunted.

It is said that Julius Caesar was able to dictate different letters to several secretaries at the same time without losing the line of thought for each dictation.

2. A strong will. He is not frightened by difficulties, but in case of obstacles shows his energy so much the more and perseveres also under great difficulties until he has reached his goal. Pusillanimity or despondency the choleric does not know.

Hamilcar of Carthage in North Africa took his son Hannibal to the altar of their god and made him swear eternal hatred for Rome, their implacable enemy. Later, Hannibal assembled a complete army and elephants and led them through Spain, over the Pyrenees, through Southern France and over the Alps into Italy, a feat never equaled before or after, and came very close to conquering and destroying Rome.

3. Strong passions. The choleric is very passionate. Whenever the choleric is bent upon carrying out his plans or finds opposition, he is filled with passionate excitement. All dictators, old and new, are proof of this statement.

4. An often times subconscious impulse to dominate others and make them subservient. The choleric is made to rule. He feels happy when he is in a position to command, to draw others to him, and to organize large groups.

A very great impediment for the choleric in his yearning for great things is his imprudent haste. The choleric is immediately and totally absorbed by the aim he has in mind and rushes for his goal with great haste and impetuosity; he considers but too little whether he can really reach his goal.

A high Nazi official told a former chum, (later a priest): "We cannot back out; we have gone too far."

He sees only one road, the one he in his impetuosity has taken without sufficient consideration, and he does not notice that by another road he could reach his goal more easily. If great obstacles meet him he, because of his pride, can hardly make up his mind to turn back, but instead he continues with great obstinacy on the original course. He dashes his head against the wall rather than take notice of the door which is right near and wide open. By this imprudence the choleric wastes a great deal of his energy which could be used to better advantage, and he disgusts his friends, so that finally he stands almost alone and is disliked by most people. He deprives himself of his best successes, even though he will not admit that he himself is the main cause of his failures. He shows the same imprudence in selecting the means for the pursuit of perfection, so that in spite of great efforts he does not acquire it. The choleric can safeguard himself from this danger only by willing and humble submission to a spiritual director.

II DARK SIDES OF THE CHOLERIC TEMPERAMENT
Pride which shows itself in the following instances:


a) The choleric is full of himself. He has a great opinion of his good qualities and his successful work and considers himself as something extraordinary and as one called upon to perform great feats. He considers even his very defects as being justified, nay, as something great and worthy of praise; for instance, his pride, his obstinacy, his anger.

The Italian dictator Mussolini had himself called 'II Duce,' the Leader. Adolf Hitler followed his example by assuming the title: 'Der Fuehrer,' The Leader.

b) The choleric is very stubborn and opinionated. He thinks he is always right, wants to have the last word, tolerates no contradiction, and is never willing to give in.

The Russian dictator Stalin brooked no opposition. A friend of his, during a drinking bout, voiced his disagreement with Stalin's opinion. Fearing for his safety some of his friends approached Stalin the next day to excuse their friend on the ground of having been drunk. Stalin coolly told them that their intervention came too late.

c) The choleric has a great deal of self-confidence. He relies too much upon his own knowledge and ability. He refuses the help of others and prefers to work alone, partly because he does not like to ask for help, partly because he believes that he is himself more capable than others and is sure to succeed without the help of others.

Hitler relied on his 'hunches' in his war against Russia despite the advice of his generals, convinced that he knew better. He lost the war and everything.

It is not easy to convince the choleric that he is in need of God's help even in little things. Therefore he dislikes to ask God's help and prefers to combat even strong temptations by his own strength. Because of this self-confidence in spiritual life the choleric often falls into many and grievous sins. This trait is one of the main reasons why so many cholerics do not acquire sanctity in spite of great efforts. They are infected to a great extent with the pride of Lucifer. They act as if perfection and Heaven were not in the first place due to grace but to their own efforts.

d) The choleric despises his fellow man. To his mind others are ignorant, weak, unskilled, slow, at least when compared with himself. He shows his contempt of his neighbor by despising, mocking, making belittling remarks about others and by his proud behavior toward those around him, especially toward his subjects.

A Russian general, asked what he would do if his soldiers came to a mine field, responded that he would order a company of soldiers across it. The fact that he would sacrifice the lives of these soldiers meant nothing to him. (General Eisenhower).

e) The choleric is domineering and inordinately ambitious. He wants to hold the first place, to be admired by others, to subject others to himself. He belittles, combats, even persecutes by unfair means those who dare to oppose his ambition.

Julius Caesar said that he would rather be the first in the smallest Alpine village than the second in Rome.

Alexander the Great, considered one of the greatest generals of all time, was found by a friend of his one clear night looking at the stars and weeping. Asked why he wept he said: "See those thousands of stars in the sky to be conquered, and I cannot even conquer this world of ours."

f) The choleric feels deeply hurt when he is humiliated or put to shame. Even the recollection of his sins fills him with great displeasure because these sins give him a lower opinion of himself. In his disgust over his sins he may even defy God Himself.

2. Anger. The choleric is vehemently excited by contradiction, resistance, and personal offenses. This excitement manifests itself in harsh words which may seem very decent and polite as far as phrasing is concerned, but hurt to the core by the tone in which they are spoken. Nobody can hurt his fellow man with a few words more bitterly than a choleric person. Things are made even worse by the fact that the choleric in his angry impetuosity makes false and exaggerated reproaches, and may go so far in his passion, as to misconstrue the intentions and to pervert the words of those who irritated him, thus, blaming with the sharpest of expressions, faults which in reality were not committed at all. By such injustice, which the choleric inflicts in his anger upon his neighbor he can offend and alienate even his best friends.

The choleric may even indulge in furious outbursts of anger. His anger easily degenerates into hatred. Grievous offenses he cannot forget. In his anger and pride he permits himself to be drawn to actions which he knows will be very detrimental to himself and to others; for instance, ruin of his health, his work, his fortune, loss of his position, and complete rupture with intimate friends. By reason of his pride and anger he may totally ignore and cast aside the very plans for the realization of which he has worked for years.

P. Schram says: "The choleric prefers to die rather than to humble himself."

3. Deceit, disguise and hypocrisy. As noble and magnanimous as the choleric is by nature, the tendency to pride and self-will may lead him to the lowest of vices, deceit and hypocrisy. He practices deceit, because he is in no way willing to concede that he succumbed to a weakness and suffered a defeat. He uses hypocrisy, deception, and even outright lies, if he realises that he cannot carry out his plans by force.

For the true Communist everything that will help his cause is right and just: he makes and breaks treaties and promises; robbery and lies and murder are considered justified if done for the Party and the Cause, without consideration of the cost in human suffering.

4. Lack of sympathy. The choleric, as said above, is a man of reason. He has two heads but no heart.

Wars, torture, concentration camps, the death of millions of people meant nothing to modern dictators like Lenin, Hitler, Stalin, Mao Tse Tung, and their like.

This lack of human sentiment and sympathy is, in a way, of great advantage to him. He does not find it hard to be deprived of sensible consolations in prayer and to remain a long time in spiritual aridity. Effeminate, sentimental dispositions are repugnant to him; he hates the caresses and sentimentality which arise between intimate friends. False sympathy cannot influence him to neglect his duties or abandon his principles. On the other hand, this lack of sympathy has its great disadvantages. The choleric can be extremely hard, heartless, even cruel in regard to the sufferings of others. He can cold-bloodedly trample upon the welfare of others, if he cannot otherwise reach his goal. Choleric superiors should examine their conscience daily, to discover whether they have not shown. a lack of sympathy toward their subjects, especially if these are sickly, less talented, fatigued, or elderly.

III BRIGHT SIDE OF THE CHOLERIC
If the choleric develops his faculties and uses them for good and noble purposes, he may do great things for the honor of God, for the benefit of his fellow men, and for his own temporal and eternal welfare. He is assisted by his sharp intellect, his enthusiasm for the noble and the great, the force and resolution of his will, which shrinks before no difficulty, and the keen vivacity which influences all his thoughts and plans.

Saul, the persecutor of the infant Church, became Paul, the great Apostle who, as he himself said, did more than any other apostle for the spread of Christianity. He made himself "all things to all men that I might save all." (1. Cor. 9:22.) He suffered all kinds of trials and persecution (see 2 Cor. ch. 12) in order to preach Christ, and Him Crucified, and sealed his mission by his martyrdom for the Gospel.

Many Saints, men and women, have done likewise, dedicating their unremitting labor and intense sufferings under severe persecutions to the service of Christ, as is proved by the thousands and thousands of martyrs of years past and of the present, outstanding among them Joseph Cardinal Mindszenty of Hungary.

The choleric may with comparative ease become a saint. The persons canonized, with few exceptions, were choleric or melancholic. The choleric who is able to control his temperament is recollected in prayer, because by his strong will he can banish distractions and especially because by force of his nature, he can with great facility concentrate his attention upon one point. The latter may also be the cause, why the choleric so easily acquires the prayer of simplicity, or as St. Francis calls it, the prayer of recollection. With no other temperament do we find the spirit of contemplation, properly so called, as often as with the choleric. The well-trained choleric is very patient and firm in endurance of physical pains, willing to make sacrifices in sufferings, persevering in acts of penance and interior mortification, magnanimous and noble toward the indigent and conquered, full of aversion against everything ignoble or vulgar. Although pride penetrates the very soul of the choleric in all its fibers and ramifications, so much so that he seems to have only one vice, i.e., pride, which he shows in everything he undertakes, he can, nevertheless, if he earnestly aspires for perfection, easily bear the greatest and most degrading humiliations and even seek them. Because the choleric has not a soft but a hard heart, he naturally suffers less from temptation of the flesh and can practice purity with ease. But, if the choleric is voluntarily addicted to the vice of impurity and seeks his satisfaction therein, the outbursts of his passion are terrible and most abominable.

The choleric is very successful also in his professional work. Being of an active temperament, he feels a continual inclination to activity and occupation. He cannot be without work, and he works quickly and diligently. In his enterprises he is persevering and full of courage in spite of obstacles. Without hesitation he can be placed at difficult posts and everything can be entrusted to him. In his speech the choleric is brief and definite; he abhors useless repetitions. This brevity, positiveness, firmness in speech and appearance gives him a great deal of authority especially when engaged in educational work. Choleric teachers have something virile about themselves and do not allow affairs to get beyond their control, as is often the case with slow, irresolute, melancholic persons. A choleric can keep a secret like a grave.

IV THINGS TO BE ODSERVED BY THE CHOLERIC IN HIS TRAINING
1. A choleric needs high ideals and great thoughts; he must draw them from the word of God by meditation, spiritual reading, sermons, and also from the experience of his own life. There is no need of a multiplicity of such thoughts. For the choleric St. Ignatius it was sufficient to think: All for the greater glory of God; for the choleric St. Francis Xavier: What does it profit a man if he gain the whole world, but suffer the loss of his soul? One good thought which deeply impresses the choleric acts as a miraculous star which leads him, in spite of all obstacles, to the feet of the Redeemer.

2. A choleric must learn day by day and repeatedly to implore God fervently and humbly for His assistance. As long as he has not learned to beg he will not make big strides on the road to perfection. To him also apply the words of Christ: "Ask and you shall receive." The choleric will make still greater progress if he can humble himself to ask his fellow men, at least his superiors, or his confessor, for instructions and direction.

3. The choleric must above all keep one strong resolution in his mind: I will never seek myself, but on the contrary I will consider myself:

a) An instrument in the hands of God, which He may make use of at His pleasure.

b) A servant of my fellow men, who desires to spend himself for others. He must act according to the words of Christ: "Whosoever will be first among you, shall be the servant of all", (Matt 20:27 or Mark 10:44), or as St. Paul says of himself: He must become all things to all men, in order to save them.
(1 Cor. 9:22).

4. The choleric must combat his pride and anger continually. Pride is the misfortune of the choleric, humility his only salvation. Therefore he should make it a point of his particular examination of conscience for years.

5. The choleric must humiliate himself voluntarily in confession, before his superiors, and even before others. Ask God for humiliations and accept them, when inflicted, magnanimously. For a choleric it is better to permit others to humiliate him, than to humiliate himself.

