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Good Manners:
A Medieval Quest for
Polite Behavior
A Musical Play for Kids
Script, teacher’s guide, and audio recording
with songs and instrumental accompaniment
Book and lyrics by John Heath
Music by Mike Fishell and Roy Fishell
Illustrations by Dustin Han
Bad Wolf Press
Santa Clara, California
Acknowledgements
All of the instruments were played by Mike and Roy Fishell (except as noted
below), who also sang on songs 4 and 7. Special thanks to the following singers
and musicians who added so much to the recording: Miles Fishell, who sang
on songs 4 and 7, and played bass, organ, tambourine and supplied hand claps
on song 7; Billy Flores, who played clarinet, soprano sax, and tenor banjo on
song 5 and fiddle on song 8; Marcella Quirin, who sang on songs 1, 3, 6, 9, and
10; and Dana Shaw, who sang on songs 2, 5, and 8. And an extra special shout
out to members of the McAuliffe School Drama Club for all their help!
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Table of Contents
Good Manners: ScriptPage 4-26
Teacher’s Guide27-39
Introduction for the Teacher27
Getting Started28-9
Music29-30
Casting31
Costumes32
The Set 33
Staging 34-5
Rehearsals and Assessment36
A Four-Week Timetable37
Emphasis: Making the Words Come Alive
38
Final Performance38-9
A Last Bit of Advice39
Curriculum Concepts and Vocabulary-Building
in Good Manners
40
Information on Vocal Score and Ordering
41-2
Song List
1. “Good Manners”
2. “I Cast a Spell”
3. “Hygiene”
4. “Help ’Em Out”
5. “Etiquette”
6. “Ask Permission”
7. “I Love My Spoon”
8. “Don’t Call Me Names”
9. “No One Likes a Whiner” 10. “Good Manners”
(reprise)
Chorus
pages
5
Sorcerer, Apprentices, Chorus
6-7
Alchemist, Assistant, Chorus
10-11
Black Knight, Squires, Chorus
13-14
Baron, Noble, Chorus
15-16
Damsels, Chorus
17-18
Abbot, Monks, Chorus
19-21
Dragons, Chorus
22-23
Villagers, Chorus 24-25
Chorus 26
3
Good Manners:
A Medieval Quest for Polite Behavior
Book and lyrics by John Heath
Music by Mike Fishell and Roy Fishell
The duration of the show is about 30 minutes
CHARACTERS:
TROUBADOUR (storyteller)
SORCERER
SORCERER’S APPRENTICES
SIR DANCELOT (Knight)
SIR GWENDOLYN (Knight)
ALCHEMIST
ALCHEMIST’S ASSISTANT
BLACK KNIGHT
BLACK KNIGHT’S SQUIRES
BARON
NOBLE
DAMSELS IN DISTRESS
ABBOT
MONKS
MOTHER DRAGON
KID DRAGONS
VILLAGERS
FLEXIBLE CASTING:
From 11-40 students. Use
as many Apprentices,
Squires, etc. in each
scene as desired. One
student can easily play
several roles if needed,
and individual roles can
be doubled up. Note that
all roles can be played by
either boys or girls; see our
comments on page 33 of
the Teacher’s Guide.
and a CHORUS composed of all students who are not playing roles on stage at the time.
4
(CLASS enters/stands, faces audience, and sings:)
CLASS:
Song 1/11
From back when there were dragons
And damsels were distressed
There comes a tale that we’ll unveil of a quest...for good manners.
An evil spell had fallen
The kingdom was possessed
And so two knights soon set their sights on a quest
...for good manners.
The folks were once polite
But now each duke and knight
Was rude and crude and mean instead
Chivalry was dead!
NOTE: The numbers
above refer to the
track numbers on
the audio recording.
The first is the vocal
version of the song;
the second is the
karaoke version.
Instrumentation for SONG
1: Drums, bass, piano, organ,
brass section, two electric
guitars, tambourine, shaker
All courtesy was banished
Politeness repossessed
They’d have to get their etiquette on a quest…for good manners.
Now let us tell our story
And get it off our chest
Medieval times with jokes and rhymes in a quest
…for good manners.
Let’s go!
(TROUBADOUR enters, opens a large scroll, and addresses
audience)
TROUBADOUR: Once there was a medieval kingdom under a
terrible curse. The people there took great pride in their polite
behavior, but one day a sorcerer and his apprentices cast a spell that
drove out all good manners.
SORCERER (entering with APPRENTICES on his heels): Hey,
hold on there.
TROUBADOUR (upset): What are YOU doing here?
(pointing to scroll)
It doesn’t say that the sorcerer and his apprentices enter.
5
SORCERER: I couldn’t wait. You need to tell them WHY I did it.
APPRENTICE #1 (to audience, pointing to SORCERER): The
King kicked him out of the kingdom.
APPRENTICE #2: Yeah. He got us all banished.
SORCERER: So I got revenge. I used to BE somebody. I was the
official Trainer of the Joust. ALL the great athletes came to me. I
invented a potion that made the jousters bigger and stronger.
APPRENTICE #1: The King accused him of selling “performance
enchanting” drugs.
SORCERER: And I was banished to the edge of the kingdom! But
look who’s laughing now.
(to APPRENTICES, who are making grand gestures with
their hands towards each other and not paying any attention to the SORCERER)
Tell them how I did it.
(THEY don’t respond—they just keep gesturing towards
each other. After a few seconds, HE turns back to audience.)
You see how rude they are? They’re sending hexed messages to
each other and ignoring me. My spell is working. I’ve eliminated all
good manners, starting with polite words!
(TROUBADOUR exits.)
SORCERER and APPRENTICES:
Song 2/12
I cast a spell on Thank You
I cast a spell on Please
Gesundheit’s never heard
Whenever people sneeze.
I hexed the words
That people use
To be polite
I cast a spell on Thank You
I banished it from sight.
Instrumentation for
SONG 2: Drums,
string bass, piano,
organ, guitar
6
I cast a spell on Thank You
I made it disappear
Merci and Por Favor
You’ll never find them here.
No Danke Schoen
No Si Vous Plait
No Pardon Me’s
I cast a spell on Thank You
I cast a spell on Please.
No one says they’re sorry
That’s just a passing fad
Instead they shrug their shoulders
And mumble “that’s my bad.”
Spoken: What’s up with that?
SORCERER, APPRENTICES, and CHORUS:
I cast a spell on Thank You
I cast a spell on Please
Gesundheit’s never heard
Whenever people sneeze.
I hexed the words
That people use
To be polite
I cast a spell on Thank You
I banished it from sight.
I cast a spell on Thank You
I banished it from sight.
(SORCERER and APPRENTICES remain on stage.)
