Contents
Introduction
1
Section 1 — Introduction to Plays and Playwrights
3
Section 2 — What Is a Play? How Is It Different From a Story?
9
Section 3 — Creating Characters –
One-Dimensional vs. Multi-Dimensional Characters
12
Section 4 — Monologues
19
Section 5 — Dialogue
26
Section 6 — Short Self-Contained Scenes
29
Section 7 — One-Act Plays
31
Section 8 — Extending the Learning
34
Section 9 — Resources
38
This resource has been made possible through the generous donations of private individuals,
foundations, and corporations who support The Curriculum Foundation, the charitable arm of
Curriculum Services Canada. For more details, visit www.curriculum.org and select “Grants
for Teachers.”
Move Over Shakespeare
Shakespeare was a good playwright because he was in touch with what audiences wanted to see
and hear. His themes are timeless. The language his characters use is poetic and slightly distant,
but still beautiful and touching. The characters in his plays are intriguing and complex. We look to
Shakespeare and other successful playwrights of the past but also to works by contemporary
playwrights and those by non-mainstream playwrights.
This resource helps students in junior and intermediate classes learn to be playwrights. Activities
for students of different ages and ability levels engage them in concepts of drama and language.
Teachers select the resources and activities appropriate for their classes. Students are inspired
and motivated as they approach the playwriting process. Each section is self-contained and may
be used in isolation from the others.
Students move through a step-by-step process, starting with easier forms of playwriting such as
monologues, and progressing towards more difficult forms such as one-act plays. Each section
begins with an activity that introduces a playwriting approach, skill, or concept. Worksheets, and
playwriting prompts help reinforce these approaches, skills, and concepts. Flexible and adaptable
activities include independent tasks, partner and small group work, and class discussions.
Students can repeat the games again and again and refine their skills each time.
Playwriting Makes the Writing Process More Accessible to Students
In general, students have a very positive attitude towards playwriting. Their oral skills can be
enhanced by participation in improvisational activities; their writing abilities refined when
editing is based on feedback from peers; and their creativity sparked by the energy and
confidence that is inspired by participating in dramatic activities. They gain skills in
brainstorming, creating story outlines, developing characters, editing, and examining parts of
speech, experimenting with new vocabulary, and becoming more familiar with literary concepts
such as humour, conflict, stereotypical characters, and personification.
In playwriting, students focus on writing conversations. Dialogue is a writing style with which
students are familiar because young people converse naturally and wilfully. They begin mapping
out storylines based on their own discussions and experiences. They listen to what people are
saying around them and learn to properly develop characters in their plays by examining the way
people talk and the language that different people use; thereby determining how a person’s
verbal communication reflects that individual’s personality. Students reflect on the way that each
of them uses language and how people perceive them based on the language they use.
How Performance Relates to Playwriting
Playwriting is naturally linked to performance because every playwright must write with a vision
in mind of how the play will look onstage and consider how it will be accepted by an audience.
Performing a script and/or reading it aloud, helps students evaluate how close they are to
achieving their vision. Novice playwrights have difficulty knowing how their scripts will turn out
in performance. Often dialogue looks good on paper, but sounds different when it is spoken.
Also, seeing a script performed, and noting all of the motions that the actors make, helps students
to determine how detailed their stage directions need to be. It is important for students to
understand that performing their scripts is a necessary part of the editing process. However, the
emphasis in this resource is on writing.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
1
The improvisation and drama activities included in this resource can help spark ideas for
characters, dialogue, and plot. The teacher is key to the process. Suggestions for the teacher
include:
• Display a positive and enthusiastic attitude towards playwriting and drama activities.
• Create a non-threatening environment so that students can express freely.
• Encourage students to respect their classmates’ performances and to never insult another
student’s acting abilities or character interpretations.
• Give clear instructions. If necessary, reword or repeat the instructions until students
understand what you are saying.
• Encourage students to ask questions throughout the activity in order to seek clarification or
understanding.
• Encourage cooperation and sharing of ideas.
• Discuss acceptable behaviour for the activities/performances.
Resources
The majority of the plays used in this resource are written by Christine Harvey and have a very
particular style, perspective, and approach. Teachers should add other plays as it is important for
young people to be exposed to different playwrights that provide other approaches. Suggested
sources are listed on p. 38. Some plays are available on the Internet but cannot be printed.
Students read/review them on screen or teachers may purchase printed copies for a nominal fee.
Assessment Considerations
In assessing students consideration should be given to their participation in the process. Self- and
peer-assessment should be used throughout the playwriting process so that students continually
reflect on their work and their understanding of concepts and can consider peer feedback.
Discuss what the students are expected to be able to demonstrate prior to beginning the work and
provide feedback and critiques continually for them to improve their work or inspire them to
advance their skills and understanding of certain concepts. A realistic and productive form of
assessment of their playwriting success is audience reaction, and the feeling they get when they
see their own play performed.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
2
Section 1: Introduction to Plays and Playwrights
Concepts Addressed
• What a playwright is
• Some famous playwrights and what they have written
• Play genres
• Community playwrights
Teaching/Learning
Ask the class to think back to entertainment in a time before television and share this information
with them:
Today there are people who write movie and sitcom scripts, but before them, there
were only playwrights who wrote for the stage. Playwrights were very popular.
Theatre was the main source of entertainment. Plays were often written to be used for
only a season, but the public enjoyed seeing their favourite plays performed again and
again. Plays were kept and were interpreted differently by different directors and
actors. Although the scripts may have remained the same for centuries, scenery,
costuming, and interpretations have changed.
Discuss why plays are written: as entertainment, as art form, or to provide information:
Entertainment – Shakespeare, for example, wrote primarily to earn a living. He wrote plays that
people enjoyed watching, thus bringing in more revenue. He was a businessman and his plays
have survived because he catered to his customers’ desire to be entertained. There are groups
of people who believe that Shakespeare should not be performed, but should be studied as an
art form only. There are yet others who believe that Shakespeare’s plays are not meant to be
read or studied, but only performed because that was their original purpose.
Ask the class to list other plays that have been written to entertain large audiences.
Art Form – Art is a form of entertainment. Moral or mystery plays were not particularly
humorous, exciting, or dramatic, but were one of the only sources of entertainment available
during the Middle Ages and so people came to watch. As other art forms of the time,
(paintings, songs, books, stories, and clay statues) these plays had overt religious content. But
most of these plays are rarely performed today. (Shakespeare’s plays are still studied in school
because of the messages he conveyed and the masterful artistry of his plays.)
Ask the class for an example of a play that they might write that would be considered primarily
artistic.
Informative – Some plays are written to relay information. Plays that are informative are often
not as entertaining and only last for as long as the information needs to be relayed. For
example, a person may write a play to inform the public about the corruption of a particular
political leader. Once the leader is out of power, the play becomes moot as the public no
longer needs that information. If the play is well written, and/or entertaining, it may survive
on those merits, rather than on its informative merits. People may refer to the play to learn
about a time in history and how the people felt about their leader.
Ask the class what the advantages of using plays as a teaching strategy or to relay important
pieces of information are.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
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A primary purpose of successful playwrights has been to entertain their audience. However,
throughout the years, playwrights have also been hailed as artists and educators. There is a lot of
debate as to whether playwriting is an art form, an academic tool, or a form of entertainment for
the masses.
As a class, discuss what students think is the best purpose for playwriting. What is the most
effective play – A play that is entertaining, a play that is artistic, a play that is informative, or a
combination?
Pose these questions for exploration/investigation:
• What is a playwright?
• What does a playwright do?
• What constitutes a good play script?
• Who can be a playwright?
• What are some skills that playwrights must have to be successful?
• How does a playwright improve his/her craft?
• How have playwrights changed over time?
• Why do you think certain scripts survive and are popular with audiences’ years later, where
others are only popular for a short time and are then forgotten?
Plays and Playwrights
Tell the class that they are going to explore these questions further by studying playwrights and
popular plays in history. Create Playwright and Play cards (see for p. 8 for sample) appropriate to
your class and grade level. Distribute the cards, making sure that corresponding playwrights and
plays are included (see Playwrights and Plays List, p. 7).
Students who studied the playwright share their findings with students who researched works by
that playwright. For example: Students who have the playwright Arthur Miller card should join
in a group with the other two students who have Death of a Salesmen and The Crucible play
cards.
Students share the information they collected with their group members and discuss the
following questions:
• What do you think is interesting about these plays?
• Do you think you would like these plays? Explain your answer.
• Why have these plays and playwrights become popular?
• Why do they remain popular?
Each group chooses a group member to share their information and ideas with the class.
© Jennifer Zwiers and Christine Harvey, 2006
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Genres
Discuss these genres and write the definitions next to the terms. Students can use a dictionary or
literary reference book.
Genre
Definition
Playwrights/Plays
Melodrama
Comedy
Romantic
Musical
Tragedy
History Plays
Satire
Parody
Record plays and playwrights with which students are familiar into the appropriate category.
Include the nationality of each playwright, and draw special attention to those that are Canadian
(see Playwrights List, p. 6).
Note: A play and a playwright can appear in more than one category as genres sometimes merge
and playwrights explore many styles of writing.
Local Playwrights
Students select a playwright in their community or a playwright that they can particularly relate
to in some way. They research the playwright finding out: name, age, number of plays written,
nationality, biography, titles of plays, summary of plays, photo, etc. They showcase their
research in a presentation on posters. Students could have a Playwright Appreciation Day and
invite parents, the administration, and/or other classes to look at their displays, read portions of
plays aloud, and/or discuss these great playwrights and their plays collectively.
Assessment Considerations
Assessment should be based on student’s participation in the activity and their contribution
during class discussions. Encourage students to reflect on and assess what they have learned
about plays and playwrights and whether they have understood the discussion and activities.
