From left - Stratford Festival

y J. M. Barrie 

From left: 

Tom McCamus as Captain Hook, 

Michael Therriault as Peter Pan 

and Seán Cullen as Smee 

Study 

Guide 

Tools for Teachers 

sponsored by

The following was created as part of the Peter Pan Project - an integrated 

language and arts curriculum unit for Grade 5. Please feel free to modify it for 

your grade level.

PETER PAN 

Integrated Language and Arts Curriculum Unit 

Table of Contents 

The Story ...............................................................................................................................1 

The Playwright.....................................................................................................................2 

Unit Overview ......................................................................................................................3 

Lesson 1 – Logs ...................................................................................................................4 

Lesson 2 – Victorian England...........................................................................................6 

Lesson 3 – Telling the Story .............................................................................................8 

Lesson 4 – Cast Party ...................................................................................................... 12 

Lesson 5 – Me and My Shadow ..................................................................................... 16 

Lesson 6 – Fairies............................................................................................................. 18 

Lesson 7 – The Never Land (Art)................................................................................... 20 

Lesson 8 – The Lost Boys ............................................................................................... 21 

Lesson 9 – Home ............................................................................................................. 23 

Lesson 10 – Captain Hook ............................................................................................. 25 

Lesson 11 – Pirates (Dance)............................................................................................ 28 

Lesson 12 – Mothers ....................................................................................................... 30 

Lesson 13 – The Jolly Roger .......................................................................................... 32 

Lesson 14 – Production Research................................................................................. 36 

Lesson 15 – Letter Writing...............................................................................................37 

Lesson 16 – Critical Responses..................................................................................... 38 

Additional Materials......................................................................................................... 39 

Rubric 

Detailed Art lesson materials 

Hook’s Rant 

Resource List 

Peter Pan Study Guide 

Stratford Shakespeare Festival 2010

The Story 

Ignoring Mrs. Darling’s tales about a strange boy visiting the nursery window, Mr. 

Darling chains up Nana, the family’s trusted nurse (even though she is a dog). At 

bedtime the strange boy flies in through the window: it’s Peter Pan, with his fairy friend 

Tinker Bell. He teaches the Darling children, Wendy, John and Michael, how to fly, and 

they take off with him for the Never Land. Alerted by the faithful Nana, Mr. and Mrs. 

Darling rush in just in time to see their children disappear. 

In the Never Land, Wendy becomes “mother” to Peter and the Lost Boys: orphans who 

fell out of their carriages as babies and were never claimed. She sees her sojourn in 

Peter’s world as a delightful interlude, until she learns that Peter (who, unlike the Lost 

Boys, ran away on purpose) once tried to return home and discovered that his mother 

had forgotten him. 

Wendy’s intent to go home with her brothers at once is thwarted by a raging battle 

between Lily and her tribe, allies of the Lost Boys, and their mortal enemies, the 

Pirates. There is a longstanding grudge between Captain Hook and Peter, stemming 

from the day Peter cut off Hook’s hand and fed it to a crocodile. Having tasted him 

once, the crocodile has pursued Hook ever since, wishing to finish off the rest of him. 

Hook and the Pirates capture the Lost Boys and tie Wendy to the mast of their ship, but 

Peter triumphs in a spectacular showdown that ends when Hook jumps overboard into 

the crocodile’s mouth. 

Wendy, John and Michael return home, where Mr. Darling has been sleeping in Nana’s 

doghouse out of remorse. The Darlings adopt the Lost Boys – all except Peter, who 

chooses freedom over family and flies away in pursuit of more adventures. 

Peter Pan Study Guide 1 


The Playwright: 

J.M. Barrie 

James Matthew Barrie was born in 1860 in the village of Kirriemuir, Scotland, the ninth 

of ten children. He attended the University of Edinburgh, and after graduating in 1882 

he began to work as a journalist. In 1885 he moved to London and supported himself 

as a freelance writer, selling humorous pieces to fashionable magazines such as the 

Pall Mall Gazette. He published a mystery novel, Better Dead, in 1888, and had his first 

major success the same year with Auld Licht Idylls, a book of short stories set in 

Scotland. In 1891 he published a bestselling melodramatic novel, The Little Minister. He 

married Mary Ansell, an actress, in 1894. 

The Little Minister was adapted for the stage in 1897 and was a hit both in England and 

in the U.S. After this, Barrie wrote mostly for the theatre. His plays Quality Street and 

The Admirable Crichton both premièred in 1902. But in his return to fiction the same 

year, with the adult novel The Little White Bird, he created his most enduring character, 

Peter Pan. Peter appeared in a few chapters of the book. Barrie then expanded the 

character and wrote the play Peter Pan, or The Boy Who Wouldn’t Grow Up, which 

premièred on December 27, 1904. 

In 1906, owing to the success of the play, the publishers of The Little White Bird 

published the Peter Pan chapters alone under the title Peter Pan in Kensington 

Gardens. Barrie reworked the play into a novel, published in 1911 and called Peter and 

Wendy. (In later editions it was called Peter Pan and Wendy, and finally Peter Pan.) 

Barrie wrote two more plays in the fantasy style: Dear Brutus (1917) and Mary Rose 

(1920). In 1913 he was made a baronet and in 1922 he was awarded the Order of Merit. 

In 1929 he donated the rights to Peter Pan to the Great Ormond Street Hospital for 

Children, which has honoured his request that they never reveal the value of the funds 

raised by royalties on productions of the play and sales of books. 

Barrie died in 1937 and is buried in Kirriemuir. 



Peter Pan Unit Overview 

Grade Level: 5 

Length of Unit: 21 to 25 lessons 

I. Overview 

This integrated arts unit for Grade 5 is designed to develop the students’ knowledge 

and skills in the arts and their ability to use the arts to understand, explore, and 

communicate feelings and ideas from and about themselves and their multicultural, 

multimedia environment. It is designed to be used in conjunction with the Stratford 

Festival’s 2010 production of Peter Pan which the students will see as part of and 

towards the end of the unit. As it is an arts unit, the lessons are designed around the 

text of the play Peter Pan and not the novel. An edited version of the play text for use 

with this unit is available from the Festival’s education department. 

The lessons in this unit provide opportunities for students to develop individual and 

collaborative communication skills and comprehension strategies for reading and 

constructing meaning from texts by providing them with new entry points into the text. 

The lessons invite students to think and imagine and provide them with the tools and 

strategies necessary to have transformative experiences with texts. 

I. Overall Curriculum Objectives Addressed 

Dance A1: Creating and Presenting 

Dance A2: Reflecting, Responding and Analyzing 

Drama B1: Creating and Presenting 

Drama B2: Reflecting, Responding, and Analyzing 

Drama B3: Exploring Forms and Cultural Contexts 

Music C1: Creating and Performing 

Visual Arts D1: Creating and Presenting 

Oral Communication 1 (listen to understand and respond) 

Oral Communication 2 (use speaking skills and strategies) 

Reading 1: Reading for Meaning 

Writing 1: Developing and Organizing Content 

Writing 2: Using knowledge of Form and Style in Writing 

Writing 3: Applying Knowledge of Language Conventions and presenting 

Written Work Effectively 



Lesson 1 – Logs 

Teaching Focus: Diagnostic Assessment. This lesson requires student to activate any 

prior knowledge they have of Peter Pan. Students will be introduced to the idea of 

keeping a log throughout the unit. 