TROUBADOUR (entering, with scroll; to audience): The King
sent two knights on a quest to bring good manners back to the
kingdom. Sir Dancelot and Sir Gwendolyn, very unimportant
knights, were the only two people unaffected by the Sorcerer’s spell.
All hope rests on their inexperienced shoulders. They have no idea
what to do.
DANCELOT (as KNIGHTS enter): I have no idea what to do, Sir
Gwendolyn.
7
TROUBADOUR: I knew she would say that.
GWENDOLYN: What if we ask the Sorcerer to reverse the spell?
SORCERER: Reverse my spell? Are you nuts? That’s impossible.
Never gonna happen. No way.
APPRENTICE #1: Well, there is ONE way.
APPRENTICE #2: Oh yeah! You forgot about the one way.
SORCERER: Okay, okay, there IS one way.
GWENDOLYN: Please tell us.
SORCERER: You’d have to accomplish three very difficult tasks.
Number One: Defeat the Black Knight.
DANCELOT: The Black Knight? Are you crazy? He eats
people like me for breakfast. I liked it better when we were very
unimportant knights.
APPRENTICE #1: Number Two: Save a damsel in distress.
DANCELOT: I guess that’s not so bad.
APPRENTICE #2: Number Three: Slay a fire-breathing dragon.
DANCELOT: That’s it, I’m outta here.
(starts to walk away)
GWENDOLYN: Dancelot, wait. This is our big chance. We can do
this.
SORCERER: Sure you can! Well, no, you can’t. But it’s a nice plot
twist and I’m sure everyone will enjoy watching you go up in
flames.
(to APPRENTICES)
Let’s get back to work. We need to come up with something
annoyingly impolite.
(THEY start to exit.)
8
APPRENTICE #1: Yeah—something that will encourage people to
be self-absorbed...
APPRENTICE #2: And that will reward people for spelling really
badly...
SORCERER: Come on. Don’t just stand there twittering away.
(pause, looks at audience)
Twitter. Hey! That gives me an idea…
(THEY exit.)
DANCELOT: Man! Who knew this knight stuff was such a pain?
GWENDOLYN: Come on, we need to find the Black Knight.
DANCELOT: Do we really? Maybe we should start with
something easier. How about a yellow knight?
GWENDOLYN (pointing to other side of stage): Look, there’s an
Alchemist’s store. Let’s ask if he knows where we can find the Black
Knight.
(THEY walk towards other side of stage, where the
ALCHEMIST and ASSISTANT have entered.)
ALCHEMIST (to ASSISTANT): What do you mean you lost the
philosopher’s stone?
ASSISTANT: I didn’t actually lose it.
ALCHEMIST: Good.
ASSISTANT: I skipped it across the pond.
ALCHEMIST: What?!
ASSISTANT: It was so smooth. Eight bounces—it’s my personal
best.
GWENDOLYN: Excuse me. We’re looking for the Black Knight.
9
ALCHEMIST: The Black Knight? He lives over by the Dunberry
Bridge. You can’t miss him—he eats people like you for breakfast.
DANCELOT (grabbing a can, looking in it): What are you guys
doing?
ALCHEMIST: We’re trying to create the elixir of life.
ASSISTANT: Or a really good mango smoothie. Whichever comes
first.
DANCELOT (nose in can): This stuff smells funny. It makes me
want to…to…to...
(HE builds up and then delivers a giant sneeze.)
AAAAAACHOOOOOO!
ALCHEMIST: Hey! You need to cover your mouth when you
sneeze.
GWENDOLYN: I’ve never heard of that.
ASSISTANT: We call it hygiene—it’s gonna be big.
ALCHEMIST and ASSISTANT:
Oh I am a master alchemical whiz
A Renaissance man (yeah, whatever that is)
I’m workin’ on transformin’ lead into gold
So I don’t have time to go catchin’ a cold.
I’ve got a theory
To keep colds away
I’ve got a theory
That’ll catch on some day.
10
Song 3/13
I call it…
Hygiene
That’s what I propose
Hygiene
So don’t pick your nose.
Hygiene
Are those swollen glands? Yuck!
Don’t touch that goblet and go wash your hands.
Yeah I got some miracle-working to do
There ain’t no elixirs for plague or the flu
So cover your mouth when you cough or you sneeze
There’s all kinds of stuff that flies out when you wheeze.
I’ve got a theory
To keep colds away
I’ve got a theory
That’ll catch on some day.
ALCHEMIST, ASSISTANT, CHORUS:
I call it…
Hygiene
That’s what I propose
Hygiene
So don’t pick your nose.
Hygiene
Are those swollen glands? Yuck!
Don’t touch that goblet and go wash your hands.
Instrumentation for
SONG 3: Drums,
bass, piano, organ,
brass section, two
electric guitars,
shaker, tambourine,
handclaps
(THEY exit; TROUBADOUR enters, still with scroll.
GWENDOLYN and DANCELOT trudge back and forth across the stage behind the TROUBADOUR.)
TROUBADOUR: And so Sir Gwendolyn and Sir Dancelot walked
towards the Dunberry Bridge.
(BLACK KNIGHT and SQUIRES enter.)
They soon found the Black Knight and his squires, who were
cleaning their golf clubs.
(looks up at the audience)
Yes, I said golf clubs. I don’t write this stuff, I just read it.
11
DANCELOT (pointing): Look, it’s the Black Knight. YOU go talk
to him. I’m allergic to being killed.
GWENDOLYN: Come on.
(THEY approach cautiously.)
Excuse me, good sir, but are you the Black Knight?
BLACK KNIGHT: I am indeed. Have a seat.
DANCELOT (sitting down absurdly fast): Absolutely!
GWENDOLYN: Get up, Dancelot. We must defeat him if we are to
reverse the curse.
BLACK KNIGHT: Defeat me? You two? Don’t be silly. I’d eat you
for breakfast.
DANCELOT: That’s what I said.
SQUIRE #1: Besides, it’s not a fighting day.
SQUIRE #2: Come back next Tuesday. Today is golf day!
GWENDOLYN: Golf?
BLACK KNIGHT: It’s a great little sport I picked up in Scotland
last summer.
SQUIRE #1: We whack a ball around with these clubs…
SQUIRE #2: And then we get mad and break them in half and
throw them in a pond.
BLACK KNIGHT: Great fun, really.
SQUIRE #1: Won’t you help us clean the rest of our golf
equipment?
SQUIRE #2: It got all covered with gunk from the swamp on the
tenth hole.
12
GWENDOLYN: Help you? We can’t help you. We were supposed
to defeat you so we can restore politeness.
BLACK KNIGHT: Politeness? Well, you could start by learning to
be helpful.