© Jennifer Zwiers and Christine Harvey, 2006
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Playwrights List (Teacher)
Playwright
Appropriate Division
Nationality
Aaron Shepard
Junior
American
William Shakespeare
Junior/Intermediate
British
Lois Walker
Junior/Intermediate
Canadian
Roderick Walcott
Junior/Intermediate
Caribbean Canadian
Ned Dickens
Junior/Intermediate
Canadian
Rogers & Hammerstein
Junior/Intermediate
American
Linda Ghan
Junior/Intermediate
African Canadian
Mary Melwood
Junior/Intermediate
Lerner & Lowe
Junior/Intermediate
American
Oscar Wilde
Junior/Intermediate
Irish
Charlotte Chorpenning
Junior/Intermediate
American
Tom Stoppard
Junior/Intermediate
British
Judith Thompson
Intermediate
Canadian
Ian Ross
Intermediate
Canadian
Tomson Highway
Intermediate
Canadian
Ann Marie MacDonald
Intermediate
Canadian
Wole Soyinka
Intermediate
Nigerian
Molière
Intermediate
French (France)
Anton Checkov
Intermediate
Russian
Spiderwoman Theatre
Intermediate
Native American
Samuel Beckett
Intermediate
Irish
Henrick Ibsen
Intermediate
Norwegian
Arthur Miller
Intermediate
American
August Strindberg
Intermediate
German
Tennessee Williams
Intermediate
American
Bertolt Brecht
Junior/Intermediate
German
Andrew Lloyd Webber
Junior/Intermediate
American
Sharon Pollack
Intermediate
Canadian
Djanet Sears
Intermediate
Canadian
Drew Hayden Taylor
Intermediate
Native Canadian
Stephen Sondheim
Junior/Intermediate
American
© Jennifer Zwiers and Christine Harvey, 2006
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Playwrights and Plays List (Teacher)
Playwright
Aaron Shepard
William Shakespeare
Lois Walker
Roderick Walcott
Ned Dickens
Rogers & Hammerstein
Linda Ghan
Mary Melwood
Lerner & Lowe
Oscar Wilde
Charlotte Chorpenning
Tom Stoppard
Judith Thompson
Ian Ross
Tomson Highway
Ann Marie MacDonald
Wole Soyinka
Molière
Anton Checkov
Spiderwoman Theatre
Samuel Beckett
Henrick Ibsen
Arthur Miller
August Strindberg
Tennessee Williams
Bertolt Brecht
Andrew Lloyd Webber
Sharon Pollack
Djanet Sears
Drew Hayden
Stephen Sondheim
Plays
The Legend of Lightning Larry, Savitri: The Tale of Ancient India
Midsummer Night’s Dream, Hamlet, Romeo & Juliet, Macbeth,
Anthony & Cleopatra
Go Home, Goldie, The Rat Princess
The Harrowing of Benji, Banjo Man
Luke and the Big Circles, Beo’s Bedroom
Oklahoma!, The Sound of Music
Cold Snap, Beauty & The Beast
The Small Blue Hoping Stone, Five Minutes to Morning
Camelot, My Fair Lady
The Importance of Being Earnest, Lady Windermere’s Fan
Our Fairy Godmother, The Emporer’s New Clothes
Rosencrantz & Guildenstern are Dead, The Real Inspector Hound
The Crackwalker, Lion in the Streets
FareWel, The Book of Joe
The Rez Sisters, Dry Lips Ought to Move to Kapuskasing
Goodnight Desdemona, Good Morning Juliet, Belle Moral
The Swamp Dwellers, The Lion and the Jewel
Tartuffe, The Imaginary Invalid
The Cherry Orchard, Three Sisters
Winnetou’s Snake Oil Show from Wigwam City, Power Pipes
Waiting for Godot, Endgame
The Wild Duck, A Doll’s House
Death of a Salesman, The Crucible
Ghost Sonata, Miss Julie
Glass Menagerie, A Streetcar Named Desire
The Threepenny Opera, The Good Woman of Setzuan
Phantom of the Opera, Cats, Evita, Joseph & The Technicolor
Dreamcoat
Blood Relations, Doc
Harlem Duet, Afrika Solo
Taylor, 400 Kilometres, AlterNatives
Into The Woods, Sweeney Todd, Westside Story, A Funny Thing
Happened on the Way to the Forum
© Jennifer Zwiers and Christine Harvey, 2006
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Sample Playwright and Play Cards
Playwright – Aaron Shepard
List all the plays Aaron Shepard has written and the year in which they were written.
Where did Aaron Shepard live and write?
What types of plays did Aaron Shepard write?
Find at least three interesting facts about Aaron Shepard.
Play – The Legend of Lightning Larry
Who wrote The Legend of Lightning Larry?
What is The Legend of Lightning Larry about? Write a short summary.
What type of play is The Legend of Lightning Larry? (What is the genre?)
What year was The Legend of Lightning Larry written?
Play – Savitri: The Tale of Ancient Indianh
Who wrote Savitri: The Tale of Ancient India?
What is Savitri: The Tale of Ancient India about? Write a short summary.
What type of play is Savitri: The Tale of Ancient India? (What is the genre?)
What year was Savitri: The Tale of Ancient India written?
Playwright – William Shakespeare
List all the plays Shakespeare has written and the year in which they were written.
Where did Shakespeare live and write?
What types of plays did Shakespeare write?
Find at least three interesting facts about Shakespeare.
Play – A Midsummer Night’s Dream
Who wrote A Midsummer Night’s Dream?
What is A Midsummer Night’s Dream about? Write a short summary.
What type of play is A Midsummer Night’s Dream? (What is the genre?)
What year was A Midsummer Night’s Dream written?
Play – Romeo & Juliet
Who wrote Romeo & Juliet?
What is Romeo & Juliet about? Write a short summary.
What type of play is Romeo & Juliet? (What is the genre?)
What year was Romeo & Juliet written?
Play – Macbeth
Who wrote Macbeth?
What is Macbeth about? Write a short summary.
What type of play is Macbeth? (What is the genre?)
What year was Macbeth written?
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
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Section 2: What Is a Play?
How Is It Different From a Story?
Concepts Addressed
• What a play
• How it differs from a story
• How to review a play
Teaching/Learning
Have the class share information about different plays they have seen. Ask the students if they
have ever read a play script. Explain that scripts are meant to be performed, so most people see
them in performance rather than in print. Good playwrights constantly read plays written by
other playwrights to become more familiar with the trends and styles in playwriting. Encourage
the students to read and review more plays.
How a Play Differs from a Story
Read The Legend of the Lost and Found Box (see Resources) as a class. Discuss:
• How is this play different from most stories you have read?
• How is it the same?
• How is the form used for a play different from that used in a story?
• How is the punctuation different from the punctuation used in most stories you have read?
• Why do you think these differences are present in a play?
• Why is a play structured differently from a story?
Note the use of stage directions in the play scripts. Stage directions are the playwright’s way of
telling the actors how they should move or act as they are performing the script. Stage directions
are in brackets and are italicized. Explain that in a play the playwright does not put things like
quotations marks or say things like: “said Johnny” at the end of sentences. Instead a playwright
states who is speaking on the left side of the page, and the actor’s words to the right. The actors
on stage do not need to state who is speaking because the audience can see who is speaking.
Students read a play with a partner, e.g., The Super Secret Surprise Casserole
http://www.lazybeescripts.co.uk/YouthTheatre/Hansel_and_Gretel.htm
(Note: Students can only read the script, they cannot print it off.)
Students can read the script aloud if it is easier for them to follow the play. Emphasize that the
stage directions are an important part of the play. After reading the play, students discuss it with
their partners and complete their reviews individually. Students discuss their reviews as a class
or in small groups and revise them, as appropriate.
© Jennifer Zwiers and Christine Harvey, 2006
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Reviewing a Play
People review movies, artwork, books, songs, etc. Explain that a review is a reaction to and
critique of a piece of work that has been read, watched, listen to, looked at, or experienced in
someway. One reason that reviews are written and read is to assess whether or not an audience
will appreciate the play. A review could be used to study and deconstruct a piece of work. Tell
the class they are going to review The Legend of the Lost and Found Box with a partner to learn
more about the structures, formats, and concepts in plays, so they are able to understand and
implement them in their own playwriting. Review The Legend of the Lost and Found Box (see
Resources) as a class using the Play Review Template (p. 11).
Have the class choose another play from a teacher-prepared list to review individually (see
Resources, p. 38). After they have read the play and filled out the Review Template, they can
submit the review for assessment.
A review can be used for editing and as a peer- or a self-assessment tool for student playwrights.
Students can use the Review Template to assess their own plays. They could give the review out
to friends and parents to use when responding to their plays. In this way, students can get a more
complete feedback of how others perceive their work.
Comparing a Play to a Story
To consolidate students understanding of how a play differs from a story, complete the Venn
diagram as a class.
Assessment Considerations
You may choose to assess students on their reviews using a marking system. You may also want
to assess their participation in the class discussion, their proper use of the Internet, and/or their
ability to work, share, and cooperate as partners. The Play Review Template (p. 11) can be used
to assess their understanding of a play’s structure.
© Jennifer Zwiers and Christine Harvey, 2006
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Play Review Template
Name of Play: ________________________
Name: _____________________________
Author of Play: ________________________
(the Playwright)
Style of Play (Genre): __________________
Have you read other plays by this author?
Yes or
No
If yes, then list the play(s) you have read by this playwright:
What similarities and differences do you notice between this play and the other play(s) you have
read by this playwright?
Do you like this play better than the other play(s) that you have read by this playwright?
Explain why or why not.
In three to five sentences tell what this play is about (summarize the play):
List the characters in the play:
Describe, compare, and contrast the lead two characters in this play. (The two characters you
choose should be in conflict somehow, e.g., good vs. evil.) In your description explore how these
characters use language, their age, their gender, etc.
Why do you think the author chose to develop the characters in this way?
What do these two characters want in this play?
How do they try to get what they want?
Who was your favourite character in the play? Explain why this character is your favourite.
What do you like about this character?
Who was your least favourite character? Explain why this character was your least favourite.
What was your favourite part of the play? Explain why.
What was your least favourite part of the play? Explain why.
Are there any difficulties that a group of performers may have when producing this play?
If so explain them.
Do you believe that this play could maintain an audience’s attention? Explain.
© Jennifer Zwiers and Christine Harvey, 2006
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Section 3: Creating Characters –
One Dimensional vs. Multi-Dimensional Characters
Concepts Addressed
• One-dimensional characters
• The difference between one-dimensional and multi-dimensional characters
• Creating one-dimensional and multi-dimensional characters
Teaching/Learning
In a plot-driven play, one-dimensional characters are used and maintained. In a character-driven
play, multi-dimensional characters change and develop throughout. Multi-dimensional or well
developed characters have many characteristics. They are realistic and complex, and grow and
evolve just as people do.
Show the Venn diagram (p. 15) on an overhead and discuss the similarities and differences
between one-dimensional and multi-dimensional characters.
One-Dimensional and Multi-Dimensional Characters
The Legend of the Lost and Found Box (see Resources) is an example of a plot-driven play. The
characters are one-dimensional and do not change throughout the play.
Ask the class to identify the dominate characteristic that defines each character. If students are
having difficulty pinpointing each characters’ main characteristic have them review what the
characters did and said.
(Answer: Casey – a passionate and creative leader, Devon – cynical and sceptical,
Sam – curious and a follower, Dell – an unquestioning follower.)
The characters in Super Secret Surprise Casserole (see Resources) are more multi-dimensional.
Discuss the characters in this play, using these prompts:
• How did the characters change over the course of the play? How did the characters grow,
compromise, and evolve?
• What did each of the characters learn? What events affected the characters’ transformations?
• What similarities do they see between the characters in the play and people they know?
• Which characters remind them more of themselves and why?
Students complete a Character Sheet (p. 16) for each the characters in these two plays.
Developing a One-Dimensional Character
Photocopy the Bring It All Back Stickers (p. 17) onto large label paper. Cut the sheet so that
there is one characteristic for every person. Put a label on each student’s back.
Students walk around the classroom, look at what’s on the back of a class mate, and act like their
character, without telling their classmate the characteristic. They guess based on how people are
acting around them. For example, if the characteristic angry is on someone’s back, then everyone
they come in contact with should act angry. If a student cannot guess after an appropriate amount
of time, their classmates give clues (10 seconds).
© Jennifer Zwiers and Christine Harvey, 2006
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Once the person has guessed what characteristic they are, they take the sticker off their back and
put it on their front. They then concentrate on helping other people guess who they are by
interacting with them. They develop a character based on their characteristic and draw a picture
of their character. Students describe their character by responding to the questions:
• Describe your character physically.
• How does this character move?
• How does your character talk?
• What words are your characters likely to use?
• What does your character want?
• What play plot might you use this character in?
Play the game Bring It All Back again, but this time write different inanimate objects on stickers,
e.g., toaster, pencil, lamp shade, cheese, etc. Have the students ask questions that can only be
answered by Yes or No. They guess what object is on their back. In small groups students choose
one of the objects that their group members had on their back to develop a character. This is
called personification – giving an inanimate object human qualities. The group answers the
following questions about their object:
• What type of voice would your object have?
• What words would your object use?
• What would be your object’s likes and dislikes?
• What object would your object likely get along with or not get along with?
• What are your object’s wants and needs?
• How will your object change over time?
• What does your object want?
• How difficult will it be for your object to get what he/she wants?
