- MAKING THEATRE –

EDUCATION and
RESOURCES PACK

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 Original 2015 Cast photo credit: David Ellis

1. AN INTRODUCTION FOR TEACHERS

This Making Theatre – Education and Resources Pack which accompanies the stage production of BUGSY
MALONE is for teachers who want to explore particular aspects of the musical and creating theatre in
more depth, in the classroom. Exploration in the classroom can be accompanied by the original film and
the play text.

The information and exercises in this pack are designed to explore the different aspects of putting on a
professional theatre production. We hope that the information contained in this pack will enhance your
student’s enjoyment and understanding of the musical as well as offer both teachers and pupils an
insightful and fascinating glimpse in how BUGSY MALONE was produced.

This pack is split in the following sections:

Page

1. AN INTRODUCTION FOR TEACHERS 2

2. THE PRODUCTION 3
3. WHO’S WHO? THE PRODUCTION TEAM 4
4. SYNOPSIS 7
5. FILM TO STAGE: THE JOURNEY OF BUGSY MALONE 10
6. DESIGNING BUGSY MALONE: LIGHTS, COSTUME, SET… GO! 12
6A. Q&A with Designer, Jon Bausor 15
6B. Costume 18
7. BUGSY MALONE: PROHIBITION AND ‘GANGSTERS’ IN AMERICA
(Resources) 20
8. RESPONDING TO THE PRODUCTION 23

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2. THE PRODUCTION

BUGSY MALONE the musical is written by Alan Parker with words and music by Paul Williams.

Alan Parker is a world renowned film maker who wrote and directed the original film in 1976. The
film features songs written especially for it by Paul Williams who is an acclaimed songwriter.

Several years ago Sean Holmes, Artistic Director of the Lyric Hammersmith, started a journey
towards staging a revival of the stage version of BUGSY MALONE. The musical is regularly
produced by schools and youth groups but is rarely seen on the professional stage. Sean, Jessica
Hepburn (the Lyric Hammersmith’s Executive Director) and their team set about producing the
first professional production in nearly a decade, as a part of the inaugural season that followed a
huge capital building project.

BUGSY MALONE opened the newly refurbished Lyric Hammersmith on 28 April, 2015. The
production played on the main stage and is revived in 2016 for 12 weeks.

The Original Creative Team

Play by Alan Parker

Words & Music by Paul Williams

Director Sean Holmes

Choreographer Drew McOnie
Designer Jon Bausor
Musical Director Phil Bateman
Lighting Designer James Farncombe
Sound Designer Ben Harrison
Fight Director Kate Waters
Voice & Dialect Coach Hugh O’Shea
Orchestrations, vocal and dance arrangements Phil Bateman
Casting Director Will Burton CDG
Children’s Casting Director Jessica Ronane CDG

Associate Director Ebony Molina

Associate Designer Rebecca Brower
Assistant Musical Director Benjamin Holder
Resident Associate Director [BBC Performing Arts Fund Fellowship] Ola Ince

A Lyric Hammersmith Production

by arrangement with Warner/Chappell Music Limited

www.lyric.co.uk

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 3. WHO’S WHO?

EXERCISE Before looking at the list in class – off the top of your heads try and think of as many people
that might have been involved in making a play as possible. Then have a look at this and see who you’ve
left out!

Here is a list of everyone involved behind the scenes in making BUGSY MALONE, and what they do!

DIRECTOR The director is the person in charge of the creative aspects of a play or musical. S/he has come
up with ideas on how s/he wants each scene and moment1 to look, and then directs the actors during
rehearsals on how to do this best.

CHOREOGRAPHER The Choreographer creates

sequences of movement and dance. These
sequences form routines which interpret the music.

DESIGNER The role of the designer is to design and

come up with ideas for the set, costumes and props,
and then create them. S/he collaborates with the
director a lot to decide how it will look. The role of
the Designer can be undertaken by two people; a Set
Designer and a Costume Designer.
i. Sean Holmes [Director] during the BUGSY MALONE research
and development week 2015
MUSICAL DIRECTOR The musical director is in charge
of leading the orchestration and actors as they play and sing the music. S/he may use individual
instruments, or combinations of instruments, or an entire orchestra to play the music for the show.