Song 4/14
BLACK KNIGHT (sings):
If someone’s at the door and their arms are full of stuff
SQUIRES: Help ’em out
Help ’em out
BLACK KNIGHT:
They’re reaching for a book and they’re not quite tall enough
SQUIRES: Help ’em out
Help ’em out.
BLACK KNIGHT:
You’re hiking in the woods and some folks have lost the path
SQUIRES: Help ’em out
Help ’em out
BLACK KNIGHT:
If someone in your class struggles now and then with math
SQUIRES: Help ’em out
Help ’em out.
BLACK KNIGHT and SQUIRES:
If they’re coming back to town
And the drawbridge isn’t down
Then run ahead and warn them with a shout.
CHORUS:Hey!
BLACK KNIGHT and SQUIRES:
If they fall into the moat
Suits of armor just don’t float
You’d better jump on in and help ’em out.
13
(During instrumental, BLACK KNIGHT and SQUIRES do a
silly medieval dance, and rest of CLASS shouts:)
Did we say “dance”? Yes
we did, but we didn’t
necessarily mean it. Please
see our comments on page
35 of the Teacher’s Guide.
CHORUS:
Help ’em out
Help ’em out.
Help ’em out
Help ’em out.
BLACK KNIGHT, SQUIRES, CHORUS:
If someone needs a hand to climb up a step or two
Help ’em out
Help ’em out
Next time you meet a knight whose golf clubs are filled with goo
Help ’em out
Instrumentation for SONG 4:
Help ’em out
Drums, bass, Wurlitzer piano,
Help ’em out
synthesizer, organ, clavinet, two
electric guitars
Help ’em out.
(THEY exit. GWENDOLYN and DANCELOT trudge across stage behind TROUBADOUR, who enters with scroll.)
TROUBADOUR: Having failed miserably at task number one,
our intrepid knights turn to the second task: rescuing a damsel
in distress. But where is a damsel in distress when you need one?
After several hours they come across a baron walking with one of
his noble friends.
GWENDOLYN (approaching BARON, as HE and NOBLE enter;
SHE bows): Good day, m’ lord.
BARON: Greetings, my good…
(pauses—he doesn’t know what to call them)
…uh, my good…I say, are you knights? I don’t recognize you.
DANCELOT: We are two extremely unimportant knights.
NOBLE: Excellent! I love mingling with the little people.
GWENDOLYN: We are on a mission.
14
BARON: Of course you are! It happens to us all the time. You’ve
come to ask us how you can climb the feudal ladder.
NOBLE: Want to move up the social ranks, do you? Bravo!
GWENDOLYN: Well, actually, we need to find someone.
BARON: Exactly! And you’ve found us! Don’t be shy—we’ve
helped dozens of folks like you become lords and ladies.
NOBLE: The key is etiquette.
BARON: Yes! You must learn to present yourself properly—act like
a noble and you shall be treated as a noble!
BARON and NOBLE:
You gotta learn some etiquette
To climb up through the ranks
Gotta learn some etiquette
Much more than “please” or “thanks.”
You gotta learn some social skills
To be a baronet
And if it’s too much hassle
Then you’ll always be a vassal
And you’ll never get a castle
’Til you learn some etiquette.
Look folks in the eye when you are introduced
Ask them how they are
Admire their new scar.
Shake their hands and ask them where’d they
get their sword
Don’t forget, of course
To compliment their horse.
BARON, NOBLE, CHORUS:
You gotta learn some etiquette
To follow protocol
So speak up loud and don’t forget
To stand up straight and tall.
15
Song 5/15
You gotta learn some social skills
To be a baronet
And if it’s too much hassle
Then you’ll always be a vassal
And you’ll never get a castle
’Til you learn some etiquette
’Til you learn some etiquette.
Instrumentation for
SONG 5: Drums,
tuba, organ, clarinet,
tenor banjo
(THEY exit. From off stage—if this performance is on a
stage—or from behind a door/screen on stage, there comes a shout:)
DAMSEL #1: Attack! Battery!
DANCELOT: What was that?
DAMSEL #2: Swindle!
GWENDOLYN: We’re in luck! I think it’s a damsel in distress!
DANCELOT: It’s about time.
DAMSEL #3: Check! Sudden death!
GWENDOLYN: Come on! Let’s save her!
(THEY race off stage, or through door/behind screen. We
hear a scream and shouting:)
DAMSELS (all three, scream): AAAAAAH!
DAMSEL #1: What are you DOING here?
DAMSEL #2: Who ARE you?
DAMSEL #3: Get the mace. No, the BIG mace.
(GWENDOLYN and DANCELOT race back onto stage, or
back through door/screen, followed by three upset Damsels,
one of whom is carrying a large medieval mace.)
16
DAMSEL #1: Why did you break into our room?
DANCELOT: We were saving you.
DAMSEL #2: From what?
GWENDOLYN: From, well, I don’t know. You were screaming.
We thought you were in distress.
DAMSEL #3: We were playing CHESS!
DAMSEL #1: You can’t just go breaking into rooms.
DANCELOT (pointing): That’s a BIG mace.
DAMSEL #2: I like my personal space.
DAMSEL #3: Haven’t you ever heard of privacy? Next time, ask
permission!
DAMSELS (sing):
If you had rung
If you had knocked
You would have found the door unlocked.
The lesson here
Is mighty clear:
Ask permission.
We’re damsels, sure
We’re damsels, yes
But we weren’t damsels in distress
(I mean before
You smashed our door)
Ask permission.
Before you borrow, hug, or reach
Or interrupt somebody’s speech
Before you stand and walk away
Ask ask ask ask ask
If it’s okay.
17
Song 6/16
DAMSELS and CHORUS:
If you had thought
If you’d inquired
Your efforts here might be admired
But our advice
Must now suffice
Ask permission
Ask permission
Ask permission
Ask permission.
Instrumentation for
SONG 6: Drums,
bass, piano, organ,
acoustic guitar, three
electric guitars,
tambourine, shaker
(DAMSELS, DANCELOT, and GWENDOLYN exit. The
TROUBADOUR enters and addresses audience, reading
from scroll.)
TROUBADOUR: Alas, our heroes have failed twice. But perhaps
their luck will change with the third task—slaying a fire-breathing
dragon. However, Sir Dancelot is faint with hunger, so the two
Knights stop at a monastery, where the Abbot and his monks serve
them a fine dinner. Sir Dancelot’s table manners, however, are
completely medieval.
(GWENDOLYN, ABBOT, MONKS, and DANCELOT
enter.)
GWENDOLYN (to ABBOT): I apologize for him, Father.
ABBOT: I’ve never seen such a thing.
MONKS (in unison): Never!
ABBOT: Who thought you could eat with your feet?
DANCELOT: I happen to have very dexterous toes.