• What kind of life has your object led?
• How has that effected your object’s personality?
• What events in the object’s life would be considered traumatic, exciting, or surprising?
Use the Hot Seat questions (p. 18) to help the group describe and further develop their object
characters.
Choose a play that the class has already read and do the Character Sheet (p. 16) collectively.
Students then read other plays (selected by the teacher or students) in pairs or individually and
fill out a Character Sheet on each of the main characters.
Developing Multi-Dimensional Characters
Students put their heads down and close their eyes. Tell them they are going to create a multidimensional character. Suggest that they not pick a character that already exists; their character
should be an original creation. Use the Hot Seat Questions (p. 18) to help them visualize their
character. With each question, the character should be given a new dimension and greater depth.
Once the teacher has asked all the questions, students open their eyes. Groups of four or five
students number themselves one to four or five.
© Jennifer Zwiers and Christine Harvey, 2006
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The teacher selects a number to start. The group member who selected that number becomes the
first person in the Hot Seat. That person must exit the group and return to the group in the
persona of the character they just created. Their group members ask the student questions. The
student uses the character’s voice to answer and moves as the character. Each group member
should be in the Hot Seat for the same amount of time. For younger grades, 1–2 minutes is
appropriate, but older groups could sustain the character for up to 10 minutes.
Students complete this Hot Seat written assignment: Draw three different pictures of the
character – One of their character as a youth (baby to adolescence), one of their character in midlife, and one of the character in their senior years. Write a short description under each picture,
describing the character and how and why the character has changed throughout his/her life.
Students submit the assignment.
Variations
Students could learn more about character development by using these one or more of these
variations:
• Watch a play and discuss the characters within it using Hot Seat Questions and the Character
Sheet.
• Have the students write a character description of themselves and/or people around them.
• Discuss stereotypes in fairytales and how those stereotypes are false and offensive to some
people. Discuss how fairytales could be more interesting if they were replaced with multidimensional characters.
Assessment Considerations
Assess the Hot Seat written assignment according to whether the student depicts and develops
the character. The depth and complexity of the character determines how well they understood
and completed the project. The teacher could also assess their participation during the character
development activities and process, but not their performance or acting abilities, as this is not
relevant to their playwriting abilities. The primary concern is whether or not they understand the
differences between certain types of characters; and to what level they are able to develop
complex and/or interesting characters for a script.
© Jennifer Zwiers and Christine Harvey, 2006
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Venn Diagram (Teacher)
Similarities and Difference between One-Dimensional and Multi-Dimensional Characters
© Jennifer Zwiers and Christine Harvey, 2006
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Character Sheet
Name: ______________________________
Name of character and the play in which they appear: _______________________________
What does the character look like? (physical appearance)
What type of language does this character use?
Does this character use different language depending on who they are interacting with in the
script? Explain.
Do you consider this character to be a one-dimensional or a multi-dimensional character?
Support your answer with evidence from the script.
What character in this script is most similar to this character? Explain.
What character in this script in the most opposite of this character? Explain.
What does this character want? What does the character do to get what he/she wants?
Is this character in conflict with another character? Explain.
© Jennifer Zwiers and Christine Harvey, 2006
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Bring It All Back Stickers
excited
curious
ill
scared
forgetful
wise
confused
lost
gentle
critical
caring
busy
distracted
happy
sad
injury-prone
friendly
graceful
defiant
magical
clumsy
reliable
menacing
embarrassed
shy
bold
environmentally
cautious
thrifty
suspicious
worried
(To be printed on an 8½ × 11 label)
© Jennifer Zwiers and Christine Harvey, 2006
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Hot Seat Questions
1. What is your characters’ name? What is your character’s gender?
2. How old is your character?
3. What does your character look like? Expand…
a) What colour hair? How long is his/her hair?
b) What colour eyes?
c) How tall is your character?
4. How does your character dress? Why does your character dress this way?
5. What type of language does your character use?
6. Think of some situations in your character’s life when she/he uses language that is not
indicative of their everyday language patterns. Why did your character use different language
in that situation?
7. What type of job does your character have?
8. How would you describe your character’s personality?
9. Who is your character’s best friend?
10. Who makes your character uncomfortable? Why?
11. What was your character’s most embarrassing moment?
12. What was your character’s greatest achievement from his/her perspective? …from another
person’s perspective?
13. What is your character’s favourite food?
14. What is your character’s favourite colour?
15. Where does your character live?
16. How do other people feel about your character?
17. Do other people perceive your character the way your character perceives herself/himself?
18. What type of language do other people use when they talk to your character?
19. What does your character like to do with his/her spare time?
20. What is the most important lesson that your character has learned? Why are these lessons
important to your character? What experiences taught him/her these lessons?
21. What lessons will your character learn in the future? How will that affect your character’s
personality and outlook on life?
22. Which of these answers will change when your character is older?
23. How was your character’s situation different when she/he was younger?
© Jennifer Zwiers and Christine Harvey, 2006
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Section 4: Monologues
Concepts Addressed
• Comparing stories and monologues
• Writing a monologue
Teaching/Learning
Explain monologues to students – A monologue is a speech delivered by a single character
onstage to another character onstage or to the audience.
Talk for a Minute
Pairs choose who will be A and who will be B. All of the As stand up and talk for one minute
about eating watermelon. They stay on topic the entire time and must avoid pauses or saying
“um” or “ah.” Bs keep track of the number of times As say “um,” or “ah,” and if they pause. If
they do say um, ah, or pause more than ten times, then Bs should stop keeping track. Bs listen
carefully to see if they can identify words that A uses repeatedly. Ask the Bs to put up their hand
if their As said um, ah, or paused more than ten times. Tell the class that this is difficult to avoid,
as ums or ahs, and pauses are part of our speech patterns, especially when we are speaking in
front of an audience. Bs talk about hairstyles for a minute and As observing their language
habits. Debrief the activity as a class.
Add a new dimension to Talk for a Minute – students adopt voices and language patterns
appropriate to the character and repeat the activity. As pretend that they are a member of the
royal family talking to their subjects about sandwiches. Bs speak about daisies as if they are
wrestlers giving a promotion speech before a big wrestling match.
Debrief as a class:
• What types of words did the royal character use?
• What types of words and voice did the wrestler use?
• What are some differences?
• What are some similarities?
• What can we learn from this activity that will help us as we write monologues?
• What does this tell us about a characters choice of words?
• How does this activity help us when we are writing script for characters?
Listening to Monologues
Explain that monologues are meant to be performed, not read. As they listen to an example of a
monologue, ask the class to notice the way the character talks and to be prepared to describe the
type of character that is talking based on the language that he/she uses. Also they should be
prepared to identify what the character wants in this monologue and what how it tries to get what
it wants.
© Jennifer Zwiers and Christine Harvey, 2006
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The teacher improvises a sample monologue, possibly speaking as a Math teacher preparing
his/her students for a competition or a final examination. After the monologue, ask the following
questions:
• How old do you think this character is?
• Why do you think that?
• What do you notice about the way the character talks?
• Do you think this character talks like this all of the time?
• Do you think that this character had time to prepare what they were going to say?
• What did this character want?
• How did this character try to get what they wanted?
• Do you think that the character was successful?
• Would you give this character what they wanted?
• What are the mood, moral, and purpose of this monologue? (Mood refers to the tone of the
piece – happy, sad, hopeful, sarcastic, frantic, etc; the moral is the message, and the purpose
is why it was written.)
Read another monologue that is very different such as The Phone Call (see Resources). Include
props and actions appropriate.
Ask:
• How old was this character? Why do you think that?
• What do you notice about the way that the character is talking?
• Do you think that this character talks like this all of the time?
• In what situation might this character choose her words differently?
• Do you think that this character had time to prepare what she was going to say?
• What did this character want?
• How did this character try to get what she wanted?
• Would you have given this character what she wanted?
• What differences did you notice between this monologue and the first?
• Why do you think more stage directions were used?
• Why were there a lot of pauses?
• What are the mood, moral, and purpose of this monologue?
Writing Monologues
Prepare students to write their own monologues, reminding them that a monologue is different
from a story. Choose a length for the monologue that is appropriate to your class’s abilities.
(As a guideline, junior classes might write 50 to 150 words; intermediate classes might write
150 to 300 words.) Discuss and post information about monologues for student reference (see
p. 23).
Note: Students sometimes start to tell stories of past events and do not focus on the immediate
concerns of the character. With younger students, concentrate on learning to write in the present
first.
© Jennifer Zwiers and Christine Harvey, 2006
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Ask the class to suggest prompts for monologues (see p. 23). If the class suggests something that
is not really a monologue, suggest a way to use the idea so that it is a monologue. For example:
A students suggests that aliens are taking over the world. Respond by suggesting that the leader
of the aliens gives a pep talk to their alien troops to help them prepare for their invasion of earth.
Tell the class they must get approval for other ideas. Guide students by circulating and reading
the monologues as the students work. Once students have written the monologue, have them add
stage directions. (See Checklist for Writing and Editing Scripts, pp. 24–25.)
Students exchange their monologues with another student for editing. Students could read the
monologues for an audience, the class, small groups, or to a family member, and make changes
based on listener’s feedback. They may find it helpful to have their monologue read aloud by
another person while they listen, in order to hear possible problem areas. Remind the class that
the way a monologue sounds and looks when it is performed is important. If a monologue is not
as humorous, scary, or profound as it should be, students should rework the language, making
sure that it is not repetitive or confusing and add more stage direction where needed.
Soliloquy and Interior Monologues
A soliloquy is much like a monologue. It is the act of talking to oneself. A character must be
onstage alone for a soliloquy. Student pairs decide who will be A and who will be B. A starts
acting out a scene, like getting out of bed and getting ready in the morning, working at his/her
desk, or doing homework. As As acts out this activity, Bs verbalize what A is thinking. A and B
switch roles and act out a new scene.
Students practise writing a soliloquy. They should follow the same guidelines for writing a
monologue only this time the character isn’t talking to another character but rather talking to
themselves.
Have students brainstorm a topic for the soliloquy to come up with an action that the character is
engaged in and something that is on the character’s mind, e.g., something about which the
character is anxious or excited about. The mood, message/moral, purpose, and what the character
wants in this soliloquy should be clear to the audience.
An interior monologue is the written expression of the imagined thoughts of another person. As a
challenge, some students may create a list of appropriate prompts for interior monologues.
Personification Monologues
Have students write a monologue from the perspective of an object or by giving it human
characteristics. The object ‘talks’ to another object or to a human.
For an example of personification refer to the following website:
http://www.lazybeescripts.co.uk/YouthTheatre/Index.htm Like You’ve Never Seen it Before:
Romeo and Juliet This play personifies the concept of writer’s block into an actual character. The
beginning of the script is a monologue delivered by Professor Block.
Note: Students can read this play online, but cannot print it.
© Jennifer Zwiers and Christine Harvey, 2006
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Assessment Considerations
Checklist for Writing and Editing Scripts (pp. 24–25) that can be used by the teacher or the
students to assess whether the student has completed all the parts of the playwriting process.
Alternatively, the teacher could ask students what they hoped to convey and/or accomplish by
writing this script, and discuss with individual students, how close they are to fulfilling that goal.
For example: Some students may say that they just wanted to get the structure correct and
include enough stage directions as a first step. The teacher can assess whether this was achieved
and give students tips for improvement. If the student says that they want their script to be funny
or sad then the teacher can discuss whether the monologue affects the audience in this way and
how they might come closer to evoking such emotions. If the student states that they wanted to
develop a multi-dimensional character and use appropriate language to their character, then the
teacher can refer to activities and worksheets used in the prior section to see if this has been
accomplished.