6. He must practice a true and trusting devotion to the humble and meek Heart of Jesus.

V SPECIAL CONSIDERATIONS IN THE TRAINING AND
TREATMENT OF THE CHOLERIC
Cholerics are capable of great benefit to their family, their surroundings, their parish, or to the state on account of their ability. The choleric is naturally the born and never discouraged leader and organizer. The well-trained choleric apostle indefatigably and without fear seeks souls who are in danger; propagates good literature perseveringly, and in spite of many failures labors joyfully for the Catholic press and societies and consequently is of great service to the Church. On the other hand, the choleric can, if he does not control the weak side of his temperament, act as dynamite in private and public and cause great disturbance. For this reason it is necessary to pay special attention to the training of the choleric, which is difficult but fruitful.

1. The choleric should be well instructed so that he can apply his good talents to the best advantage. Otherwise he will in the course of time pursue pet ideas to the neglect, of his professional work, or what is worse, he will be very proud and conceited, although in reality he has not cultivated his faculties and is not, in fact, thorough.

Cholerics who are less talented or not sufficiently educated can make very many mistakes, once they are independent or have power to command as superiors. They are likely to make life bitter for those around them, because they insist stubbornly upon the fulfillment of their orders, although they may not fully understand the affairs in question or may have altogether false ideas about them. Such cholerics often act according to the ill-famed motto: Sic volo, sic jubeo; stat pro ratione voluntas: Thus I want it, thus I command it; my will is sufficient reason.

2. The choleric must be influenced to accept voluntarily and gladly what is done for the humiliation of his pride and the soothing of his anger. By hard, proud treatment the choleric is not improved, but embittered and hardened, whereas even a very proud choleric can easily be influenced to good by reasonable suggestions and supernatural motives. In the training of cholerics the teacher should never allow himself to be carried away by anger nor should he ever give expression to the determination to 'break' the obstinacy of the choleric person. It is absolutely necessary to remain calm and to allow the choleric to 'cool off' and then to persuade him to accept guidance in order to correct his faults and bring out the good in him. In the training of the choleric child one must place high ideas before him; appeal to his good will, his sense of honor, his abhorrence of the vulgar, his temporal and eternal welfare; influence him voluntarily to correct his faults and develop his good qualities. Do not embitter him by humiliating penances, but try to show him the necessity and justice of the punishment inflicted; yet be firm in what you must demand.


CHAPTER III

THE SANGUINE TEMPERAMENT

I CHARACTER OF THE SANGUINE TEMPERAMENT
The sanguine person is quickly aroused and vehemently excited by whatever influences him. The reaction follows immediately, but the impression lasts but a short time. Consequently the remembrance of the impression does not easily cause new excitement.

II FUNDAMENTAL DISPOSITION
1. Superficiality. The sanguine person does not penetrate the depth, the essence of things; he does not embrace the whole, but is satisfied with the superficial and with a part of the whole. Before he has mastered one subject, his interest relaxes because new impressions have already captured his attention. He loves light work which attracts attention, where there is no need of deep thought, or great effort. To be sure, it is hard to convince a sanguine person that he is superficial; on the contrary, he imagines that he has grasped the subject wholly and perfectly.

2. Instability. Because the impressions made upon a sanguine person do not last, they are easily followed by others. The consequence is a great instability which must be taken into account by anyone who deals with such persons, if he does not wish to be disappointed.

St Peter assured our Lord that he was ready to go with Him, even die for Him, only to deny a few hours later that he did not know "this man."

The crowds hailed our Lord with their Hosannas on Palm Sunday but cried: Crucify Him! a few days later.

The sanguine is always changing in his moods; he can quickly pass from tears to laughter and vice versa; he is fickle in his views; today he may defend what he vehemently opposed a week ago; he is unstable in his resolutions. If a new point of view presents itself he may readily upset the plans which he has made previously. This inconsistency often causes people to think that the sanguine person has no character; that he is not guided by principles. The sanguine naturally denies such charges, because he always finds a reason for his changes. He forgets that it is necessary to consider everything well and to look into and investigate everything carefully beforehand, in order not to be captivated by every new idea or mood. He is also inconsistent at his work or entertainment; he loves variety in everything; he resembles a bee which flies from flower to flower; or the child who soon tires of the new toy.

3. Tendency to the external. The sanguine does not like to enter into himself, but directs his attention to the external. In this respect he is the very opposite of the melancholic person who is given to introspection, who prefers to be absorbed by deep thoughts and more or less ignores the external. This leaning to the external is shown in the keen interest which the sanguine pays to his own appearance, as well as to that of others; to a beautiful face, to fine and modern clothes, and to good manners. In the sanguine the five senses are especially active, while the choleric uses rather his reason and will and the melancholic his feelings. The sanguine sees everything, hears everything, talks about everything. He is noted for his facility and vivacity of speech, his inexhaustible variety of topics and flow of words which often make him disagreeable to others. The sanguine person in consequence of his vivacity has an eye for details, an advantageous disposition which is more or less lacking in choleric and melancholic persons.

4. Optimism. The sanguine looks at everything from the bright side. He is optimistic, overlooks difficulties, and is always sure of success. If he fails, he does not worry about it too long but consoles himself easily. His vivacity explains his inclination to poke fun at others, to tease them and to play tricks on them. He takes it for granted. that others are willing to take such things in good humor and he is very much surprised if they are vexed on account of his mockery or improper jokes.

5. Absence of deep passions. The passions of the sanguine are quickly excited, but they do not make a deep and lasting impression; they may be compared to a straw fire which flares up suddenly, but just as quickly dies down, while the passions of a choleric are to be compared to a raging, all-devouring conflagration.

This lack of deep passions is of great advantage to the sanguine in spiritual life, insofar as he is usually spared great interior trials and can serve God as a rule with comparative joy and ease. He seems to remain free of the violent passions of the choleric and the pusillanimity and anxiety of the melancholic.

III DARK SIDE OF THE SANGUINE TEMPERAMENT
1. Vanity and self-complacency. The pride of the sanguine person does not manifest itself as inordinate ambition or obstinacy, as it does in the choleric, nor as fear of humiliation, as in the melancholic, but as a strong inclination to vanity and self-complacency. The sanguine person finds a well-nigh childish joy and satisfaction in his outward appearance, in his clothes and work. He loves to behold himself in the mirror. He feels happy when praised and is therefore very susceptible to flattery. By praise and flattery a sanguine person can easily be seduced to perform the most imprudent acts and even shameful sins.

2. Inclination to flirtation, jealousy and envy. The sanguine person is inclined to inordinate intimacy and flirtation, because he lacks deep spirituality and leans to the external and is willing to accept flatteries. However, his love is not deep and changes easily. An otherwise well-trained sanguine would be content with superficial familiarities as tokens of affection, but in consequence of his levity and readiness to yield, as well as on account of his optimistic belief that sin may have no evil consequences, he can be easily led to the most grievous aberrations. A bad woman with a sanguine temperament yields herself to sin without restraint and stifles the voice of conscience easily.

Vanity and tendency to love-affairs lead the sanguine person to jealousy, envy, and to all the petty, mean, and detestable faults against charity, which are usually the consequence of envy. Because he is easily influenced by exterior impressions or feelings of sympathy or antipathy, it is hard for the sanguine person to be impartial and just. Superiors of this temperament often have favorites whom they prefer to others. The sanguine is greatly inclined to flatter those whom he loves.

3. Cheerfulness and inordinate love of pleasure. The sanguine person does not like to be alone; he loves company and amusement; he wants to enjoy life. In his amusements such a person can be very frivolous.

4. Dread of virtues which require strenuous efforts. Everything which requires the denial of the gratification of the senses is very hard on the sanguine; for instance, to guard the eyes, the ears, the tongue, to keep silence. He does not like to mortify himself by denying himself some favorite food. He is afraid of corporal acts of penance; only the exceptionally virtuous sanguine succeeds in performing works of penance for many years for sins committed in earlier youth. The ordinary sanguine person is inclined to think that with absolution in the sacrament of penance all sins are blotted out and that continued sorrow for them is unnecessary and even injurious.

5. Other disadvantages of the sanguine temperament:
a) The decisions of the sanguine person are likely to be wrong, because his inquiry into things is only superficial and partial; also because he does not see difficulties; and finally because, through feelings of sympathy or antipathy he is inclined to partiality.

b) The undertakings of the sanguine fail easily because he always takes success for granted, as a matter of course, and therefore does not give sufficient attention to possible obstacles, because he lacks perseverance, and his interest in things fades quickly.

c) The sanguine is unstable in the pursuit of the good. He permits others to lead him and is therefore easily led astray, if he falls into the hands of unscrupulous persons. His enthusiasm is quickly aroused for the good, but it also vanishes quickly. With Peter he readily jumps out of the boat in order to walk on the water, but immediately he is afraid that he may drown. He hastily draws the sword with Peter to defend Jesus, but takes to flight a few minutes later. With Peter he defies the enemies of Jesus, only to deny Him in a short time.

d) Self-knowledge of the sanguine person is deficient because he always caters to the external and is loath to enter into himself, and to give deeper thought to his own actions.

e) The life of prayer of the sanguine suffers from three obstacles: He finds great difficulty in the so called interior prayer for which a quiet, prolonged reflection is necessary; likewise in meditation, spiritual reading, and examination of conscience. He is easily distracted on account of his ever active senses and his uncontrolled imagination and is thereby prevented from attaining a deep and lasting recollection in God. At prayer a sanguine lays too much stress upon emotion and sensible consolation, and in consequence becomes easily disgusted during spiritual aridity.

IV BRIGHT SIDES OF THE SANGUINE TEMPERAMENT
1. The sanguine person has many qualities on account of which he fares well with his fellow men and endears himself to them.

a) The sanguine is an extrovert; he readily makes acquaintance with other people, is very communicative, loquacious, and associates easily with strangers.

b) He is friendly in speech and behavior and can pleasantly entertain his fellow men by his interesting narratives and witticisms.

c) He is very pleasant and willing to oblige. He dispenses his acts of kindness not so coldly as a choleric, not so warmly and touchingly as the melancholic, but at least in such a jovial and pleasant way that they are graciously received.

d) He is compassionate whenever a mishap befalls his neighbor and is always ready to cheer him by a friendly remark.

e) He has a remarkable faculty of drawing the attention of his fellow men to their faults without causing immediate and great displeasure. He does not find it hard to correct others. If it is necessary to inform someone of bad news, it is well to assign a person of sanguine temperament for this task.

f) A sanguine is quickly excited by an offence and may show his anger violently and at times imprudently, but as soon as he has given vent to his wrath, he is again pleasant and bears no grudge.

2. The sanguine person has many qualities by which he wins the affection of his superiors.

a) He is pliable and docile. The virtue of obedience, which is generally considered as difficult, is easy for him.

b) He is candid and can easily make known to his superiors his difficulties, the state of his spiritual life, and even disgraceful sins.

c) When punished he hardly ever shows resentment; he is not defiant and obstinate. It is easy for a superior to deal with sanguine subjects, but let him be on his guard! Sanguine subjects are prone to flatter the superior and show a servile attitude; thus quite unintentionally endangering the peace of a community. Choleric and especially melancholic persons do not reveal themselves so easily, because of their greater reserve, and should not be scolded or slighted or neglected by the superiors.

3. The sanguine is not obdurate in evil. He is not stable in doing good things, neither is he consistent in doing evil. Nobody is so easily seduced, but on the other hand, nobody is so easily converted as the sanguine.

4. The sanguine does not long over unpleasant happenings. Many things which cause a melancholic person a great, deal of anxiety and trouble do not affect the sanguine in the least, because he is an optimist and as such overlooks difficulties and prefers to look at affairs from the sunny side. Even if the sanguine is occasionally exasperated and sad, he soon finds his balance again. His sadness does not last long, but gives way quickly to happiness. This sunny quality of the well trained sanguine person helps him to find community life, for instance, in institutions, seminaries, convents much easier, and to overcome the difficulties of such life more readily than do choleric or melancholic persons. Sanguine persons can get along well even with persons generally difficult to work with.

V METHOD OF SELF-TRAINING FOR THE SANGUINE
1. A sanguine person must give himself to reflection on spiritual us well as temporal affairs. It is especially necessary for him to cultivate those exercises of prayer in which meditation prevails; for instance, morning meditation, spiritual reading, general and particular examination of conscience, meditation on the mysteries of the rosary, and the presence of God. Superficiality is the misfortune, reflection the salvation of the sanguine.

