OCR A Level Drama and Theatre H459/45 Deconstructing Texts for Performance Sweeney Todd. QUESTION PAPER AND MARKING SCHEME

As a director, outline and explain your vision for directing the actors in this extract to bring out the lyricist/composer’s intentions. Annotate the script to show how you would do this. [30] ........................ ...

As a director, outline and explain your vision for directing the actors in this extract to bring out the lyricist/composer’s intentions. Annotate the script to show how you would do this. 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LOVETT. Yes, what, love? Quick, though, the trade is brisk. TODD. But it’s here! MRS. LOVETT. It’s where? TODD. Coming up the stair! MRS. LOVETT. (Holding up the tray) I’ll get rid of this lot As they’re still pretty hot And then I’ll be there! No, I’ll be there! I will be there! But they’ll never be sold If I let ’em get cold — TODD. It’s about to be opened Or don’t you care? But we have to prepare! (During the following, the crate is lowered to the tonsorial parlor) MRS. LOVETT. (Without pausing for breath, smiling to a customer) Oh, and Incidentally, dearie, You know Mrs. Mooney. Sales’ve been so dreary — (Spots the BEGGAR WOMAN again) Toby — ! (To the same customer) Poor thing is penniless. (Indicating BEGGAR WOMAN, to TOBIAS) What about that loony? (To the same customer, as TOBIAS shoos the BEGGAR WOMAN away again) Lookin’ sort of beery — Oh well, got her comeuppance — (Hawklike, to a rising customer) And that’ll be thruppence — and 4 © OCR 2021 50 55 60 65 70 75 80 85 90 95 CUSTOMERS. (Singing with mouths full) God, that’s good that is de have you Licious ever tasted smell such Oh my God what more that’s pies good! MRS. LOVETT. So she should. (MRS. LOVETT goes up to the tonsorial parlor, entering as TODD opens the crate, revealing an elaborate barber chair) TODD and MRS. LOVETT (Swooning with admiration). Oooohhhh! Oooohhhh! (The empty crate swings away on the crane) TODD. Is that a chair fit for a king, A wondrous neat And most particular chair? You tell me where Is there a seat Can half compare With this particular thing! I have a few Minor adjustments To make — They’ll take A moment. I’ll call you … MRS. LOVETT. It’s gorgeous! It’s gorgeous! It’s perfect! It’s gorgeous! You make your few Minor adjustments. You take your time, I’ll go see to the customers. TODD (Looking at the chair, as MRS. LOVETT goes back to the garden). I have another friend … TOBIAS. (To the customers) Is that a pie fit for a king, A wondrous sweet And most delectable thing? You see, ma’am, why There is no meat Pie can compete With this delectable Pie. MRS. LOVETT. It’s gorgeous! It’s gorgeous! It’s perfect! It’s gorgeous! 5 © OCR 2021 Turn over 100 105 110 115 120 125 130 135 140 CUSTOMERS (Simultaneously with above). Yum! Yum! Yum! TOBIAS and MRS. LOVETT. The crust all velvety and wavy, That glaze, those crimps … And then, the thick, succulent gravy … One whiff, one glimpse … CUSTOMERS (Simultaneously with above). Yum! Yum! Yum! Yum! Yum! Yum! Yum! Yum! TODD. And now to test This best of barber chairs … MRS. LOVETT. So rich, So thick It makes you sick … TOBIAS. So tender That you surrender … CUSTOMERS (Simultaneously with above). Yum! Yum! Yum! Yum! TODD. It’s time … It’s time … Psst! MRS. LOVETT (To the customers). Excuse me … TODD (From above). Psst! MRS. LOVETT (To TOBIAS). Dear, see to the customers. TODD. Psst! MRS. LOVETT (Moving toward him). Yes, what, love? TODD. Quick, now! MRS. LOVETT. Me heart’s aflutter — ! 6 © OCR 2021 145 150 155 160 165 170 175 180 185 190 TODD. When I pound the floor, It’s a signal to show That I’m ready to go, When I pound the floor! I just want to be sure. When I’m certain that you’re In place — MRS. LOVETT. When you pound the floor, Yes, you told me, I know, You’ll be ready to go When you pound the floor — Will you trust me? Will you trust me? I’ll be waiting below For the whistle to blow … TODD. I’ll pound three times. (He demonstrates on the frame of the window) Three times. (He does it again; she nods impatiently) And then you — (She knocks at the air two times) Three times — (She knocks heavily and wearily on the wall) If you — (She knocks again, rolling her eyes skyward) Exactly. CUSTOMERS. More hot pies! MRS. LOVETT. Gawd! CUSTOMERS. More hot! MRS. LOVETT (Over her shoulder to them). Right! CUSTOMERS. More pies! TODD (Seeing her attention waver). Psst! CUSTOMERS. More! 7 © OCR 2021 Turn over 195 200 205 210 215 220 225 230 235 240 MRS. LOVETT. Wait! (She runs into the bakehouse, which we see for the first time. Upstage are the large baking ovens. Downstage is a butcher’sblock table, on which stands a bizarre meat-grinding machine. In the wall is the mouth of a chute leading down from the tonsorial parlor. Upstage is a trap door leading down to an invisible cellar. While music continues under, TODD takes a stack of books tied together, puts it in the chair, then pounds three times on the floor. MRS. LOVETT responds by knocking three times on the mouth of the chute. TODD pulls a lever in the arm of the chair. The chair becomes a slide and the books disappear through a trap. Music. The books reappear from the hole in the bakehouse wall and plop on the floor. The chair resumes its normal position. MRS. LOVETT knocks three times excitedly on the chute; TODD responds by pounding on the floor three times) CUSTOMERS. More hot pies! (MRS. LOVETT hurries out of the bakehouse) More hot! More pies! (TODD resumes tinkering happily with the chair) More! Hot! Pies! MRS. LOVETT and TOBIAS (To the customers). Eat them slow and Feel the crust, how thin I (she) rolled it! Eat them slow, ’cos Every one’s a prize! Eat them slow, ’cos That’s the lot and now we’ve sold it! (She hangs up a “Sold Out” sign) Come again tomorrow — ! MRS. LOVETT (Spotting something along the street). Hold it — 8 © OCR 2021 245 250 255 260 265 270 275 CUSTOMERS. More hot pies! MRS. LOVETT. Bless my eyes — ! (For she sees the MAN WITH CAP, from Act I, approaching the barber sign. He looks up and rings TODD’S bell — three times) Fresh supplies! (TODD leans out, sees the man, beckons him up; the man starts up the steps. TODD holds his razor. They both freeze. MRS. LOVETT takes down the “Sold Out” sign and turns back to the customers) MRS. LOVETT. How about it, dearie? Be here in a twinkling! Just confirms my theory — Toby — ! God watches over us. Didn’t have an inkling … Positively eerie … TOBIAS. Is that a pie Fit for a king, A wondrous sweet And most delectable Thing? You see, ma’am, why There is no meat pie — CUSTOMERS (Simultaneously with above). Yum! Yum! Yum! Yum! Yum! Yum! Yum! 9 © OCR 2021 Turn over 2 As a director, explain and justify how you could stage a performance of Sweeney Todd to highlight the key moments of the musical. 