Billy Bishop Goes to War - Play Guide - The Citadel Theatre

PLAY GUIDE
The Heroic Tale of a Canadian Icon
Starring JOHN ULLYATT
Directed by JAMES MacDONALD
Featuring RYAN SIGURDSON
Written and Composed by JOHN GRAY
In collaboration with ERIC PETERSON
September 18 - October 10, 2010
Maclab Theatre
Play Guides Sponsored by:

Table of Contents
Play Guide
William Avery Bishop (National Archives of Canada/William Rider-Rider/
Canadian Press)
Cast and Crew
About the Play
Biographies
Flying Aces
Canada in the First World War
From Cavalry to Air Force
Truth, Heroism, the Media and War
Director’s Q and A
Thrust Stage
Designing Billy Bishop
Glossary
Play Review Scaffold
Play Review
Pre-Show Discussion Questions
Post-Show Questions and Activities
Additional Resources for Students and Teachers
3
4
5
6
8
9
10
12
14
15
16
18
19
20
21
22

Cast and Crew
Presents
JOHN ULLYATT
as
Directed by JAMES MACDONALD
Featuring RYAN SIGURDSON
Written and Composed by JOHN GRAY
In collaboration with ERIC PETERSON
DAVID FRASER / Set/Lights/Properties Designer
MARISSA KOCHANSKI / Costume Designer
OWEN HUTCHINSON/ Sound Designer
CORY SINCENNES / Assistant Set/Properties Designer
RYAN SIGURDSON / Musical Director
MICHELLE CHAN / Stage Manager
SANG SANG LEE / Apprentice Stage Manager
The Citadel engages, under the terms of the Canadian Theatre Agreement, professional artists who are members
of the Canadian Actors’ Equity Association. Production personnel for the Citadel Theatre are members of the
International Alliance of Theatrical Employees (I.A.T.S.E.)
Season Sponsor: Series Sponsor:
Media Sponsors:
Play Guide
pg. 3

About the Play
Play Guide
B illy Bishop Goes to War was written by John Gray
in collaboration with Eric Peterson. The play
premiered in Vancouver in November, 1978, in a
production which featured Peterson as Bishop (and
19 others), and Gray as the Narrator/Piano Player.
Gray said the play was a product of the “three B’s of
Canadian theatre: Broke (the lot of the Canadian
theatre professional), Bored (of the stale fare which
seemed to be commonplace in Canadian regional
theatre in the 1970s), and Branded (as Canadian
Nationalists, which prevented their employment at
Canadian regional theatres).”
The original production toured across Canada and
the United States, eventually transferring to
Broadway’s Morosco Theatre in May, 1980. The
production had limited success on the massive
Broadway stage, eventually finding its niche off-
Broadway, where it ran for three months. Peterson
and Gray continued to tour the play internationally
to great acclaim. In 2009, Peterson and Gray
reprised their roles in a new production at Toronto’s
Soulpepper Theatre, 31 years after their first
production.
The play is largely based on two biographies: Bishop’s autobiography Winged Warfare, written at
the height of his success in World War I, and Courage of the Early Morning, written by his son
William Arthur Bishop, published in 1965.
It has become one of the best-loved, and most-produced plays in Canadian theatre history. In the
past two years, several new productions of the play have premiered across the country, spurred
by a renewed interest in Canada’s military history. It is a stirring, entertaining, moving depiction
of a Canadian hero, and his role in the emergence of Canada as a proud, independent nation
during the First World War.
pg. 4
Eric Peterson as Billy Bishop on the cover of the
1982 printing of Billy Bishop Goes to War

Characters, Biographies continued
Play Guide
John Gray
Gray was born in Ontario in 1946. After attending
college at Mount Allison University and The
University of British Columbia, Gray founded the
Tahmanous Theatre in 1972. Later he joined
Theatre Passe Muraille and began writing for the
stage. Billy Bishop Goes to War was created with
the celebrated Canadian actor Eric Peterson in
1978 and became an international success a short
while later. Gray was created an officer in the
Order of Canada in 2000. He lives in Vancouver.
Eric Peterson
Actor Eric Peterson was born in Indian Head,
Saskatchewan in 1946. After attending University
of Saskatchewan and University of British
Columbia, Petersen was a founding member of
Tamahnous Theatre in 1971 and later joined
Theatre Pass Muraille in Toronto. In 1976, he
began working with John Gray to create Billy
Bishop Goes to War, which became an instant
international success. During the 1980s and 90s,
Peterson established himself as a film and
television actor, receiving Gemini awards for roles
on Street Legal and Sesame Park. More recently,
Peterson has been known for his role as Oscar on
the CTV sitcom Corner Gas. Throughout his career,
Peterson has often returned to the role that
brought him such success, as Billy Bishop.
The Story
pg. 5