In regard to temporal affairs the sanguine person must continually bear in mind that he cannot do too much thinking about them: he must consider every point; anticipate all possible difficulties; he must not be overconfident, over optimistic.

2. He must daily practice mortification of the senses, the eyes, ears, tongue, the sense of touch, and guard the palate against overindulging in exquisite foods and drinks.

3. He must absolutely see to it that he be influenced by the good and not by the bad; that he accept counsel and direction. A practical aid against distraction is a strictly regulated life, and in a community the faithful observance of the Rules.

4. Prolonged spiritual aridity is a very salutary trial for him, because his unhealthy sentimentality is thereby cured or purified.

5. He must cultivate his good traits, as charity, obedience, candor, cheerfulness, and sanctify these natural good qualities by supernatural motives. He must continually struggle against those faults to which he is so much inclined by his natural disposition, such as, vanity and self-complacency; love of particular friendships; sentimentality; sensuality; jealousy; levity; superficiality; instability.

VI POINTS OF IMPORTANCE IN DEALING WITH
AND EDUCATING A SANGUINE PERSON
The education of the sanguine person is comparatively easy. He must be looked after; he must be told that he is not allowed to leave his work unfinished. His assertions, resolutions, and promises must not be taken too seriously; he must continually be checked as to whether he has really executed his work carefully. Flatteries must not be accepted from him and especially constant guard must be kept lest any preference be shown him on account of his affable disposition. It must be remembered that the sanguine person will not keep to himself what he is told or what he notices about anyone. It is advisable to think twice before taking a sanguine person into confidence.

In the education of a sanguine child the following points should be observed:

1. The child must be consistently taught to practice self-denial especially by subduing the senses. Perseverance at work and observance of order must be continually insisted upon.

2. The child must be kept under strict supervision and guidance; he must be carefully guarded against bad company, because he can so easily be seduced.

3. Leave to him his cheerfulness and let him have his fun, only guard him against overdoing it.


CHAPTER IV

THE MELANCHOLIC TEMPERAMENT

CHARACTERISTICS OF THE MELANCHOLIC TEMPERAMENT

The melancholic person is but feebly excited by whatever acts upon him. The reaction is weak, but this feeble impression remains for a long time and by subsequent similar impressions grows stronger and at last excites the mind so vehemently that it is difficult to eradicate it.

Such impression may be compared to a post, which by repeated strokes is driven deeper and deeper into the ground, so that at last it is hardly possible to pull it out again. This propensity of the melancholic needs special attention. It serves as a key to solve the many riddles in his behavior.

II FUNDAMENTAL DISPOSITION OF THE MELANCHOLIC
1. Inclination to reflection. The thinking of the melancholic easily turns into reflection. The thoughts of the melancholic are far reaching. He dwells with pleasure upon the past and is preoccupied by occurrences of the long ago; he is penetrating; is not satisfied with the superficial, searches for the cause and correlation of things; seeks the laws which affect human life, the principles according to which man should act. His thoughts are of a wide range; he looks ahead into the future; ascends to the eternal. The melancholic is of an extremely soft-hearted disposition. His very thoughts arouse his own sympathy and are accompanied by a mysterious longing. Often they stir him up profoundly, particularly religious reflections or plans which he cherishes; yet he hardly permits his fierce excitement to be noticed outwardly. The untrained melancholic is easily given to brooding and to day-dreaming.

2. Love of retirement. The melancholic does not feel at home among a crowd for any length of time; he loves silence and solitude. Being inclined to introspection he secludes himself from the crowds, forgets his environment, and makes poor use of his senses - eyes, ears, etc. In company he is often distracted, because he is absorbed by his own thoughts. By reason of his lack of observation and his dreaming the melancholic person has many a mishap in his daily life and at his work.

3. Serious conception of life. The melancholic looks at life always from the serious side. At the core of his heart there is always a certain sadness, 'a weeping of the heart,' not because the melancholic is sick or morbid, as many claim, but because he is permeated with a strong longing for an ultimate good (God) and eternity, and feels continually hampered by earthly and temporal affairs and impeded in his cravings. The melancholic is a stranger here below and feels homesick for God and eternity.

4. Inclination to passivity. The melancholic is a passive temperament. The person possessing such a temperament, therefore, has not the vivacious, quick, progressive, active propensity, of the choleric or sanguine, but is slow, pensive, reflective. It is difficult to move him to quick action, since he has a marked inclination to passivity and inactivity. This pensive propensity of the melancholic accounts for his fear of suffering and difficulties as well as for his dread of interior exertion and self-denial.

III PECULIARITIES OF THE MELANCHOLIC
1. He is reserved. He finds it difficult to form new acquaintances and speaks little among strangers. He reveals his inmost thoughts reluctantly and only to those whom he trusts. He does not easily find the right word to express and describe his sentiments. He yearns often to express himself, because it affords him real relief, to confide the sad, depressing thoughts which burden his heart to a person who sympathizes with him. On the other hand, it requires great exertion on his part to manifest himself, and, when he does so, he goes about it so awkwardly that he does not feel satisfied and finds no rest. Such experiences tend to make the melancholic more reserved. A teacher of melancholic pupils, therefore, must he aware of these peculiarities and must take them into consideration; otherwise he will do a great deal of harm to his charges.

Confession is a great burden to the melancholic, while it is comparatively easy to the sanguine. The melancholic wants to manifest himself, but cannot; the choleric can express himself easily, but does not want to.

2. The melancholic is irresolute. On account of too many considerations and too much fear of difficulties and of the possibility that his plans or works may fail, the melancholic can hardly reach a decision. He is inclined to defer his decision. What he could do today he postpones for tomorrow, the day after tomorrow, or even for the next week. Then he forgets about it and thus it happens that what he could have done in an hour takes weeks and months. He is never finished. For many a. melancholic person it may take a long time to decide about his vocation to the religious life. The melancholic is a man of missed opportunities. While he sees that others have crossed the creek long ago, he still deliberates whether he too should and can jump over it. Because the melancholic discovers many ways by his reflection and has difficulties in deciding which one to take, he easily gives way to others, and does not stubbornly insist on his own opinion.

3. The melancholic is despondent and without courage. He is pusillanimous and timid if he is called upon to begin a new work, to execute a disagreeable task, to venture on a new undertaking. He has a strong will coupled with talent and power, but no courage. It has become proverbial therefore: "Throw the melancholic into the water and he will learn to swim." If difficulties in his undertakings are encountered by the melancholic, even if they are only very insignificant, he feels discouraged and is tempted to give up the ship, instead of conquering the obstacle and repairing the ill success by increased effort.

4. The melancholic is slow and awkward.
a) He is slow in his thinking. He feels it necessary, first of all, to consider and reconsider everything until he can form a calm and safe judgment.

b) He is slow in his speech. If he is called upon to answer quickly or to speak without preparation, or if he fears that too much depends on his answer, he becomes restless and does not find the right word and consequently often makes a false and unsatisfactory reply. This slow thinking may be the reason why the melancholic often stutters, leaves his sentences incomplete, uses wrong phrases, or searches for the right expression. He is also slow, not lazy, at his work. He works carefully and reliably, but only if he has ample time and is not pressed. He himself naturally does not believe that he is a slow worker.

5. The pride of the melancholic has its very peculiar side. He does not seek honor or recognition; on the contrary, he is loathe to appear in public and to be praised. But he is very much afraid of disgrace and humiliation. He often displays great reserve and thereby gives the impression of modesty and humility; in reality he retires only because he is afraid of being put to shame. He allows others to be preferred to him, even if they are less qualified and capable than himself for the particular work, position, or office, but at the same time he feels slighted because he is being ignored and his talents are not appreciated.

The melancholic person, if he really wishes to become perfect, must pay very close attention to these feelings of resentment and excessive sensitiveness in the face of even small humiliations.

From what has been said so far, it is evident that it is difficult to deal with melancholic persons. Because of their peculiarities they are frequently misjudged and treated wrongly. The melancholic feels keenly and therefore retires and secludes himself. Also, the melancholic has few friends, because few understand him and because he takes few into his confidence.

IV BRIGHT SIDE OF THE MELANCHOLIC TEMPERAMENT
1. The melancholic practices with ease and joy interior prayer. His serious view of life, his love of solitude, and his inclination to reflection are a great help to him in acquiring the interior life of prayer. He has, as it were, a natural inclination to piety. Meditating on the perishable things of this world he thinks of the eternal; sojourning on earth he is attracted to Heaven. Many saints were of a melancholic temperament. This temperament causes difficulties at prayer, since the melancholic person easily loses courage in trials and sufferings and consequently lacks confidence in God, in his prayers, and can be very much distracted by pusillanimous and sad thoughts.

2. In communication with God the melancholic finds a deep and indescribable peace.

He, better than anyone else, understands the words of St. Augustine: "Thee, O Lord, have created us for yourself, and our heart finds no rest, until it rests in Thee." His heart, so capable of strong affections and lofty sentiments, finds perfect peace in communion with God. This peace of heart he also feels in his sufferings, if he only preserves his confidence in God and his love for the Crucified.

3. The melancholic is often a great benefactor to his fellow men. He guides others to God, is a good counselor in difficulties, and a prudent, trustworthy, and well-meaning superior. He has great sympathy with his fellow men and a keen desire to help them. If the confidence in God supports the melancholic and encourages him to action, he is willing to make great sacrifices for his neighbor and is strong and unshakable in the battle for ideals. Schubert, in his Psychology, says of the melancholic nature: "It has been the prevailing mental disposition of the most sublime poets, artists, of the most profound thinkers, the greatest inventors, legislators, and especially of those spiritual giants who at their time made known to their nations the entrance to a higher and blissful world of the Divine, to which they themselves were carried by an insatiable longing."

V DARK SIDE OF THE MELANCHOLIC TEMPERAMENT
1. The melancholic by committing sin falls into the most terrible distress of mind, because in the depth of his heart he is, more than those of other temperaments, filled with a longing desire for God, with a keen perception of the malice and consequences of sin. The consciousness of being separated from God by mortal sin has a crushing effect upon him. If he falls into grievous sin, it is hard for him to rise again, because confession, in which he is bound to humiliate himself deeply, is so hard for him. He is also in great danger of falling back into sin; because by his continual brooding over the sins committed he causes new temptations to arise. When tempted he indulges in sentimental moods, thus increasing the danger and the strength of temptations. To remain in a state of sin or even occasionally to relapse into sin may cause him a profound and lasting sadness, and rob him gradually of confidence in God and in himself. He says to himself: "I have not the strength to rise again and God does not help me either by His grace, for He does not love me but wants to damn me." This fatal condition can easily assume the proportion of despair.

2. A melancholic person who has no confidence in God and love for the Cross falls into great despondency, inactivity, and even into despair.

If he has confidence in God and love for the Crucified, he is led to God and sanctified more quickly by suffering mishaps, calumniation, unfair treatment, etc. But if these two virtues are lacking, his condition is very dangerous and pitiable. If sufferings, although little in themselves, befall him, the melancholic person, who has no confidence in God and love for Christ, becomes downcast and depressed, ill-humored and sensitive. He does not speak, or he speaks very little, is peevish and disconsolate and keeps apart from his fellow men. Soon he loses courage to continue his work, and interest even in his professional occupation.

He feels that he has nothing but sorrow and grief. Finally this disposition may culminate in actual despondency and despair.

3. The melancholic who gives way to sad moods, falls into many faults against charity and becomes a real burden to his fellow men.

a) He easily loses confidence in his fellow men, (especially Superiors, Confessors), because of slight defects which he discovers in them, or on account of corrections in small matters.

b) He is vehemently exasperated and provoked by disorder or injustice. The cause of his exasperation is often justifiable, but rarely to the degree felt.

c) He can hardly forgive offences. The first offense he ignores quite easily. But renewed offenses penetrate deeply into the soul and can hardly be forgotten. Strong aversion easily takes root in his heart against persons from whom he has suffered, or in whom he finds this or that fault. This aversion becomes so strong that he can hardly see these persons without new excitement, that he does not want to speak to them and is exasperated by the very thought of them. Usually this aversion is abandoned only after the melancholic is separated from persons who incurred his displeasure and at times only after months or even years.

d) He is very suspicious. He rarely trusts people and is always afraid that others have a grudge against him. Thus he often and without cause entertains uncharitable and unjust suspicion about his neighbor, conjectures evil intentions, and fears dangers which do not exist at all.

e) He sees everything from the dark side. He is peevish, always draws attention to the serious side of affairs, complains regularly about the perversion of people, bad times, downfall of morals, etc. His motto is: things grow worse all along. Offenses, mishaps, obstacles he always considers much worse than they really are. The consequence is often excessive sadness, unfounded vexation about others, brooding for weeks and weeks on account of real or imaginary insults. Melancholic persons who give way to this disposition to look at everything through a dark glass, gradually become pessimists, that is, persons who always expect a bad result; hypochondriacs, that is, persons who complain continually of insignificant ailments and constantly fear grave sickness; misanthropes, that is, persons who suffer from fear and hatred of men.

f) He finds peculiar difficulties in correcting people. As said above he is vehemently excited at the slightest disorder or injustice and feels obliged to correct such disorders, but at the same time he has very little skill or courage in making corrections. He deliberates long on how to express the correction; but when he is about to make it, the words fail him, or he goes about it so carefully, so tenderly and reluctantly that it can hardly be called a correction.