LIGHTING DESIGNER This person is in charge of arranging and designing the lighting. They decide on the
lighting cues, and what effects they wish to have in each scene.

SOUND DESIGNER Similar to the lighting designer, the sound designer must decide what sound effects
they want to have during the play, and when. Both of these designers take into account the mood of the
scene or moment when making decisions.

PRODUCER The producers are the people that are in charge of the whole project. They choose and hire
the team, set the budget, and are the organisational force behind the show.

ASSOCIATE DIRECTOR As the director has a lot to do, s/he needs an assistant or associate director. The
associate will take notes of the director’s work and ensure the actors maintain the direction given.

FIGHT DIRECTOR The fight director works with the director and choreographer to create ways in which
the actors move their bodies safely to recreate fights.

1
This term is used to describe actions within a scene
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PRODUCTION MANAGER The production Manager is responsible for all of the logistics of the production
and tour, such as transport and the Get In/Out 2 as well as the production of the set and props.

CASTING DIRECTOR The casting director is in charge of making sure that the right people are picked for
the roles. They would hold auditions or contact individuals directly to make sure they get the best actor
for the part. They are mainly involved at the beginning of the process.

VOCAL COACH The vocal coach is responsible for making sure that the cast’s accents are right for the
era that the musical is set in. Accents are different depending on where in the country you are, but also
depending on what time period the play is set in. Alabama in 1933 during the Great Depression is very
different to the UK in 2014.

CHILDREN’S CASTING DIRECTOR The children’s

casting director is responsible for choosing the
twelve boys and nine girls who alternate in the
roles of Bugsy, Blousey, Tallulah, Fat Sam, Dandy
Dan, Fizzy and Lena/Babyface.

CHILDREN’S ADMINISTRATOR and

CHAPERONES This team of people work together
to organise the children’s schedule and pastoral
care for the children whilst they are performing.
The chaperones are guardians for the children
while they are working as actors.
ii. Young actors during the BUGSY MALONE research and
development week 2015

COSTUME SUPERVISOR The role of the costume supervisor is to measure all the cast and then, after
talking to the designer, source the costume, and then alter them if necessary.

WARDROBE The wardrobe department are in charge of looking after the costumes and wigs, keeping
them safe and cleaning them, making sure they are all stored safely when not being worn and always
available when needed. The department also help to dress and prepare the actors before the
performance.

STAGE MANAGEMENT The stage management team is responsible for the show when it is up and running,
making sure it runs smoothly without any problems. The Company Stage Manager is in control of the
company and stage, and is responsible for pastoral care. The Deputy Stage Manager is in control of the
prompts and cues for actors, including lighting and sound, and the Assistant Stage Managers are in charge
of backstage during a performance, for example making sure all the props and set are in the right place.

2 The Get In is when the production sets up on stage for the first time, and the Get Out is when the show is dismantled to be
transport to another theatre or storage.

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EXERCISE Things to think about:
Which job would suit you best?
Who do you think is in rehearsals every day?
Who do you think will watch the show each night?

Create a spider diagram of which groups of people within this big list work together the most, and how
they are all linked (you can add connecting lines and shapes).

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 4. SYNOPSIS

ACT 1
SONG: BUGSY MALONE is heard. Tallulah tells the tale of Bugsy Malone and the great gangster rivalry
between Fat Sam and Dandy Dan. We see Roxy Robinson, one of “Fat Sam” Staccetto’s gangsters, being
splurged by Bronx Charlie and members of Dandy Dan’s gang, who
use a new weapon called Splurge Guns. Once splurged “sure as eggs
is eggs, he [Roxy Robinson] had been well and truly scrambled”. Roxy
Robinson isn’t the only one to be hit, Fat Sam’s lawyer Flash Frankie
is also splurged.