© Jennifer Zwiers and Christine Harvey, 2006
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What Is A Monologue?
•
A monologue is someone talking in a specific situation.
•
A monologue is one side of a conversation delivered by the character. The audience gets a
sense of the character through its speech and actions.
•
The character in a monologue always wants something and uses various methods to get it.
•
A monologue has a mood, moral/message, and purpose.
•
A written monologue starts with the character’s name on the left side of the page, with the
conversation following. Do not use quotation marks (“ ”) or write: said Johnny as in a story.
•
Monologues don’t begin with: Once upon a time…
•
At the beginning of a written monologue, set the scene by giving production notes or stage
directions. These notes describe how the set should appear and what kind of feeling the
monologue should have.
•
Use stage directions to tell when a character should be doing actions or to emphasize what
expression a character should use. Stage directions are always in brackets and are italicized.
•
When writing a monologue you can use informal language, pauses, and even slang terms, as
long as the language is appropriate to the character, interesting, not terribly repetitive, and is
understandable.
•
A monologue always happens in the present. It is not a recount of past events. (A character
may talk about things that happened in the past and relate them to present events.)
Sample Monologue Writing Prompts
1. A person is trying to coax a cat out of a tree.
2. A person locked in a closet by a younger brother is trying to convince him to let them out.
3. An upset person is trying to find a lost dog.
4. A knight is giving excuses as to why he is unable to compete in today’s joust. The knight
does not want to admit that he is actually too frightened to go.
5. A person is explaining to a computer repairperson about a problem with the computer. The
person shows the repairperson what is wrong speaking in the wrong tense.
6. A scientist is explaining how a new invention works. This is the first time the scientist has
shown it to someone. To add humour, have the invention not work the way it is supposed to.
7. A student is making up an excuse to a teacher on why his/her homework is not completed.
8. A salesperson is trying to sell customers a defective product.
9. A child is trying to convince a parent that there are monsters under the bed or in the closet.
© Jennifer Zwiers and Christine Harvey, 2006
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Checklist for Writing and Editing Scripts
I want to write a script that makes people feel ___________________________________.
I will do this by:
I want my script to be written for people who are ________________________________
I will do this by:
I want my script to appeal to people who are ____________________________________
I will do this by:
I want people to think about ________________________________________________
I will do this by:
I want people to notice _____________________________________________________
I will do this by:
I want my character(s) to be ________________________________________________
I will do this by:
My character(s) want ______________________________________________________
I will show this by:
My script will convey these messages/morals ___________________________________
I will do this by:
© Jennifer Zwiers and Christine Harvey, 2006
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Checklist for Writing and Editing Scripts (continued)
Yes
No
Is the script formatted properly?
Is the character(s) consistent?
Is the language consistent with the character(s)?
Is/Are the character(s) believable?
Is it clear what the character(s) want?
Is the plot easy to follow?
Is the script void of spelling errors?
Is the script interesting?
Would this script engage and entertain an audience?
Does the script read aloud fluently?
Is the script understandable and easy to follow?
Are the messages/themes/morals developed clearly?
Is the mood of the script clear?
Does the script have an adequate amount of stage directions?
Are the stage directions easy for a director and/or actors to understand
and implement?
Are the stage directions properly structured, i.e., with brackets, italicized, etc?
Has this script been self-edited?
Has the script been revised according to peer feedback?
© Jennifer Zwiers and Christine Harvey, 2006
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Section 5: Dialogue
Concepts Addressed
• How to use individual and collaborative writing approaches.
• How to write dialogue.
Teaching/Learning
Explain that dialogue is an important element of playwriting. A dialogue is a conversation
between two people onstage. Just as we may get bored when someone talks for a long time to us,
an audience gets bored with a long speech from a character. Have students look at one or more
examples of short dialogues. The Legend of the Lost and Found Box and Super Secret Surprise
Casserole (see Resources) have examples of engaging and interesting dialogue.
Telephone Conversations (Warm-up Activity)
Pairs of students decide who is A and who is B. As are parents. Bs are children. The child is
calling the parent to ask if they can stay overnight at a friend’s house, even though it is a school
night. The parent is hesitant to give permission. A gives reasons why it is not a good idea, and B
tries to convince his/her parent that it is a good idea. Remind the students to talk like their
character. Bs should use words and voice to imitate the parent. As should speak as if they are
children, using appropriate words and a voice. Encourage students to try different approaches. If
one technique does not work to get them what they want, then have them try something else.
The teacher imitates a phone ringing. All the As answer the phone as if they are the parent and
Bs act as if they are the child. After about a minute, have a few students share the dialogue with
the class. Discuss what students notice about the language and the techniques that people used
when acting in this scene.
Students repeat this activity but Bs pretend that they own a pizzeria. A is ordering a pizza, but is
a difficult customer with very unreasonable requests. B is trying to sell A things that A does not
want. After a minute, have a few groups share their dialogue with the class. Discuss how the
characters, language, and voices changed in this scene.
Approaches to Writing Dialogue
There are many different approaches to dialogue writing. Use one or more of the following
approaches to help students learn to develop dialogue. Have the class tell which methods they
like better and which methods are easier for them.
Independent Activity: Develop two multi-dimensional characters in an unlikely and interesting
setting, e.g., at a fire hall, baseball stadium, a bank, a hair salon. These characters can be
meeting for the first time, or have a history together. The characters should want different
things. It is more interesting if the thing that each of them wants can be given by the other
person, but the other person should be reluctant to comply. The characters should be very
different from each other. Write a short dialogue between these two characters.
Partner Work: Each partner chooses a character. Agree on an unlikely location for these
characters to meet. Make sure that the characters each want different things. One person
writes as if they are the chosen character. Once the first character has written their opening
statement, pass the paper onto the partner who responds as the other chosen character.
Continue to pass the sheet back and forth until pairs have developed a short dialogue.
© Jennifer Zwiers and Christine Harvey, 2006
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Small Group Work: Everyone in the group gets a chance to write what they see and to
improvise a scene. Start with two people in each group to improvise. Choose a onedimensional character for each volunteer. The teacher tells them what they each want and the
setting. Students improvise a scene while the other members of the group write down what the
characters who are onstage are saying. The writers do not have to write the script word for
word but they should have the general ideas down if it is later developed as a script.
Whole Class: As a class, choose two one-dimensional characters. The characters must be very
different from each other. Choose a setting for their scene. Together the class builds a
dialogue. The teacher writes the dialogue on chart paper. Alternatively, each student
contributes one line to the dialogue.
Have the students not talk for an extended period of time but communicate only in writing. They
then revisit their scripts to develop a dialogue with interesting characters and a clear mood,
moral/message, and purpose.
Personification Dialogue
Have students develop human characteristics for an inanimate object or concept. Small groups
put their objects together to create a dialogue. Students can use these questions to help them
create a dialogue for their characters:
• Where might these objects/characters meet?
• What might these objects talk about?
• What might these objects/characters want?
• How would these object characters go about getting what they want?
• What problems might these objects/characters face?
• Which objects/characters would be best able to solve certain problems?
For an example of personification refer to the website for Like You’ve Never Seen it Before:
Romeo & Juliet http://www.lazybeescripts.co.uk/YouthTheatre/Index.htm. This play personifies
the concept of Writer’s Block into an actual character which battles with a muse.
Assessment Considerations
The Checklist for the Playwriting Process (p. 28) can be used by students or the teacher to assess
whether they followed the required playwriting steps when writing their dialogues. Peers could
do a play review. They discuss with each other how the plays made them react, think, and feel.
They can tell what impressions they got of the mood, message/moral, and purpose when reading
the dialogue. Have the reviewer ask the playwright if that is what he or she intended. Have the
student reviewer comment on the clarity of the dialogue, character portrayal, and structural
concerns. Integrate peer comments into the teachers own assessment of the dialogues.
© Jennifer Zwiers and Christine Harvey, 2006
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Checklist for Playwriting Process
[ ]
Brainstormed ideas prior to writing
[ ]
Organized ideas prior to writing
[ ]
Developed characters prior to writing
[ ]
Wrote rough draft using ideas from plan
[ ]
Edited rough draft for inclusion of stage directions, proper play format, character
development, punctuation, and spelling
[ ]
Revised rough draft making sure that language was appropriate to each character
[ ]
Wrote good copy with revisions
[ ]
Read play aloud for feedback
[ ]
Made changes in response to feedback
[ ]
Shared writing with peers
[ ]
Prepared final product
© Jennifer Zwiers and Christine Harvey, 2006
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Section 6: Short Self-Contained Scenes
Concepts Addressed
• Collaborative writing approaches
• Using mime as a script writing foundation
• Writing different types of short scenes
Teaching/Learning
Explain that a short self-contained scene is a short play. The short self-contained scene takes
place in only one location, but tells a brief story about the characters involved. It has a beginning,
middle, and an end. Short self-contained scenes should have no more than five or six characters,
so they can be fully developed.
Styles of Short Scenes
Small groups of students work to develop one or more of the following styles of short scenes.
Explaining a Legend/Tall Tale or Historical Event: Groups of four or five students brainstorm
legends with which they are familiar. The groups choose one legend to perform for the class.
In five minutes, students develop a scene without dialogue that is approximately a minute
long. Students perform the scene for the class. They write a short script based on their miming
activity.
Adjust this activity to have the students develop a script about a moment in history. Remind
students that they are only to depict one scene or location in history.
Family Picnic: Working in groups of five or six, students assume different roles in a family,
including extended family members and pets. Students take five minutes to develop a scene
about the family going on a picnic. The scene should be about a minute long with no dialogue.
The family arrives at the picnic, faces a problem, solves the problem, and leaves the picnic.
Groups perform their scenes for the class and then work to develop a script for the scene.
Students can choose to represent their character’s voice as they develop the script. For
example, if a student played the part of the baby sister, she can write the lines for the sister as
they are developing the script. Note: All characters should have equal representation in the
script, even the family pets. The pet should talk, but the group can decide whether the pet’s
words are heard by the rest of the family or not.
Point out that the beginning of the script, as the family is arriving to the picnic, should
develop the characters and the characters’ relationships to each other. These relationships
should be obvious to the audience by the way the characters interact with each other. When
the problem arises the family’s language to each other will likely change, as a crisis often
affects the way people talk and relate to people around them. Once the problem is solved and
the family is leaving, the audience should get the sense that the family has learned something
from the experience and that their relationships have changed, if only slightly.
© Jennifer Zwiers and Christine Harvey, 2006
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The Twist: Pairs of students develop a short scene that includes the resolution of a problem or
conflict with an ending or twist that will surprise the audience. The scene that they develop
can only be a minute long, with no talking. Give a maximum of five minutes to work out the
scene and then have them perform the scenes for the class. Once all of the pairs have
presented, each pair develops a short script by adding language to its short mime. Remind
them to include the movements they did in the form of stage directions. Tell students to
develop their characters’ personalities more thoroughly and establish the reasons for being in
conflict with one another, reminding them that it must all happen in one scene.
Acting Out a Funny Story: In groups of three or four, students tell their favourite funny story to
the other members of the group. Groups then take no more than five minutes to develop a oneminute scene that combines all of their stories without dialogue. The groups perform the
scenes for the class, then script words for their scenes. Remind students that their main goal in
developing this scene is to experiment with comedic language and actions.
Developing Short Scenes
Students decide on one of these styles of short scenes and develop a script. The script’s running
time can be anywhere from one to fifteen minutes, based on the students’ ability. (Running time
is how long the script would run if it was performed; describe the length requirements in pages.)