If the melancholic tries to master his timidity, he easily falls into the opposite fault of shouting his correction excitedly, angrily, in unsuited or scolding words, so that again his reproach loses its effect. This difficulty is the besetting cross of melancholic superiors. They are unable to discuss things with others, therefore, they swallow their grief and permit many disorders to creep in, although their conscience recognizes the duty to interfere. Melancholic educators, too, often commit the fault of keeping silent too long about a fault of their charges and when at last they are forced to speak, they do it in such an unfortunate and harsh manner, that the pupils become discouraged and frightened by such admonitions, instead of being encouraged and directed.

VI METHOD OF SELF-TRAINING FOR THE MELANCHOLIC PERSON
1. The melancholic must cultivate great confidence in God and love for suffering, for his spiritual and temporal welfare depend on these two virtues. Confidence in God and love of the Crucified are the two pillars on which he will rest so firmly, that he will not succumb to the most severe trials arising from his temperament. The misfortune of the melancholic consists in refusing to carry his cross;
his salvation will be found in the voluntary and joyful bearing of that cross. Therefore, he should meditate often on the Providence of God, and the goodness of the Heavenly Father, who sends sufferings only for our spiritual welfare, and he must practice a fervent devotion to the Passion of Christ and His Sorrowful Mother Mary.

2. He should always, especially during attacks of melancholy, say to himself: ''It is not so bad as I imagine. I see things too darkly," or "I am a pessimist."

3. He must from the very beginning resist every feeling of aversion, diffidence, discouragement, or despondency, so that these evil impressions can take no root in the soul.

4. He must keep himself continually occupied, so that he finds no time for brooding. Persevering work will master all.

5. He is bound to cultivate the good side of his temperament and especially his inclination to interior life and his sympathy for suffering fellow men. He must struggle continually against his weaknesses.

6. St. Theresa devotes an entire chapter to the treatment of malicious melancholics. She writes: "Upon close observation you will notice that melancholic persons are especially inclined to have their own way, to say everything that comes into their mind, to watch for the faults of others in order to hide their own and to find peace in that which is according to their own liking." St. Theresa, in this chapter touches upon two points to which the melancholic person must pay special attention. He frequently is much excited, full of disgust and bitterness, because he occupies himself too much with the faults of others, and again because he would like to have everything according to his own will and notion.

He can get into bad humor and discouragement on account of the most insignificant things. If he feels very downcast he should ask himself whether he concerned himself too much about the faults of others. Let other people have their own way! Or whether perhaps things do not go according to his own will. Let him learn the truth of the words of the Imitation (I, 22), "Who is there that has all things according to his will? Neither I nor you, nor any man on earth. There is no man in the world without some trouble or affliction be he king or pope. Who then is the best off? Truly he that is able to suffer something for the love of God."

VII IMPORTANT POINTS IN THE TRAINING OF THE MELANCHOLIC
In the treatment of the melancholic special attention must be given to the following points:

1. It is necessary to have a sympathetic understanding of the melancholic. In his entire deportment he presents many riddles to those who do not understand the peculiarities of the melancholic temperament. It is necessary, therefore, to study it and at the same time to find out how this temperament manifests itself in each individual. Without this knowledge great mistakes cannot be avoided.

2. It is necessary to gain the confidence of the melancholic person. This is not at all easy and can be done only by giving him a good example in everything and by manifesting an unselfish and sincere love for him. Like an unfolding bud opens to the sun, so the heart of the melancholic person opens to the sunshine of kindness and love.

3. One must always encourage him. Rude reproach, harsh treatment, hardness of heart cast him down and paralyze his efforts. Friendly advice and patience with his slow actions give him courage and vigor. He will show himself very grateful for such kindness.

4. It is well to keep him always busy, but do not overburden him with work.

5. Because melancholics take everything to heart and are very sensitive, they are in great danger of weakening their nerves. It is necessary, therefore, to watch nervous troubles of those entrusted to one's care. Melancholics who suffer a nervous breakdown are in a very bad state and cannot recover very easily.

6. In the training of a melancholic child, special care must be taken to be always kind and friendly, to encourage and keep him busy. The child, moreover, must be taught always to pronounce words properly, to use his five senses, and to cultivate piety. Special care must be observed in the punishment of the melancholic child, otherwise obstinacy and excessive reserve may result. Necessary punishment must be given with precaution and great kindness and the slightest appearance of injustice must be carefully avoided.


CHAPTER V

THE PHLEGMATIC TEMPERAMENT

I NATURE OF THE PHLEGMATIC TEMPERAMENT
The soul or mind of the phlegmatic person is only weakly or not at all touched by impressions. The reaction is feeble or entirely missing. Eventual impressions fade away very soon.

II FUNDAMENTAL DISPOSITION OF THE PHLEGMATIC PERSON
1. He has very little interest in whatever goes on about him.

2. He has little inclination to work, but prefers repose and leisure. With him everything proceeds and develops slowly.

III BRIGHT SIDE OF THE PHLEGMATIC TEMPERAMENT
1. The phlegmatic works slowly, but perseveringly, if his work does not require much thinking.

2. He is not easily exasperated either by offenses, or by failures or sufferings. He remains composed, thoughtful, deliberate, and has a cold, sober, and practical judgment.

3. He has no intense passions and does not demand much of life.

IV DARK SIDE OF THE PHLEGMATIC TEMPERAMENT
1. He is very much inclined to ease, to eating and drinking; is lazy and neglects his duties.

2. He has no ambition, and does not aspire to lofty things, not even in his piety.

V THE TRAINING OF PHLEGMATIC CHILDREN
The training of phlegmatic children is very difficult, because external influence has little effect upon them and internal personal motives are lacking. It is necessary to explain everything most minutely to them, and repeat it again and again, so that at least some impression may be made to last, and to accustom them by patience and charity to follow strictly a well-planned rule of life. The application of corporal punishment is less dangerous in the education of phlegmatic children; it is much more beneficial to them than to other children, especially to those of choleric or melancholic temperament.


CHAPTER VI

MIXED TEMPERAMENTS

Most people have a mixed temperament. Some persons, however, have one predominant temperament, for instance, the choleric; but the fundamental characteristics, the light and dark sides of this principal temperament are extenuated or accentuated by the influence of the other temperaments. In general a person is happier if his temperament is not a pure one. The combination smoothes the rough edges of the main temperament. In order to facilitate the recognition of one's own temperament these mixtures of temperaments are herewith mentioned briefly.

1. In the choleric-sanguine temperament the excitement is quick, and the reaction also; but the impression is not so lasting as with the pure choleric temperament.

The pride of the choleric is mixed with vanity; the anger and obstinacy are not so strong, but more moderate than in the pure choleric. This is a very happy combination.

2. The sanguine-choleric temperament is similar to the choleric-sanguine temperament; only the sanguine characteristics prevail, the choleric ones recede to the background. Excitement and reaction are quick and vehement and the impression does not fade so quickly as with the pure sanguine, even though it does not penetrate so far as with the pure choleric. The sanguine fickleness, superficiality, extroversion, and garrulity are mitigated by the seriousness and stability of the choleric.

3. The choleric-melancholic and the melancholic-choleric temperaments. In this one, two serious, passionate temperaments are mixed; the pride, obstinacy, and anger of the choleric with the morose, unsocial, reserved temper of the melancholic. Persons who have such a mixture of temperaments must cultivate a great deal of self-control, in order to acquire interior peace and not to become a burden to those with whom they work and live.

4. The melancholic-sanguine temperament. In this the impressions are feeble, the reaction is weak, and it does not last as long as with the pure melancholic. The sanguine gives to the melancholic something flexible, friendly, cheerful. The melancholic persons with a sanguine alloy are those cordial, soft-hearted people who cannot bear to hurt anyone, are quickly touched, hut unfortunately also fail where energy and strength are needed. Sanguine persons with a melancholic mixture are similar. Only in this case the sanguine superficiality and inconstancy prevail.

5. The melancholic-phlegmatic temperament. People of this type succeed better in community life than the pure melancholic. They lack, more or less, the morose, gloomy, brooding propensity of the melancholic and are happily aided by the quiet apathy of the phlegmatic. Such people do not easily take offense; they can readily bear injuries and are contented and steady laborers.

Welcome Back! Thanks for Visiting Our Department Blog!

Welcome back to a fantastic 2007-2008 year and to the LCHS Drama Blog. If you haven't done so yet, take our fall play survey for 2007-2008. We'll be making important decisions soon.

For those of you new to us, this is another place for us to share information about the LCHS Drama Department, ITS Activities, Drama Club Activities and production information that is aimed to assist us in "Continuing Our Winning Tradition of Excellence." We will be using the LC Website for most of our information this year. On the blog, though, we have a chance to create an on-line community and have discussions.

This has been a great way to share photos, calendars, student testimonials and also archive "hands-on" work done in the LCHS Drama Department. We'll test this out to see how effective a tool it is for learning and promoting excellence within the already successful Drama Department at Lewis Central High School. Welcome!

Mr. M.

Exciting Year Planned for 2007

Happy new school year to one and all!

I hope you've had a summer that you can remember positively because of what you've accomplished, how you've spent your time and that you're ready to help us "carry on our 'Winning Tradition of Excellence.'"

Our first major production is just around the corner. We have selected several short, short-lists.

Like many of you, I've been really busy this summer. I've worked on tons of projects, traveled lots and kicked-off my campaign to be ISEA's next Vice-President. We also have a "tentative calendar put together for the year. Take a look at the Drama Calendar for 2007-2008 here. We still need to have all the Performing Arts faculty sit down to iron out conflicts. But this is pretty close.

Anyways, it's time for us to make some decisions. I hope you're excited to be part of this process. So, here's some things that we need to start taking care of to maintain our place in the program's great history:

(1) We have a brochure prepared for all of our "new students" and want to give it to them on their first day of school like we did last year. E-Mail to tell me whether you're going to be there to help or not. IT'S IMPORTANT THAT YOU PASS OUT THESE LETTERS AND WELCOME OUR NEW STUDENTS. These first impressions are very important. They are part of our program's future.

(2) We have to start planning for our season. Please take a moment to respond to the poll questions to the right.

(3) ITS members and the seniors need to sit down and look at our short lists. We need to choose our fall play and--as you can see--we're going to do it a little differently this year.

(4) We need to organize our "CARE PACKAGE" program for all the cool kids who are going off to college. I have a great piece to put in their packages.

(5) We need to decide how we're going to put our ITS Meetings together. We have reserved the second Tuesday of each month for our grouop.


(6) We need to get busy with our seniors. It's time to help you put together your resumes, get letters of recommendation stared, time to prepare for standardized tests if you need to improve your score or get one, time to find you some scholarship money and time to put a plan of action for the year together. This needs to be a big priority.

It's exciting to start off with lots of good goals in mind. I hope that you're excited.

Let me know what you're thinking. So, don't just read this--respond! What you think matters. Please be honest--with politeness. I hope that you're as excited as I am about a great new year.

Please fill out the survey questions that are on the sidebar. If they don't show up, try refreshing a few times. It's a glitch in the code. Auditions are early this year... LET'S GET READY TO RUMBLE.

I'm excited to work with you again this year. You guys rock!