Curriculum 

Expectation 

s 

Space 

Materials & 

Prep. 

Drama B2.1 (express personal responses and make connections…) 

Reading 1.5 (Making Inferences/Interpreting Texts) 

Reading 1.6 (Extending Understanding) 

Reading 1.8 (Responding to and Evaluating Texts) 

Writing 1.2 (Developing Idea 

Writing 2.2 (Voice) 

Regular classroom set-up 

Notebooks (provided or made by the students), Handout #1 

Classroom Activities: 

Whole group discussion 

Keeping/writing a log (record of a journey) 

Prior Knowledge: 

Students should know that a log is a record of a journey rather than a journal (which 

may just express feelings) or a notebook (which may just record facts). 

Lesson: 

Tell students that they are about to begin a study of the play Peter Pan and that a 

central part of this study will be to keep a log of their journey. Define log. Who keeps 

logs Establish its importance from day one and set firm expectations for keeping the 

log throughout the unit. (You may want to set up an anchor chart for what makes a 

good log.) Distribute Handout 1 (The Log). Talk through it. Answer questions. 

Emphasize that logs are an ongoing assignment. Tell students to make a log entry 

after every lesson, even if you don’t write out a specific log entry question for them that 

day. 

Model Entries: Create and read some exemplars of model entries for the students so 

they know exactly what you are looking for in the entry. (There is a rubric for 

summative log evaluation in the additional materials section of this unit.) 

Write: For their first log entry, ask students to write questions about plays in general, 

about Peter Pan, about the author, about the time it was written in, about the unit 

(What they think they know, what they would like to know, etc.). Have them share their 

responses with an elbow partner. 

Respond: Invite students to read entries aloud. See if they can answer one another’s 

questions. 



Handout 1 – Logs 

While reading Peter Pan, you will keep a log (that is, a record) of your journey through 

it. Log entries will consist of such things as: scene summaries, comments on the action, 

characters, language, themes, and so forth; and your personal reactions to those 

elements of the play. Sometimes I will have a question for you to consider for your log 

entry, sometimes you will come up with a question on your own. 

Record all entries in your logbook. 

You are in charge of your own personal log. You will decide what to write and in what 

form, but there are three rules: 

1. Clearly label each entry with a date and the act number or name. 

2. Write after every lesson. 

3. Over the course of the play, respond to a variety of the components so that by 

then end you will have considered each component (action, characters, 

language, setting, themes etc.) at least once. 

Write in your own voice. Interact with the play. You will be assessed on the 

thoroughness of your responses. 

Entries: For each scene, do a minimum of three of the following: 

1. Summarize the action of the scene. 

2. Comment in one sentence on what you think is the significance of this scene. What 

would the play be like without it 

3. Ask questions about the scene. Has anything in the scene caused you confusion 

Ask one of the characters in the scene a question – or ask me a question. 

[provide examples of questions] 

4. Quote lines from the scene that you enjoyed and comment on them. 


5. Describe your reactions to a character, action, or idea you confronted in the scene. 


6. Pretend you are an actor playing one of the characters in the scene. Get inside that 

character’s mind. Tell how the character feels about him/herself, about other 

characters, about the situation of the scene. 


adapted from a Folger Library activity sheet 



Lesson 2 – Victorian 

England 

Teaching Focus: This lesson will activate students’ imaginative and research skills and 

enable them to understand the socio-historical world of the play. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 

Drama B1.1 (engage actively in drama exploration and role play…) 

Drama B3.1 (describe forms of process drama, theatre…) 

Oral Communication 2.3 (Clarity and Coherence) 

Oral Communication 2.4 (Appropriate Language) 

Writing 1.3 (Research) 


Access to the library and/or the internet 

Books and background materials on Victorian England, Fairies, etc) 

Short biography of J M Barrie 

List of vocabulary words from the introduction to the play. 

Topic sheets for each group/pair with list of questions (see Handout 

2 for possibilities). 


Research J M Barrie, Victorian London, The Llewellyns, Victorian Fairies, 

Victorian play production. Pollock’s toy Theatres 

Mantle of the Expert (role play) 

Word wall (for new vocabulary) 

Prior Knowledge: 

Students should know how to use the internet to do searches. 

Lesson: 

Give the students a bit of background on the play (the author’s name, when it 

was written, where it takes place etc.). 

With the teacher in role as a historian or museum curator, explain to the 

students that they will become experts on Victorian London and play-going in 

Victorian London. 

Divide the students into pairs or small groups and give each group a topic/list of 

questions to research (see Handout 2 for ideas) 

Students report back to the group on their findings in role as experts. 

Add new words/definitions to the vocabulary chart. 



Handout 2 

Topic/Question sheets for Victorian London Research 

Topic 1: Historical Information 

What period does Victorian refer to 

Who was the ruler of England in 1904 (at the time the play was written) 

Were there cars during this period Electricity Indoor plumbing Radios 

Televisions 

What were typical jobs 

How much did the average person earn in a month Year 

What was the role of women 

What was the cultural make-up of London 

What was the population of London 

Find/print off a map of London around that time. 

Where is Bloomsbury 

Find a photograph of a typical street/house in the centre of London. 

What did people wear Find examples of outfits for a middle-class man, woman 

and child and explain what each item of clothing is. 

Topic 2: Vocabulary (give copy of opening description as well) 

Find definitions for each of the following: wend, sausage shop, cards perched 

over the doors, Thesaurus, Mr. Roget, adorned, day nursery, paste, coverlet, 

pinched, linnet, fire-guard, mantelshelf, staid, hence. 

Topic 3: Author Research 

Who is J M Barrie 

When was he born 

What else did he write 

Who are the Llewellyns 

Topic 4: Theatre Research 

Provide a brief description and history of the Duke of York’s Theatre up to 1905. 

Where is it located 

How many people did it seat 

Who is Benjamin Pollock 

Find/show an example of one of Pollock’s toy theatres. 

Explain what they may/may not have had in terms of special effects in a theatre 

during this time. 



Lesson 3 – Telling the Story 

Teaching Focus: In this lesson students will effectively use tableaux to summarize 

pivotal plot points, and express character, emotion and relationships. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 


Drama B1.2 (demonstrate an understanding of the element of role…) 

Drama B1.3 (plan and shape the direction of the drama…) 

Reading 1.4 (Demonstrating Understanding) 



Oral Communication 1.2 (Active Listening Strategies) 

Oral Communication 2.6 (Non-Verbal Cues) 

Open space in the classroom (move desks aside) 

Stage Directions Handout 

Pre-plan groups for tableaux if necessary 

Prepared tableaux cards for Peter Pan 

List of characters (including brief description for each group) 


Active warm-up (preparing to engage in drama activity) 

Teacher modeling 

Small-group guided instruction 

Class discussion and small group discussion 

Small group presentation 

Prior Knowledge 

Students need to have experience working cooperatively in small groups and in some 

role play. They need to be able to maintain stillness and focus in role. 