Flying Aces
William Avery Bishop
William Avery “Billy” Bishop was born on February 8, 1894 in Owen
Sound, Ontario.
His father, also named William Bishop, was a well-connected member of
Ontario society, appointed county registrar in return for his support of
Wilfred Laurier’s successful campaign for Prime Minister in 1896.
Bishop attended the Royal Military College in Kingston, Ontario, where, by
his own admission, he was “the worst student they ever had.” After being
discovered cheating on his final exams, he was saved from expulsion and
disgrace by the outbreak of World War I.
Commissioned as a cavalry Lieutenant in the Missisauga Horse, he
avoided the worst of the fighting in the first year of the war through a
variety of accidents and ailments. When he was eventually posted
overseas, he discovered that a life of trench warfare – mud, cold, and
slaughter – was not for him.
He enrolled in the fledging Royal Flying Corps, and was posted to France as an Observer in reconnaissance
aircraft. Eventually, through the assistance of his father’s connections, he became a fighter pilot in the
spring of 1917, just in time for the Vimy offensive in April of that year.
Bishop went on to record 72 victories over German aircraft, and became the top “ace” of the First World
War. His most notable achievement was a pre-dawn solo attack on a German aerodrome at Douai, for
which he was awarded a Victoria Cross for bravery. This feat later proved controversial, as, due to the lack
of witnesses, there are some who doubt the veracity of Bishop’s claims. A government inquiry in 1985
vindicated Bishop, who had undoubtedly proved his valour in countless aerial engagements.
Bishop was pulled from battle in 1918, as his fame became such that the war office feared that his death
would weaken morale. In 1938 he returned to the air force as an Air Marshal, and served as a recruiter
during the Second World War. The combined stress of the two world wars took a tremendous toll on
Bishop’s health, and he died at the age of 62 in 1956.
Baron Manfried Von Richthofen
Play Guide
Billy Bishop - Age 14
The most famous ace of the Great War, Manfred Albrecht Freiherr von Richthofen grew swiftly to infamy
as a part of the Imperial German Army Air Service, with more victories than any other pilot on both sides of
the war. Born in 1892, Richthofen served in the trenches, but transferred to the skies in 1916. After only a
month in his first Albatros biplane, Richthofen had scored six victories against Allied aircraft.
pg. 6

Characters, Flying Aces continued
Upon becoming a squadron commander, he painted his plane a
taunting red, and he soon became known as the Red Baron to the
British and the Red Devil to the French. As commander, his squadron
became known as the Flying Circus, with vividly painted planes and
deadly acrobatic skill.
After serving for only two years he had become a German national hero,
claiming 80 air combat victories. Richthofen was injured July 6th, 1917,
suffering a head wound causing disorientation and temporary blindness.
Though he recovered in less than two months, his wound is thought to
have caused lasting damage, and may have contributed to his eventual
death.
Controversy surrounds who fired the shot that killed Richthofen, April
21, 1918. While pursuing novice Canadian pilot Wilfrid ‘Wop’ May,
Richthofen was spotted and in turn engaged by May’s Captain Arthur
‘Roy’ Brown. At this time he was struck in the chest by a bullet, that
was either fired by Brown or by an anti-aircraft machine gunner on the
ground.
His opponents both feared and respected him, and Richthofen was given a full military funeral by British
and Australian forces near Amiens, France. He was 25 at the time of his death.
Albert Ball
Play Guide
The Story
Albert Ball was born in Nottingham, England, on August 14, 1896, the son of a master plumber. As a young
man, he built a brass foundry and an electrical shop behind his parents’ house.
Ball began his fighting career in May 1916, and by May 22 he gained his first victory; he shot down two
German aircraft, but only one was confirmed. By October 1916, he had eight more victories.
Albert Ball was an aggressive fighter pilot, sometimes taking many chances. He preferred to fight alone
rather than in a formation. During his career, he was shot down six times, but he always managed to guide
his crippled plane back to friendly territory.
On May 6, 1917, Ball shot down his last enemy plane, bringing his total to 44 victories. The next day he
became involved in a battle with the Red Baron’s Flying Circus. After a grueling battle his plane crashed and
Ball, only 20 years old, died in the arms of a French farm girl. The Germans claimed that Lothar von
Richthofen, the Red Baron’s brother, shot Ball down. Many others think that Ball was actually shot down by
ground troops; his death remains one of the countless mysteries that surround the Great War in the air.
Britain awarded Albert Ball the Military Cross and the Distinguished Service Order during his career, and
the Victoria Cross after his death.
pg. 7
Baron Manfried Von Richthofen