The audience are transported to Fat Sam’s Speakeasy where there is

much dancing and singing SONG: FAT SAM’S GRAND SLAM. Blousey
Brown, an aspiring singer, arrives at the Speakeasy looking for an
audition, but Fat Sam is too distracted with his concerns about Dandy
Dan and his gang attempting to take over his business. Bugsy Malone
enters and spots Blousey across the club. He is smitten and flirts with
her, poking fun at her carrying a baseball bat for “protection”.
Suddenly, Fat Sam's fears are realised as members of Dandy Dan’s
gang crash in and attempt to splurge the dancers and the rest of Fat
Sam’s gang. The attempt is unsuccessful and one of Dandy Dan’s iii. BLOUSEY Photo Credit: Manuel Harlan
gang, Doodles, even drops one of the precious Splurge Guns
(breaking it, and later paying the price when Dandy Dan executes a devastating pie attack on Doodles).

After the attack on Fat Sam’s, Blousey tries her luck at the Bijoux Theatre where the star Lena Marelli has
recently walked out. Just as Blousey is about to sing Lena storm’s back in
SONG: SHOWBUSINESS. Blousey is angry and disheartened, Bugsy tries to
cheer her up and offers to ask Fat Sam for an audition on her behalf.

Fat Sam’s gang put on a number of their own at the Speakeasy explaining
how they “could have been anything that they wanted to be” SONG: BAD
GUYS. It seems “everyone wants to be in showbusiness” as even Fat
Sam’s downtrodden and browbeaten caretaker, Fizzy, dreams of being a
dancer SONG: TOMORROW.

Meanwhile, Dandy Dan's men continue to attack Fat Sam's empire. A tip
off from ‘dirty rat’ Shady, sends the remaining members of Fat Sam’s gang
to a laundry, where there is supposedly a stash of Splurge Guns. It’s a
double cross. All are splurged except Knuckles (who remained at the
iv. FIZZY Photo Credit: Manuel Harlan
Speakeasy with Fat Sam) by Dandy Dan's gang.

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Bugsy returns to Fat Sam's, as he promised Blousey, to try to arrange a new audition for her. He finds only
Tallulah, the star of the speakseasy, Fat Sam’s moll and an old ‘flame’ of Bugsy’s… She flirts outrageously
with him. Just as Bugsy rejects her flirtation Blousey enters. Tallulah plants a big kiss on Bugsy's cheek,
making Blousey jealous. Blousey finally gets her audition with Fat Sam and he hires her on the spot SONG
5: I’M FEELING FINE. Happy to get the job Blousey joins the chorus girls but refuses to speak to Bugsy.

Fat Sam hires Bugsy to drive him to a meeting with Dandy Dan. This meeting turns out to be a trap, but
Bugsy helps Fat Sam escape. Gratefully, Fat Sam pays him $200.

ACT 2
SONG: TALLULAH Tallulah proves why she is the star of the Speakeasy. Bugsy
and Blousey reconcile and on a romantic date, enjoying hotdogs. Bugsy
promises to buy tickets for them to leave for Hollywood. On this promise,
Blousey quits her job at the Speakeasy and prepares to leave for her dream job
in Hollywood. However, on Bugsy’s way back to the Speakeasy he is mugged,
and his hat and money are stolen. Bugsy is saved by Leroy Smith, who punches
the muggers: seeing this, Bugsy realises he has found a potentially great boxer.
v. TALLULAH
Bugsy introduces Leroy to Cagey Joe and helps him begin training Photo credit: Manuel Harlan

SONG: SO YOU WANNA BE A BOXER?

Fat Sam once again enlists Bugsy's

assistance after his only remaining
gangster, Knuckles, is unintentionally
splurged by a backfiring splurge
invention. Bugsy refuses as he
remembers his promise to Blousey,
but when Fat Sam offers him $400 he
sees another chance to pay for the
tickets to Hollywood. So he agrees to
help Fat Sam.