The groups edit the scripts by getting peer feedback.
Assessment Considerations
Students participate in self-reflection and self-assessment, using the following prompts:
• What have you learned about playwriting so far?
• What is your favourite part of playwriting? Explain.
• What is your least favourite part or playwriting? Explain.
• What do you struggle most with when playwriting?
• What are you good at?
• What do you think of your short scene in comparison to the other play assignments?
• What could you do to improve your playwriting?
• What progress have you made since we began the playwriting activities?
• What things do you not understand about playwriting? How might you find the answer
these queries?
• What playwriting qualities do you have that remind you of other playwrights that you know?
How are you original, creative, and different?
• What are your goals in playwriting?
• How do you intend to achieve these goals?
© Jennifer Zwiers and Christine Harvey, 2006
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Section 7: One-Act Plays
Concepts Addressed
• Different types of one-act plays
• Purposes behind writing plays
• Writing One-Act Plays
Teaching/Learning
Students begin to develop a one-act play. Point out that writing a play consists of 70% planning
and editing and 30% writing. See One-Act Playwriting – Self-Guided Assignment (p. 33) for
planning instructions. Students can use ideas from previous sections to help develop their ideas.
Looking At a One-Act Play
Choose a one-act play for the students to study as a class. Discuss definitions for the different
scenes:
Opening Scene – establishes setting and characters and sometimes introduces a problem or
conflict.
Rising Action Scenes – develops the problem and/or the characters.
Climax – is the greatest point of intensity in an ascending series or progression for the
characters. It is the most exciting part of the play when the audience discovers whether or not
the characters will get what they want or not.
Ending Scene – often not a separate scene, but part of the play that ‘wraps up’ the action after
the climax and ties up ‘loose ends.’
Go though the play scene by scene. Determine what the opening information is, what scenes
build action, where the climax is and how it is pivotal, and how loose ends are tied up as the play
ends. Discuss how each of these scenes are constructed and what information they provide for
the audience. Tell the class that it is important that their plays have an Opening Scene, Rising
Action Scenes, a Climax, and an Ending Scene.
A Look All Her Own: A Cinderella Story (see Resources) is a possible resource. Many of the
activities from previous sections are useful activities as students begin writing their one-act
plays.
Developing a One-Act Play – Self-Guided Assignment
Discuss the worksheet One-Act Playwriting (p. 33) and the due dates for each part of it. The
length of the one-act play should be anywhere from 6–30 typed pages. A one-act play’s running
time is anywhere from 20–90 minutes. Students use the Checklist for Writing and Editing Scripts
(pp. 24–25) to monitor their work.
Remind students that it is important to have a purpose when writing and to be aware of the
audience’s possible reaction to the play. It is also important to stay on track to meet the intended
purpose, or if necessary to get back on track, and/or re-evaluate the purpose. All plays are written
with the primary intention of entertaining an audience. Making the audience laugh, feel, think,
ponder, participate, gasp, cry, and/or be surprised are all ways to entertain them. It is necessary
to establish who your audience will be.
© Jennifer Zwiers and Christine Harvey, 2006
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Consider:
• What age is your play targeted for?
• What kind of person would want to come see your play?
• What knowledge does this audience have?
• How will you entertain this audience?
Students brainstorm secondary purposes for playwriting. These purposes could include:
informing people of important things, giving an opinion, making a political statement, asking
questions about and exploring issues about our society, or enforcing moral messages. Remind
them that the purpose must remain consistent throughout the playwriting process. Tell students
that you will be available to help throughout this assignment, but that their classmates are good
resources for feedback and ideas. They read their work to a group or partner during the process
to receive feedback.
Students could perform parts of their scripts for another class. There might also be a playwriting
competition available in your area to which students could submit their plays and have them
reviewed. There could also be a Student Playwright Appreciation Day where students read
portions of their plays and/or class members could take on roles and read the plays aloud.
Friends and family could be included in the celebration.
Assessment Considerations
Any of the assessment tools included in this resource could be used to mark this final project; the
most meaningful assessment will be the feedback students get from their audiences when their
scripts are performed.
© Jennifer Zwiers and Christine Harvey, 2006
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One-Act Playwriting – Self-Guided Assignment
1. Brainstorm – Due date: ___________
Write down ideas for your play. Have at least five ideas to choose from. For each idea write out what
the play would be about and what characters would be in the play. For each idea, clearly define the
theme(s) and mood of the play is clearly defined. Discuss your ideas with a peer and get feedback on
them. Choose one of the ideas to write a play about.
2. Moral and/or Purpose of the Play – Due date: ___________
Write a paragraph describing the purpose and/or moral of your play. Include in your paragraph a
plan on how you will fulfill this purpose.
3. Character Descriptions – Due date: ___________
Write out a full character description for every character in your play. Use the Character Sheet
(p. 16) and the Hot Seat Questions (p. 18) to help define each character.
4. Character Development – Due date: ___________
Describe how each character will develop throughout the play. If you are using one-dimensional
characters, describe what will happen to each character in the play.
5. Possible Scenes and Settings – Due date: ___________
List the scenes that you will have in the play and where those scenes will take place. Make sure that
the locations are appropriate to the plot, the situation, and the characters. Describe how the setting
will affect each character and how each character feels about each setting. You do not need to give a
detailed description of the setting in a play the way you do when you are writing a narrative story.
6. Plot Structure – Due date: ___________
Organize your play… make a plan. Your play needs a beginning, a middle, a climax, and an end. This
should be clearly outlined before you begin writing. The beginning, climax, and ending must be clear
and meaningful. Do not jump from one idea to the next, but stick to your purpose and follow it
through. Do not add unnecessary things that will confuse an audience or frustrate an actor or
director. In your play, the audience is interested in the development of the characters or the plot, not
the special effects as in a movie.
7. Opening Scene – Due date: ___________
Write your opening scene. Introduce your characters early and define them clearly.
8. Rising action Scenes – Due date: ___________
Write your middle scenes. Develop the characters and the plot logically.
9. Climax – Due date: ___________
Write your climax. The climax is the most difficult part of the play to write.
10. Ending/Closing – Due date: ___________
Tie up all the loose ends.
11. Editing – Due date: ___________
Read your play aloud to your peers and get feedback. Incorporate the feedback into your play.
12. Submit for Assessment – Due date: ___________
© Jennifer Zwiers and Christine Harvey, 2006
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Section 8: Extending the Learning
Concepts Addressed
• Types of plays – puppet plays; plays in a box; medleys, modernizations/adaptations; radio
plays; reader’s theatre; musicals
Teaching/Learning
Congratulate students on their playwriting endeavours. Discuss different types of plays: puppet
plays; plays in a box; medleys, modernizations/adaptations; radio plays; reader’s theatre;
musicals; etc. Students could write one or more of these types of plays to further develop their
skills as playwrights.
Adaptations, Medleys, and Modernizations: Plays that alter existing stories slightly from
their traditional form.
An adaptation is a play that is based on a story, a book, a movie, or a television show.
A medley is a play that combines different plays, stories, or ideas together into one play.
A modernization is a play that is based on an older play or story that has been reworked to
occur in a modern day or futuristic setting. An example of this would be the play
West Side Story, which modernizes Shakespeare’s Romeo and Juliet.
Note: Students should be reminded plays are most often protected by copyright laws. Specific
adaptations or modernizations are also copyrighted.
Examples:
Adaptation: Super Secret Surprise Casserole by Christine Harvey
http://www.lazybeescripts.co.uk/YouthTheatre/Hansel_and_Gretel.htm
Modernization: A Look All Her Own: A Modern Cinderella Story by Christine Harvey
(see Resources)
Medley: A Fairytale Medley by Christine Harvey (see Resources)
Considerations
• Choose a traditional fairytale.
• Identify stereotypical characters, and discuss the implications and origins of those
stereotypes. With this knowledge, adjust stereotypes, flip gender roles, and/or give the
characters more depth and background. The characters could realize their stereotypical
nature, decide to shed the persona and grow into more multi-dimensional characters.
Groups of four or five students develop a one-minute mime of a popular fairytale, practise, and
perform their mimes. Before leaving the stage area, the groups perform their play twice more
using different styles. Suggestions for style include: in fast motion; in slow motion; as robots,
babies, wrestlers, chickens, cheerleaders, clowns, or people caught in a windstorm.
Students write an adaptation, a medley, and/or a modernization. For the adaptation or
modernization, they choose fairytales. If they choose to write an example of a medley, they could
combine fairytales or use Shakespearian plays.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
34
Play in a Box: A play that is structured around a box of props and costumes.
Things are taken out of, used, and/or put into the box throughout the performance in full view of
the audience. The box is almost like a character in this type of play, as the audience is aware that
the box is instrumental in helping the actors to tell the story. The actors introduce the box by
saying things like: “…and we will use items in this box to help us tell the story of…” Often this
type of play incorporates audience participation.
Considerations
Keep the items in the box simple.
• Make transitions from item to item smooth and of appropriate length. Limit the number of
items in the box to make it easier for the actors to find things that they need.
•
Example of a Play in a Box: A Fairytale Medley by Christine Harvey (see Resources)
Students sit in a circle. Bring a ruler, a chalk brush, and a clothes hanger to the circle.
Demonstrate how an object is perceived differently if it is used differently by swinging the ruler
like a bat. Ask the class what object you are pretending your ruler is. Then, use the ruler as if it
were a microphone and talk or sing into it. Ask students what you changed it to the second time.
Pass the ruler around the circle and have students think of different ways to use it.
Demonstrate using a chalk brush as a cell phone and then as a TV remote control and pass it
around for student interpretations. Finally, demonstrate using the hanger as a big earring and then
as a brief case that you are carrying to work. Pass the hanger around the circle for the students to
use as different objects. Explain that props don’t always have to be used for their usual purpose
during a performance; there are often creative dramatic uses for mundane objects.
Have the students collect a box of props and costumes from home and exchange their box with
another person. Each one writes a play in a box using the items from a classmate’s box.
Puppet Play: A play that is performed using puppets instead of actors.
Considerations
• Since it is difficult to have many people manipulating puppets simultaneously, students
should limit scenes so that there are no more than six characters on-stage at a time.
• Puppet characters have a more difficult time showing emotions, because usually its
expressions do not change.
• Keep characters one-dimensional and have the characters verbalize what they are feeling.
This makes it easier to make set changes; scenes can jump from location to location easily.
Remind students use this advantage as they write puppet plays.
Websites for puppet plays:
http://www.legendsandlore.com – Beauty and the Beast, The Three Little Pigs,
The Three Billy Goats Gruff
http://www.ferrum.edu/applit/texts/puppetstudents.htm – Puppet plays by Grade 5 students
Pairs of students take five minutes to produce a one-minute play using only their fingers with no
dialogue and only sound effects. They could choose a theme such as fairytales, suspense, or
triumph. They perform their plays for the class. If the fairytale theme is selected, audience
members might guess which fairytale the pair depicted.
Pairs of students create puppets, develop their personalities, and then write a play.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
35
Radio Play: A play that is only heard; not seen. There is no action, only sound and voices.
Radio plays can be purchased on CD or downloaded from the Internet. Eight radio plays suitable
for intermediate students are available from Teachers on Wheels at:
http:www.nald.ca/litweb/province/nl/tow/towplays/playcont.htm
Advice on radio playwriting, lesson plans, and radio playwriting resources is available at:
http://www.scribblingwomen.org/understanding.htm
Considerations
Sounds replace stage directions.
• Actors are not seen; they are only heard.
• Sound effects are key.