Canada in the First World War
Play Guide
The First World War started on June 28, 1914, when the Archduke
Franz Ferdinand, heir to the throne of the Austro-Hungarian
Empire, was assassinated by a Bosnian Serb named Gavrilo Princip
in Sarajevo, Bosnia. Austria-Hungary mobilized her army to attack
Serbia, which was an ally of the Russian Empire. Russia came to
Serbia’s defence, mobilizing her army against Austria-Hungary and
her ally, Germany. Because of a defence treaty binding them to
Russia, France also found herself at war. Germany tried to defeat
France quickly by invading them through Belgian territory.
Because of a treaty protecting Belgium, Great Britain and its
Empire went to war against Germany. Thus most of the major
countries of the world found themselves in a brutal war within a
month.
At that time Canada was still part of the British Empire, and so was
automatically at war. The first Canadian contingent went to war in
the fall of 1914, headed for the trenches of Belgium and northern
France. For the first three years of the war, the Canadian fighting
units were dispersed among other troops from the British Empire.
At the Battle of Vimy Ridge, in April of 1917, the Canadian Corps fought together for the first time,
under Canadian command. The result was a decisive victory over the German occupiers. The
Canadian Corps would also play a significant part in the 3 rd Battle of Ypres at Passchendaele,
Belgium, in the fall of 1917. Canadians gained a reputation as fierce, outstanding soldiers. The
fighting stopped with an armistice on November 11, 1918, and the war ended officially with the
signing of the Treaty of Versailles in 1919. Due to its prominent role in the war, Canada was the
only nation of the British Empire (outside of Britain itself) honoured with a signature on the
Treaty.
Because of our status as “colonials”, Canadians were rarely given high-profile assignments in the
early part of the war, and were mainly used as “cannon-fodder” in the trenches. Canadians who
wished to fly were part of the Royal Flying Corps, under British command. With flyers such as Roy
Brown, William Barker, Wop May, and Billy Bishop, the Canadians soon earned a reputation as
excellent pilots.
pg. 8
1914 Recruitment Poster
National Archives of Canada

Characters, From Cavalry continued to Air Force
Play Guide
The Story
At the beginning of Billy Bishop Goes to War, Billy describes being mired down in the mud with his
horse and looking up to see a plane sailing through the air overhead. This image is particularly
evocative, and speaks to the time of transition from animal to machine that was the early 20th
century. With the advent of trench warfare and the ability to sweep lethally across a charge of
soldiers or horsemen with a machine-gun, the advantage a horse gave its rider disappeared.
As automobiles and trucks replaced horses in daily life, the air force began to supersede the
cavalry on the battlefield. Though planes were capable of feats above and beyond a man on
horseback, there were many similarities that drove people to connect the flying aces to the
knights of the Middle Ages. Both aces and knights knew the drama of man-to-man combat,
camaraderie and daring tactics.
The young pilots also knew alarmingly high casualty rates, as each side raced to improve their
planes and weapons. According to Ezra Bowen in Knights of the Air, by the end of the war, many
aces no longer felt akin to glorious knights, but rather ‘hired assassins.’ The toll of ‘man-to-man’
air combat took hold as pilots watched planes they had destroyed plummet to the earth with
young men just like themselves trapped inside.
Billy Bishop Postage Stamp issued by Canada Post on August 12, 1994
pg. 9