Bugsy forgets that he was meant to

meet Blousey at the station with the
vi. CAGEY JOE and THE BOXERS Photo credit: Manuel Harlan
tickets, because he is busy helping Fat
Sam. Let down by Bugsy, Blousey also finds out that he hasn't yet bought the tickets, she is left in a state
of heartbreak SONG: ORDINARY FOOL and asks for her job back at the speakeasy.

Bugsy is determined to make amends with Blousey by earning the extra money, so he and Leroy find
Dandy Dan's warehouse where they discover the splurge guns are being stashed. The two of them can't
take the place alone, so Bugsy enlists the aid of the down-and-outs SONG: DOWN AND OUT.
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They steal the crates of splurge guns and return to Fat Sam's just as Dandy Dan's gang arrives. Chaos
breaks out and everyone is covered in a melee of splurge. Silence as everyone lies covered in splurge and
motionless, ‘out of the game’. Leroy has somehow avoided the splurge and strikes up a few chords on the
piano. The splurge covered gangsters, show girls, Bugsy and friends start to take their feet. Realising that
rather than being rivals, they are all better off being friends SONG: YOU GIVE A LITTLE LOVE. Bugsy and
Blousey can finally leave for Hollywood, and live happily ever after!

vii. …You give a little love… Photo credit: Manuel Harlan

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 5. FILM TO STAGE: THE JOURNEY OF BUGSY MALONE

One of the main challenges in adapting a film for the stage is structure. A film is able to create a picture
for viewers instantaneously with close up detail, and move from location to location with ease in a split
second. A playwright, however, needs to consider the stage and
audience, and how they engage with the story being told live.
While someone watching a film is experiencing the story via a
cinema screen or television, a theatre audience want to engage in
real time: to see, hear, feel, and sometimes even smell, the story.

The history of BUGSY MALONE…

“Before Bugsy Malone was a film it was just a story. In 1974 I

had four small children and to keep them occupied on long
iviii. Young actors during rehearsals 2015
(and mostly boring) car journeys, I would invent a story for
them. It was a world of gangsters and showgirls set in New York City, a long time ago, and a long
way from where we lived. On my eldest son Alex’s insistence, it was peopled with kids, just like
the four of them sitting in the back of the car.” – extract from the making of the film by Alan Parker3
Following the film’s success and popularity with children Alan Parker adapted the film for the theatre so
that schools, youth theatres and drama clubs could stage their own versions of BUGSY MALONE. Much of
the script remains familiar to the film with some fun references to live theatre added, particularly
Babyface’s line4 to the audience;

BABYFACE O.K. O.K. I’ve got to have the courage. Courage. I’m the star of this play right now. (His
face lights up) just think. The star of (as appropriate) school. O.K. Courage.

EXERCISE Classroom discussion:

What are the challenges of adapting a film to stage? Think about the splurge – in the film the splurge
scenes were filmed in two parts with one camera filming the splurge guns firing and a second filming the
actors being splurged by crew throwing splurge at them… But on stage this action has to happen as one
sequence…

Think about other famous films that have become plays or musicals – Chitty Chitty Bang Bang, Brief
Encounter, Mary Poppins, Fame, Newsies… How have directors, choreographers, designers and
playwrights created these films onstage? Think about the actors, use of music and special effects.

3
http://alanparker.com/film/bugsy-malone/making/
4
From the original Collins Educational (Harper Collins) published script
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 viiii. The cast in rehearsal playing the car chase 2015

EXERCISE Individual work:

Choose a short scene from the film of BUGSY MALONE and adapt it into a script for the stage.

Things to remember:
The script should expand on the short scene in the film;
 Are there more characters that join?
 Is there a glimpse of something in the scene that you want to focus on?
Try to only include dialogue and narration that serves a purpose – these tools need to either move the
story on, or be important to a character.

You have the power to make up the lines – you don’t have to copy the exact words from the film – this is
your script!

EXERCISE Group work:

Stage your new adaptations and scripts, and perform them for the rest of the class.

The next stage:

Now try the individual work exercise again, and follow up with the group work exercise, with a film of
your choice. You could choose your favourite film (or second favourite film after Bugsy Malone!)