Lesson: 

Warm-up game “Stage Directions”: push the desks aside and clear a space in 

the room. Decide where the audience is and divide the open space into 9 

squares as per the Stage Directions handout. Call out specific areas of the stage 

and have students move to those areas. 

Tell the students that they will now be telling the entire story of Peter Pan in 

tableau. Define (or solicit definitions) of tableau. Demonstrate elements of a 

good tableau (levels, audience awareness, facial expression, body expression, 

stillness, clearly identifiable characters etc). Divide class into 4 or 5 groups. 

Each group is given a couple of tableaux cards. (The teacher may also distribute 

a list of characters in the play along with a brief description of these to help the 

groups in preparing their tableaux.) Each group must come up with a tableau to 

illustrate the events on their cards and a transition from one tableau to the other. 



Teacher narrates/reads out the tableau description as the students present their 

tableaux in sequence. Solicit feedback and comments on individual tableaux. 

Ask students if they understand the general story. If they don’t, do the exercise 

again. 

Lesson Extension (s) 

Have students create tableaux for additional scenes/moments in the play of their 

choice. 

Students may create tableaux for scenes/moments not in the play that they 

would like to see. 

Students must come up with a one or two-word title for their tableaux 



Stage Directions Handout 

up stage right (USR) up stage centre (USC) up stage left (USL) 

stage right (SR) centre stage (CS) Stage left (SL) 

down stage right (DSR) down stage centre (DSC) down stage left (DSL) 

Audience 



PETER PAN – Tableaux Cards 

1. Mrs. Darling and the family dog, Nana, 

put the three Darling children, Wendy, 

John and Michael, to bed and tuck them in 

for the night. 

3. Peter Pan teaches Wendy, John and 

Michael to fly and they all fly off through 

the bedroom window. 

2. Peter Pan and the fairy, Tinkerbell, fly in 

through the bedroom window waking up 

Wendy, John and Michael. 

4. Peter, Tinkerbell, Wendy, John and 

Michael arrive in Never Land and meet the 

Lost Boys (Peter’s friends). 

5. Peter and the Lost Boys build a house 

for Wendy and she becomes their mother. 

6. Captain Hook (Peter’s arch-enemy) and 

his pirates capture the Indian princess, 

Tiger Lily. 

7. Peter Pan frees Tiger Lily from the 

pirates. 

8. Peter Pan, Wendy, John, Michael and 

the Lost Boys, eat dinner, and tell stories in 

their Home Under the Ground 

9. Captain Hook and the pirates capture 

Wendy, John, Michael and the Lost Boys. 

10. Peter Pan frees Wendy and the boys on 

the pirate ship and a huge battle ensues 

between the children and the Pirates. 

11. Peter Pan and Captain Hook fight to the 

death. 

12. Captain Hook jumps overboard and is 

eaten by the Crocodile. 

13. Wendy, John and Michael return home 

to their parents bringing the Lost Boys with 

them. 

14. Peter Pan remains in the Never Land 

where he can stay a boy for ever and never 

grow up. 



Lesson 4 – Cast Party 

Teaching Focus: In this lesson students role play and use dramatic play to familiarize 

themselves with the characters in the play. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 






Oral Communication 1.6 (Extending Understanding) 

Oral Communication 2.1 (Purpose) 



Writing 2.3 (Word Choice) 

Open space in the classroom (move desks aside) 

2 or 3 colour coded sets of Character Cards 

2 or 3 sets of Character Maps (students can create their own) 


Role play 

Small and large group interaction and discussion 

Character maps 

Journal writing 

Lesson 

Tell students that they will now get a chance to meet the characters of the play 

at a cast party. Distribute character cards to students randomly and give them a 

few moments to memorize the information on the card before asking them to 

put the card away. The character on the card is a ‘friend’ that they are bringing 

to the party. 

Have the students mingle with the intention of meeting other cast members and 

introducing their (invisible) friend to others using the information presented on 

the bio cards. They should improvise and not read the information and circulate 

to as least three or four other people (circulating to someone else if they meet 

the same character). 

After meeting three or four other characters, form 2 or 3 groups that include all 

cast members (repeats are allowed). This is easily done if the cards were colour 

coded to begin with. Have each group form a circle and distribute a set of 

character maps to each group. Going around the circle, students share 

information about the character they met (they may embellish the improvisation 

further if so desired) and a group recorder(s) add the information to the 



character maps for each character. Details to each character map can be added 

by all cast members. Post the character maps in the classroom 

Direct students to answer the following question as their log entry for this 

lesson: “Choose a character from the play that you met today. Describe how 

you are like this character. Describe how you are different.” (Option to share 

their journal entry with others after completion.) 

Lesson Extension 

After the class party, a whole class sharing could take place for characters missed or 

most interesting characters met. What do we think will happen to these characters 

during the course of the play, etc. 



PETER PAN – Character Cards 

Nana 

Newfoundland Sheep Dog 

Guardian of the Darling children 

Caregiver 

Babysitter 

Kind 

Watchful 

Conscientious 

Mr. Darling 

Father 

Rule oriented 

Doesn’t like anything out of the ordinary 

Works in an office all day (sits on a 

stool) 

Hates taking medicine 

Depends on his wife 

Mrs. Darling 

Mother 

Very protective 

Creative (makes things out of scraps 

of nothing) 

Careful 

Loves her children 

Neat, tidy 

Organized 

Plays the piano 

John 

Second and middle child 

Attention seeker 

Serious 

Likes to wear a top hat 

Wants to grow up and be a man 

Wendy 

Oldest of three children 

Loving 

Motherly 

Orderly, neat 

Likes Peter Pan 

Is up for adventure 

Likes telling stories 

Likes taking care of people 

Michael 

Youngest of three children 

Wants to be taken care of 

Pampered/spoiled 

Loves adventure 

Doesn’t like being treated like a baby 

Is easily excited 



Peter Pan 

Boy who never grew up 

Lives in Never Land 

Leader of the Lost Boys 

Wants to have a mother 

Loves stories 

Adventurous 

Mischievous 

Rebellious 

Can be careless/thoughtless 

Enemy of Captain Hook 

Tinker Bell 

Fairy 

Jealous of Wendy 

Friend of Peter Pan 

Mischievous 

Brave 

A little bit vain 

Captain Hook 

Pirate 

Scoundrel 

Hates Peter Pan 

Afraid of the Crocodile 

Has a hook for an arm 

Cruel 

Elegant 

Dresses extremely well 

Vain 



Lesson 5 – Me and My 

Shadow 

Teaching Focus: In this lesson students will actively engage with the text and problem-solve 

issues/situations in the text. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 








Reading 1.6 (Extending understanding) 

Open space in the classroom (move desks aside). Be prepared to reconfigure 

the class to set the stage for the nursery. 