Truth, Heroism, the Media and War
Play Guide
Even though he has been dead for over 50 years, Billy Bishop still figures largely as a hero in the
eyes of many Canadians. His 72 aerial victories made him a British Commonwealth record-holder
and wartime savior. In a 1999 survey of Canadians, Bishop was ninth on a list of ‘newsmakers of
the century,’ a list populated largely by former prime ministers and other more contemporary
figures. But there are others who believe that Bishop’s war record was exaggerated, both by
himself and the Canadian government, in hopes of boosting morale by creating an allied flying
hero to match the stature and reputation of the German pilot Baron von Richthofen, the ‘Red
Baron.’
Even his staunchest supporters will often concede that Bishop was a man given to exaggeration,
but they chafe the implication that he was a plain liar. Bishop supporters become particularly
incensed when it is suggested that he fabricated his attack on a Douai Aerodrome, an
accomplishment that earned him the Victoria Cross, the cornerstone of his alleged achievements.
Recently, the 85th anniversary of that dawn attack (June 2002) was commemorated by two
diametrically opposed books: the reprinting of Bishop’s memoir Winged Warfare, and the
publication of The Making of Billy Bishop, a book that denounces the dogfights and air victories
Winged Warfare describes as false. Brereton Greenhous, the author of The Making of Billy Bishop
does not believe that his book will deflate Bishop’s status as a hero, what he calls ‘the Bishop
myth.’
Still, others find the controversy destructive. A Bishop supporter, Didy Grahame said in an
interview, “We create heroes to recognize the highest of human values. If we try to knock them
out, what are we left with?” Though
it is hard to say whether one side or
the other dominates the controversy
over the truth of Bishop’s exploits, it
is surprising to find such faith in an
era that demands idealized and
unbiased accuracy and truth from its
media. How important is it that our
heroes be accurate portrayals of the
human beings that lie behind their
public personae? Should there be
reservations as to the potential
depth of their heroics? Should we
question heroes that our culture has
already embraced and canonized,
and what are the dangers of
questioning or rejecting them?
“Lone Wolf” original painting by Rich Thistle
pg. 10

Truth, Characters, Heroism, continued the Media and War
Play Guide
The Story
It is clear that the Allies of the First World War needed heroes. They needed to boost morale and
fuel the war machine with enthusiastic workers and fresh recruits. The information that the
general public received about the battlefields did not come as quickly or as accurately as it does
today. Even the most alert civilian could not approach the level of enlightenment that is possible
with the current omnipresent news reporting that has its fingers on the pulse of events occurring
across the world.
Perhaps the reality of the German air force’s success was too grim for the Allied public, but was it
morally right for the Allied governments to create a hero where one did not actually exist? Even
taking into account the suspicions of Greenhous’ book, Bishop still figures as a major ace, with 27
documented victories (instead of the alleged 72.) Certainly that makes him a hero good enough
for celebration. But perhaps, those 27 victories would not have been remarkable enough to
convince a nation that it had a chance for victory, or even some sort of divine blessing in the form
of a deified pilot.
Ultimately, it is probably impossible to say whether or not Air Marshall William Avery Bishop was
worthy of the decorations and public adoration he received during the war and for the rest of his
lifetime. Perhaps it is not so important for us to decide whether or not his record is accurate, but
to decide through the story of Billy Bishop what a hero truly is. How much of a hero’s worth is
actual heroics? How much of a hero’s worth is the truth? True or false, Bishop’s aura of a crackshot
pilot speeding fearlessly through the air at the defence of a nation no doubt did brighten the
outlook for many during the war. Perhaps that is all that a hero needs to be.
Billy Bishop’s Medals, part of the Canadian War Museum collection
pg. 11

Director’s Q and A
What is the greatest challenge facing you as you prepare to
enter the rehearsal process? How about during the rehearsal
process?
Because we’ve invented the concept for the play – Billy Bishop,
during World War II, looking back on his experiences in World
War I – we needed to make sure the story was being told
consistently and clearly. During rehearsal we discovered that
we are most drawn to the experiences when Billy tells the
stories as if he is reliving the experiences, and discovering them
freshly, not just telling what happened to him in hindsight – he
can’t just talk about his fear or his excitement, he has to go
through the experience again.
Why are you personally drawn to this play?
Play Guide
I saw the play with the original cast in Edinburgh in 1980, when I was 13 years old. I remember
vividly how Eric Peterson had the audience in the palm of his hand as a storyteller, and how
effectively theatrical the whole play was – conjuring up all these different locations and characters
through simple adjustments in movement, dialects, lighting, and music.
We’d just been on a family trip to the WWI battlefields in northern France, so I was also immersed
in that world in a way I’d never considered before. To this day it amazes me that a country the
size of Canada – only 6 million people in 1914 – could have made such an incredible contribution
to this massive conflict.
A few years ago I directed Vimy, another play about Canada in World War I. Billy Bishop also
participated in that battle… though he was thousands of feet above the soldiers! It’s an
interesting parallel.
Finally, I think this history is very important to know for all Canadians, and we don’t do a good
enough job of reminding ourselves and each other about the amazing experiences Canadians (and
the country) has experienced.
What function or purpose does the music serve within the structure of the play?
The play serves as both a depiction of the time and place and as a nostalgia trip, so music works
into both of those structures. The music is all original, but it’s very evocative of the time and place
– mess halls, dance parlours, and songs from the “home front”. John Gray is also a master lyricist,
and the songs themselves advance the plot of the play, either by commenting on the previous
pg. 12