•
Groups of four of five use objects in the classroom or provided props to create a soundscape for a
suggested setting such as: construction site, rainstorm, library, beach, jungle. Students cannot use
words, only sound. Each group practises, then performs, its soundscape for the class. As each
group performs, the audience closes their eyes and guesses the location the groups were
depicting.
They write a radio play – possibly a suspenseful thriller or use another theme of their choice.
Working in small groups, students represent radio station staff, e.g., sports reporter, commercial
voice, daily news reporter, deejay. Each group writes a four- to five-minute script for a radio
broadcast.
Reader’s Theatre: A play that has a narrator or narrators who tell a story and characters who
speak for themselves.
Reader’s Theatre is reading aloud to communicate a story through oral interpretation rather than
acting. It is similar to a radio play in many ways, although actions and blocking can be
incorporated. The actors read directly from a script. Costumes, set design, special effects, and
props are optional.
Examples of Reader’s Theatre scripts can be purchased online at www.scriptsforschools.com.
The Legend of Lightning Larry by Aaron Shepard at: http://www.aaronshep.com/rt/RTE01.html.
Consideration
• A narrator replaces stage directions. It is important that the narrator character describes any
actions for the audience that may have normally occurred in the script.
Groups of four or five choose short stories or children’s books. One student reads the book as the
others act improvise the story through actions. This activity works best if the class has not heard
these stories before.
Students write a reader’s theatre script. A holiday could provide a theme for the script.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
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Musicals: A play that incorporates music.
Considerations
Plan carefully where to place the songs in a script. A good structure to follow is: Opening
number/introduction – give each main character a song which reflects their personality, conflict,
and concerns in the play; Love song, if applicable; Evil character song, if applicable; and a
Finale song.
Explain to the class that using familiar tunes and writing new lyrics for them is one approach to
lyric writing. A composer then formulates a new tune for the words. Poems use a lyrical pattern
that to a composer can develop into a song. A volunteer uses a familiar tune such as Twinkle,
Twinkle, Little Star, or London Bridge is Falling Down. The class chooses a theme for the
volunteer to sing about. The volunteer makes up new words to the familiar song. Repeat the
activity with other volunteers and themes.
Choose a play, e.g., a Shakespearian play, a children’s play, or a play provided in this resource.
Discuss with the class where it would be logical to add music. Working in groups of four or five,
students write the lyrics for specific song in the play, e.g., introduction song, love song, evil
character song, finale song. Students could compose music for the lyrics that the groups write.
Students listen to five popular songs and write a play that integrates those songs.
Full Length Plays: A full-length play is a play that has two or more acts and is long enough to
have an intermission. Although some full-length plays may be slightly shorter, a general rule
is that a full-length play’s running time is longer than an hour and a half.
Considerations
• A full-length play must maintain the audience’s attention.
• A full-length play should be attempted only if the idea warrants more depth than a one-act
format would allow.
Assessment Considerations
Plays could be assessed using the strategies, approaches, and tools as outlined in the other
sections and according to the criteria given in the description of these different playwriting
styles.
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
37
Resources
Plays Included (by Christine Harvey)
The Legend of the Lost and Found Box
The Phone Call
A Fairytale Medley
A Look All Her Own: A Modern Cinderella Story
Plays Cited
The Legend of Lightning Larry (by Aaron Shepard) http://www.aaronshep.com/rt/RTE01.html
The Super Secret Surprise Casserole (by Christine Harvey and Jennifer Waugh)
http://www.lazybeescripts.co.uk/YouthTheatre/Index.htm
Like You’ve Never Seen It Before: Romeo and Juliet (by Christine Harvey and Elisha Lee)
http://www.lazybeescripts.co.uk/YouthTheatre/Index.htm
Note:
If students access a play from www.lazybeescripts.co.uk, they should click on one of the bands
along the left of the webpage labelled: Plays for Kids, One-Act Plays, Full-Length Plays, or
Murder Mysteries. Then students scroll down and read titles and play summaries and choose one
that is of interest to them. Once they have selected a play, they should click on the title of the
play. Students can read the plays on this website, but not print them off. Students can only read
one page at a time and must click: Next in order to get to the next page.
Print
Cinderella Outgrows the Glass Slipper and Other Zany Fractured Fairy Tale Plays
by Joan M. Wolf
Cool Characters for Kids: 71 One Minute Monologues by Janet B. Milstein
Magnificent Monologues for Kids (Hollywood 101) by Chambers Stevens
Minute Monologues for Kids by Ruth Mae Roddy
Stories on Stage: Children’s Plays for Reader’s Theatre by Aaron Shepard,
15 play scripts from World Folk and Fairy Tales and Legends, including African, Chinese,
Southeast Asian, Indian, Middle Eastern, Russian, Scandinavian, and Native American
Theatre for Young Audiences: 20 Great Plays for Children by Maurice Sendak
12 Fabulously Funny Fairy Tale Plays by Justin McCory Martin
Young Playwrights 101 E-Book by Jonathan Dorf
You Can Write a Play by Milton. E. Polsky
© Jennifer Zwiers and Christine Harvey, 2006
Move Over Shakespeare
38
Legend of the lost and found box
Cast: Casey, Sam, Dell, and Devon
Set Design: On one side of the stage there are books, chairs, and shelves. This side of the stage is
the library. On the other side of the stage there is a large lost and found box.
******************************************************************************
(Devon is holding a book; Dell is holding a magazine. They are talking to each other. Casey is
looking for his/her binder. Sam is sitting, reading a book.)
Devon: You can’t bring a magazine to a book club.
Dell: Why not?
Devon: Well, because it’s not really a book. It’s a magazine. There is a difference, you know.
Dell: I don’t see any difference. It has a cover, pages, pictures, and words, just like any other
book.
Devon: A magazine is not a book. A book is filled with knowledge, imagination, information,
history, and so many intellectual things. A magazine is just filled with beauty tips. You can’t
even begin to compare the two. You would be insulting the book.
Dell: It has more than just beauty tips. (Dell holds the magazine open.) Look, here’s a quiz.
(Sam realizes that Casey is looking for something.)
Sam: What’s wrong? What are you looking for?
Casey: My story. I had it in my binder, but I can’t find my binder.
Sam: Which story?
Dell: If it’s the story about that big, toenail, then I’m glad it’s missing. That’s just wrong. I
mean, it didn’t have nail polish on it or anything.
Casey: No, it’s my latest one. You guys haven’t heard it yet. I was saving it as a surprise. It’s
about a piece of bacon that comes to life and then tries to save all bacon from being eaten.
Devon: Why would the bacon save other pieces of bacon? They don’t care if they get eaten.
Casey: Exactly. At the end of the story the bacon realizes the futility of his quest and takes on a
new mission. He begins saving the pigs before they become bacon. So the piece of bacon
disguises himself as a nutritionist who encourages vegetarianism.
Devon: (sarcastically) A vegetarian piece of bacon? Okay.
Sam: Was it in your blue binder?
Casey: Yes! Did you see it?
Sam: Oh, you left it here after yesterday’s book club. Mrs. Kearns found it and put it in the lost
and found.
(Casey and Dell gasp.)
Legend of the Lost and Found Box
-1-
Casey: No, no, this can’t be. My poor story, swallowed by the lost and found? How could I have
been so careless?
(Dell consoles Casey.)
Sam: It’s no big deal. She just put it in there yesterday. I’m sure we’ll find it.
Casey: No, you don’t understand. You two haven’t heard the legend.
Devon: (talking to Casey) Here we go. Your imagination is running away with you again.
Dell: No, it’s true. I was there. I remember.
Devon: (talking to Casey) Now your imagination is carrying her away too.
(Devon points to Dell.)
Sam: What legend? I haven’t heard this one yet.
Casey: It was back in kindergarten. It was a cold, wintry day, and our friend Danny had lost his
brand-new, red hat. The teacher had said many times that we couldn’t go outside without a hat
on. Danny looked everywhere but could not find his red hat. We all helped him look, but it
was no use. There was only one place it could be – in the lost and found. We told Danny not
to go alone. We told him to wait for the fearless custodian or the principal, but Danny was too
impatient.
Dell: We begged and pleaded and tried to reason with Danny, but despite all of our warnings, he
ventured alone to the lost and found that day. I remember watching him standing there,
looking up at that enormous mound of clothing, and discarded supplies.
Casey: The sight alone was enough to make any normal kindergartener get upset or cry for his
mommy. But not Danny – he was brave.
Dell: He dove into the mound of clothes. I saw him dive just before I went out for recess.
Casey: And that was the last time we ever saw Danny. He never came back. I’m permanently
scarred from that incident. I still have nightmares thinking about all the horrible things that
might have happened to him.
Dell: Some say he’s still in the lost and found box, looking for his hat. Others say that the lost
and found monster ate him. To this day, there are reports of sounds coming from the lost and
found. Some people have even seen unexplained movements from deep within the box. But
one thing is for sure – there is definitely something inside that lost and found box. Something
that is hiding beneath all those clothes and trinkets. Something that is watching us. Something
horrible that could pounce at anyone who comes too close.
Devon: You know what I think is in the lost and found box? …your minds. You guys don’t
actually believe all this, do you?
Sam: Well, I must admit, that lost and found box has always looked a little spooky. It reminds
me of a graveyard for unloved and unwanted clothing.
Casey: My story, in a graveyard? This is more than I can bear.
Devon: It’s just a story.
Casey: Just a story? That’s like saying “It’s just a painting,” to Picasso, or “I just threw your
piano in the garbage, Mozart.”
Legend of the Lost and Found Box
-2-
Dell: You can’t let your story be devoured by the lost and found. You have to save it. I’ll go with
you.
Sam: Me too. There is no way I’m going to let a lost and found box get the best of one of my
friends.
Devon: What are you talking about? That lost and found has already got the best of all of you.
Sam: Should I go get the custodian?
Dell: No, no. The lost and found has grown ten times bigger than when it ate Danny. Not even
the staff will try to find anything in it now. They say it’s because it’s a waste of their time, but
we all know it’s because they are afraid of it. They may even be a little ashamed for letting it
get so out of control.
Casey: She’s right. I’m the only one who cares enough to save my story. And how would my
story feel if I sent someone else to do my job?
Dell: All right, gang, let’s go.
Sam: No, wait. Shouldn’t we arm ourselves first?
Dell: Good idea. (Casey, Dell, and Sam all look around for items that will help defend them
against the lost and found box. Dell finds some rulers.) Here are some rulers. (Dell gives
everyone rulers and keeps the biggest one. Devon reluctantly takes his/her ruler.)
Casey: Of course, just like in Treasure Island. (Casey moves the ruler like a sword.) On guard,
lost and found monster!
(Casey, Dell, and Sam all begin to move toward the lost and found box.)
Devon: Wait, I’m going with you. I want to prove how insane this is.
(They all approach the lost and found box.)
Sam: You were right. This lost and found box is massive. Who knows what is lurking beneath
this swamp of clothing?
Dell: What is that smell? Are you sure you didn’t leave your stinky toenail story in that binder
too?
Devon: Stand back. This is a case for Sherlock Holmes of Scotland Yard. You are all baffled by
the hideous smell emanating from this clothes heap. This is because you do not use your
deductive powers to observe the clues and bring logic to the situation. Perhaps you think there
is a smelly sea monster that lives in the depths of this box (Sam nods), and that over time the
dirt and mud from boots has turned it into a bottomless swamp (Dell nods), or that it’s
Danny’s left-over lunch. (Casey nods. They all pinch their noses.) But my assessment of the
evidence has turned up a more practical solution. What is it, you ask? Elementary, dear
simple-minded schoolchildren – it is someone’s uneaten lunch. (Devon holds up a lunch bag.)