Handouts of Scene 1 

Sheets of large brown paper (large enough to trace a student’s outline); 

enough for half the class 

Pencils, markers 


Read aloud 

Active Listening 

Visualizing 

Text in performance 

Improvisation in role 

Pair work 

Role on the Wall 


Students need to have experience working cooperatively in pairs and in some role play. They 

need to feel comfortable reading aloud and with re-enactment. 

Lesson 

Read the introduction to Act 1. Go over any new vocabulary and add to the word 

wall. 

Pass out scripts of the scene where Peter arrives through to his explanation of 

running away. 

Quickly cast the scene and read it through. 

Ask questions about the scene, get responses, discuss words or phrases the 

students do not understand. Put new vocabulary on a word wall. 



Divide the class into pairs and have them read through the scene together twice 

(switching parts so that they each get to read both Peter and Wendy) 

Have partner A trace partner B’s outline on a sheet of large brown paper with a 

pencil first, then they can go over it in marker. In role as Peter and Wendy, 

instruct students to improvise scenes where they try out as many different ways 

to stick on the shadow as possible. (If you wish you can give them random 

objects to work with/spark ideas from). Bring the class together and solicit 

volunteers to present their favourite solutions. 


Put the outlines on the wall and explain Roll on the Wall. Information about the 

characters in the play will be added to these outlines throughout the study of the play. 

Have students transfer the information from their character webs to the Role on the 

Wall outlines. They will be adding to these outlines throughout the play. Put any 

information about the character himself on the inside of the outline and things that 

happen to him in the play on the outside. 



Lesson 6 – Fairies 

Teaching Focus: In this lesson students will research Victorian views of fairies and 

make comparisons to contemporary views in order to come up with their own ideas of 

fairies and create their own personal fairy. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 




Visual Arts D1.1 (create art works… that express feeling, ideas…) 



Reading 1.2 (Purpose) 

Reading 1.3 (Comprehension Strategies) 

Reading 1.6 (Extending understanding) 



Regular classroom set up 

Handouts of Scenes 2 and 2B 

Books of fairies and Victorian fairies/views on fairies 

Access to the internet 

Paper, markers, pencil crayons 

Decorative materials (optional) 


Placemat activity 

Read aloud 

Active Listening 

Research 

Visualizing 

Drawing 


Students need to have experience gleaning information from both fiction and nonfiction 

texts, searching for information on the internet and using a variety of sources for 

research purposes. 

Lesson 

In groups of 3 or 4 have students do a placemat activity where they contribute to 

the question(s): Do you believe in fairies What do fairies look like Can you 

give any examples of fairies either from books/stories or in a current context 

Have each group share the commonalities they discovered. 



Solicit volunteers and read through the scene where Tinker Bell first appears. 

Does Tinker Bell conform to our conception of fairies How do our ideas 

compare to the historical Victorian conception of fairies 

Put the students in small groups of 3 or 4. Give each group a specific resource 

to look through (specific books, internet sites, magazines, etc) and find visual 

representations of fairies. Have each group assemble a list of 3-5 specific traits 

that are similar in all depictions/descriptions of Victorian fairies. Share as a 

whole group the images and findings. 

Have students draw/create and come up with a name for their own personal 

fairy who will act as their ‘guide’ through Never Land and accompany them 

throughout the rest of the play. 

Lesson Extension (s) 

Have students draw/create their own contemporary view/version of a fairy without any 

regard to Victorian ideas. 



Lesson 7 – The Never Land 

(Art) 

Teaching Focus: In this Art lesson (which will take several days to complete), students 

work with proportion, variety and contrast as underlying principles of design to draw an 

imaginary forest in the Never Land from the perspective of a fairy, and build a mask for 

the fairy inhabiting that forest. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 

Visual Art D1.1 (create two- and three-dimensional art works that 

express feelings and ideas…) 

Visual Art D1.3 (use elements of design in art works to communicate 

ideas, message, and understandings) 

Put groups of desks together to create work spaces 

Students should be asked to bring in found objects and materials for 

mask making 

Chart paper/newsprint (1 sheet per 4 students) 

Markers, pencils, pencil crayons (and paper for sketching on) 

Blank masks (purchased plastic forms or cut from Bristol board) 

Fine sandpaper (cut into 2x2” squares – 1 per student if plastic 

masks are used) 

White glue (cut with water, in containers), glue brushes 

Scissors 

Craft items (fabric, foam pieces, pipe cleaners, wire, string, buttons, 

sparkles, etc.) 

Acrylic paint, paint brushes and markers (optional) 

Found objects (leaves, bolts, feathers, whatever works with the 

student concepts developed when designing their forest) 

Glue dots (optional – these work well to instantly attach found 

objects to mask) 


Brainstorming 

Visualizing 

Drawing 

Mask making/building 

*For a complete step-by-step description of this lesson (including an evaluation rubric), 

please see the additional materials at the end of the unit. 



Lesson 8 – The Lost Boys 

Teaching Focus: In this lesson, students extend their understanding of the text by role 

playing as the lost boys. They will use information from the text to build and sustain 

belief in character. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 






Oral Communication 1.4 (Demonstrating understanding) 

Oral Communication 1.8 (Point of View) 


Writing 1.2 (Developing Ideas) 



Wide open space (move desks aside) 

Text p. 18 (description of the Never Land and the Lost Boys) to read 

aloud 

Markers 


Read aloud 

Sculpture Garden 

Journal reflection 

Reflect personal discoveries in their writing 

Lesson 

Read the opening description of the Never Land from p.18 of the script. 

Put students in pairs. Partner A is the sculptor, partner B is the clay. The 

sculptors must mold their clay into forms/statues resembling the lost boys. Once 

the first set of sculptors are happy with their creations, have the sculptors walk 

around to view the other sculptures in the sculpture gallery and guess who they 

are. The ‘statues’ may also guess who they were once they are released. 

Students then switch roles and repeat. This should be a silent activity. 

Reinforce ‘making your partner look good’. If students are squeamish about 

being touched, this activity can be modified by having the sculptor ‘model’ the 

pose for the ‘clay’ and give non-verbal cues to coach the clay into position. 

Have students write a ‘day in the life’ entry in their logs from the POV of one of 

the lost boys. What would they do during a day in the Never Land. 




Have the students invent a diary for one of the characters. They should make it look as 

though it belonged to that character, and do at least five entries as if they were that 

person. 



Lesson 9 – Home 

Teaching Focus: In this lesson, students deepen their connection to and understanding 

of one of the themes of the play by exploring the concept of ‘home’ and relating it to 

their own experiences. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 


Word web 

Small group tableaux 

Whole group tableau 

Read aloud 

Ven diagram/T Chart 






Drama B2.3 (identify and give examples of their strengths, interests 

and areas for improvement…) 




Oral Communication 2.2 (Interactive Strategies) 

Writing 2.1 (Form) 



Clear, open space in the classroom (move desks aside) 

Text p. 25 - 28 to read aloud 

Lesson 

As a class (or in groups) construct a word web with the word “HOME” in the 

 

 

Divide the class into groups of 6 or 8 and assign each group a different room, 

such as the kitchen, the living room, or the bedroom. Groups practices creating 

their rooms individually. Then, have the whole group come together and, on a 

signal, have the whole class freeze into a picture to show the furnished house. 

