Sons of the Prophet by Stephen Karam

Department of English

Regular Standing Deer Decoy

decoy (Merriam-Webster)
1 hunting: a pond into which wildfowl are lured for capture
2: someone or something used to lure or lead another into a trap
the commander of that sub … took us to be a decoy— H. A. Chippendale
especially, hunting: an artificial bird used to attract live birds within shot
3: someone or something used to draw attention away from another
had a decoy distract the guard
"Regular Standing Deer Decoy," Custom Robotic Wildlife
The standing whitetail deer is the most popular product we create. Weighing in at only 22 pounds, it is extremely easy to transport and set up while being very durable. The antlers are removable so the decoy can be used as a doe or buck. Deer decoys now come standard with an increased rotation servo motor, providing approximately 180 degree movement of the head. The regular whitetail deer decoy simulates a 140–150 pound looking deer.
Todd Amnrud, "6 Tips for Using Deer Decoys," Mossy Oak Gamekeepers, 20 Oct. 2017.
There aren’t many hard & fast rules when it comes to decoying deer; however, you can put the odds in your favor by using these tips.
1.The More Realistic The Better
Cheap decoys may work, but the more realistic looking the better.

2.Decoy Posture
Decoy posture must backup the scenario you’re trying to pull off. Some decoys look as if they’re so on edge they’re about to bolt. A feeding decoy, bedded decoy or any posture that doesn’t appear to be alert or aggressive will typically work most of the time.

3.Realistic Settings
Set up realistic settings. As an example, to depict a chase scenario you may want a more aggressive looking decoy. I like to place a small buck decoy standing over a bedded doe decoy - making it look as if they stopped to take a break. Think about how the whitetails might use an area.

4.Movement
“Lack” of movement is a key! This can easily be cured with commercial tail kits, a white hanky, or a real deer tail and fishing line. I learned from the Wensel brothers to use chicken feathers. Tie a short string to either the feather or hanky and then tape the string to the decoy; this leaves it free to swing in the wind.

5.Use Scent
The use of scent and calling helps dearly with decoys. Bucks almost always drop downwind to scent-check the set-up. If they drop downwind and smell some Special Golden Estrus around your doe decoy, or some Golden Buck with your buck decoy, it helps seal the deal.

6.Set Up for The Approach
Place the decoy facing you and keep it as scent-free as possible. Most of the time two deer will approach one another with necks stretched out, nose to nose. If he approaches in this way, it should leave you with a nice quarter-ing-away shot.

Mason and Dixon Line

Mason-Dixon Line sign

"Mason-Dixon Line," Encyclopædia Britannica
Mason-Dixon Line, also called Mason and Dixon Line, originally the boundary between Maryland and Pennsylvania in the United States. In the pre-Civil War period it was regarded, together with the Ohio River, as the dividing line between slave states south of it and free-soil states north of it.
Kathryn DeVan, "Our Most Famous Border: The Mason-Dixon Line," Pennsylvania Center for the Book (2008)
The marker stands to show where the North ends and the South starts. However, the story behind the boundary line is bitter, hostile and, at times, violent; and the story dates back to the mid-17th century.

"Clowns," The Guide to United States Popular Culture, edited by Ray B. Browne, and Pat Browne, U of Wisconsin P, 2001, p. 183.
One of America's most famous clowns is Bozo the Clown. Bozo became a fixture in American homes due to his children's television program which began in 1959. Larry Harmon, the man behind the clown, smartly adapted Bozo to changing times, and also licensed others to perform and make appearances as Bozo under his strict supervision.
Joe Silvia, "Who Remembers...Bozo the Clown?," New Bedford Guide (2013)
One of those shows [children's favorite weekday morning shows] was Bozo the Clown also known as Bozo’s Big Top or Bozo’s Circus, which spun off “Bozo: The World’s Most Famous Clown” animated cartoon series. The character of Bozo was created – believe it or not – in 1946, by children’s storyteller Alan W. Livingston. His medium was the first of its kind: an illustrative book accompanied with an album.

The first televised episode of Bozo was in 1949 on KTTV Los Angeles. The show’s rights were purchased by a Larry Harmon in 1956 who saw the show’s massive potential. The show became popular enough that it expanded into franchises – as opposed to syndication. This meant that instead of broadcasting the Los Angeles version of the show, local stations could produce their own version with their own Bozo.

Comprehension Check

Scene 1 On Work

What does the U.S. state Alabama mean or represent that Gloria calls Pennsylvania "Alabama of the North"? (66)

Scene 2 On Pain

How is a Geography Bee different from a Spelling Bee?