Director’s Characters, Q continued and A
Play Guide
The Story
scene and/or introducing the next sequence. The songs are fun, rousing, and at times, very
moving.
How does a one- or two- person show differ from a large-cast production during the rehearsal
process?
It’s particularly tough on John Ullyatt, because pretty much all the attention is focused on him. In
a play with ten actors, the attention in the rehearsal hall gets divided between them – in John’s
case, nothing happens in the play that isn’t his responsibility, and he’s got it all on his shoulders.
Add in music, some stage business, 19 characters, and a pretty diverse emotional journey, and
you’ve got a lot to think about. Fortunately, John is smart, versatile, and in good shape.
How concerned with historical accuracy are you, with this production? Is there room for artistic
liberties?
The play is largely based on two biographies of Bishop: Winged Warfare, an autobiography
Bishop wrote in the middle of WWI, and The Courage of the Early Morning, written by his son in
1965. Though the play pokes fun and satirizes several characters, most of them were real people
whom Bishop encountered during the war, and the events which he speaks of actually happened.
The play is relatively historically accurate, but it also takes place in several times and places.
Because it is largely a memory play, we took liberties in what was “realistic” (the World War I
uniforms are very accurate), and what was “invented” – because Billy is set in a bombed out bar,
we thought it would be theatrically interesting and fun to use props which may span any period
between the World Wars.
How does directing a musical, presentational production differ from directing a more natural,
realistic play? How does this style of play affect the actors and their approach to recreating their
characters?
A musical is essentially a heightened play – it is no less “realistic”, the basic difference being that
at moments of high emotion the characters break into song to express themselves. At no point do
you vary from what is most essential – an honest depiction of the time, the place, and the
emotional journey of the characters.
John has some liberties in how he creates the 19 characters other than Billy, because in the end
the characters themselves are presented from Billy’s viewpoint – if you’re telling a story and you
want somebody to appear silly, stern, or scary, you exaggerate those qualities in your portrayal of
them, as Billy does in the play.
pg. 13

Thrust Stage
Play Guide
The Thrust stage configuration is one of the oldest in theatre history. It refers to a stage (or
performance space) that extends forward into the audience. A thrust stage configuration is
especially effective for drawing in the audience and actively connecting them with the action
onstage.
Wall/ Backstage Area
Audience Audience
Audience
The Maclab at the Citadel is an example of a thrust stage. This type of stage is used to extend the
playing space out into the audience, creating a more intimate, communal feeling between actors
and audience. Whether conscious or not, in most seats, audience members can see the reactions
of the other patrons, across the stage. Seeing your fellow patrons react may or may not cause you
to share those reactions of laughter, awe or pathos, but it does reinforce the fact that you are in a
theatre watching a play. It becomes abundantly clear that the actors on stage are communicating
directly with each other and, especially in Billy Bishop Goes to War, you, the audience.
While the thrust stage is a great asset in creating an amazing production it does require
conscientious collaboration between the actors and the audience. Both of these groups need to
be aware of each other to allow the performance to run smoothly. As an audience member be
sure to keep all of your belongings stowed beneath your seat and to remain in your seat
throughout the performance.
pg. 14

Designing Characters, Billy continued Bishop
Set and Lighting Design by David Fraser
The Citadel Theatre production of Billy Bishop Goes to War takes place in various locations, as
remembered by the central character throughout the play. One of the challenges in designing the
set was combining the real-world elements of the play (a shattered World War II bar) and these
moments of memory, as Bishop reminisces. What results is a versatile stage space, filled with
crates (which conveniently house various props and costume pieces) a large window backdrop
(through which various lighting effects can occur) and different levels (a bar to stand on, for
example).
Costume Design by Marissa Kochanski
Play Guide
Set Design maquette by David Fraser
The Story
Billy Bishop Goes to War calls for authentic uniforms and props, and though this is a memory play,
many of the costume pieces are historically accurate. Rather than designing costume pieces from
scratch, the clothing in the play is based upon real-life, historical attire, and is carefully
reconstructed by the Citadel’s costume department. When we first meet Billy, he wears an Air
Marshall’s uniform from World War II, but soon changes his attire to fit the story he is about to
tell and the memories he will revisit. Throughout the play his costume will change, from basic
training to cavalry, from recuperating in a hospital to dog fights over France.
pg. 15