Distribute the scene from the text (p.25 – 28). Quickly cast it and read through 

the scene. 

centre 



Direct students to do a T-chart or similar graphic organizer comparing and 

contrasting their idea of ‘home’ to that found in the play. 

For their log entry, have students write a short poem or song lyrics about ‘home’. 



Lesson 10– Captain Hook 

Teaching Focus: In this lesson students will extend their understanding role/character 

and relationship through a variety of strategies which will, in turn, enable them to 

extend their understanding of texts, construct meaning and make inferences. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 





Drama B2.3 (identify and give examples of their strengths, interests 

and areas for improvement…) 





Oral Communication 2.5 (Vocal Skills and Strategies) 

Writing 1.2 (Developing Ideas) 





Reading 1.5 (Making Inferences) 

Reading 1.9 (Point of View) 

Reading 2.4 (Elements of Style) 

Reading 3.2 (Reading unfamiliar words) 

Reading 3.3 (Reading Fluently) 


Pirate insults on 3x5 note cards 

Text p. 19-20 for description of Hook 

Handouts of page 20-21 of text 


Pirate Insults Warm-up 

Read aloud 

visualizing 

Shared reading in groups 

Re-enactment/outtake/role play 

Reflective writing 

Lesson 

Warm-up: Pirate insults: Put students in pairs and hand out insult cards, one per 

student. Have students read their insults to their partners a couple of times in a 



couple of different ways (whisper it, sing it, do it with an accent). Help students 

who need help; emphasize that they don’t need to know the meaning of every 

word, they just need to make it sound insulting. Next, tell students to get to work 

swabbing the deck, repairing sails, examine treasure/booty or any other number 

of pirate tasks on board ship (moving about the room as they do so). At the 

sound of your signal (drum or equivalent) they will stop, turn to the nearest 

person and deliver their insult in the most insulting manner. Repeat this a few 

times so they get to insult a few different people. Finally, assemble the group in 

one area of the class. Have pairs of students volunteer to get up and insult each 

other (adding gesture if possible). The rest of the class decides who delivered 

the best insult and who gets to walk the plank. 

Read aloud the description of Captain Hook on p. 19 of the text and have 

students describe how they picture him. 

Divide class into groups of 6 and hand out copies of the scene with Hook’s story 

(p. 20/21 of text). Have the groups read through it a couple of times on their feet 

so that each student gets a chance to read one of the characters or the stage 

directions. Have the students devise and rehearse a reenactment of the day that 

Hook lost his arm to the crocodile. Solicit volunteers to perform their scene. 

Direct the students to write a log entry about the day that Hook lost his arm from 

the crocodile’s point of view. 

Lesson Extension(s) 

Have students come up with their own pirate vocabulary and insults. 

Have students research famous pirates and report on their findings to the class. 

Have students compare pirates historically to pirates today. 

Have students come up with their own pirate persona/name. 



Lesson 10- 

Insults 

You spalpeen! 

You lubber! 

You sack of obesity and 

bunions. 

You bully. 

I’ll confine you to brimstone 

and gall. 

You odd bob hammer and 

tongs! 

Stow your gab. 

I’ll cleave you to the brisket. 

Proud and insolent youth! 

Dark and sinister man! 

You fiend! 

You mewling spawn! 

I’ll cast anchor in you! 

You codfish! 

I’ll split your infinitive! 

No children love you. 

You gnawing canker! 

You dog! 

You ungentlemanly lubber! 



Lesson 11 – Pirates (Dance) 

Teaching Focus: In this dance lesson, students will extend their understanding of the 

dance elements of body, space, time, energy and relationship through an exploration of 

choreography specific to character. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 

Dance A1.2 (use dance as a language to explore, interpret, and 

communicate…) 

Dance A1.3 (use movement in the choreographic form call and 

response…) 


CD player 

Pirate Dance music 



Role play/movement exploration 

choreography 


Students will have learned the lyrics to the pirate song (which will be used for the 

choreography) in a prior music lesson. Students will need to have familiarity with stage 

directions and have some coordination skills. Choreography can be modified for 

students with mobility issues. 

Lesson 

Lead a whole group discussion (establishing prior knowledge) about Pirates. 

Consider such questions as: How does one chose to be/become a pirate Are 

pirates good or bad Imagine the living conditions on a pirate ship: How much 

room do they have Where do they sleep Who does the cooking Where do 

they get their food Where do they bathe Do they Think about the social 

order: Who's the boss Who’s the next in command Do they like each other 

Do they have fights Are they strong or weak men physically Think of these 

questions specifically in relation to the pirates in the play. 

Based on the above discussion give the students scenarios of daily happenings 

in the lives of the pirates and have them explore, through movement, these 

specific situations paying particular attention to describing emotion and 

relationship through their movement. Play music throughout. Talk the students 

through the 8 efforts of the Laban movement analysis (Slash, Dab Flick, Thrust, 

Glide, Press Wring, Float) to enable them to explore how it feels to be physically 

different from themselves. Questions to consider: How does it feel to pretend to 



have one leg One arm Are you in command or following orders Are you 

happy or sad or mad or kind of Crazy Costume and prop pieces can help to 

spark discovery and tell the overall story. 

Divide the students into 4 or 5 groups and play 2 or 3 pieces of music for them. 

Students choose one of the pieces of music as the accompaniment for the 

movement piece they will create in their groups about a specific event or 

relationship in the pirates’ lives. Give the groups 20 – 30 minutes to rehearse. 

Make sure each movement piece has a clear beginning, middle and end and that 

students have incorporated movement from their earlier exploration. 

Students present their movement pieces. Discuss each group’s piece and how it 

helps describe the characters and helps advance the story. 



Lesson 12 – Mothers 

Teaching Focus: In this lesson students will explore the concept of ‘mother’ in the play 

in relation to their own and will further develop their skills in reading and interpreting 

dramatic text. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 








Reading 1.1 (Variety of Texts) 




Reading 1.9 (Point of View) 

Reading 3.1 (Reading Familiar Words) 

Reading 3.2 (Reading Unfamiliar Words) 



Be prepared to reconfigure the class to reflect “the home under the 

ground” 

Opening description of “The home under the ground” for read aloud 

Copies of the scene for each student 


Brainstorming 

Read aloud 

Brain storming/word web 

Setting the scene 


Scene on its feet 

Reflective writing 

Lesson 

On the board write “What is a mother” Briefly discuss then allow students 10 

minutes or so to write in their logs an answer to the question. 



Handout copies of the “Home Under the Ground” scene and quickly cast it. 

There are 10 characters in the scene plus someone needed to read the stage 

directions. Switch the casting halfway through to give everyone a chance to 

read. Get the students on their feet to read through the scene. Repeat if time 

allows. Discuss the scene and add any new vocabulary to the word wall 

Ask students to draw a line in their logs under the entry they made prior to 

reading the scene. Now have the students write an answer to the question, 

“What is a mother” Discuss how their answers may have changed. 