ABBOT: And you wiped your hands on a sleeve. MY sleeve!
MONKS: Disgraceful!
18
ABBOT: Don’t you understand that good table manners are a very
important part of acting polite?
MONKS: Very important!
DANCELOT: What’s the big deal? Lots of people scoop up soup
with their hands.
ABBOT: You must keep up with the times. We’ve got utensils now.
Try a knife. We even brought some forks from Italy. And, of course,
there’s the greatest implement of all, the secret to true happiness.
MONKS: True happiness!
ABBOT: Now pay attention.
ABBOT and MONKS (sing):
Song 7/17
A fork is mighty handy
So don’t be so naïve
And that right there’s a napkin
It’s different from your sleeve.
Instrumentation
for SONG 7: Drums,
bass, organ, two
guitars, tambourine,
shaker, handclaps
This knife is made for cutting
Each perfect little bite
They’re tools you have to master
To learn to be polite.
(MONKS bring out a big box and begin to open it.)
ABBOT:
But there is one utensil
I feel is most essential
Anyone with sense’ll say I’m right…
(MONKS pull out a GIANT SPOON and hand it to the
ABBOT, who lifts it up for the audience to see. He hugs it and dances with it during the rest of the song.)
19
ABBOT: I LOVE my SPOON
MONKS: He loves his spoon
I LOVE my spoon
MONKS: He loves his spoon
A lovely little scoop
For sipping up my soup
I love my spoon
MONKS: He loves his spoon
With tea at noon
MONKS: With tea at noon
So perfect for a prune
I love my spoon.
ABBOT and MONKS:
Don’t reach across the table
And don’t slurp from your cup
You’ve got to learn some manners
Before you’re all grown up.
So cut your food politely
And eat it nice and slow
Then help to clear the dishes
And ask if you can go.
ABBOT:
Of all that I’m addressing
There’s one thing that I’m stressing
By now I’m sort of guessing that you know…
ABBOT and Half of CHORUS:
I LOVE my SPOON
MONKS and Half of CHORUS: He loves his spoon
I LOVE my spoon
MONKS and Half of CHORUS: He loves his spoon
A lovely little scoop
For sipping up my soup
20
ABBOT and Half of CHORUS:
I love my spoon
MONKS and Half of CHORUS: He loves his spoon
With tea at noon
MONKS and Half of CHORUS: With tea at noon
So perfect for a prune
I love my spoon.
CHORUS and MONKS: His spoon!
(ABBOT, MONKS, GWENDOLYN, and DANCELOT exit.
TROUBADOUR enters with scroll, MOTHER DRAGON
enters shortly afterwards, stays at back or side of stage.)
TROUBADOUR: Sir Gwendolyn and Sir Dancelot decide to climb
the mountain towards the dragon’s lair. It’s already been a tough
day for the dragons.
(Exits.)
(TWO DRAGONS enter, running up to the MOTHER
DRAGON.)
DRAGON #1: Mom, Mom! You’ve got to make them stop!
DRAGON #2: They’re so MEAN!
MOTHER DRAGON (to audience): Middle school is tough on
everyone, especially dragons.
DRAGON #1: No, it’s not the other dragons. It’s the villagers.
DRAGON #2: They made fun of us and called us the most
HORRIBLE names.
MOTHER DRAGON: That’s terrible.
DRAGON #1: They called me a “giant pistachio lizard.”
DRAGON #2: And me a “chartreuse moose.”
21
MOTHER DRAGON: I don’t know why they always focus on the
green. Were you misbehaving?
DRAGON #1: Heck no! We were just trying to play with them.
DRAGON #2: Can we help it if flames shoot out of our mouths
when we laugh?
DRAGON #1: And we hardly singed a SINGLE person.
DRAGON #2: And then they just started yelling at us, calling us
scaly and foul-smelling and all sorts of things.
MOTHER DRAGON: People can be so insensitive.
DRAGONS:
Song 8/18
Don’t call me names
Don’t be so mean
By standards of a dragon I’m a lovely shade of green.
Don’t call me names
They make me blue
’Cause all the teasing hurts the feelings of a dragon too.
Folks are scared to death
Of my fiery breath
But I’ll dry you when you’re damp
And oh you can bet
I’m the perfect pet
When you’re making s’mores at camp.
Don’t call me names
Don’t be so cold
I’m just a gentle giant sittin’ on a pile of gold.
Don’t call me names
They make me blue
’Cause all the teasing hurts the feelings of a dragon too.
(GWENDOLYN and DANCELOT enter from side. THEY
just stand and watch.)
22
Oh I must confess
We get such bad press
Legends say we’re full of guile
But don’t run and hide
When I open wide
I’m just showing off my smile.
Instrumentation for
SONG 8: Drums,
bass, piano, acoustic
guitar, electric guitar,
fiddle, tambourine
DRAGONS and CHORUS:
Don’t call me names
Don’t be so mean
By standards of a dragon I’m a lovely shade of green.
Don’t call me names
They make me blue
’Cause all the teasing hurts the feelings of a dragon too.
’Cause all the teasing hurts the feelings of a dragon too.
(DRAGONS exit.)
GWENDOLYN: I can’t slay those dragons. They seem very nice.
DANCELOT: I know. But what about our quest?
(VILLAGERS enter.)
GWENDOLYN (to VILLAGERS): Who are you?
VILLAGER #1: We’re from the village. We wanted to apologize to
the dragons for calling them names.
VILLAGER #2: Yeah. Sometimes we get carried away and act like
villagers in some medieval tale. What are you two knights doing
here?
DANCELOT: We were on a quest.
GWENDOLYN: It was our big chance, and we blew it.
DANCELOT (slumping to the ground, pouting): What a waste of
time. This whole journey was stupid.
23
GWENDOLYN (also slumping to the ground): Everything turned
out horrible. I wish I was never born.
VILLAGER #1: Listen to you guys! What’s with all the
complaining?
VILLAGER #2: Yeah. We live in houses made of mud, on floors
made of mud, and eat food made of mud.
VILLAGER #1: Even our dogs are made of mud. But we always
have a positive attitude.
VILLAGER #2: Sure! No one likes a whiner.
Song 9/19
VILLAGERS (sing):
Oh no one likes a whiner
And no one likes a grump
It’s hard to make a friend
Just sitting like a lump.
Those rolling eyes
Those heavy sighs
That perfect slouch
Oh no one likes a whiner
And no one likes a grouch.
Instrumentation for
SONG 9: Drums, bass,
piano, organ, brass
section, four electric
guitars, tambourine,
shaker, woodblock
Oh no one likes a whiner
You gotta change your style
When asked to do a task
Go do it with a smile.
New attitude
Will change your mood
And break your slump
Oh no one likes a whiner
And no one likes a grump.