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 6. DESIGNING BUGSY MALONE: LIGHTS, COSTUME, SET… GO!

In our WHO’S WHO list we described the DESIGNER: The role of the designer/s is to design and come up
with ideas for the set, costumes and props, and then create them. S/he collaborates with the director a
lot to decide how it will look.

During the pre-production of a typical theatre show the following stages are likely to be used by the
designer/s and director:

STAGE 1 – COMING UP WITH THE IDEA

The set and costume designer with the director, will read the script several times (if not more) and make
notes about the number of characters, locations, and era.

EXERCISE Classroom discussion: How many locations can you think of?
For example:
The Ice Cream Parlour
Fat Sam’s Speakeasy
The Bijoux Theatre
The dressing room at Fat Sam’s
New York
The Dock
Cagey Joe’s boxing gym

Have we missed any locations out?

STAGE 2 - WHITE CARD MODEL BOX

The set designer might make a white card model box of the set which incorporates the ideas discussed
during Stage 1. This is a mini scale version of the set made out of white card. There will also be tiny card
models of the characters to give the creative team an idea of the size of the set in relation to the characters.
The white card model box is an opportunity for the creative team, especially the designer and director, to
see the initial concept and experiment with different ideas. They will also look at the budget and cost of
building the set.

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STAGE 3 – COMPLETE MODEL BOX

With the final ideas agreed with the

creative team the designer will make a
new model box. The entire creative
team [director, lighting designer, sound
designer, choreographer, costume
supervisor, and production manager]
and producers meet to view the model
box. This model box is more detailed
than the white card model box and will
include the actual colours and textures
that the Designer would like to use. The
model box will be to scale and is
accompanied by to scale floor plan
drawings which the production manager
will use when liaising with the set
builders. It is at this stage that initial
costume ideas will be presented too. x. Model box
The initial ideas can then be guided by the progress of the set, who is cast in the roles, and how those
actors play the roles. If the designer is creating both costume and set then these ideas will often progress
much earlier.

STAGE 4 – THE REHEARSAL ROOM

On the first day of rehearsal the designer/s will talk through the model box with the full company including
the actors. This will be the first time that the actors see the ‘world’ they will be performing in on stage.

The production manager will have shared the floor plans with the stage management team and a mark
up 5 will be made on the rehearsal room floor – this is often done with electrical tape which comes in a
variety of colours and is easy to clean up at the end of the rehearsal period.

During the month of rehearsals the set is built in a large workshop. It is built in lots of small parts so that
it can be transported and put together easily.

In the rehearsal room the director, stage management and actors often use chairs, beds and door frames
to help realise the action on stage.

The actors will have costume fittings throughout the rehearsal period with the costume supervisor and
designer in preparation for the dress rehearsal and performances. Sometimes actors will have rehearsal
costumes, especially if the costume will affect the characters movement or includes any special effects
such as a quick change.

5
The mark up is the exact shape of the stage marked out with tape on the floor of the rehearsal room, so that
everyone knows exactly how much space they have.
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STAGE 5 – GET IN AND PERFORMANCE

The Get In for a performance tends to happen the weekend before technical rehearsals commence on
stage or on a Monday of each touring week that a production arrives at a new venue.

a. The whole set arrives, in pieces, in a truck. The set is unpacked and loaded into a scenery dock6.
b. The crew begin to piece together the set on the stage. The production manager will coordinate
this from detailed floor plans of the stage and set.
c. The lighting rig and sound equipment will be placed around the theatre including the auditorium.
d. When the team have made sure everything is where it should be and is safe, the cast and Director
will begin technical rehearsals before a dress rehearsal and their first performances. Or if this is a
move to a new venue on tour then an orientation session7 will take place on stage before the first
performance.

During the Get In and technical rehearsals the designer will be present to make notes about the set and
costumes, ensuring everything is as s/he has designed.

Notes and changes to the set and costume may continue right up until Press Night.

STAGE 6 – PRESS NIGHT/OPENING NIGHT

This is the performance that theatre critics and guests see, and is the last time any element of a show will
change – the creative team and producers call this ‘locking’ the show down.