You see, if there is a monster, or if Danny actually is still living in this box, don’t you think
that they would eat some of this food rather than letting it rot?
(Casey pushes Devon aside and yells into the opening of the lost and found box.)
Legend of the Lost and Found Box
-3-
Casey: It’s okay, story. I’m here to save you. It will be all right. Don’t panic. I won’t let you be
composted along with decaying, mouldy, wet socks and unwanted snacks. (Casey turns to the
group.) Okay, any ideas of how I’m going to find my binder?
Devon: How about the traditional way? Look.
Dell: Hey, that might work with a car or a messy room, but this is something totally different.
We don’t want to disappear like Danny did. We can’t just jump into this heap. We have to
come up with a plan.
Devon: Did you know that before Columbus proved the world was round, there were people who
believed that they would fall off the edge of the earth if they went too far out to sea?
Dell: Don’t be silly. Fall off the edge of the earth? This is far more treacherous than that. Just
think of all the children this lost and found box may have eaten over the years.
Devon: It’s just a box. Sure, it’s full of gross, outdated clothes and smelly debris, but it’s still
just a box. It can’t eat anyone.
Dell: My money is on the monster theory. I’ll bet that he lives down there and that he gets more
and more powerful as his collection of lost items grows. I’ll bet that the only reason he hasn’t
taken over the school is because the teachers sacrifice the toys that they confiscate from us, in
order to appease the monster.
Sam: Hey, that’s it! We’ll offer it something in return for the story. Here, it can have my mittens.
(Sam throws a pair of mittens into the lost and found box.)
Casey: Good idea. That just might work. Everybody can offer something. Here, it can have my
old watch. (Casey throws his/her watch in and then turns to Devon.) What are you going to
give it?
Devon: My calculator.
(Devon throws his/her calculator in.)
Sam: (talking to Devon) How noble of you. I know how much you cherish your calculators.
Devon: I was just about to throw it out because it’s broken.
Dell: Shhhh, don’t tell it that.
Casey: (talking to Dell) What about you? What are you going to offer the beast of the lost and
found box?
Dell: Nothing. I don’t have anything to give. I like everything I have on me.
Sam: But that’s what makes it a sacrifice.
Dell: But it’s not my story.
Sam: But what if it was? What if it eats your favourite jeans next or gets a hold of your new
styling gel? We’re in this together. If we don’t stand up to this hungry lost and found box,
then who will?
Dell: I’m sorry, you’re right. Here, take this you greedy monster.
(Dell throws in his/her arm band.)
Legend of the Lost and Found Box
-4-
Casey: (talking to the lost and found box) Right, so where’s my binder, lost and found box?
(Casey yells.) Answer me. (Casey turns to the group.) Now what?
Devon: Well, you didn’t expect it to just throw your binder out, did you?
Sam: Maybe we needed to say a chant or something. Maybe we should do it again.
Dell: No way, that’s all I’m giving up. That insatiable lost and found box is not going to cramp
my style.
Casey: This is taking too long. Who knows what tortures my poor story is being subjected to?
I’m going in.
Sam: No, wait. You can’t go in unprotected.
Dell: Yeah, she’s right. Let’s, uh, tell it a joke first. You know, to put it in a good mood.
Casey: Good idea. Can anyone think of a joke? (Casey looks at his/her friends, but they can’t
think of any jokes. Then Casey turns to the audience.) What about all of you?
Sam: (talking to the audience) Surely you can think of some good jokes. Please speak up. Don’t
be shy. There are lives at stake here.
Casey: (talking to the audience) Please don’t let my binder become another victim that is
endlessly drowning in the lost and found.
Sam: (talking to the audience) We can beat it, if we just stand up to it. You all know what this
child is going through. Everyone here has experienced a loss at one time or another. You all
know how monstrous and overwhelming a lost and found box can be. Now is your chance to
be assertive, to take control of your lives, and to fight back. Now, who is going to be the first
to stand up and tell a joke that will distract and humour the lost and found? Make sure you use
a nice, loud voice because whatever is in that lost and found box is buried beneath mounds of
clothes. How about you? Do you have a joke that will appease this lost and found box?
(The group prompts the audience to respond. They listen to at least three jokes from the audience
and laugh at each one. Have back-up jokes for the group to tell in order to get the audience
started or just in case the audience is non-compliant.)
Devon: Those were ever so funny. But somehow, I just don’t think that the lost and found box
looks very amused.
Dell: No sense of humour, eh?
Sam: This lost and found box is completely heartless.
Casey: I’m going in.
Sam: Wait. Wait. I’ve got it. We’ll disguise you as an old, discarded piece of clothing. Then
we’ll hold your legs so you don’t fall in. The lost and found won’t know that you’re trying to
take something out. It will think you’re just a really big coat that someone has lost.
Casey: Great idea. (Dell and Sam help Casey by covering him/her with clothing that has spilled
on the floor from the lost and found box.) All right, how do I look?
Devon: Like an unwanted piece of clothing.
Casey: Perfect.
Legend of the Lost and Found Box
-5-
(Dell and Sam grab Casey’s legs.)
Sam: Are you ready?
Dell: Say “Hi” to Danny for me if you see him.
Casey: Guys, don’t worry, I’m coming back. On the count of three, okay? One…two…three...
(Casey dives into the lost and found.) Wow, it’s disgusting in here. (Casey screams.) Ahhh!
Sam: Are you okay?
Casey: Fine. I think I just found someone’s stinky socks.
Devon, Dell, and Sam: (screaming) Ahhh!
(Dell and Sam let go of Casey’s legs.)
Casey: Don’t let go. (Dell and Sam hold on again.) Hey, I found it. Pull me out. I found it. I
found it!
(Dell and Sam pull Casey up. Casey has the blue binder in his/her hands.
Casey, Dell, and Sam all cheer and hug each other.)
Devon: You survived. Why am I not surprised? You know, all of these precautions weren’t
really necessary.
Sam: Well, better safe than sorry.
Dell: Why take chances with your life?
Sam: And you must admit that is one scary pile of clothes.
Casey: Besides, if we had taken the easy way, what fun would that have been?
Legend of the Lost and Found Box
-6-
The Phone Call
(Monologue)
Cast: Leah
Set: There is a phone on a table at centre stage. The couch is downstage right. Books are strewn
across the couch. On stage left there is a coat rack with a coat and purse hanging on it. Beside
the coat rack is a door.
Production Note: This monologue requires a frantic energy throughout.
******************************************************************************
(Leah is talking on the phone.)
Leah: (yelling) Well, fine. Fine then, be like that. (Pause.) Yeah? Well, I’m sorry you feel that
way.
(Leah slams down the phone.)
Leah: (talking to herself) He’ll phone back. He will. (She talks to the phone.) I know he will.
He’s just stalling because he thinks that I’m going to call him back first. (Pause.) Well, I
won’t. I’ll just make him suffer. I’ll make him sit there and look at his phone and wonder why
I’m not calling. (Pause.) Why, you ask? Well, it’s because I don’t care. I don’t. Why should
I? I mean, it’s not as if it matters to me what he does. I don’t have time to care. I have too
much to do. Just look at all this homework. (She gestures towards the books that are strewn
across the couch and begins to talk to herself again.) I’m just going to sit here and do my
homework and not even think about him.
(Leah sits down on the couch and picks up a book. She looks through the book, gets frustrated,
and throws it. Then she picks up her binder and a pen, and she tries to think of something to
write. She eventually draws a bunch of hearts with arrows through them.
She continues to draw as she speaks.)
Leah: (calmly talking to herself) It’s probably better that he doesn’t phone back. I don’t need
him. I mean, who would want a guy like that? Nobody! Nobody would want a guy who is
always starting fights and making me hang up on him. (She starts to get upset and talks to the
phone again.) Who does he think he is, anyway? You know, things are going to be much
better without him. I’m glad he’s not going to call back.
(The phone rings. Leah springs to it, picks up the receiver, and immediately starts talking.)
Leah: (quickly) Keith, I’m so glad you called back. I’ve been going crazy. I’m so sorry. I
shouldn’t have said those things. I just… (Pause.) What? Who is this? (Pause.) Matt?
(Pause.) No, my little brother isn’t here right now. (Pause.) No. (Pause.) All right, I will.
(Pause.) Goodbye.
(Leah hangs up the phone and drops her head dramatically,
as if her pride has been severely wounded.)
The Phone Call
-1-
Leah: (talking to herself) Get a hold of yourself, Leah. It’s okay. It doesn’t matter. You don’t
need him, so just calm down and get over it.
(Leah sits down and breathes in and out loudly and deeply, as if she is doing yoga. Then she
looks at the phone. She tries to ignore it, but eventually it consumes her attention.
She begins to stare at the phone as if it is beckoning her.)
Leah: (yelling at the phone) No…NO! Absolutely not! I can’t phone him back. Why? (Pause.)
Because if I phone him back, then I’d be letting him win, and I can’t do that. What would I
say to him, after he was so mean to me? (She talks to herself, in the third person, using a
demanding voice.) Now, Leah. Listen to me, Leah. Whatever happens, you will not touch that
phone. (She points to the phone.)
(Leah hesitates and stares at the phone for a moment before picking it up and dialling.)
Leah: (meek and apologetic) Hello? Hi, is Keith there? (Pause.) Oh, he went out? (Pause.) Oh, I
see. (Pause.) Yeah, well, you can tell him I phoned. (Pause.) It’s Leah. (Pause.) Yeah, Leah.
(Pause.) Did you write that down? (Pause.) Yeah, Leah. L-E-A-H. Leah. (Pause.) Okay.
(Pause.) Okay, bye.
(Leah hangs up the phone. She thinks for a moment and then brightens up a bit.)
Leah: (talking to the phone) You know, I bet he’s just trying to upset me. He’s trying to make
me think that he doesn’t care. Well, it’s not going to work. It just so happens that I have better
things to do than sit and worry about him. I’m going to go out too.
(Leah starts searching around the room for an excuse to leave.)
Leah: I have important things to do…very important.
(Leah finds her liquid paper. She opens the liquid paper, turns it upside down, and shakes it.)
Leah: (talking to the phone) You see? You see? I’m out of liquid paper. I think I’ll go get some
more.
(Leah goes to the coat rack and starts dressing to go outside
as she continues talking to the phone.)
Leah: Yep, I’m getting some more liquid paper at the corner store or maybe even the mall. What
do you think about that? Eh? It’s too bad that I won’t be here when Keith calls back to
apologize. I hope he realizes then that I just don’t care.
(Leah exits.)
The Phone Call
-2-
A Fairytale Medley
Cast: 3 Actors (male or female)
Set Design: The play is set at #3’s house. Pictures and houseplants could decorate the stage.
Furniture such as couches, end tables, and chairs could also be used.
Staging Concerns: This performance uses a lot of props and costumes. Keep the props
organized and the costumes simple so that the scene transformations are fast and fluent.
******************************************************************************
(#1 is sitting, looking through a dictionary. #2 and #3 are trying to write an assignment.
They should have pencils in their hands and binders on their laps.)
#1: Fairytales…fairytales…f-a-i-r-y-…
#2: It’s not a spelling test, you know.
#1: I know, but I just thought I’d look it up in the dictionary. We need to include the definition
for the assignment.
#3: Well, isn’t the name self-explanatory? A fairytale is... (#3 grabs his/her essay and reads
from it)…is “a long extension of fur and skin protruding from the lower back of a fairy.”
#1: It’s a good effort, but I think I’ll stick to the dictionary definition.
#2: (talking to #3) No, it’s not that kind of tail. (#2 points at his/her rear end.) It’s the kind of
tale you tell, like a story. (#2 makes his/her hands look like a storybook.)