Here's to us,

Mr. McLaughlin

VOICES IN CONFLICT Challenges Censorship of Ideas

Credit goes to VOICES IN CONFLICT, an original drama created by students at Wilton High School in Connecticut. The powerful and moving drama is drawn from interviews, letters and essays written by Iraqi civilians and American soldiers serving in Iraq. The students planned to perform the show at their school, but those plans were cut short. According to Bonnie Dickinson, the Drama Advisor for the students, the Principal deemed the play too controversial, and cancelled the performances. Then as media attention grew, the superintendent on behalf of the school district backed the principal's decision, calling it "Sensational and inappropriate."

Music Theatre International has joined with everyone from our soldiers in Iraq to students across the country, a creative coalition (including playwrights Edward Albee, Christopher Durang, John Weidman, Marsha Norman, Doug Wright, John Guare and John Patrick Shanley representing the Dramatists Guild of America,) the National Coalition Against Censorship and the national media to make sure VOICES IN CONFLICT would not disappear. We created our first-ever "Courage in Theatre Award," which will be presented to the Wilton students as part of a very special performance at the Public Theatre in New York on June 15.

According to Freddie Gershon, Chairman of Music Theatre International, Wilton's advanced-theater students' "non-performance of their original theater piece is unique in our experience of licensing over 500,000 high school performances in the last two decades and deserving of special recognition." In a letter to the Wilton High School principal, Gershon goes on to explain, "Collaboration by 15 students acting as a microcosm of society working together, exchanging views, bending, honing, editing and ultimately sharing a vision requires perseverance, tenacity, resilience, compromise and passion, particularly when their shared vision may not be shared by a large segment of the full community. Although we have witnessed students in College and University theatre groups go down this road, we have never before been made aware of it at the high school level."

MTI applauded the drama students of Wilton High School and their advisor, Bonnie Dickinson and proudly awarded them the "Courage In Theatre" Award.

Click here to read the story published in The New York Times on March 24, 2007.

Click here to read a follow-up NYT article from June 7, 2007

Courageous high school students and their sponsor fight censorship and address social relevance through drama. Click here to read more about this inspirational story and follow the play all the way to Broadway! Cheers to freedom of thought.

ANOTHER PART OF THE FOREST

Another Part of the Forest
Sep 1, 2002 12:00 PM,
from LIVE DESIGN
David Johnson & Ellen Lampert-Gréaux

For the new Broadway revival of Into the Woods, the creative team played it by the book—the storybook, that is. In re-imagining this Stephen Sondheim musical about what happens after happily ever after, director James Lapine (who also directed the original production) wanted the designers—Susan Hilferty (costumes), Doug Schmidt (sets), Brian MacDevitt (lights), Elaine McCarthy (projections), and Dan Moses Schreier (sound)--to look beyond the fairy tales that populate the show—Cinderella, Jack and the Beanstalk, The Baker and His Wife, Little Red Riding Hood--to the actual act of storytelling, and ultimately to the books themselves.

Douglas Schmidt's show curtain.

"James wanted us to free our imaginations," says Hilferty. "The only thing he brought to the table was a pop-up book, and we kept trying to figure out what it was we connected to in the book. It all came down to the memory of books--the idea of storytelling--and how it brings you back to childhood."

One of the first things the team tried to establish in early meetings was an actual vocabulary of the fairy-tale world. "People would say, ‘Well it’s just fairy stories,’ as if there were a vocabulary for fairy stories, which there isn’t," says Hilferty. "If you look back to your favorite illustrators, every single one of them is different. You look up Cinderella on the Internet, and there’s edition after edition. So we had to create our own vocabulary."

Hilferty’s vocabulary would end up including moos, howls, oinks, and a variety of other barnyard sounds; she felt early on that giving a real voice to the various animals that populate the musical—the big bad wolf, the three pigs, and especially Jack’s beloved Milky-White—was the key to connecting the overlapping fairy-tale worlds. "This was a world in which I thought the animals should talk, because animals do talk in this world," she says. "Though there are human events happening onstage, nobody’s surprised when a wolf walks onstage, and nobody’s surprised to see Milky-White. Just as in fairy stories, where you accept these things—a bear talks, a snake talks—what this world needs is to accommodate the animals."

Perhaps the biggest accommodation—indeed one of the production's major innovations—is the introduction of Milky-White as an animated being. Jack’s bovine friend was nothing more than a prop in the 1987 Broadway incarnation; today, she’s a living, breathing creature, played by actor Chad Kimball. But because the decision to animate Milky-White came well into the creative process, there was in turn a long evolution process in coming up with the right look and feel to the creature. Hilferty and her team—which included associate designers Devon Painter and Michael Sharpe and assistant designers Amanda Whidden and Chris Peterson—sketched innumerable variations of the animal, ranging from a girl with a cow’s body, to a cow with a girl’s face. "All the initial goals of the cow for me were to find this level of humanness and then to find the level of character," Hilferty says. "This went on for a long time as we tried to get James to visualize by what I had sketched by what we were ultimately trying to figure out and accomplish."

Milky-White in her final manifestation with Jack. Photo: © Joan Marcus

The final sketch was a four–legged cow that combined the idea of storytelling with the idea of movement, giving the creature something of a sad, stuffed animal quality (as in a rag doll, or Eeyore), while making it clear that an actor was playing the role.

"I broke all the rules of real cows," Hilferty says. "It became important that the head was low because it made it sadder and sweeter. We gave a humanness to the face, and eyes that have nothing to do with a cow. I knew that this was the right idea because whenever anybody looks at the sketch they’d go, ‘Awww.’ We kept finding whenever we tried to do something different we didn’t get the same response."

The next step was to actually make the thing, and for that Hilferty turned to fabricator Andrew Benepe. "He made the cow head and the fabrication of the cow body, but his real masterpiece is the head," says Hilferty. Actually, the head and the neck: it is the neck that has to hold up the head. Sure, the cow’s eyes open and close, her ears flap, and she can move her mouth from side to side to mimic chewing. But the head, even though lightweight, needed to be supported. Kimball has to use crutches to create the front legs of the cow, and his head is actually over a foot away from the cow’s head. "The actor is in one place, and the head is in another, so what’s holding the head in place? And at the same time, it has to be flexible, so if you’ve got a hard spine holding it up, you’re out of luck.

"The brilliant thing Andrew did," Hilferty continues, "was to try a coil. The coil gave support to the neck and allowed an enormous amount of flexibility. The other critical thing was that it gives some space for the actors to see. As soon as I saw it, I said, ‘Okay, we’re going to feature that. We stuffed it and wrapped it at the neck, and it immediately became not about being a cow."

The cow’s body is deceptively simple, made up essentially of Polartec, a lightweight, fleecelike material, worn like a pair of longjohns, with a long spine connecting the tail and the neck, and a strapped-on udder. This gives Kimball the freedom of movement that Lapine and Carrafa sought in bringing Milky-White to life.

It’s telling that Milky-White elicits the same "awws" from the audience every night that Hilferty got from that final sketch of the cow. Still, doesn’t it seem odd that a costume designer gets such acclaim (Hilferty was nominated for a Tony for her work) for creating this lovable but essentially silent bovine entity? Not at all, says the designer. "The key to it is character, which is what we work with every day. That’s the difference between a costume designer and a fashion designer."

And apparently, a set designer as well. "Doug [Schmidt] was thrilled that I was so interested in the animals," Hilferty adds, "because it meant that he didn’t have to do them!" --David Johnson

The Forest and the Trees

"I was reluctant at first, almost hesitant," says set designer Douglas Schmidt about designing this production of Into the Woods. "I had fond memories of the earlier Broadway version. It's not that I didn't want to tread the waters, but Anthony Straiges had done a great job. It was just beautiful to watch, but James Lapine was anxious to rethink the whole thing."

Schmidt's version was inspired by Lapine's interest in using Victorian books as a frame for the production. "We did a lot of research into old books, looking at the typography, the binding, and the graphics, to find something that would sustain enlarging to a giant scale and not fall apart visually," Schmidt says. After entering the world of fairy tales through a large book, three of the stories jump to life, each in its own "book" set. The "books" were built by ShowMotion in Norwalk, CT. with the intricate design detail and faux embossing by Scenic Art Studios.

a set model by Schmidt

The books serve as houses for Cinderella, Jack (of beanstalk fame) and his mother, and the baker and his wife. One of the books revolves to create Rapunzel's tower. There is also a finale book that the characters go back into at the end of the story. "The book metaphor worked very well and gave me permission to use the period illustrations to root our production in reality," says Schmidt.

Schmidt created a child's fairy-tale version of a forest, where much of the action takes place. "I looked at illustrations by English artists such as Arthur Rackham and Walter Crane," he says. "I added a complexity to give the illustrations a magical quality. It is ominous and has a scary quality; this is important in a fairy tale."

In Schmidt's forest, things move around to accommodate the action. "There is a big danger you could get sick of looking at the forest, so we had to do a moveable feast," he says. To do so, things shuffle about the stage to create the feeling that the characters have moved to another part of the forest. The trees move about on overhead tracks, with the trees and tracks also built by ShowMotion.

"Each tree has its own set of parameters of where it can move via a computer interface," explains Schmidt. The trees reach as high as 25' and were laser-cut out of huge sheets of aluminum, with scrolly trunks and roots based on Schmidt's initial drawings. To add textures, fabric was dipped in a glue-based substance that was applied to the trees. "There were great globs of glue-soaked rags twisted into bark and roots. It was not an easy job," Schmidt allows. The trees were then painted to look like the 1/2" models and topped with leaves that have a gauzy see-through quality, allowing them to let light through.

Schmidt worked with video designer Elaine McCarthy to create projections of Cinderella's mother and one of the giants atop Jack's beanstalk. "We wanted to do something different for the apparition of Cinderella's mother, and find an evocative way to present her," Schmidt says. The end result is the mother's face in one of the trees in the forest. The projection of the giant's shadow was rather complicated, as there is a mix of live action with the projection, and the sound track had to be cued with very close timing. "It took a lot of work in Los Angeles to get it right, but the subtlety of the gestures make it look as it the giant is listening."

Seeing all the elements come together confirmed for Schmidt that the entire creative team was on the same page. "The musical itself is so touching and funny, and beautifully written, you want it to have one sensibility. I think we achieved that."

Fairy Lights

"Winning the Tony was a thrill," says Brian MacDevitt, who was honored for his lighting design for Into the Woods. "The lighting follows the investigating that set designer Douglas Schmidt did to give the musical a literary point of view, with ornate, illustrated children's books spinning and popping open." As if you entered the fairy tales through the text," MacDevitt notes. Clickstrip runs along the edge of the book layers to give them a pop-up effect."

set model of Red Riding Hood's granny's cottage.

Following the lead set by Schmidt's sets, the lighting adds an extra vibrancy to the natural colors witnessed in nature. The show follows a big arc, from the dappled sunlight of a beautiful forest to a devastated, almost war-torn look," MacDevitt explains. "The scenery is painted with fairly neutral colors so the lighting could push deep greens, blues, and ambers. The lighting is more colorful, with a very saturated palette. It needed to be magical."

In the numerous scenes that take place in the forest, MacDevitt layered the light, with overlapping five to six different colors and various templates, including leaves. "I tried to really mix things so they weren't recognizable to look at," he notes. The layers range from large breakup templates to GAM's pointilism patterns, with the size of the patterns varying with the intensity of the colors. "A source, such as the moon, would be portrayed by the densest templates, where the least light gets through, and the palest colors, and layers of larger breakups and deeper colors would follow.

MacDevitt describes his rig, as supplied by Fourth Phase, as "fairly conservative," and that of a traditional Broadway musical. "There is no special truss, just booms and overhead pipes," he adds. The rig does include 40 automated luminaires; a mixture of 21 ETC Source Fours on City Theatrical AutoYokes, and both 17 Studio Beams® and 12 X Spots from High End Systems. The show is run via one Wholehog II and one ETC Obsession III console.

MacDevitt worked with programmer David Arch, associate LD Jason Lyons, and assistant LD Yael Lubetzky. In working with projection designer Elaine McCarthy, MacDevitt strove to incorporate the projections seamlessly, actually using the video projectors as sources.