Opening Night is also an opportunity to celebrate all of the hard work undertaken by so many people.

6
An area behind the stage where sets are held before they are assembled or when they have been dismantled.
7
A short rehearsal when members of the company familiarise themselves with the stage, and the Associate
Director may look at any changes that need to be made because the stage is shaped differently.
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 6A. Q&A WITH JON BAUSOR, SET AND COSTUME DESIGNER

Jon Bausor, Set and Costume Designer, talks us through his

process of designing the costume and set for Bugsy Malone:

Can you briefly describe the process of designing the production

– from reading the script, and collaborating with the director?

“The director Sean, James, the lighting designer and I met very
early on in the process for Bugsy Malone and decided that it was
important to place our production in the theatre rather than
being steadfastly true to the film settings.

In Alan Parker's original film script Fat Sam's is a speakeasy

hidden secretly below a bookshop but as we are sat in a theatre
auditorium it made more sense for Fat Sam’s speakeasy to be hidden here, just as this beautiful Victorian
auditorium of the Lyric is hidden within the newly renovated 1970s concrete shell.

Designing for the stage is very different to film design. There is no DOP (director of photography) or editor
so as a designer it's your job to frame the world in which the actors live and provide a visual continuity
and structure that serves the whole arc of the show. Unlike in film, you can't just cut to another film studio
where another set has been built. In theatre, everything that is seen has to be stored in the fly tower
above or wings to the side so visual statements and set changes have to be simply achieved.

I usually begin my design process with a conceptual idea for the show. In the case of Bugsy I imagined
what it would be like to discover that a load of kids had taken over the theatre- the image of the box office
staff and stage crew tied up and gagged by kids taking control from the adults and running it themselves.
From that I begin sketching
and creating a model of the
stage in perfect scale form-
25 times smaller than the
real thing- so the director
and I can work through
each scene.

So on first discovery my
design looks like I've done
very little; the feeling of an
exposed, empty theatre,
with its black brick wall,
dock door and staircase up xi. Film noir design mood board used by the designer
to stage door- all bespokely
designed and built to look as realistic as possible. From this the elements that make up Fat Sam’s club
surprise us theatrically by appearing out of the darkness, either by lighting up from behind gauze, tracking

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or flying in. The blackened fire escapes and brown chipped brickwork also evoke and conjure the classic
American street images of fire escapes and dock buildings in the Lower East side and Meat Packing
Districts of New York synonymous with the opening of the original movie.”

Can you describe the inspiration and

influences you used in creating the
design?

“I watched a lot of Film noir gangster

movies set in the 1930s like Scarface and
Public Enemy and have kept the colour
palette restricted to a sepia range of
browns, dark blues, purples and greens
with blacks, greys and occasional blood
popping reds like in a graphic novel.
James and I have designed in elements vi. A still from the film by Alan Parker
from the noir film language such as
smoke rising from pipes, and sewer covers and strong beams of light casting long, mysterious shadows.

Frames appear as a motif throughout inspired by the paintings of Edward

Hopper as well as the film celluloid frame itself. The window frame of the
'Ferrara' soda parlour is a direct nod to the original film but also plays
with the audience's POV (point of view) when we are taken by the Down
and Outs from an exterior, looking in, to an interior scene by a simple
spin, almost like a Laurel and Hardy sketch. Lightbulbs are also used
throughout, referencing the theatre and advertising signs of the time as
well as dressing room mirrors of the club.”

vii. Automat, 1927 by Edward Hopper

For you, what is the difference between designs created for film and stage?