If you must say something
Then say it with good cheer
’Cause otherwise your silence
Is all we need to hear.
24
VILLAGERS and CHORUS:
Oh no one likes a whiner
You gotta change your style
When asked to do a task
Go do it with a smile.
New attitude
Will change your mood
And break your slump
Oh no one likes a whiner
And no one likes a grump.
Oh no one likes a whiner
And no one likes a grump
NOTE: This song is a reprise. That
is, we’ve intentionally used the music
from a previous song with new lyrics
and a different musical arrangement.
It is often very comforting to an audience listening to the music for the
first time to hear something familiar,
even though they may not quite realize that they’ve heard it before.
(VILLAGERS exit. TROUBADOUR enters.)
TROUBADOUR (reading from scroll): And so the two knights
failed at their third and final task. Their quest was a complete
disaster.
GWENDOLYN (to TROUBADOUR): We’re right here, you know.
DANCELOT: Yeah. You don’t have to rub it in.
TROUBADOUR: I’m just a troubadour, telling a story. I’ll be
honest with you—these things usually end up a bit more happily.
DANCELOT: Are you sure this one doesn’t?
TROUBADOUR: Hmmn.
(Unrolling the scroll)
Here, let me scroll down a bit.
(to audience)
That’s a little medieval humor.
GWENDOLYN (peeking down at scroll, pointing): Look, right
here! It DOES have a happy ending. It says that we learned so
many things today that we return to the kingdom and teach good
manners to everyone.
DANCELOT: So the curse is removed and we all live happily and
politely ever after.
25
TROUBADOUR: Excellent. And I am off tell some silly story about
a thief and his band of merry men who rob from the rich and give
to the poor. What are the chances of that one ever catching on?
CLASS:
Song 10/20
From back when there were dragons
And damsels were distressed
There comes a tale that we’ll unveil of a quest…for good manners.
An evil spell had fallen
The kingdom was possessed
And so two knights soon set their sights on a quest…for good manners.
The folks were once polite
But now each duke and knight
Was rude and crude and mean instead
Chivalry was dead!
All courtesy was banished
Politeness repossessed
They’d have to get their etiquette on a quest…for good manners.
Thank you!
THE END
26
Teacher’s Guide
Introduction
Good Manners is a musical play designed to
be performed by elementary school classes,
particularly by students in the second through
sixth grades. The older students will of course do
a more polished job, but please don’t be afraid of
having your younger students perform this show.
They’ll have a great time (this is not your regular
school play) and their parents will have a ball.
In fact, one of the really nice things about this musical play is the response
you’ll get from parents. You’ll find them grateful for the opportunity to see
their child perform in a truly fun show full of melody and wit. Indeed, rumor
has it that some parents have so thoroughly enjoyed the performance that they
have had to have the smiles surgically removed from their faces in order to be
taken seriously at work.
If you’re an experienced producer of classroom shows, then Good Manners
will be a snap. If you’re new to this sort of thing, relax! Putting on a play is
a wonderful experience for your kids, and it’s a heck of a lot easier than you
probably think. This introduction is designed to provide you with all the
necessary tips for a smooth and joyous production. We consulted teachers
whose classes have performed our shows and asked them what they wished
they had known before they started. We listened carefully, and now it’s all here
for you.
Doing a little script-tease
We strongly suggest that you do not send
home copies of the script with each student.
The problem is that the parents will read the
script and when they come to watch the play,
well, they’ll already know what to expect. We
think your best bet is to copy only the lyrics
and dialogue for your actors. Let Mom and
Dad help their child learn their parts, but
give your parents the gift of being pleasantly
surprised when they see the performance.
27
Even if you can’t sing or play an
instrument! Honest! We know
a teacher who has successfully
produced a number of
musicals in her classes
without singing or playing a
note (she’s very shy). All you
have to do is move your lips!
Remember, the audio recording
demonstrates all the songs.
Getting Started
Figure on about a month from first introduction
to final performance. This may sound like a lot of
time, but most of the days you won’t work for very
long, perhaps just singing a few songs together. We
have an example of one reasonable timetable on
page 37. We suggest that you play the recording of
the show for several days before you start singing
songs. Then after the kids get the hang of the
songs, you can sing them whenever the class has a
few extra minutes. When you get around to casting
and staging the show you’ll need more time again.
You’ll also want to schedule additional time for the
creation of sets, props, and costumes (if you decide
to use them—see our advice below).
Lately educators have been talking about teaching “across the curriculum,”
that is, using large projects and themes to connect the various skills and
subjects to be studied. Good Manners is ideal for this since you can easily
connect character education with reading, art, music, and theater under the
guise of a fun show.
Is Good Manners an
opera or a musical?
And what’s the difference,
anyway? According to our
dictionary, in an opera most or
all of the story is sung, but in a
musical the dialogue plays the
more important role. Beyond
that, musicals tend to be written
in a popular style while operas
are supposed to be “artistic.”
In truth, there’s no meaningful
distinction and you can call
this show whatever you like
without offending us. (Our own
expression for this show is “a
stunning piece of contemporary
American theater.” Go figure.)
Now, relax and have some fun. We’ve
written this show so you can get out of it
what you want. If you choose to work very
hard, managing every detail—go ahead!
Really! You’ll probably have a high quality
performance. But make sure that’s the level
of activity and stress you’re comfortable
with. Don’t let the parents turn this into a
Broadway production. You can also choose
to be low-key about it all. Tell yourself
that these are just kids, your audience
isn’t paying fifty dollars a ticket, and you
won’t have a perfect show. You’ll stay more
relaxed and enjoy the experience. It just
depends upon your own personality and
the students themselves. No matter how
you approach this show, remember it’s the
process that is important for the students’
education: the reading, creating, singing,
thinking, and developing self-esteem that
go into learning the show are the real point
to the final performance anyway. There’s
no reason you shouldn’t have as much fun
doing all this as your students!
28
Here’s a bit of time-tested advice if you’re new to this type of musical
production: get another teacher at your school to put on Good Manners at the
same time. You can share sets and costumes and bounce ideas off one another.
Your classes can watch each other rehearse and the students can give feedback
to their peers. This process has proven to be a great aid to novice directors, and
students learn a lot by participating in the assessment and development of the
show (more on this later). (Note: Under the Bad Wolf copyright arrangement,
you can copy this script all you want for your students. Your fellow teachers,
however, will need to purchase their own copy—hey, who wouldn’t want their
own copy?—if they are putting on the show at the same time.)
Some teachers like to have as much parental help in the classroom as possible;
others prefer to work with the kids without interference. Wherever you fall
on this continuum, you’ll probably find it useful to ask for a certain amount
of help. Be sure you send a parents’ letter at the onset of the project. Include
performance dates and tell exactly what sort of assistance you’ll be looking for.