Glossary
Characters in the play
Albert Ball: (1896-1917) British fighter pilot. At the time of his death, he was the
top ace of the British Empire with 44 victories
Lady St. Helier: (1846-1931) British noblewoman, poetess, and London city
Alderman. She took in many lodgers at her large house in London,
including Bishop
Sir Hugh Trenchard: (1873-1856) Commander of the Royal Flying Corps. He is the
character who offers Bishop his medals
Terms and places in the play
Play Guide
Albatross, Aviatic: German planes of WWI
Archies: Slang term for German anti-aircraft fire
Arras: A town in northern France near where Bishop was stationed.
Boer War: Conflict fought by the British in South Africa (1899-1902)
Cannon fodder: Slang term for soldiers (usually infantry or cavalry) whose lives were
considered easily expendable in trench warfare
Colonial: Term, often derogatory, used to describe citizens of the British
Empire who are not British (Canadian, Australian, Indian, etc.)
Douai: A French town near Arras, occupied by the Germans, the site of
Bishop’s famous aerodrome raid, for which he was awarded the
Victoria Cross
Filescamp: The aerodrome where Bishop was stationed for much of the war,
near Arras and Vimy Ridge
Fokker: German aircraft of WW1, named after its Dutch designer
Hun: Slang term for German soldier
Martello Tower: Defensive tower built on the edge of forts
pg. 16

Glossary
Nieuport: British biplane of WWI. Bishop flew several different planes in the
war, but he is most known for flying a Nieuport 17
Royal Flying Corps: The air fighting service of the British Empire, original name of the
Royal Air Force
Rumpty: Slang term for WWI aircraft used for training
Tommy: Slang term for British Empire soldiers
Victoria Cross: The highest decoration for bravery awarded to soldiers of the British
Empire
People mentioned in the play
Play Guide
Replica of Billy Bishop’s Nieuport 17
Baron von Richthofen: German fighter pilot, called the “Ace of aces” with 80 victories.
Killed in 1918
Bonar Law: A Canadian by birth, he is the only British Prime Minister born
outside of the British Isles
Churchill: Sir Winston Churchill, noted British statesman, later to become
Prime Minister
General Haig: Commander of British Expeditionary Forces in WWI
William Barker: A Canadian fighter ace of WWI, born in Dauphin, Manitoba
pg. 17

Play Review Scaffold
Play Guide
Play reviews are written for two primary reasons: to tell other people what you thought of the
production and to tell people interested in the production if they should come and see it.
� Unless you are sitting in the front row of the theatre, take in a pen and paper so you can
jot down ideas while you watch the play.
� Read the play or story BEFORE you go to see the production.
Taking notes for your play review
� During the play try to write down moments that strike you.
� Right after the play, before talking to anyone take a moment to record your initial
response to the work. How did it make you feel? What did it make you think?
� Try to describe the concept of the play in a few sentences. What ideas do you think the
playwright and director are trying to communicate to you? Did the concept enhance or
detract from the play text? Don’t forget to record the ‘why’ behind your comments.
� Was the play staged in the way that you expected it to be? Were you surprised? How
and/or by what?
� Who were your favourite characters? Why were your drawn to them? Record specific
moments from the performance to support your opinion. Make sure to also include the
actor’s names in your review.
� Write a description of the physical world of the play. What kind of atmosphere did the
designer create? How/why did it change throughout the play? Do the set pieces/lighting/
costumes have symbolic or metaphorical meaning for the action and/or characters?
� Read over your notes. What is your overall opinion of the play? Would you recommend to
others? Critically think about why you liked or disliked the play.
� Eavesdrop on other people and jot down their opinions of the play. This will help you to
write a balanced, critical review.
pg. 18