“I wanted to keep a sense of childish play and fun in the design too. The pedal car is such an iconic thing I
remembered from watching the film as a
child so I was keen to solve it onstage in a
lo-fi way true to the film's playfulness. In
my version Bugsy actually pedals a 4 wheel
drive system but amusingly it's the guys
(or girls) in the back seat that really drive
it- true back seat drivers!

xiiii. Research image, typography The question most people have been
asking is 'how are you doing the splurge
guns?' Well, we did a lot of testing and prototyping to get the guns right. In the original movie Alan told
us that they weren't able to make a successful splurge gun that didn't throw the target backwards when
hit so that made our challenge all the more worrying but using paint ball technology we have created
something that is safe, whilst firing across stage with just enough power not to hurt! Everything has to
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allow for splurge and be washable and wipe able; the suits have all been specially treated to make them
easily cleanable and the set has a few tricks incorporated like a windscreen wiper behind the dock door
that wipes it clean of splurge when it is slid open.”

EXERCISE Mood Board.

 A mood board is a collection of images, text, and samples of objects in a collage.

 A collage sometimes includes magazine and newspaper clippings, ribbons, paint, bits of
colored or handmade papers, portions of other artwork or texts, photographs and
other found objects, glued to a piece of paper or card.

Choose a scene from Bugsy Malone and create your own mood board, think about the textures,
colours, and characters in the scene.

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 6B. COSTUMING BUGSY MALONE

xv. A peak inside the Lyric Hammersmith Wardrobe store

When designing a costume the Designer/s and Costume Supervisor need to take several things in
consideration including;
The Character Age? Background? Gender? Ethnicity? Relationship with other characters?
Era When is the play set?
Location Where is the play set?
Style Is the play naturalistic?
The Actor Height, age, shape, and gender.
Budget How much will it cost to make or source the costume?
Materials Texture? Movement? Wear and tear?
Purpose What will the costume say about the character visually? Or does the costume need to say
something about the character visually? Wealthy, down trodden, hardworking, lazy?


As well as taking clues from the original source material (such as a film), the designer/s and costume
supervisor can research the era and location that the story are set in to find out facts about the weather
and fashions, for example.

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EXERCISE It’s your turn to design the costumes.
Using the considerations listed on page 11, and the templates below, design costumes for one or more
of the following characters;
Bugsy Malone Tallulah Blousey Brown Fizzy
Fat Sam Dandy Dan Lena Marelli Babyface
Bronx Charlie Knuckles Bangles Louella

COSTUME TEMPLATE

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 7. BUGSY MALONE: THE GREAT DEPRESSION AND PROHIBITION ERA
AMERICA

In this section we aim to spark discussion amongst the class about the history surrounding Alan Parker’s
story and the film. The following should be used only as a stimulus to further research and investigation.

Bugsy Malone is set during the time of

Prohibition in the United States of
America and The Great Depression.

Prohibition is the legal act

of prohibiting the manufacture, storage in
barrels, bottles, transportation and sale of
alcohol including alcoholic beverages. The
term can also apply to periods in the
histories of countries during which
the prohibition of alcohol was enforced.

In the story of Bugsy Malone, alcohol is

replaced by soda pops and candy.

xvi. Unemployed men outside a soup kitchen opened in Chicago by Al

Capone, 1931
The Down and Outs who rally to help steal the splurge guns from Dandy Dan are based on the unemployed
and homeless of The Great Depression.

The Great Depression was a severe worldwide economic depression in the 1930s. The timing of the Great
Depression varied across nations; however, in most countries it started in 1929 and lasted until the late
1930s. It was the longest, deepest, and most widespread depression of the 20th century.

Useful links and resources

 http://www.bbc.co.uk/schools/gcsebitesize/history/mwh/britain/depressionrev1.shtml
 http://en.wikipedia.org/wiki/Great_Depression
 http://alanparker.com/film/bugsy-malone/
 http://www.history.com/topics/prohibition

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 TIMELINE are there any more events that you think should be added to the timeline?


Prohibition movement picks up due to 1893
the creation of the Anti-Saloon League.

The League & the Woman's Christian

Temperance Union, began to succeed in
enacting local prohibition laws.

Al Capone, who became one of America’s 1899

biggest gangsters during the prohibition,
was born.

Al Capone, moved from New York to 1919

Chicago and started working for Johnny
Torrio, a notorious mobster.

President Woodrow Wilson created a

temporary wartime prohibition in order
to save grain for food.