If putting on plays is new to your school, you may want to outline some of the
educational advantages as well. (See our web site for a template you can use!)
Music (and the enclosed audio recording)
The audio recording is a teaching tool for helping your children learn all the
songs. The first recorded version features the composer and some talented
friends singing the songs with dazzling musical accompaniment. The second
version of the show has just the accompaniments to all the songs. We strongly
encourage you to make a backup CD or computer file of the audio recording
in case it gets lost or damaged. You can also purchase replacements from Bad
Wolf Press.
We suggest you introduce the music to your class by playing the recording
during a class work session. You might do this several times, starting well in
advance of your actual rehearsal of the show. The music will seem easy and
familiar when your students finally begin to sing the songs. Have all your
students learn all the songs. This is much more fun for the class, and it will
give you great flexibility in casting and substituting for absent performers.
29
Ready for some controversy? The easiest way of getting older students to learn
the show is probably to copy the script and give it to them. Some teachers,
however, like to write all the lyrics to the songs on large poster-size sheets.
This is a lot of work. If you choose to do this, we have two suggestions: get
some parents to divide the work between them, or photocopy the lyrics onto
transparencies and use an overhead projector. Other teachers like the students
to learn the songs by ear without looking at the script—this works especially
well with younger students. They play the songs for a week or so during
class, and then play the version of the recording without the words. You’ll be
surprised how well students respond to the challenge of singing along.
You can perform the show to great applause by simply using the accompanying
recording. If you choose to use the CD for the performance, get a volunteer to
be in charge of the boombox. It’s very important that this be the same person
throughout the rehearsals and the final performance. The volunteer needs a
script and lots of practice with the class. If you can’t find a parent, then try
to snag an older student. Don’t try to handle this yourself—you need to keep
your eyes on the students and be free to solve problems as they occur.
Using a musician
If you know of a parent or other
community member who might be
willing to play piano or guitar, contact
them early. Play them the audio
recording and show them the samples
of music on page 41 of this book to be
certain they are comfortable with it (to
order the sheet music for Good Manners,
contact the publisher—flip to the back
of this book). Another option is to hire
a professional. You may find someone
to work for less than you’d think—even
starving musicians like to help the
schools. Maybe you can get some money
from your school PTA. Regardless of who
your musician is, paid or not, be sure to
schedule at least one rehearsal with them
before the performance. Your students
will need to get used to the sound of a
live player, and the musician needs to
learn the cues and get a sense of what
the children sound like.
30
If you have access to the right
equipment, you can manufacture
copies of the entire recording.
Please don’t! It’s strictly illegal,
absolutely immoral, and
government tests indicate it
is probably fattening. Really,
we expect better things from
someone as nice as you. (Did
you see our Official Policy on
fair use, photocopying and audio
duplication on the second page?
It’s a masterful blend of tact,
threat, and blatant begging, so
maybe this would be a good time
to review it.) What you can do
is provide one or two songs to
each student to help them learn
solos or small group parts. They
can sing along with the recording
daily. This kind of repetition really
helps!
Casting
Good Manners was originally written to be
performed by a class of eighteen to thirty kids,
but the show is very flexible. How many Squires?
How many Damsels in Distress? Three? Five? (One
teacher we know insists that odd numbers work
best, and who are we to argue?) Experiment a bit,
keeping at least one strong singer in each group. We
recommend that you don’t create groups with more
than seven students, or the stage begins to look and
sound like a rugby scrum. And kids can play more
than one part too!
We suggest waiting until the last week or two before you pick specific
children for each part. We don’t recommend a formal audition. Instead,
let various children experiment with different roles and try out different
combinations. Perhaps a few friends will discover they enjoy singing
“Hygiene” together. Or perhaps several children will express interest in being a
Dragon. (Doesn’t everyone at some point?) Our one recommendation is that if
you choose to have soloists, be sure to pick actors who can sing loudly enough
to be heard over a possibly noisy audience.
As you know, some children are
a little shy about performing
and especially about singing in
public. (The lyricist intentionally
swallowed his history book in
the third grade in order to be
excused from singing “I’ve Got A
Hammer” in front of the class.)
You might want to ask if there are
any children who would prefer a
speaking part instead of a singing
one. Respect their fears, but if
you provide regular opportunities
for performance you’ll be
pleased to see your students gain
confidence.
Learning About Musical
Instruments
You will notice that next to the lyrics of
each song in the script we’ve included a
little box that lists the instruments used
in the recording of that song. This is a
great chance for your students to start to
learn to recognize the sounds of different
musical instruments. You can play the
audio recording and have the students
pick out the different sounds. Your
students may want to do some research:
what’s a clavinet, for example?
Eventually, of course, you’ll need to make a choice and probably a student
or two will feel hurt by the selection. We have attempted to write in as many
parts as possible and to spread the singing roles evenly throughout the cast,
but somebody is still bound to be disappointed. Try to help them understand
that the selection in no way reflects poorly on them. If you put on more than
one performance each year you will be able to give different children the
opportunity to have a “starring” role.
31
If you’re not an experienced director,
keep costumes, sets and staging as
simple as possible.
Costumes
You don’t really need any costumes, but most kids (and certainly most
audiences) like them. However there is a very real danger that some parents
will start competing with each other to provide the fanciest costumes. We
suggest that when you first tell parents about the play, explain that the
costumes will be designed by you and the class, and so please don’t send in any
costume without asking you first. Try to be firm on this.
The fancier the costumes, the more self-conscious the performers will be and
the quieter they will sing. (As you may have guessed by now, getting some
of your students to project their voices to the audience will be one of your
challenges.) Make sure what they wear is comfortable, especially the hats
(which, unless they fit perfectly, tend to be very distracting). Keep hats—and
wigs—to a minimum. In general, beards are a bad idea. When in doubt,
simplify. We think decorated T-shirts and baseball caps can cover just about
any costuming needs. (Of course, we are biased—our own wardrobe still
consists mostly of T-shirts and baseball caps.) To unify the cast visually, have
all the actors wear simple black T-shirts.
For Good Manners, the characters for
the most part are identified by the
dialogue and few particular “costumes”
are required. Although the show is set in
medieval times and thus will tempt you
to come up with period costuming, we
strongly advise against any extravagant
efforts to dress up the cast in any
“realistic” fashion. The easiest way for an
actor to “become” a character is to wear a
simple sign around his or her neck with
the appropriate label (e.g. “Alchemist”).
The audience will accept whatever you
do, as long as it doesn’t distract them
from what’s going on in the play. It’s all
up to you, of course, but again, we think
your life will be happier, and the show
just as good, if you keep this as simple
and easy as possible.
32
The Set
You don’t really need a set to put on a successful performance, so don’t worry.