Lesson Extension(s) 

As an extension to the word web about ‘Mothers’, students can brainstorm about 

qualities that are essential in a mother. Students then receive two slips of paper on 

which to write qualities that they most want to have in a mother. The slips of paper are 

put into a pile and students choose two slips. Students then barter with each other in 

order to obtain the two qualities they most value. Through the course of the activity 

students may change their minds on qualities. Let the bartering continue for about 10 

minutes. On a signal, students keep the slips they have in hand, report those qualities 

to the rest of the class, and determine their level of satisfaction. Finally, the class holds 

a survey to discover the most valued qualities in a mother. 

Have groups prepare a movement piece for the “pillow fight ballet”. 



Lesson 13 – The Jolly Roger 

Teaching Focus: In this lesson, students will learn ship terminology in order to deepen 

their understanding of the text and use choral reading as a means of communicating 

character, thoughts, feelings and ideas through mood and sound and voice as well as 

through words themselves. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 


Drama B1.3 (plan and shape the direction of the drama or role play…) 

Drama B1.4 (communicate thoughts, feeling, and ideas to a specific 

audience…) 









ship terminology words on individual slips of paper 

Description of the Jolly Roger from beginning of Act 5 for read aloud 

enlarge photograph/drawing of a pirate ship for labeling 

Dictionaries/internet to look up definitions of ship terminology (or a 

prepared handout with definitions) 

Copies of Hook’s rant in large font for each student 


The Ball Game (see handout) 

Read aloud 

Labeling parts of a ship 

Setting the scene 

Choral speaking 


Students need to have some experience in choral speaking, otherwise, an additional 

lesson will need to be added to scaffold them through the basic technique(s). 

Lesson 

 

Ball Game warm-up (see handout) 



Read aloud the opening description of the Jolly Roger from the beginning of Act 

V of the text. Put up a photograph or drawing of a pirate ship and label the parts 

of the ship with terminology pulled from the ball game and any additional ship 

terminology collected/prepared. 

Divide the students into groups of 4 or 5 and distribute copies of Hook’s Rant 

from the scene. Have them prepare a choral reading of the speech giving them 

specific directions on what you will be looking for in the reading (variations in 

pitch, pace, single/multiple voices, unison, repetition/echo etc.) You may direct 

them additionally to add movement/gestures and/or sound effects. 

Assemble the groups for the presentations of the choral readings. 


Read through Act 5, scene 1 in class (casting the roles and with the students on their 

feet) and then have the students research sailors’ superstitions. (The research can be 

done as homework and brought in the next day for sharing with the class). 



The Ball Game Handout 

Objectives 

Time 

Needed 

Space 

Materials 

Focus 

Concentration 

Generosity 

Making your partner look good 

New vocabulary 

Background knowledge 

20 minutes 

Large, open 

Several balls in each of two colours. Soft balls about 8 inches in 

diameter work best. 

Individual words from the play printed out on slips of paper and 

placed in an envelope/container for the students to pick from. 

Setting up the exercise: 

This is an excellent warm-up activity as it provides an easy, non-threatening 

opportunity to play, collaborate and communicate. It can also provide an introduction 

to the world of the play through individual words. 

The exercise 

Students stand in a circle and start with their hands held out in front of them, 

which is simply a sign to say that they haven’t received the ball yet. 

Establish the pattern by throwing the ball to one of the students after you call 

out their name. The students then continue until each person has received the 

ball once. The last student throws the ball back to the teacher. This is the 

pattern. Tell the students to remember who they threw the ball to and who threw 

it to them. When going through the first time, remind them to put their hands 

down after they’ve received the ball. Repeat the pattern to reinforce it. 

Repeat the pattern introducing additional balls to increase the challenge. 

Reverse direction. The person you were throwing the ball to is now the person 

who throws to you and the person who was throwing the ball to you in now the 

person you throw to. 

Reverse back to the original pattern. 

Introduce a different coloured ball, so that the original colour goes forward and 

the new colour goes backwards. 

Let participants pick word from the play to “toss” and “receive” along with the 

ball, repeating the original pattern. 

Extensions 

Ask students to take their word and look it up in a couple of different 

dictionaries comparing the various definitions. 

Ask students to write down as many words as they remember 



Ask students to use their word in at least three different sentences. 

Ask students to create a drawing, painting or found-object sculpture, inspired by 

the word. 

Sample Ship and Pirate Related Words from Peter Pan: 

Blunderbuss Coracle Poop 

Ship’s Bell Long Tom Glass 

Deck Cabin Plank 

Ship’s lanterns Skull and Crossbones Greatcoat 

Bulwark Mast Port 

Starbird Bow Boatswain 

Anchor Cabin boy Crew 

(the) Hold Cutlass Brig 

Jonah Rigging Powder Magazine 



Lesson 14 – Production 

Research 

Teaching Focus: In this lesson students will begin to familiarize themselves with the 

people and personnel involved in the production of Peter Pan that they will see at the 

Stratford Festival. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 

Drama B3.2 (demonstrate an understanding of the broader world of 

drama and theatre by identifying and describing the roles and 

responsibilities of key theatre personnel) 




Access to the internet 

Background history on the Stratford Festival and information related 

to the 2010 production of Peter Pan 

Prepared research sheets for each group with specific questions to 

answer 

Video clip of the SF production of Peter Pan (if available) or another 

production of the play 


Researching 

Group work 

Information collecting and summarizing 


Lesson 

Play a promo clip of the play in production 

(www.stratfordshakespearefestival.com) 

Brainstorm about how many/what kind of people it takes to put on a play 

Divide students into groups of 2 or 3 and have them research specific artistic 

personnel involved in the SF production of Peter Pan as well as information 

about the Avon Theatre, Flying by Foy and the history of the SF itself. Distribute 

informational materials accordingly to each group, along with specific questions 

to answer. Have the students present their findings to the class and assemble 

all of the information. 


Students record in their logs their expectations of the day spent at the Festival and 

their predictions for what they will see in the production/performance of Peter Pan. 



Lesson 15 – Letter Writing 

Teaching Focus: In this lesson students will begin to familiarize themselves with the 

people and personnel involved in the production of Peter Pan that they will see at the 

Stratford Festival. 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 

Drama B3.2 (demonstrate an understanding of the broader world of 

drama and theatre by identifying and describing the roles and 

responsibilities of key theatre personnel) 

Writing 1.1 (Purpose and Audience) 


Writing 2.8 (Preparing drafts) 


Formal letter writing template if students are not familiar with it 

Address of the Stratford Festival 

Access to computers if students will be typing their letters 


Letter writing 

Lesson 

 

 

 

 

Tell students they are going to write a letter to someone involved in the 

production of Peter Pan at the Festival. Model the form of a formal letter with 

greeting line, signature line etc. 

Brainstorm some great questions it would be good to ask specific artists/artistic 

staff based on their research the previous day and their knowledge of the play 

Students draft their letters and share their drafts with a partner 

Tell the students that they will be revising their letters after seeing the 

performance (as some of their questions may be answered upon seeing the 

show). 