The 18th Amendment 1920

The amendment banned the manufacture,
transportation and sale of intoxicating liquor
in all States.

Al Capone took over from Johnny Torrio 1925

becoming the new boss to the criminal
empire.

There were almost 100,000

speakeasy clubs in New York alone.

Prohibition era saw a rise in criminal 1929

activity due to bootleg operations and
speakeasies.

St. Valentines day Massacre, an attempt

by Al Capone to target the head of rival
gang, Bugs Moran.

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Al Capone was indicted on 22 counts of 1931
income-tax evasion. He was found guilty
and was sent to prison for 11 years

The 18th Amendment was repelled by the 1933

21st Amendment which was brought in
through the presidency of Franklin
Roosevelt.

Alcohol was once again legal in the

USA.

Sir Alan Parker wrote and directed 1975

Bugsy Malone.

 
PEOPLE OF INTEREST relating to the era of prohibition and ‘gangsters’

Alphonse Gabriel "Al" Capone (January 17, 1899 – January 25, 1947) was an American gangster who
attained fame during the Prohibition era.

George Clarence Moran (August 21, 1893 – February 25, 1957), better known as Bugs Moran, was a
Prohibition-era gangster.

Woodrow Wilson (December 28, 1856 – February 3, 1924) was the 28th President of the United
States from 1913 to 1921 and leader of the Progressive Movement.

Herbert Hoover (August 10, 1874 – October 20, 1964) was the 31st President of the United
States (1929–1933).

Franklin Delano Roosevelt (January 30, 1882 – April 12, 1945), commonly known by his initials FDR,
the 32nd President of the United States (1933-1945).

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 8. RESPONDING TO BUGSY MALONE


FIZZY
“Tomorrow never comes Tomorrow
What kind of a fool Tomorrow as they say
Do they take me for? Another working day
Tomorrow And another chore
A resting place for bums Tomorrow
A trap set in the slums An awful price to pay
But I know the score I gave up yesterday
I won’t take no for an answer But they still want more
I was born to be a dancer now, yeah They are bound to compare me
To Fred Astaire when I’m done
Anyone who feels the rhythm
Moving through ‘em Tomorrow
Knows it’s gonna do ‘em good Tomorrow’s far away
To let the music burst out Tomorrow as they say
When you feel assured Is reserved for dreams
Let the people know it
Let your laughter loose I won’t take no for an answer
Until your scream I was born to be a dancer now”
Becomes a love-shout


EXERCISE Classroom discussion
Many of the characters demonstrate a dream or desire to succeed at ‘something’. Fizzy dreams of being
a dancer, Blousey dreams of Hollywood and Dandy Dan desires complete power.

How does music demonstrate how the characters are feeling?

Think of the song ‘Tomorrow’, and the words that Fizzy sings. Also think about the shape of the tune,
where the tune rises and falls. Also think about the word; tomorrow, what is the significance of this to
Fizzy?

Keywords to think about;

Passion
Soaring
Downtrodden
Soul
Movement and motion

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EXERCISE Group work: Be the Critic
After seeing the performance and as a group respond to the following question.

1. What were your expectations before seeing the production?

2. Did you enjoy watching BUGSY MALONE?
3. Did the characters match the image created by the film or break your expectations?
4. How did the lighting, set, sound and costume help the play?
5. What role did the music play within the story?
6. What were the differences between the film and the musical?
7. Describe what you enjoyed about the musical? And also discuss what you might not have
enjoyed about the musical.
8. If you were the director, what would you have changed?


 EXERCISE Individual work: Be the Critic
Using these questions as a starting point write your own review of the play.

All rehearsal photography of original 2015 cast, photo credit: Dan Hipkin
Production photography of original 2015 cast, photo credit: Manuel Harlan
2015 Bugsy Malone cast publicity image, photo credit: David Ellis

This Education Pack has been compiled as a means to prompt discussion and facilitate work in response
to the production of BUGSY MALONE. All sources and credits regarding materials are given, where
possible, throughout. No part of this pack should be replicated out of context.
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