We think the show can best be performed on a bare stage or in your classroom.
(If you have access to an auditorium or stage, you will have a bit more
flexibility.) If you want to make a “stage” so the audience can see better, you
can put students’ tables together.
Good Manners does not need to have a “realistic” setting. That is, the action
occurs in the mysterious place of theatrical convention, so there’s no need
for distinct backgrounds for each scene. You can have the students paint a
backdrop with the title of the show on it and perhaps something that looks
vaguely like a medieval castle. However you set it up, remember that all songs
must be sung to, and dialogue directed at, the audience with the actors in the
front, middle part of the stage. See our sample stage setup on page 35.
By all means have the kids do most of the set-planning and building—it’s a
great art project. If you can get some grown-up assistance the whole thing will
flow smoothly and your kids will have a wonderful time. Once everything is
ready they’ll feel a real sense of pride and ownership.
Blending Genders
Do not feel bound by gender in your casting of these or any parts. All the
parts in this show can be played by boys or girls or any combination (just
change pronouns if needed). And don’t hesitate to add actors or double
up roles if that works best for the size of your class. If you’re concerned
about soloists, then have two or three kids play a part. This is theater, and
no one in the audience will mind once they understand the convention.
33
Staging
Whether you have access to a “real” stage or are performing in a classroom,
with a constricted space, we recommend that you keep all the actors on
the “stage” at all times. You can have the students sit down on the floor or
on chairs until it is their turn to perform. These actors form the chorus for
the show and sing on every song, so they need to be present and facing the
audience at all times.
On the next page there is an aerial view of this kind of setup in a classroom.
You’ll notice that the kids’ chairs are being used by the audience (which is also
probably sitting in front of the chairs as well as standing in back).
We’ve also positioned the
students in groups on the stage.
This is just one possibility.
You’ll need to experiment
with this. The challenge is
to place the students so they
are not in the way when they
are not performing, so they
can get where they need to be
easily during the show, so they
can move about during their
“numbers” as they need to, and
so they can be heard when they
sing. Here are a few ideas we’ve
gathered from teachers who have
performed our shows:
The Joys of Tape
You will want to mark the spots on the
stage where students are to stand and/
or sit throughout the performance.
These “marks” can easily be set out with
painter’s (removable) tape on the floor.
Mark where soloists, small groups, and the
chorus will stand during each scene. This
will keep everyone in place and make your
job of managing thirty energetic actors
much easier.
❖
Most of the action of the play—the singing, narration, and
movement—should take place at the front of the stage. The audience
cannot see or hear clearly what’s going on in the back.
❖
Make certain that when the students sing and speak they are facing
the audience. They can move around, look at each other, do whatever you
want before and after their song, but they must move to the front of the
stage and face the audience when it is their turn to talk or sing. They can
stand side by side, or the taller ones can be behind the shorter ones, or
those in front can sit down—whatever you like—but their mouths should
be turned towards the front.
❖
Don’t put all the actors and groups of actors in straight lines. This is
not very exciting and too regimented—the stage begins to look like a face
off between the British and the colonists in the Revolutionary War. Bunch
them together in different formations as they wait for their moment to
“star” at the front of the stage.
34
❖
Don’t have the students “dance” while they are singing. Making music
of any kind while moving is extremely difficult for anyone of any age to do.
Moreover, the students are likely to turn away from the audience during
their dance, and that, you will remember, is a no-no.
❖
And you’ll notice we keep writing “dance” instead of dance. Isn’t
that annoying? The point here is that you don’t have to choreograph
a Broadway number and the students don’t have to know anything
about formal dance. We want you to think of this as an opportunity for
MOVEMENT. What we’re after, and the audience is craving, is some visual
excitement to match the musical fun. No need to get fancy. When in doubt,
think silly and simple.
Painted Backdrop
Students (seated or standing as Chorus)
Audience
Teacher (on a chair or desk)
35
Rehearsals and Assessment
After the students have learned the songs and the show has been cast, you will
need to start teaching them where to stand and how and when to move. You
will also need to work on individual songs, and especially on their behavior
when they are NOT on center stage. Don’t worry about the quality of the
performance when you begin. Remember, this is all part of the learning
process, so take advantage of the opportunities for teaching and assessment.
Again, teachers have come up with a wonderful variety of ways to make
rehearsals a central part of their students’ learning. Here are some of their tips:
❖
Don’t panic. Rehearsals early on, and even up to the day of the
performance, can be quite rough. The kids will pull through when it counts.
❖
Each day ask the students to give suggestions on improvement: What can
everyone do to make the show better?
❖
Ask the students to self-evaluate as well: How did I do my job? How can I
do better next time? (This can be done verbally or in writing.)
❖
It is best to have a couple of dress rehearsals so students can get used to
them. Do these in front of an audience so students learn to project.
❖
Video-record a rehearsal and have the students analyze it. What was
good? What could have been done better? This is a very valuable tool. When
the students see themselves fidgeting and fooling around, when they can’t hear
themselves sing, they will discover for themselves what they need to work on.
❖
Ask a student audience to think like a director and then write anonymous
comments. It’s surprising how helpful these comments can be.
Third-Grade Kids Recommend the Following:
* Everyone has to work together as a team.
* Cast members don’t need to give directions to
others while on stage. It’s distracting. Let the
person have some “wait” time and the teacher
will help get them back on track.
* Don’t worry about making a mistake. The
audience probably won’t pick it up.
* Use expression.
* Don’t talk or play while on stage.
* Background needs to sit still and be quiet so
as not to be distracting.
* Pay attention.
* Wait for the audience to stop clapping before
speaking again.
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A Four-Week Timetable
Week One
1. 20 minutes a day listening to songs.
Week Two
1. 20 minutes a day listening to and singing the songs.
2. Review curriculum connections with class.
3. Maybe move to the songs a bit.
Week Three
1. 30 minutes a day singing songs, moving around.
2. Read script together, taking turns with different parts.
3. Plan physical production: costumes (if using), props, staging.
4. Halfway through the week, ask students to write down or tell you the parts they most want (in order) and make your selections by the end of the week.
Week Four
1. One hour daily.
2. Get the play on its feet where you will be performing.
3. Use removable tape to mark where students will be (you can
color code).
4. Perform for another class and invite that class to write reviews.
5. Video-record the rehearsals/performances so your students can see and hear what they’re really doing.
6. Do more performances for other classes. Aim for at least three
performances in front of kids before performing for
families.
7. Perform for families. Don’t worry, it doesn’t have to be perfect.
8. Don’t worry, it doesn’t have to be perfect.
9. Don’t worry, it doesn’t have to be perfect.
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Emphasis: Making the Words Come Alive
One of the challenges in putting on children’s plays is to get your students to
treat the lyrics and dialogue as language, to speak and sing in natural rhythms.