Play Characters, Review
continued
Task Overview:
Your review should be 2-4 pages long. The goal of the assignment is for you to provide detailed
description and analysis of the production that supports your overall opinion of the performance.
Writing a review is similar to writing an essay: your thesis statement must be clear and specific (avoid
general statements like “the show was good”), and each supporting paragraph should be focused on
one moment/aspect of the performance with specific examples from the production to support your
analysis.
Assignment Structure:
� Using your note scaffold, try to come up with a specific take on the performance (this usually
focuses on the message or idea that you took away from the play).
� In the opening paragraph, be sure to include:
� Play title
� Playwright
� Director
� Date you saw the production
� Location of the production
� Then in your second paragraph create an exciting lead line that grabs attention.
� In a few sentences give a very brief plot summary to draw in your readers.
� Evaluation & Analysis:
Play Guide
The Story
Develop your review around the key moments that made an impression on you. This should
follow your “thesis” while filling in your reader on the ways in which the production continued
to hold (or not hold) your interest. Be sure to give specific examples. You need to clearly
express your opinion of both the technical and performance aspects of the production and
ultimately decide how successful the production was overall.
Develop a powerful conclusion reaffirming your opinion and making a clear recommendation to
potential spectators.
pg. 19

Pre-Show Discussion Questions
1. Set and Costume designers have to be well versed in history as well as the elements of design
to create an accurate world for a period play. Designers must know about the social,
economic, and political events that influenced the way people lived and dressed. What kind of
research would you need to do to design a costume or prop for Billy Bishop Goes to War.
2. Billy Bishop was surrounded by very important people, one of the most notable of which was
Lady St. Helier. Who was Lady St. Helier and what role did she play in Billy Bishop’s life?
3. Why do you suppose World War I has come to be known as ‘the forgotten war?’ Is there a
prelude to this notion found in the text of the play?
4. List the many differences in the plight of the foot soldier and the airman in World War I. If
forced to make a decision, which might you have preferred and why?
5. Research one of the following topics and develop a visual presentation:
� Flying Aces of World War I
� Trench Warfare
� Canada’s involvement in World War I
� Music during World War I
� The Bishop Family after World War I
� Patriotism in the British Empire
� The History of Flight leading to and including World War I
� World War I Weaponry and Tools
After students have chosen a topic they need to collect the following items for the visual
presentation:
� 3-4 images of paintings or drawings which capture a component of their topic.
� A short piece of writing on the topic from the time period (poem, prose,
historical account etc.)
� Gather written resources to prepare their oral presentation.
Discuss with students the play review note taking handout (page 14). Flag elements of the
production that you’d like them to notice.
The visual presentation:
Play Guide
Students should have 3-5 minutes to share their findings with the class. The presentation
should centre on their visual resources as they explain the significance of each item to the
class.
pg. 20

Post-Show Questions and Activities
Post-Show Discussion Questions and Activities
Play Guide
1. Have students write a play review using the scaffold from the pre-show activities.
2. How is the use of music in Billy Bishop Goes to War ironic?
3. How does the structure of this play differ from other plays you have seen?
4. Are the themes and ideas of the play served by this structure? How so? How else might the
scenes and songs have been tied together?
pg. 21

Additional Resources
Play Guide
The Aerodrome. http://www.theaerodrome.com/ (Portraits and biographies of flying aces on both sides;
the aircraft they flew; feature articles about life in the Royal Flying Corps)
Baker, David. ‘Billy’ Bishop, The man and the aircraft he flew. London: Outline Press, 1990.
Bishop, William Arthur. The Courage of the Early Morning. New York: David McKay Company, 1965.
Bishop, William Avery. Winged Peace. Viking Press, 1944.
Bishop, William Avery. Winged Warfare. New York: George H. Doran Company, 1918.
Bowen, Ezra. Knights of the Air. Alexandria, VA: Time-Life Books, 1988.
Bruce, Anthony. An Illustrated Companion to the First World War. London: Penguin Books, 1989.
FirstWorldWar.com. http://www.firstworldwar.com/index.htm (An exhaustive collection of military
information, contextual literature, period music, art, and literature, and links to other great sites)
Graham, Gerald. A Concise History of Canada. London: Thames and Hudson, 1968.
Greenhous, Brereton. The Making of Billy Bishop. Toronto: Dundurn, 2002.
Pisano, Dominick. Legend, Memory, and the Great War in the Air. Seattle: University of Washington Press,
1992.
Robertson, Bruce, ed. Air Aces of the 1914-1918 War. Fallbrook, CA: Aero Publishers, 1964.
pg. 22