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OCR is part of the Cambridge Assessment Group; Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge. Oxford Cambridge and RSA Examinations GCE Drama and Theatre H459/45: Deconstructing texts for performance Sweeney Todd: Demon Barber of Fleet Street Advanced GCE 2021 Mark Scheme (DRAFT) This is a DRAFT mark scheme. It has not been used for marking as this paper did not receive any entries in the series it was scheduled for. It is therefore possible that not all valid approaches to a question may be captured in this version. You should give credit to such responses when marking learner’s work. Oxford Cambridge and RSA Examinations OCR (Oxford Cambridge and RSA) is a leading UK awarding body, providing a wide range of qualifications to meet the needs of candidates of all ages and abilities. OCR qualifications include AS/A Levels, Diplomas, GCSEs, Cambridge Nationals, Cambridge Technicals, Functional Skills, Key Skills, Entry Level qualifications, NVQs and vocational qualifications in areas such as IT, business, languages, teaching/training, administration and secretarial skills. It is also responsible for developing new specifications to meet national requirements and the needs of students and teachers. OCR is a not-for-profit organisation; any surplus made is invested back into the establishment to help towards the development of qualifications and support, which keep pace with the changing needs of today’s society. This mark scheme is published as an aid to teachers and students, to indicate the requirements of the examination. It shows the basis on which marks were awarded by examiners. It does not indicate the details of the discussions which took place at an examiners’ meeting before marking commenced. All examiners are instructed that alternative correct answers and unexpected approaches in candidates’ scripts must be given marks that fairly reflect the relevant knowledge and skills demonstrated. Mark schemes should be read in conjunction with the published question papers and the report on the examination. © OCR 2021 H459/45 Mark Scheme November 2021 3 1. Annotations Annotation Meaning Blank page Unclear Knowledge Knowledge and understanding Not answered question Lengthy narrative Repeat Tick Cross Effective evaluation Vague Odd or incorrect grammar No example Relating to question H459/45 Mark Scheme November 2021 4 2. Subject Specific Marking Instructions Level Descriptors Each question is worth 30 marks. This paper will assess AO3: Demonstrate knowledge and understanding of how drama and theatre is developed and performed. Level 5: 25–30 marks Excellent and highly developed references to any theatrical processes or practices, used in the role of a director, involved with interpreting and performing theatre. Excellent and highly developed demonstration of how a director’s creative and artistic choices can influence how meaning is communicated to an audience. Excellent and highly developed understanding of how the performance text has been constructed and can be performed. Excellent and highly developed understanding of how the social, cultural, historical context of the performance text can affect how the performance text is interpreted and performed for an audience. Level 4: 19–24 marks Confident reference to any theatrical processes or practices, used in the role of a director, involved with interpreting and performing theatre. Confident demonstration of how a director’s creative and artistic choices can influence how meaning is communicated to an audience. Confident understanding of how the performance text has been constructed and can be performed. Confident understanding of how the social, cultural, historical context of the performance text can affect how the performance text is interpreted and performed for an audience. Level 3: 13–18 marks Clear reference to any theatrical processes or practices, used in the role of a director, involved with interpreting and performing theatre. Clear demonstration of how a director’s creative and artistic choices can influence how meaning is communicated to an audience. Clear understanding of how the performance text has been constructed and can be performed. Clear understanding of how the social, cultural, historical context of the performance text can affect how the performance text is interpreted and performed for an audience. H459/45 Mark Scheme November 2021 5 Level 2: 7–12 marks Basic reference to any theatrical processes or practices, used in the role of a director, involved with interpreting and performing theatre. Basic demonstration of how a director’s creative and artistic choices can influence how meaning is communicated to an audience. Basic understanding of how the performance text has been constructed and can be performed. Basic understanding of how the social, cultural, historical context of the performance text can affect how the performance text is interpreted and performed for an audience Level 1: 1–6 marks Limited reference to any theatrical processes or practices, used in the role of a director, involved with interpreting and performing theatre. Limited demonstration of how a director’s creative and artistic choices can influen