Lesson 16 – Critical 

Responses 

Teaching Focus: In this lesson students will offer critical responses to the production of 

Peter Pan that they attended at the Stratford Festival 

Curriculum 

Expectations 

Space 

Materials 

and Prep. 


Drama B2.2 (explain, using drama terminology, how different 

elements are use to communicate…) 

Writing 2.7 (Revision) 

Writing 2.8 (Preparing drafts) 

Writing 3.6 (Proofreading) 


Drafts of students’ letters 

Pre-arrange groups/roles in groups if doing peer editing circles 


Group discussion 

Individual revision and/or peer editing 

Lesson 

Inside/outside circle asking the questions “What surprised you about the 

production What was your favourite moment in the play What did it make you 

wonder about What character did you relate to and why If you could speak to 

the playwright or another character in the drama, what you like to ask him or 

her” etc. 

Bring the whole group together as a whole to discuss their responses and 

questions about the play. 

Arrange the students in groups according to which personnel they wrote their 

letters to. Have the groups pool the ideas/questions from their individual letters 

together to revise and write one letter to that specific person. 

Collect the letters for posting to the Festival (also collect the drafts for 

assessment and evaluation of finished product). 



ADDITIONAL MATERIALS 

Log Rubric 

Detailed Art Lesson 

Hook’s Rant 

Resource List 



Log Evaluation Rubric 

Expectation Explanation Level 1 Level 2 Level 3 Level 4 

Drama B2.1 Expresses 

personal 

responses and 

makes 

connections to 

characters, 

themes, and 

issues in drama 

works. 

With limited 

breadth 

With some 

breadth 

With 

considerable 

breadth 

With a high 

degree of 

breadth 

Reading 1.8 

Writing 2.3 

Writing 2.5 

Makes 

judgments and 

draws 

conclusions 

about the ideas 

and 

information in 

texts and cites 

stated or 

implied 

evidence from 

the text to 

support views 

Uses some 

vivid and 

figurative 

language and 

innovative 

expressions to 

add interest 

Identifies 

his/her point of 

view and other 

possible points 

of view and 

determines if 

those views are 

supported by 

evidence 

With limited 

clarity 

With limited 

effectiveness 

With limited 

depth 

With some 

clarity 

With some 

effectiveness 

With some 

depth 

With 

considerable 

clarity 

With 

considerable 

effectiveness 

With 

considerable 

depth 

With a high 

degree of 

clarity 

With a high 

degree of 

effectiveness 

With a high 

degree of 

depth

Lesson 7 

The Neverland – Art 

Step-By-Step Procedures: 

Day One (one hour) 

 

Pair students: 

o 

Line up game – students line up by height then birthday (no talking!) 

15 

min 

o 

Students are paired-up and find a place on the floor together 

o Any solo student can join a group to become a group of 3 

o 

Ask kids to sit back-to-back 

 

Brainstorming scary/creepy forest 

1) Ask the kids to sit back-to-back, shut their eyes for 2 minutes, no talking, and 

imagine their own uniquely scary forest. Tell them: 

• Imagine you are a LOSTBOY in Peter Pan's world. Pirates chased you, 

so you ran far into a forest to escape. Now you are alone and lost in the 

woods. 

• I’m going to give you 2 minutes to think of ideas what your forest would 

look like. Do not speak about it yet. Just imagine what your forest 

looks and feels like. 

20 

min 

• Imagine your scary forest. Think about what elements make the forest 

so scary for you. Is it dark Cold What sounds can you hear that make 

it scary What is in the forest that you’d find scary What do the trees 

look like The ground What season is it Is it a Cold winter’s day 

Night Is there snow Or is it a warm damp spring Can you see the 

sky What does it look like How does it feel to be lost in this forest 

What textures are in your forest What does it feel like to touch the 

ground or the trees 

2) Now have students face their partner and discuss their unique forest with their 

partner. (4 minutes) 

3) Ask the kids to sit back-to-back, shut their eyes for 2 minutes, no talking and 

imagine the same forest viewed from a fairy’s perspective. 

4) Tell them: 

• b) What if you were a tiny fairy who is afraid of nothing and you are 

flying around happily in the same forest you just imagined. How 

different would the same forest look like to a tiny, fearless fairy who can 

fly Imagine being that fairy, look through its eyes. Now what does 

your forest look like from your fairy’s perspective Do the trees look

igger because you are so small Does it still look scary Or does it 

seem like a fun place to fly around in Where does your fairy fly Can 

you fly high above the trees and look down on the tree tops Do they 

look really small from up there Or do you fly close to the tree tops and 

they look really big Or do you fly under the leaves and the leaves look 

huge What does the tree bark and leaves look like to a tiny fairy 

Imagine the same forest from your fairy’s eyes. How different does the 

forest seem to the fairy compared to the scared LostBoy on the ground 

5) Have students face their partner and discuss their unique forest with their 

partner. (4 minutes) 

 

Group Discussion/Presentation 

6) Have students combine their groups of 2 into groups of 4. 

30 

min 

7) Hand out large paper and markers. Have the kids discuss their ideas of how 

the forest seemed different from the perspective of the scared LostBoy on the 

ground, to the happy, tiny, flying fairy. Then have them write down and/or 

draw ideas of the contrast between the two viewpoints. They have 6 minutes 

(4 minutes in, remind them that 2 minutes are left so they should start putting 

their ideas onto paper if they haven’t started yet). 

8) Ask each group to select two presenters to hold up the paper and tell the class 

their ideas. 

9) Class can ask questions after the presentation has ended. 

10) Each group gets a chance to present

Day Two (one hour) 

 

Design/Scale 

1) Group desks into groups of 4 to 6 

2) Each student is given 2 pieces of paper, plus an assortment of pencil crayons 

(plus pencils, erasers & pencil sharpeners if required) 

30 

min 

3) Ask students to fold one piece of paper in half making a crease that divides 

the paper in half. 

4) Ask the students to draw their own unique scary forest from the perspective of 

the LostBoy in the left half of the paper using pencil crayons (20 minutes) 

5) Ask the students to draw their Fairy Creature on the right side of the paper 

using pencil crayons (5 minutes) 

6) Ask the students to draw their fairy creature on the forest picture. The Fairy 

should be located wherever the creature lives in their forest (is it on the 

ground, in the tree, flying), and draw it to SCALE. (This may simply be a dot 

on the forest side if the Fairy is very, vey small) (5 minutes) 

 

Perspective 

1) Ask students to imagine looking through their Fairy’s eyes with the Fairy being 

that size, sitting in the spot they drew it in their forest. What exactly would 

you be able to see of the forest if you looked out of your Fairy’s eyes 

(students can choose which direction the fairy is looking in). 

30 

min 

• For example: if the fairy is flying over the trees it may see a lot of tree 

tops, and they look small because they are so far away 

• If the fairy is tiny and sitting on a branch it may see grooves in the tree 

bark as huge crevices as big as the Grand Canyon. Maybe it is looking 

up at the underside of a leaf. 