"There is subtle movement in the moving lights. Every choice we made was influenced by the score, so there are not too many moments of flash, except for the vogue-ing by Vanessa Williams in her transformation scene," MacDevitt says. Other moves in the automated fixtures helped during scene shifts, adding to the movement of the scenery. "You never see a template change or the gobos flipping, yet there are a few visible changes of focus, zoom, and color."
--ELG

Fee Fi Fo Fum

You notice sound designer Dan Moses Schreier’s work on Into the Woods before you even sit down in your seat—the preshow features a collage of bird cues emanating from various parts of the theatre, all chirping and tweeting happily away. These fine feathered friends can be heard during transitions throughout the first act, a far cry from the ominous sounds of the scavenger birds Schreier unleashes for the much darker second act. Such inventive specificity is par for the course for Schreier, a designer best known for his work on straight plays whose extensive collaborations with director James Lapine (Dirty Blonde, The Diary of Anne Frank, Twelve Dreams, Golden Child, A New Brain) led to working on this revival.

While the bird cues were relatively simple to pull off, Schreier and his crew (associate Simon Matthews and assistant Fitz Patton) had much bigger fish to fry. The giant casts a, um, giant shadow over the proceedings in Act II of Into the Woods—the grieving wife of the giant slain in Act I who has come down to earth looking for revenge is heard but never seen aside from shadowed video projections by Elaine McCarthy—and it was up to the sound designer to create a believable, threatening, but not overpowering presence.

"The biggest challenge was creating the giant," Schreier explains. "It takes up a large part of Act II. And because it evolved as we were working on the piece, it took us a long time to get to where it got finally. Not only were there technical issues involved, which were considerable—the synching with the video became a big issue—but also because of what we wanted the sounds to be."

The genesis of the giant began in rehearsals, courtesy of musical director Paul Gemignani. "He had a giant bass drum in the rehearsal room in order to begin to give the actors a sense of what the approaching giant might do to them emotionally," Schreier says. "That became my marker for how to build the giant, just jotting down when Paul hit the drum, and taking note of when the steps should begin to be heard, and when they have to arrive and disappear." From there, it became a matter of adding different layers of sounds that would go with the moving giant—the brushing of leaves and trees, the cracking of branches, not to mention the big thud when the male giant hits the ground in Act I.

"I also decided," Schreier adds, that as the giant moves, the animals in the forest are being displaced, so whenever the giant approaches, you’re hearing birds fluttering and going off in different directions in order to give a real sense of being within the forest. It’s not just the giant steps, there’s a whole environment that moves very much in the space as the giant approaches."

The next step was the addition of McCarthy’s video. As her ideas were added to the mix, more sound would be added, video would be moved around, or some of the scenery would be shifted to create the total picture. During this time, the female giant’s vocals were added to the mix; originally done by cast member Linda Mugleston as a marker, the final voiceover, by Dame Judi Dench, was added while the production was still in tryouts in LA. Dench was in a recording studio in London, Lapine and Schreier were in a studio in LA, and Schreier recorded her performance via a digital link while Lapine provided direction over the phone.

Schreier generally prefers to record as many effects himself as possible, then opts for the standard libraries, using a sampler to make them all sound as different from the original sources as possible. He also goes for extreme layers, rarely opting for a single effect, except obviously in the case of the cow, though even that was altered. He used the Performer music-sequencing program for much of the show, which was especially useful with the giant cues. "Performer was invaluable in making that happen," he says. "Version 3.0 is new and it has these things called MOTU Panners. It’s very flexible in creating how you want sound to move within a space and how many speakers you want. It has a great capacity for linking things together, and you can also track through reverb."

Speakers include the d&b E3 full range compact speaker, an increasingly popular choice among theatre sound designers in the US (it’s been a fixture in the UK for a couple of years now), as well as EAW JF-80 and JF-60s and Meyer’s new MM-4 compact speaker. Schreier also used a variety of subwoofers, including Meyer UPA-1Ps, EAW SB-48s, and Sunfire True subwoofers, which were placed all over the theatre, one, to deal with the giant effects, and two, to help with the orchestra. Control comes via the Cadac K-Type, the small, sidecar console, which supplier Masque Sound custom-modified to Schreier’s specifications, and which, needless to say, provides a smaller footprint than standard-sized boards. Microphones included AKG CK91s, DPA 4022s, Sennheiser MKH-80s, and Shure SM-58s. There are also a handful of the new Sennheiser SK5012 mini UHF lavalier transmitters on the show.

Some eyebrows might have raised at the prospect of Schreier, best known for his effects-driven work on straight plays (Topdog/Underdog, The Diary of Anne Frank, The Tempest), working on a big Broadway musical. His long collaboration with Lapine helped, but, as the designer notes, he’s also a composer. "When I got hired the refrain that kept coming was ‘Remember Dan, this is a chamber piece, it’s not a full-blown rock piece, it shouldn’t be amplified in a very strong way. And I kept telling everyone, ‘I’m your man.’ Because I’m a music lover. I’ve never been averse to musicals; that’s not where my reputation is, but I’m very happy to do it."
--DJ

INTO THE WOODS Team List

WE ARE PROUD TO CONGRATULATE
THE MEMBERS OF THE INTO THE WOODS TEAM

CAST LIST
(in order of appearance)

Narrator
JOSEPH TWEEDT*

Baker
ZACH MAILAHN*

Baker's Wife
JENNIFER ETTINGER*

Cinderella
NATALIE JACOBY*

Jack
BRETT COON

Milky White
BEN RAUSCH*

Cinderella's Stepmother
VICTORIA MEANS

Lucinda
COURTNEY DUSING*

Florinda
ERICA SHOCKEY

Jack's Mother
HANNAH HOPSON*


Little Red Ridinghood
KRISTEN SCHWEER*

The Witch
JESSICA FORMANEK*

Cinderella's Father
DANNY LICH*

Cinderella's Mother
HALEY GREGORY

Mysterious Man
CALEB HOUSLEY*

Wolf
ADAM EVANS

Rapunzel
BONNIE SOUTH

Rapunzel's Prince
BRETT EPPERSON*

Granny/The Giant
NICOLE McGUIRE

Cinderella's Prince
DAVID EBKE*

Steward
RYAN PENNEY

Royal Protocol Liaison
TESSA HOPSON*

Sleeping Beauty
LAUREN PETRI

Snow White
MEGAN REIF

*Indicates membership in the International Thespian Society (ITS) which is part of the Educational Theatre Association (EdTA). Since its inception in 1929, ITS has honored over two million students for excellence in theatrical arts. Its members have gone on to distinguished careers in medicine, law, education, business and, of course, theatrical arts. We are proud of the active members of LC's Chapter #5150 of the organization.

PRODUCTION TEAM LIST

Coordinating/Drama Director
MR. TOM McLAUGHLIN*

Vocal Directors
MR. BRIAN JOHNSON
MS. SHELBY SEIVERS

Orchestra Conductor
MR. ANDY WALTERS

Assistant Director
DIANA MESCHER

Assistant to the Director
JORDEN HARDEN
COURTNEY ZUCCA

Production Secretary
ANDREW GULDEN
SARA MARSHALL

Stage Manager
TEDI SWANSON*

Choreographer
CARLY SINN*

Associate Choregraphers/Dance Captains
SHANNON GASCOIGNE*
ANDREW GULDEN
ALYSHA RAU*

Associate Stage Managers
OLIVIA HANDY
KELSEY MOORE

Technical Directors
NATHAN BLACK*
DANNY LICH*
MATT WOLF

Associate Technical Directors
MARK HAMILTON
JARED JUEL

Web Page/Technologist
ALEX MARES
SARA MARSHALL
SARAH PIERCY

Lightboard Operator/Lighting Design
ROSALIE WARNER
KYLE WINELAND

Sound Board Operator
COLE TEMPLETON

Headset Crew Chief
KYLE WINELAND

Spotlight Operators
TYLER LARSEN
ALEX MARES

Costume Coordinators
TYLER LARSEN
KAYLEE McKINLEY

Program Coordinators
KAILIN BELLOWS
MAKENNA DOPHEIDE

Publicists
MOLLY COX
KAYLENE PAGE
ALAINA WALKER

Makeup Crew
JENNIFER BURNETT
CHLOE SMITH
ALAINA WALKER

*Indicates membership in the International Thespian Society (ITS) which is part of the Educational Theatre Association (EdTA). Since its inception in 1929, ITS has honored over two million students for excellence in theatrical arts. Its members have gone on to distinguished careers in medicine, law, education, business and, of course, theatrical arts. We are proud

of the active members of LC's Chapter #5150 of the organization.

LCHS Performing Arts to present INTO THE WOODS

LCHS Performing Arts Department
announce Spring 2007 Musical,
INTO THE WOODS
SAVE THE DATES
April 20 & 21, 2007
Important Audition Information in this Entry
(more posts about the show and auditions follow)

An ambivalent Cinderella? A blood-thirsty Little Red Ridinghood? A Prince Charming with a roving eye? A Witch...who raps? They're all among the cockeyed characters in James Lapine and Stephen Sondheim's fractured fairy tale. When a Baker and his Wife learn they've been cursed with childlessness by the Witch next door, they embark on a quest for the special objects required to break the spell, swindling, lying to and stealing from Cinderella, Little Red, Rapunzel and Jack (the one who climbed the beanstalk). Everyone's wish is granted at the end of Act One, but the consequences of their actions return to haunt them later, with disastrous results. What begins a lively irreverent fantasy in the style of “The Princess Bride” becomes a moving lesson about community responsibility and the stories we tell our children.

Look to the sidebar---------------> for some video clips of different INTO THE WOODS productions.

OUR APPROACH

The original production was lauded with many major awards and nominations. However, Sondheim and Lapine rethought their approach in the 1988 Broadway production and revived the hit in 2002. This version was much richer in dance, spectacle and acting. The LCHS version of INTO THE WOODS will move in the same direction as the revival production of 2002. Although the original DVD (with Bernadette Peters) is a treasure for singing, sets and costumes, it is not the approach we will be taking with the production.

PREPARATION & AUDITION INFORMATION

Mrs. Sievers and Mr. Johnson will be passing out music on February 19 & 20, 2007 to give students an opportunity to rehearse prior to auditions. Needed are 12 female actors, 7 male actors, a stage manager, an assistant director, a technical director and several choreographers. The set for this production is ambitious. The costumes are goregeous. It will truly be a BEAUTIFUL production.

The first audition for most roles will be ONLY singing. Please check out the links below to see vocal range for characters and the link to MTI Shows' online versions of the songs. Those who are "called back" will be asked to sing and act.

General meetings and auditions will begin on February 26, 2007. Callbacks will be held Thursday March 2, 2007. The cast list will be posted on Friday afternoon March 3, 2007. Rehearsals will begin the week of March 6, 2007.

With plenty of unforgettable roles, and no chorus, “Into The Woods” is a great way to showcase a talented ensemble cast. And since the show's emphasis is on character rather than spectacle, it is equally at home in large or intimate spaces. One of Sondheim's most popular works, this timeless yet relevant piece is a rare modern classic.

Opened 11/5/1987 Ran for 764 performances.

Total enchantment. A spellbounding score, witty enough to make old stories fresh for adults, lovely enough to enchant youngsters."- Daily News

"Bewitching... dazzling... triumphant." - New York Post"Non-stop pure pleasure. A ravishing explosion of color and melody and magic and laughter." - Time Magazine"

DOUBLE CLICK HERE to take the Quizilla Quiz to determine which INTO THE WOODS character you are most like.

INTO THE WOODS Characters with Singing Ranges

SINGING INFORMATION
(More INTO THE WOODS information follows this post)

DOUBLE CLICK HERE to the taken to the Music Theatre International Web Page. This page has hyperlinks to the songs so that you can listen to them. Please pay special attention to "Agony" and "No One is Alone".

NARRATOR Intellectual and pleasant.
Baritone: G - High E

CINDERELLA Earnest, warm-hearted.
Soprano: G - High G

JACK The feckless Giant Killer, almost a man.
Tenor: A - High G

JACK'S MOTHER Browbeating and weary.
Soprano: B - High F sharp

THE BAKER Harried and insecure.
Baritone: A - High G

THE BAKER'S WIFE Determined and bright.
Mezzo-Soprano: G - High F

CINDERELLA'S STEPMOTHER Mean-spirited.
Mezzo-Soprano: A sharp - High F

FLORINDA Cinderella's stepsister, lovely but black of heart.
Mezzo-Soprano: C - High E

LUCINDA Cinderella's stepsister, lovely but black of heart.
Mezzo-Soprano: C - High E

CINDERELLA'S FATHER

LITTLE RED RIDINGHOOD A spoiled smart aleck.
Mezzo-Soprano: B - High F

THE WITCH Sarcastic, ugly-then-gorgeous.
Mezzo-Soprano: Low F - High F

CINDERELLA'S MOTHER

MYSTERIOUS MAN A mischievous vagrant.
Baritone: G - High E flat

WOLF Hungry and insatiable.
Baritone: B - High G flat

GRANNY Red's fiesty, savage grandmother.