The key is to have the students emphasize the right words and syllables. Kids
often sound great when they’re singing but terrible during dialogue. You need
to model speaking with expression. Have them analyze their lines for action
words—exciting words that make the lines come alive. Then show them how
to stress these words to bring out the meaning. Scenes always work best when
the actors know which words need to be stressed. Again, we suggest videorecording a rehearsal so students can discover what they really sound like.
Final Performance
Your most important performance will probably be for the students’ parents
and families. There is a trade-off in setting the time. More people can come
if you do it in the evening, but the problem is that you’ll have to go back to
school and all your kids will have to remember (and be able) to return. Many
teachers perform only during regular school hours.
If Something Goes Wrong: Ignore it!
Tell your students that if something goes wrong, they should
continue with the play as though nothing was amiss. It
won’t help to stop and tell fellow actors what to do.
If you’re new to this you might be a bit nervous. Remember that the parents
are there to watch their children and they’ll be pleased with almost anything.
When it comes out well, you’ll be a star. If it comes out wonderfully, you’ll be
nominated for Teacher of the Century. As we suggested above, we strongly
urge you to do a number of informal performances (dress rehearsals) for
other classes. You might start with younger kids, since they tend to be easily
impressed. Then move up to the students’ peers and older kids. Since the
shows are informal it’s okay to stop the action if the kids are having some
problems. The main thing is to let them get used to performing. Don’t worry
if your musician (if you have chosen to use one) isn’t available for every
performance—just use the audio recording.
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During the show you should be in clear view of the students. You’re there to
help the kids remember what they need to do and encourage them when they
do well. You can cue all group singing and mouth the lyrics to help keep the
class together. If some of the lyrics seem difficult to memorize, you may want
to hold up signs with key words or pictures to remind the kids what comes
next. Some teachers just go ahead and sing along on the group songs.
Print up a program, and don’t forget the invitations to the parents. A cast party
is traditional after the last performance of a play. The kids will really enjoy it
and it will provide a great chance for the parents to talk with one another and
congratulate themselves for managing to arrange such a wonderful teacher
for their kids. (This may sound flippant but we’ve heard people say things like
this at every post-performance party we’ve attended. There’s nothing like a
genuinely good school play to fill parents with joy and gratitude.)
Turning on the Applause Sign
The audience wants to applaud, but it needs to be told when it’s the right
time to clap. Since you have no applause sign, the actions themselves of
the student actors must say loudly and clearly, “Okay, we’re done with the
scene, you can applaud now.” To convey this message to the audience, the
performing students need to do two things: they must stop all movement,
and they must face the audience. If they start moving the second they finish
the song, the audience will not know the scene is completed. Finally, don’t
be afraid to clap yourself at the right moment. The students deserve it, and
the audience will follow your lead. This is especially important after the
very first song. If those watching the show understand at the beginning
that they are allowed and expected to show their appreciation, they will
continue to do so throughout the show.
Last Bit of Advice
When you’re learning to cook, you follow the cookbook to the letter. If the
recipe calls for 1 1/2 cups of fresh smelt, you put in 1 1/2 cups of fresh smelt.
Later, after you gain some confidence, you loosen up and take some chances.
The same thing happens with putting on a play—after a few tries, you’ll be
spicing up the show at every turn. We’ve tried to give you an accurate and
workable recipe for a really fun show, but feel free to do anything that seems
best for you and your class. And if you have any great ideas, or even good
ones, please contact us so we can include them in the next version of this
show.
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Curriculum and Vocabulary-Building
in Good Manners
Key Concepts
Good Manners refers to and reinforces students’ familiarity with the following
aspects of polite behavior:
❖ Polite words and expressions (e.g. thank you, please, pardon me)
❖ Hygiene
❖ Helping people
❖ Social etiquette (looking people in the eye, speaking up,
standing up straight, asking how people are)
❖ Asking permission (before bursting through a door, borrowing or
reaching for something, or interrupting)
❖ Table manners
❖ Refraining from teasing and name-calling
❖ Being positive; not complaining
❖ Being mindful of mobile device usage
General Vocabulary Building
distressed
unveilquestchivalrycourtesy
repossessedetiquette troubadour banished joust
hex
self-absorbedalchemist
alchemical elixir
gobletplagueallergicgunkdrawbridge
moatgoo intrepidmingling
feudal
hasslevassalprotocolbatteryswindle
maceinquiredsufficeslaymonastery
dexterous utensils
implement naïve
essential
lairpistachio
chartreuse
singeguile
slouch
Phrases
“get it off your chest”
Gesundheit
Danke schoen
“passing fad”
por favor
“damsel in distress”
“up in flames”
mango smoothie
“climb the ladder”
“personal space”
suit of armor
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merci
“that’s my bad”
“plot twist”
Renaissance man
philosopher’s stone
The Complete Vocal Score for
Good Manners
The written music for this show is available from Bad Wolf Press in lead sheet
format: the melody, words, and chord symbols.
This compilation includes all the songs for Good Manners and is highly
suitable for musicians on the go. It is absolutely necessary if you plan live
musical accompaniment of the show.
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Complete Your Collection
Can’t get enough? You can also purchase sheet music and extra/replacement
CDs for this play.
We also offer money-saving site licenses and school packs for entire grade
levels or schools. See our web site or catalog for more details!
Want to order copies of this play or CD for students? Good news! Through
our Musicals for Munchkins program, your students can buy them for halfprice as long as at least seven books or CDs are purchased at the same time.
One check only is to be sent and we will ship all the materials to the same
address. It’s the perfect and inexpensive way for a teacher to put high-quality
literature and music into young impressionable minds. Contact us to order!
The fine print: this offer is for student use only. No one who buys through the
Musicals for Munchkins program is authorized to produce this show. Teachers
may purchase copies at regular retail price only. We are cheerfully making
this show available to students at a price barely above cost. Please don’t take
unauthorized advantage of our simple-mindedness and turn us into just another
crestfallen and cynical team of songwriters squeezing the last nickel out of the
innocent children of the world.
And if you liked this play, you have to try our other equally flavorful
musicalizations! See the next page or our web site for the full list.
To order from Bad Wolf Press
If you have any questions about ordering from Bad Wolf Press, please contact
us at any of the addresses or numbers listed below. Be sure to check out our
web site for teacher tips on producing plays, as well as partial scripts and songs
from all our shows.
Have you any ideas or suggestions regarding musicals? Let us know so we can
alert the rest of the civilized world!
Please contact us at: Bad Wolf Press
P.O. Box 388
Santa Clara, CA 95052-0388
Toll Free: 1-888-827-8661
badwolfpress.com
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