2) On the second piece of paper, ask students to draw the outline of their fairy’s 

eyes. (For example, it may be a circle if the fairy has round eyes, or a triangle 

if the fairy has jack o’lantern eyes). 

• Then have the students draw inside of the eye shape exactly what their 

fairy sees of the forest from the Fairy’s perspective. (30 min)

Days Three & Four (1 hour each day) 

 

Preparation 

1) Have the kids to put the desks together in groups of 4 to 6 

2) Each student should have the picture they made the on day two 

depicting their fairy’s perspective of the forest 

5 

min 

3) Put paper/bristol board/drop cloth or other protective cover on each 

desk or group of desks 

4) Each student is provided with a blank mask (plastic form – or cut from 

bristol board) 

5) All students are supplied with access to other supplies: 

Tissue paper, white glue/water mix, craft items, paint, paint brushes 

and found items (students may have brought in their own, or teacher 

supplied. 

Mask Making – 

1) If the masks are to be worn in a performance, have the students cut the 

mouth area out of the mask. 

2) Sand the mask lightly to remove the smooth, shiny finish. This allows 

the glue and paint to adhere better to the plastic masks. (Some brands 

of mask require this for white glue to stick) 

3) Instruct students that they are to decorate the mask so it reflects their 

fairy’s perspective of the forest. The students should base the mask 

design on their perspective drawing from Day 2. And each mask must: 

• have more than one texture 

55 

min 

• use a variety of materials 

• represent the perspective/scale of their fairy 

4) Display the materials the kids will be working with to finish their masks: 

5) Demonstrate how to do a finish coat on their sculpt with tissue paper & 

glue: 

• Technique 1) 

 

 

Roll tissue into a small ball or cylinder coated with glue. 

This will dry very hard, create a great texture and add 

strength to the mask 

• Technique 2)

Tear off a small piece of tissue paper, brush glue onto 

mask, place tissue on glue, brush glue overtop. 

Make sure to overlap edges of torn paper 

• Suggest using different colours of tissue paper, mixing paint into 

glue for more colours, crumpling tissue paper for texture, etc. 

• Glue Found Items onto the mask (using white glue, hot glue or 

glue dots (hot glue and dots can be used wherever white glue 

has dried) 

• After the glue dries they can also paint on top of finished piece 

to add details, more colour, etc. 

Note: For grading the perspective, it is best to ask the students directly how their drawings, 

and how the items on the masks represent their fairy’s perspective. 

Required Materials: 

Day 1) 

Large sheets of paper – 1 page per group of 4 students (easel/flip chart paper works well) 

Markers – non-bleed type (to prevent staining floor) - 1 per group of 4 students 

Day 2) (and possibly day 3 if more time is required) 

Sketching paper – 2 regular sized sheets per student 

Pencils (pencil sharpeners, erasers if required) 

Pencil crayons 

Days 3 & 4) (or possibly Day 4 if more time was required on perspective/design) 

Blank masks (purchased plastic forms or cut from bristol board) 

Fine sandpaper (cut into 2x2” squares – one per student if plastic masks are used) 

Tissue paper (many colours) 

White glue (cut with water in containers) 

glue brushes 

scissors 

craft items (fabric, foam pieces, pipe cleaners, wire, string, buttons, sparkles, etc) 

Acrylic paint, paint brushes & markers (optional) 

Found objects (students can be asked to bring in – or teacher can supply – objects that will 

work with the students concepts developed on Day 2. For example, if a student designs a 

forest with feathers for leaves or a tree trunk made of nuts and bolts; feathers and bolts (or 

items that could be used to represent feathers and bolts at a different scale) could be supplied 

to glue to the mask. Free and interesting items that can be used include: pine cones (can be 

taken apart or used whole), twigs, pebbles, seed pods, etc.) 

Glue dots (optional – these work well to instantly attach found objects to mask)

Hook’s Rant (Act 5) 

HOOK: 

How still the night is; nothing sounds alive. Now is the hour when children in 

their homes are a-bed; their lips bright-browned with the good-night chocolate, 

and their tongues drowsily searching for belated crumbs housed insecurely on 

their shining cheeks. Compare with them the children on this boat about to walk 

the plank. Split my infinitives, but 'tis my hour of triumph! (Clinging to this fair 

prospect he dances a few jubilant steps.) And yet some spirit compels me now 

to make my dying speech, lest when dying there may be no time for it. No little 

children love me. I am told they play at Peter Pan, and that the strongest always 

chooses to be Peter. They would rather be a Twin than Hook; they force the 

baby to be Hook. The baby! That is where the canker gnaws. (He contemplates 

his industrious boatswain.) 'Tis said they find Smee lovable. But an hour ago I 

found him letting the youngest of them try on his spectacles. Pathetic Smee with 

a happy smile upon his face because he thinks they fear him! How can I break it 

to him that they think him lovable No, they (his speech is interrupted, as eight 

bells strikes and his crew pour noisily out on deck from below.) Quiet, you dogs, 

or I'll cast anchor in you!

Resource List 

Peter Pan (general): 

e-text of the play 

http://www.gutenberg.net.au/ebooks03/0300081h.html 

e-text of the novel 

http://www.enotes.com/peter-pan-text/ 

Edited script of the play available from the Stratford Shakespeare Festival Education Department 

Stratford Shakespeare Festival Website 

www.stratfordshakespearefestival.com 

Video clips of various productions of Peter Pan: 

http://www.bing.com/videos/searchq=Peter+Pan&FORM=VDRE# 

A Peter Pan website (games, books, etc.) 

http://www.peterpan.com/ 

Peter Pan toy theatre 

http://www.amazon.com/Assemble-Peter-Theater-Models-Toys/dp/0486245624 

J M Barrie websites: 

www.jmbarrie.co.uk 

J M Barrie Society at: 

http://jmbarrie.net 

Victorian London: 

www.victorianlondon.org 

http://www.britainexpress.com/London/victorian-london.htm 

Theatres in Victorian London: 

http://www.victorianweb.org/mt/theaters/pva234.html 

Build your own toy theatre site (V&A) 

http://www.vam.ac.uk/moc/kids/things_to_make/toy_theatre/index.html 

Victorian Fairies: 

Menges, Jeff A. Victorian Fairy Paintings: 24 Cards. 

Trimpe, Pamela White. Victorian Fairy Painting 

Wood, Christopher. Fairies in Victorian Art 

Pirate Ships 

http://www.bing.com/images/searchq=pirate+ships&FORM=IGRE# 

www.thepiratesrealm.com 

http://www.elizabethan-era.org.uk/famous-pirate-ships.htm 

http://www.cindyvallar.com/superstitions.html

Drama and Drama Assessment: 

Booth, D. W. & Lundy, C. J. (1985). Improvisation: Learning Through Drama. Toronto, ON: Harcourt Brace 

Jovanovich, Canada. 

Booth, David. 2005. Story Drama: Creating Stories through Role Playing, Improvising, and Reading 

Aloud. Markham, ON: Pembroke. 

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