RAPUNZEL A loopy-but-lovely maiden.
Soprano: C - High A sharp

CINDERELLA'S PRINCE Vain and gorgeous.
Baritone: B - High F

RAPUNZEL'S PRINCE Just as vain and gorgeous.
Baritone: C sharp - High E

STEWARD Surly and bureaucratic.

GIANT

SNOW WHITE

SLEEPING BEAUTY

JACK'S COW (2)

INTO THE WOODS Plot Synopsis w/ Pictures

INTO THE WOODS SUMMARY
(more production information below this post)

Act One

We discover three dwellings in a large forest. In one, we see Cinderella cleaning; in the second, we see Jack trying to milk his pathetic-looking cow, Milky-White; and in the third, we see the Baker and the Baker's Wife preparing tomorrow's bread.

The Narrator leads the company through The Prologue" as we learn about a series of wishes that are more important than anything - even life itself - to these characters. Cinderella wants to go to the King's Festival; Jack wishes his cow could give milk; and the Baker (who believes his parents were killed in a baking accident) wishes he and his Wife could have a child. As these characters express their wishes, we meet Cinderella's Stepmother and stepsisters who laugh at the idea of her going to a ball; Jack's aging mother who wishes for a lot of gold and a less foolish son; and Little Red Ridinghood, who comes to buy bread, sticky buns and pies from the Baker and his Wife before starting her journey into the woods to see her sick Grandmother.

We learn Jack's cow (whom Jacks foolishly persists in refering to as "he") is no longer giving milk. Jack's Mother says he must sell the cow so they can survive. He is crushed because he thinks the cow is his best friend, but sets off to the market to sell it. Leaving Cinderella in tears, her family rides off to the ball without her.

The Baker and his Wife learn the Witch next door, a humpbacked crone with long gnarled fingers, has placed a curse on them to prevent their having a child. She explains the Baker's father had stolen various vegetables from her garden many years ago to satisfy his wife's insatiable desire for greens. He also stole the Witch's magic beans. To punish him for the theft, she demanded and had been given the Baker's sister, a sibling the Baker never knew existed. She claims she still has the Baker's sister hidden away and that he can break the spell that makes him childless only by bringing her a cow as white as milk, a cape as red as blood, hair as yellow as corn and a slipper as pure as gold.

The Baker puts on his father's old jacket as he prepares to journey into the woods. He finds six beans in the pockets and wonders if they are the Witch's magic beans. He forbids his Wife to join him on this dangerous quest as he tries to memorize the list of things the Witch says he must deliver. As "The Prologue" ends, Cinderella decides to visit her mother's grave.

At this point, the show takes on a rapid pace.

Cinderella tells her mother her wish and is given a fancy dress and slippers to wear to the ball. While walking through the Woods to market, Jack encounters a Mysterious Man who tells Jack his cow is only worth a sack of beans. Little Red Ridinghood meets a Wolf who targets her and her grandmother as his next meal ("Hello, Little Girl"). The Baker appears and is concerned harm will come to Little Red Ridinghood. The Witch warns him not to worry about the child's welfare; his task is simply to steal her cape. We hear the sound of a woman singing in the distance; it is the voice of the Baker's lost sister, Rapunzel.

As the Baker struggles to remember the four objects on his list, his Wife appears, with another offer to help him. They argue about her presence as they encounter Jack and his cow, a beast like the one the Witch has demanded. The Baker's Wife persuades Jack to sell the cow for five of their beans (which leaves them with one remaining bean). After Jack sings a sad farewell to the cow ("I Guess This Is Goodbye"), the Baker is upset they used deceit to acquire the animal. The Baker's Wife insists they did Jack a favor. ("Maybe They're Magic"). She says you have to go after what you want and not hesitate. The Baker sends his wife home with the cow and continues on his way, as Rapunzel sings again.

The Witch visits Rapunzel at the tower where she is kept prisoner. A handsome prince sees the Witch climb Rapunzel's hair and decides to try it himself the following day.

The Baker makes an unsuccessful try at stealing Little Red Ridinghood's cape - thievery does not come naturally to him. Little Red Ridinghood enters her Grandmother's house to find the Wolf, in bed, pretending to be the old woman (whom he has eaten). After the Wolf eats Little Red Ridinghood, he takes a nap. The Baker sees a corner of the red cloak hanging out of the Wolf's mouth and hoping to get the whole thing cuts his stomach open, releasing Little Red Ridinghood and her Grandmother. After the ordeal, Little Red Ridinghood realizes that "I Know Things Now." Grateful to the Baker for saving her life, Little Red Ridinghood gives him her cloak.

Jack's Mother is furious with him for selling their cow for five seemingly worthless beans and she throws them away. The Baker's Wife, leading Milky-White through the forest, encounters Cinderella, who is running from the Prince (the brother, coincidentally, of the prince who is smitten with Rapunzel) and his Steward. When Cinderella reveals she isn't sure she wants the Prince, the Baker's Wife thinks she is being very foolish ("A Very Nice Prince.") The Baker's Wife tries to take one of Cinderella's gold shoes, but is forced to chase after the runaway cow instead.

The next morning the characters realize one midnight has gone and they have not realized their wishes. Jack discovers a beanstalk has grown up overnight.

As the Baker sleeps beneath a tree, Jack appears with an oversized money sack. He sings about "Giants In The Sky" and relates his adventure. He describes the sensation of being high in the sky and meeting a lady giant who drew him close. The appearance of her husband, an even bigger giant who intended to harm him, sent him scrambling back to earth with one of the giant's sacks of gold. Jack's Mother, delighted by his acquistion, has let him keep five gold pieces which he wants to use to buy back Milky-White. He finds the Baker and demands his cow. The Baker cannot sell the cow because the Witch wants it. Jack, thinking the Baker is holding out for more money, goes off in search of additional funds, leaving the gold with the Baker. The Baker's Wife appears, confessing she has lost the cow.

Rapunzel's Prince and Cinderella's Prince exchange tales of woe ("Agony"), each insisting his romantic problem is more serious than his brother's.

The Baker's Wife, who is searching for the hair as yellow as corn, encounters Jack's Mother, who is looking for Jack. The Mysterious Man returns the cow to the Baker. The Witch warns the Mysterious Man to stay out of her business. The Baker's Wife, recognizing Rapunzel's hair as the perfect shade to satisfy the Witch's hair demand, grabs one of the girl's substantial tresses, rips it out, and runs into Cinderella, who is on her way home from another night at the Festival. The Baker's Wife tries, without success, to take Cinderella's shoe. The Baker and his Wife run into each other and he finally agrees it will take both of them to accomplish their goal ("It Takes Two").

Jack appears with the hen that lays golden eggs. The Baker's Wife realizes the Baker has considered selling the cow for money. The cow drops dead and all seems lost for the Baker and his Wife. Two midnights are gone.

The Baker goes in search of another cow. The Baker's Wife goes off to try again to grab a golden slipper. The Witch warns Rapunzel to obey her ("Stay With Me") and to remain shielded from the world. Rapunzel says she is no longer a child and wants to see the world. Enfuriated, the Witch cuts off most of Rapunzel's hair and exiles her. The Narrator reveals, while pursuing Rapunzel, Rapunzel's Prince has fallen into a patch of thorns and blinded himself.

Little Red Ridinghood has turned bloodthirsty, replacing her red cloak with one made from the skins of the Wolf. Jack, questing after more money for his mother, has returned to the giant's domain to steal more gold.

Leaving her third visit to the royal ball with only one slipper, Cinderella reflects on her indecision about leaving her miserable home for the unknown aspects of life with the Prince ("On The Steps of the Palace"). She decides not to decide. She has left a shoe for the Prince to find and it will be his decision.

The Baker's Wife gives Cinderella her own shoes in exchange for the remaining gold slipper. She then has a struggle with the Prince's Steward who also wants the second gold slipper. The Mysterious Man becomes involved in the struggle. The Prince decides they only need one shoe. There is a horrible thud. Jack's Mother screams that a dead giant has fallen from the sky. No one seems to care. The third midnight is near. The Baker and his Wife report to the Witch with their four objects, but she rejects the new cow which they have covered with flour to look like the dead Milky-White. The Witch demands they bring the dead Milky-White to her and she'll bring it back to life. Jack appears with a golden harp. The Witch restores Milky-White to life and commands the Baker to feed the cow the other objects. A clock chime begins to strike. The Witch insists the cow be milked to fill a silver goblet. Jack tries, but no milk flows. When the Baker's Wife says she pulled the hair as yellow as corn from a maiden in the tower, the Witch explains she, the Witch, cannot have touched any of the objects needed to break the spell. The Mysterious Man says to feed the cow an ear of corn. The Witch reveals the Mysterious Man is the Baker's father. The cow eats the corn, the milk flows into the goblet and the Witch drinks it. She is transformed into a beautiful woman and the Baker's father dies as the third midnight strikes.

The Narrator explains the Witch had been cursed with ugliness after her beans were stolen, but is now beautiful once again. Milky-White is reunited with Jack. The Prince searches for Cinderella with the golden slipper. Lucinda and Florinda try to fit into the slipper by cutting off parts of their feet, but their tricks are discovered and the Prince finally finds Cinderella.

The Narrator states Rapunzel, who has had twins, has been reunited with her blind husband and Rapunzel's tears restored his vision. The Witch attempts a reconciliation with her adopted daughter, but Rapunzel refuses. When the Witch tries to enchant Rapunzel and her prince, she realizes that in exchange for her own youth and beauty, she has lost her magical power over others.

At Cinderella's wedding, her stepsisters are blinded. The Baker's Wife appears, very pregnant.

The Narrator observes that everything which seemed wrong is now right. The kingdoms are filled with joy and those who deserve happiness to are certain to live long and satisfying lives. Only tenderness and laughter are foreseen forever after. As everyone congratulates themselves on their unswerving determination to get their wishes, a giant beanstalk emerges from the ground and stretches to heaven. No one notices it.

Act Two

As in the opening of Act I, we discover three structures. The first is the castle where Cinderella lives with the Prince; the second is Jack's house which is filled with all the conveniences gold will buy; the third is the home of the Baker and his Wife, which is cluttered with nursery items.

While the characters seem content ("Prologue: So Happy"), minor disturbances are quietly disrupting the joyous scene. The Baker's Wife wants a bigger cottage and she is squabbling with her husband over the baby's care. Suddenly a huge crash is heard and their home caves in.

The Baker goes off to tell the Royal Family. The Witch, who has lost her garden in the incident, insists they will not be of any help. When the Baker stops at Jack's house he is refused help by Jack's Mother who is still angry because no one cared when she had a giant in her backyard. The Baker is granted an audience with Cinderella who seems unable to offer any concrete assistance. Despite his mother's warnings, Jack goes out to investigate.

Little Red Ridinghood stops at the Baker's. She is on her way to move in with her Grandmother because her own home was destroyed and her mother has disappeared. The Baker and his Wife offer to escort her through the woods. The birds come to lead Cinderella through the woods, warning of trouble at her mother's grave. The characters re-enter the woods "To flee the winds - To find a future - To shield - To slay - To flee - To find - To fix - To hide - To move - To battle - To see what the trouble is."

The royal brothers, Rapunzel's Prince and Cinderella's Prince, meet and again compare their problems. Rapunzel's Prince complains his wife finds it impossible to be happy because of her pain-filled upbringing. He has fallen for Snow White. Cinderella's Prince lusts after Sleeping Beauty (Reprise: "Agony").

The Baker, his Wife and child and Little Red Ridinghood are lost in the now chaotic woods. They see the Royal Family staggering down a path and learn the castle has been set upon by a giant. When the Baker reminds the Steward he tried to warn them, the Steward replies "I don't make policy, I just carry it out."