Scene 3 On Talking

What does Joseph say is the origin of his family name Douaihy? (72)

Study Questions

What is "the point of the matter" in scene 1 On Work?
How does Charles's multiple names for Joseph affect the play?
In what ways are characters (and events) tied to one another? What factors bind them?
At what points are connections questioned, disputed or disavowed? What about?
What assumptions or predictions do characters make about each other or about the future? When are these accurate and when are they botched? What are the consequences of these "prophecies"? How do they play out or are resolved?
Karam indicates in the "Author's Note" for productions to "Eschew broad comedy and characterizations" (66). How does the text refuse or disrupt general character types? How does the playscript enable comedy and laughter that does not make fun of individuals or of situations or circumstance in a denigrating way? What do characters joke and tease about? Why does that rough handling individualize them rather than stereotype them? How does the kind of humor that Karam encourages create sympathy rather than ridicule? Some scenes to study:

The exam room trick at the end of scene 5 On Friendship:
CHARLES. Jo—
Joseph jolts his whole body and opens his eyes, scaring the crap out of Charles. Successful ambush. Charles cannot believe Joseph would joke at a time like this. Joseph finds it very funny. Charles was so scared! Charles goes to smack Joseph—but Joseph grabs his arm, makes him laugh involuntarily through an arm restraint/tickling routine he's executed before. Finally, Joseph shows him some mercy. Charles moves away, still very upset. Joseph loves how angry Charles is, finds it funny to watch him stew. [...] (80)
The board meeting in scene 6 On Reason and Passion that begins,
Simultaneously mispronounced:
BOARD MEMBER #1 (DUH-way-ees). Douaihys
BOARD MEMBER #2 (duh-WHY-hees). Douaihys

Communication

Look at moments of incomprehension in the play. What prevents understanding in each instance? Who does not get the meaning or the message being expressed?
Look at moments of realization, such as when a character suspects something and begins to see its reason, when a character is gradually or suddenly clued in to what is going on, what is wanted of him/her, or what something means. How does the character come by that knowledge or "enlightenment"? Through what means is information, emotion, or intention conveyed? How much is verbal utterance a part of that expression or exchange? How much are other forms of communication?
Where is there a mismatch between language and intention? Insulting language between the brothers Joseph and Charles, for example, gives a variety of impressions, most of which is not offensive. The sibling trash talk overheard by Timothy at the bus station causes him to smile:
JOSEPH. Yeah I'm in a bus station that smells like urine, I can't have an emotional moment with you now,/I'll be home soon, okay?
CHARLES. You're an asshole. yeah, also I bought the Indo-China map using your credit card,/sorry.
JOSEPH. You are such a shit, good-bye.
CHARLES. Bye you look like a lesbian bye.
Charles hangs up, disappears. Joseph notices Timothy smiling. (71)
Also in extension to this, where does the language not correspond to meaning? When do words not signify what they apparently say? In other words, when are characters evasive or indirect in their speech? Why do they not say outright what they want? Some scenes to consider:

The exchange between Gloria and Joseph in scene 1 On Work
The exchange between Joseph and Timothy at the bus station in scene 3 On Talking
Gloria's visit to the Douaihy home and her conversations with different family members in scene 4 On Home

How is overlapping dialogue used in the play and to what effect?
When are characters angry? What about? How is that anger dealt with?

What is the role of religion, scripture, saints, hymns or prayers to characters who "stopped going to church" (70) or are not religious?
Compare the titled scenes with their associated Gibran poem(s). What is different in their stories, messages, tropes, tones, and presumed audience? What is similar or maintained in Karam's play?

Links

Kahlil Gibran, The Prophet (1923)
Beth Schwartzapfel, "Playing with Real Life," Brown Alumni Magazine (2011)
Lisa Timmel, "Characterizing Space," Huntington Theatre Company (2011)

Interviews

Ted Sod, "A Conversation with Sons of the Prophet Playwright Stephen Karam," BroadwayWorld (2011)
Todd Taylor, "Artist Spotlight: Sons of the Prophet playwright Stephen Karam," Fayetteville Flyer (2013)

Media		"Behind the Scenes of Sons of the Prophet at the Huntington," Huntington Theatre Company (2011; 3:55 min.)
		"About the Show," Roundabout Theatre Company (2011; 4:07 min.)
		"Sons of the Prophet at the Blank Theatre," The Blank Theatre (2015; 1:58 min.)
		"Sons of the Prophet Trailer," New Conservatory Theatre Center (2016; 1:09 min.)
		"The Geodetic Center of the U.S.," Sons of the Prophet, directed by Peter DuBois, performed by Jonathan Louis Dent, Chris Perfetti, Santino Fontana, and Yusef Bulos, Roundabout Theatre Company, Laura Pels Theater (2012; 1:05 min.)
		"Native Son: Stephen Karam in Conversation with Paul Holdengraber," University of Scranton (2012; 1 hr. 9:40 min.)

Stephen Karam

"Bio," Stephen Karam (official website)
Charles Haugland, "Stephen Karam: A Quick Look at the Playwright," Huntington Theatre Company