Suddenly the Giant appears and the group realizes it is the wife of the giant Jack killed. She has come to exact revenge and demands Jack be handed over to her. Since she is near-sighted, the group thinks they can substitute someone else. Everyone in the group has an idea who should be sacrificed. First they sacrifice the Narrator. When the Giant realizes he isn't the boy she's after, she destroys him and again demands Jack. Jack's Mother engages the Giant in a furious verbal battle; the Steward bashes Jack's Mother over the head to stop her from endangering everyone else and Jack's mother is fatally wounded. The Steward reveals that Jack is hiding in Rapunzel's tower. Then, hysterical, Rapunzel runs toward the Giant and is crushed. The witch mourns that this is the world she was trying to save Rapunzel from confronting ("Lament").

The group disagrees about turning Jack over to the Giant. The Royal Family, without concern for anyone else, run to another kingdom. The Baker and his Wife leave their child with Little Red Ridinghood and go off to save Jack from the Witch, who is on her way to turn him over to the Giant.

The Baker's Wife encounters Cinderella's Prince in the woods and they have a romantic encounter in a glade. The Prince is ready to forget his commitment to Cinderella, but The Baker's Wife is ambivalent ("Any Moment"). The Baker meets Cinderella next to her mother's ruined grave and invites her to join his group. The Baker's Wife realizes she has to let the moment go, but says she will never forget her time with the Prince ("Moments In The Woods"). She knows it is time for her to leave the woods, but she becomes lost, the giant appears and she is crushed.

Jack is discovered by the others. He reports the Baker's Wife is dead. Everyone blames him, but he blames the Baker for giving him the beans which set the scenario in motion ("Your Fault"). As the song evolves, everyone blames every one else. The Witch stops their accusations, declaring it's the "Last Midnight." She says everyone is looking for someone to blame, when they should look inward instead. She says "You can tend the garden. Separate and alone." She disappears as they begin to see the connections between their earlier individual actions and the current problem.

The Baker starts to leave the Woods, believing his child is better off with Cinderella than with him. Suddenly, his father, the Mysterious Man, reappears. The Baker says, "I thought you were dead." The Mysterious Man answers "Not completely. Are we ever?" The Baker cries out that the whole situation was caused by the father's invasion of the Witch's garden years before. The Mysterious Man accuses the Baker of running from his own guilt ("No More"). As his father leaves, the Baker realizes he is just like him. He decides to stay and fight alongside the others.

As the Baker, Jack, Little Red Ridinghood and Cinderella plan their attack, a flock of birds whispers to Cinderella that her prince has been unfaithful. She says she doesn't care and enlists their help to kill the Giant. As each perepares to execute the plan, the Prince reappears. Cinderella dismisses him saying, "My father's house was a nightmare. Your house was a dream. Now I want something in between."

Cinderella and the Baker try to reassure Little Red Ridinghood and Jack, who are now orphans trying to make sense of right and wrong ("No One Is Alone").

The Giant is killed and the dead in the community appear as ghosts, joining in a pronouncement of the moral lessons learned from the experience in the woods. The Baker and Cinderella become the responsible adults in a re-constituted family made up of the Baker's child, Little Red Ridinghood and Jack. The ghost of the Baker's Wife encourages him to believe in his power to raise their child without her. The Witch reappears to warn the Baker to be careful of the tales he tells his child ("Children Will Listen").

The final reprise of "Into The Woods" reminds us there will be times when each of us must journey into the woods but that we must mind the future and the past.

YOU JUST CAN'T ACT
YOU HAVE TO LISTEN
YOU CAN'T JUST ACT
YOU HAVE TO THINK.

The show ends as Cinderella says "I wish ... "

INTO THE WOODS--About the Pultizer Prize Winning Authors

The original production ran for 764 performances on Broadway and had a 17-month national tour. The original cast featured Bernadette Peters (the Witch) and Joanna Gleason (the Baker's Wife). Other Witches included Phyllicia Rashad, Nancy Dussault, Betty Buckley, Ellen Foley and Cleo Laine. Dick Cavett played the Narrator for several weeks on Broadway in 1988. There was also a much-heralded London production, which is also available as an RCA cast album. The original Broadway cast was videotaped for PBS' Great Performances" series; that show was made available on laserdisc and now on videotape.

Stephen Sondheim, one of the most influential and accomplished composer/lyricists in Broadway history, was born in New York City and raised in New York and Pennsylvania. As a teenager he met Oscar Hammerstein II, who became Sondheim's mentor. Sondheim graduated from Williams College, where he received the Hutchinson Prize for Music Composition. After graduation he studied music theory and composition with Milton Babbitt. He worked for a short time in the 1950s as a writer for the television show Topper; his first professional musical theatre job was as the songwriter for the unproduced musical Saturday Night. He wrote the lyrics for West Side Story (1957), Gypsy (1959) and Do I Hear A Waltz? (1965), as well as additional lyrics for Candide (1973). Musicals for which he has written both music and lyrics include A Funny Thing Happened On The Way To The Forum (1962), Anyone Can Whistle (1964), Company (1970 - 1971 Tony Award Music and Best Lyrics), Follies (1971 - 1972 Tony Award Score and New York Drama Critics Circle Award; revised in London, 1987), A Little Night Music (1973 - Tony Award Score), The Frogs (1974), Pacific Overtures (1976 - New York Drama Critics' Circle Award), Sweeney Todd (1979 - Tony Award Score), Merrily We Roll Along (1981), Sunday In The Park With George (1984 - New York Drama Critics Circle Award; 1985 Pulitzer Prize for Drama), Into The Woods (1987 - Tony Award Score), Assassins (1991) and Passion (1994 - Tony Award Score). He composed the songs for the television production Evening Primrose (1966), co-authored the film The Last of Sheila (1973) and provided incidental music for The Girls of Summer (1956), Invitation to a March (1961) and Twigs (1971). Side By Side By Sondheim (1976), Marry Me A Little (1981), You're Gonna Love Tomorrow (1983; originally presented as A Stephen Sondheim Evening) and Putting It Together (1993) are anthologies of his work. He has written scores for the films Stavisky (1974) and Reds (1981), and composed songs for the film Dick Tracy (1990 - Academy Award for Best Song). He is on the Council of the Dramatist Guild, the national association of playwrights, composers and lyricists, having served as its president from 1973 until 1981, and in 1983 was elected to the American Academy of Arts and Letters. In 1990 he was appointed the first Visiting Professor of Contemporary Theatre at Oxford University. He was also recipient of a Kennedy Center Honor in 1993.

James Lapine also collaborated with Stephen Sondheim on Sunday in the Park with George, a revised version of Merrily We Roll Along and, most recently, Passion. Mr. Lapine collaborated with William Finn on the musicals March of the Falsettos and Falsettoland, which were later presented on Broadway as Falsettos. He has written and directed the plays Luck, Pluck and Virtue; Twelve Dreams; Table Settings; and adapted Gertrude Stein's poem/play Photograph. He has also directed The Winter's Tale and A Midsummer Night's Dream for the New York Shakespeare Festival and directed the films Impromptu and Life With Mikey. His work has been recognized with Tony, Drama Desk Obie and NY Drama Critics Circle awards and the Pulitzer Prize for Sunday in the Park With George.

History & Awards of INTO THE WOODS

The original production ran for 764 performances on Broadway and had a 17-month national tour. The original cast featured Bernadette Peters (the Witch) and Joanna Gleason (the Baker's Wife). Other Witches included Phyllicia Rashad, Nancy Dussault, Betty Buckley, Ellen Foley and Cleo Laine. Dick Cavett played the Narrator for several weeks on Broadway in 1988. There was also a much-heralded London production, which is also available as an RCA cast album.
The original Broadway cast was videotaped for PBS' Great Performances" series; that show was made available on laserdisc and now on videotape.

This same team won the Pulitzer Prize for Sunday in the Park With George three years before."

"Total enchantment. A spellbounding score, witty enough to make old stories fresh for adults, lovely enough to enchant youngsters."- Daily News

"Bewitching... dazzling... triumphant." - New York Post

"Non-stop pure pleasure. A ravishing explosion of color and melody and magic and laughter." - Time Magazine

Highlights of Major Awards Won:

2002 Tony® Award nominee Best Revival of a Musical -- Into the Woods

2002 Tony® Award nominee Best Actor in a Musical -- John McMartin

2002 Tony® Award nominee Best Actress in a Musical -- Vanessa Williams

2002 Tony® Award nominee Best Actress in a Musical -- Vanessa Williams

2002 Tony® Award nominee Best Featured Actor in a Musical -- Greg Edelman

2002 Tony® Award nominee Best Featured Actress in a Musical -- Laura Benanti

2002 Tony® Award nominee Best Scenic Design -- Douglas W. Schmidt

2002 Tony® Award nominee Best Costume Design -- Susan Hilferty

2002 Tony® Award winner Best Lighting Design -- Brian MacDevitt

2002 Tony® Award nominee Best Choreography -- John Carrafa

2002 Tony® Award nominee Best Director of a Musical -- James Laine

2002 Drama Desk Award winner Outstanding Revival of a Musical -- Into The Woods

2002 Drama Desk Award nominee Outstanding Actress in a Musical -- Vanessa Williams

2002 Drama Desk Award nominee Outstanding Actress in a Musical -- Laura Benanti

2002 Drama Desk Award nominee Outstanding Featured Actor in a Musical -- Greg Edelman

2002 Drama Desk Award nominee Outstanding Featured Actress in a Musical -- Kerry O'Malley

2002 Drama Desk Award nominee Outstanding Director of a Musical -- James Lapine

2002 Drama Desk Award winner Outstanding Set Design of a Musical -- Douglas W. Schmidt

2002 Drama Desk Award nominee Outstanding Costume Design -- Susan Hilferty

2002 Drama Desk Award winner Outstanding Sound Design -- Dan Moses Schreier

1999 Olivier Award Winner Best Actress In A Musical -- Sophie Thompson
1997 Tony® Award nominee Best Costume Design -- Ann Curtis

1988 Tony® Award nominee Best Musical -- Into the Woods

1988 Tony® Award winner Best Book of a Musical -- James Lapine

1988 Tony® Award winner Best Original Score -- Stephen Sondheim

1988 Tony® Award Winner Best Actress in a Musical -- Joanna Gleason

1988 Tony® Award nominee Best Featured Actor in a Musical -- Robert Westenberg

1988 Tony® Award nominee Best Scenic Design -- Tony Straiges

1988 Tony® Award nominee Best Costume Design -- Ann Hould-Ward

1988 Tony® Award nominee Best Lighting Design -- Richard Nelson

1988 Tony® Award nominee Best Choreography -- Lar Lubovitch

1988 Tony® Award nominee Best Direction of a Musical -- James Lapine

1988 Theatre World Award winner Best Debut Performance -- Danielle Ferland

1988 Drama Desk Award nominee Outstanding Actress in a Musical -- Bernadette Peters

1988 Drama Desk Award winner Outstanding Book of a Musical -- James Lapine

1988 Drama Desk Award nominee Outstanding Costume Design -- Ann Hould-Ward

1988 Drama Desk Award nominee Outstanding Director of a Musical -- James Lapine

1988 Drama Desk Award winner Outstanding Featured Actor in a Musical -- Robert Westenberg

1988 Drama Desk Award winner Outstanding Featured Actress in a Musical -- Joanna Gleason

1988 Drama Desk Award winner Outstanding Lyrics -- Stephen Sondheim

1988 Drama Desk Award nominee Outstanding Music -- Stephen Sondheim

1988 Drama Desk Award nominee Outstanding Musical -- Into the Woods

1988 Drama Desk Award nominee Outstanding Orchestrations -- Jonathan Tunick

1988 Drama Desk Award nominee Outstanding Set Design -- Tony Straiges

1988 NY Drama Critics Circle Award Winner Best Musical -- Into the Woods

Your Raise Me Up...You Raise Each Other Up...You Raise the Program Up

To all of my students who do their best each day:

So many of you do such fantastic work each day. I am proud to be your teacher or to have been your teacher. Thank you for helping me celebrate what I love doing most: teaching & directing. I hope you find the following words to be a fitting tribute for your commitment, hard-work, loyalty and for carrying on our "Winning Tradition of Excellence" with such great pride.

Thank you for all the times that I forget to tell you...and, I fear, that's more often than I'd like to admit.

What I love best about this song for you is that you do it for each other so selflessly. It's wonderful to work with a group of students who care about their work, their peers, the performing arts programs and who have such great pride in our school.

Mr. M.

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