#3: Oh.
(#3 erases the incorrect definition and starts writing a different answer.)
#2: I’m starting to think there must be a better way of approaching this assignment. We have to
do something new and unique. Something that no one will expect. Something that will dazzle
our teacher and classmates.
#3: Here, how’s this? (#3 reads his/her new answer.) “A fairytale is a story about a little female
being with wings” (flutters his/her hands like wings) “and a magical wand.” (#3 pretends to
wave a wand.) “But definitely without a tail,” (points to rear end) “not to be confused with
the other type of tale.” (#3 puts hands in a storybook position.)
#2: Well, it is unique.
#1: (excited) Here it is! Here it is! I found the word fairytale. (#1 reads from the dictionary.)
“The word fairytale was originally given to stories that were about fairies, but it has now
evolved into meaning stories that are untrue or unbelievable. Examples: Snow White,
Cinderella, Sleeping Beauty, Rapunzel, etc.”
A Fairytale Medley
-1-
#3: Oh, like bedtime stories.
#2: I’ve got the best idea. Let’s make a play for our assignment. It will be fun, and our
classmates will love not having to sit through another boring essay reading.
#1: That’s a good idea. But which one should we do?
#2: All of them.
#1 & #3: All of them?
#1: But how do we do that?
#2: Well, let’s start with the ones listed here, and then we can branch out and incorporate the
other ones that we think of as we go. Here, let’s try it. We’ll need some costumes. Why don’t
you get that big tickle trunk? (#1 gets the tickle trunk.) And props – let’s see, where will we
get props?
#1: (looks in the dictionary) p-r-o-…
#2: (closes #1’s dictionary) Props are objects that are used during a theatrical performance.
(#1 nods.) Oh, I know. How about that box of stuff your dad was going to give to the local
charity store?
(#3 gets the box and sets it down in front of #1 and #2. #1 and #2 pick out items from the box and
hold them up for the audience to see. The items from the box should be weird things like toilet
seats and rubber chickens.)
#3: (embarrassed) Don’t ask.
(#1 pulls out a large paper bag.)
#3: Hey, that can be our paper bag princess.
(#3 takes the bag from #1 and puts it on a doll or mannequin. Another option is for #3 to draw a
happy face on the bag or put a princess hat on it.)
#2: Now for the hard part – set design. What set would be compatible with all fairytales?
#3: Well, that’s easy. We need a forest. All fairytales have a forest.
#2: Of course. Hand me those plants. (They take plants from around the house and place them at
the front of the stage.) There, that looks great. (#2 walks over to the tickle trunk and pulls out
a long, blonde wig.) Now who wants to be Rapunzel?
(Both #1 and #3 put up their hands and say things like “pick me.” #2 considers for a moment
and then gives number #1 the Rapunzel wig. #1 puts on the wig.
Then #2 puts on a princess hat and holds up a mirror.)
#2: I’ll be Sleeping Beauty and Snow White. And you can be Cinderella.
(#2 gives #3 a scrub brush.)
#3: (disappointed) What a rip.
A Fairytale Medley
-2-
#2: We’ll need this too. (#2 gives #1 a witch’s hat from the tickle trunk.) We are now ready to
begin. Once upon a time, Rapunzel, Sleeping Beauty, and Snow White were all sitting around
looking beautiful, but not Cinderella. She was working very hard at scrubbing the floor. (#2
indicates to #3 to start scrubbing the floor. #3 complies, reluctantly.) All of these beautiful,
young maidens were princesses, all except for Cinderella. She was just a servant girl, but
don’t worry. She becomes a princess in the end. All of these lovely princesses, and soon-to-be
princesses, had enemies. An evil witch locked Rapunzel in a tower (#1 puts on the witch hat),
cast a sleeping spell on Sleeping Beauty, and fed Snow White a poisonous apple.
#3: Wow. That old witch sure gets around, but what did the witch do to Cinderella?
#2: Nothing. Her mean stepmother and annoying stepsisters locked Cinderella in her room.
#3: That’s it. I don’t want to be Cinderella anymore with all the scrubbing, and the non-royalty
status, and the wimpy villains.
#2: Okay, okay, you can be Sleeping Beauty, and I’ll be Cinderella and Snow White.
(#2 trades the princess hat for #3’s scrub brush.)
#3: Cool. I can sleep really well. (#3 gets a pillow and lies down.) See?
#2: Yeah, you do that. Now where was I? Oh, yes. So the evil villains did their bad things, and
all the evil villains were very, very ugly. All except for Snow White’s stepmother. She was
very beautiful, and she had a magical mirror. (#2 holds the mirror up and talks to it.) Mirror,
mirror in my hand, who’s the fairest in the land? What’s that you say, mirror? Me? What? It’s
not me? It’s Snow White, you say? And Snow White is also played by me. (#1 and #3 give #2
dirty looks.) All right, all right, enough about me. The beautiful, young maidens wait for their
Prince Charmings to come and break the curses or rescue them from their rooms or towers.
(Cinderella and Snow White wait.)
#1: (impatiently tapping his/her toe and looking at his/her watch) I’m waiting.
#3: (sits up from sleeping) I’m still waiting here. (#3 goes back to sleep.)
#2: Then finally the big strong prince comes, defeats the evil villain (#2 throws off #1’s witch
hat), rescues the princess, puts her on his white horse, and carries her off into the sunset. The
prince and the princess live happily ever after, even though they haven’t exchanged names or
established their zodiac compatibility. In fact, the prince doesn’t make any effort to get to
know the princess before proposing. He just says, “Hop on my horse and let’s go.” There, we
have covered those four fairytales quite well, I’d say. Now, let’s move on.
#1: Wait, we can’t. One little princess is still asleep.
(#1 points to #3, who is still sleeping. #2 goes to the props box and grabs a stethoscope and a
doctor’s coat. #1 puts on a nurse’s hat. #1 then goes and stands behind #3,
while #2 checks #3’s pulse.)
#2: I’m afraid your princess has contracted a rare but serious illness called fairytale syndrome.
#1: What is that, doctor?
A Fairytale Medley
-3-
#2: It’s when someone takes a fairytale too seriously and they fall victim to the fairytale
character’s psychosis.
#1: Oh no, doctor. How can it be cured?
#2: Sometimes if you just give the victim a good shake and say their name, it is enough to
remove the delusional cells that are clotting their common sense.
#1: (talking to the audience) Okay, everyone. Say, “Wake up, Sleeping Beauty,” on the count of
three. Ready? One…two…three…
#1, #2, and Audience: Wake up, Sleeping Beauty.
(#1 shakes #3, but #3 remains asleep.)
#1: That didn’t work. What now?
#2: Hmmm. I recall a few cases where a forbidden fruit had become lodged in the larynx and had
been jostled out when the princess was lifted into a sitting position.
(#1 sits #3 up, but it doesn’t wake #3. Then #1 begins to do CPR on #3.)
#1: One…two…three compressions and breath. One…two…three compressions and breath.
Breathe, Sleeping Beauty, breathe. Doctor, I’m afraid we’re losing her.
#2: I was hoping we wouldn’t have to resort to this, but it may be the only thing that will save
her life. We have to find her prince charming. You might have to go out and kiss a few frogs.
#1: Ah, no thanks. I mean, there isn’t enough time for that.
#2: It’s even worse than you think. Once we find her prince charming, we will have to convince
him to administer love’s first kiss, smack dab on the lips.
#1: Oh my, this is serious.
#2: And since Prince Charmings are in such short supply, we may have to try some experimental
kissers such as male classmates or neighbours. However, in light of the fact that time is
running out, our best option would probably be a little brother. (#2 yells.) Kevin…Kevin, get
over here. We need a little brother to kiss this princess.
(#3 gets up.)
#3: Oh look, I’m cured.
#2: Yeah, I thought that might work.
(#1 & #2 remove their costumes.)
#3: (holding his/her neck as if it hurts) Oh, I think I’ve got a cramp in my neck. It feels like it
might even be bruised. I must have been sleeping on it the wrong way.
(#2 finds a pea under #3’s pillow. #1 gets dressed in a crazy scientist’s outfit, consisting of a
wild wig, magnifying glass, and weird glasses.)
#2: No, you slept on it the right way. (#2 holds the pea up.) Look.
#3: What is it?
A Fairytale Medley
-4-
#1: (grabs the pea from #2 and holds it up) It’s my new invention. It has taken me years to
perfect. What looks to you like a simple pea is actually a complex device. It’s a princess
detector. Ha, ha, ha.
#2: A what? Can I see it?
#1: No. It is extremely delicate. I have worked for a prince and his mother for the past five years.
They asked me to come and work for them after they heard about the beans I invented. You
know the ones that grew the beanstalk that Jack climbed? (#2 and #3 shake their heads no.)
Anyway, they had me come to the castle to create a small machine that could detect whether
or not a princess was a real princess. So I created this. It is a compacted mixture of many
compounds and elements that react only to princesses’ epidermal cells. You place it under the
princess’s mattress or pillow while she is sleeping. If the princess can sleep on it all night and
feel no pea, then she is not a real princess. But if her skin is so delicate that she reacts to the
chemicals in the pea and becomes bruised, then she is a real princess. Isn’t it beautiful? It is a
stroke of sheer genius. Ha, ha, ha.
#3: You hear that? I’m a real princess.
#2: Well, personally, I think anyone who whines about getting bruised by a pea is just a real
wimp. Don’t you have more interesting inventions than beans that grow beanstalks and peas
that bruise princesses?
#1: As a matter of fact I do. Now that the prince has found his real princess, his mother, the
queen, is lonely and needs something to occupy her time. She has commissioned me to
construct a home entertainment unit where she can watch “Who Wants to Be a Rich and
Beautiful Fairytale Princess” on the big screen. I’m almost finished. Would you like to see?
(#2 and #3 nod. They sit on two chairs on centre stage. #3 grabs a phone and puts on a scary
mask and a tie. #1 sits off to the side, puts on swan wings, and also grabs a phone.)
#3: Do you want to keep your straw, your gold, your king, and your kingdom, or would you like
to answer the final question and get your newborn baby back too?
#2: Regis, I think I’d like to try and get my baby back. I know I promised him to you if you
would turn that straw into gold for me, but I’m feeling rather lucky right now. Let’s go for it.
#3: All right. Here is your final question. My real name is not Regis. My real name is:
A) George, B) Grumpy, C) Dorothy, or D) Rumplestiltskin?
#2: Oh, I don’t know. This is a hard one.
#3: Remember, you still have all three of your lifelines.
#2: I think I’d like to use them.
#3: Which one would you like to use first?
#2: I think I’d like to phone a friend. I think I’d like to phone my friend, the Swan Princess.
#3: Okay, let’s get the Swan Princess on the line. (#3 picks up the phone and dials. #1 picks up
his/her phone and listens.) Swan, your friend needs your help. She is going to read you the
final question, and then you’ll have thirty seconds to give her an answer. Go.
A Fairytale Medley
-5-
(#3 gives the phone to #2.)
#2: What is Regis’s real name? Is it George, Grumpy, Dorothy, or Rumplestiltskin?
#1: I think his name is Rumplestiltskin. I heard him singing about it as I was flying past one day.
#2: How sure are you?
#1: Well, it is a little hard to hear with the wind whipping through my ears, and it’s sort of hard
to tell from a bird’s-eye view. I’d say I’m about sixty percent sure.
#2: Okay, thanks, Swan. Bye. (#1 and #2 put down their phones.) Let’s try polling the audience.
#3: (talking to the audience) Okay, audience. Let’s find out how much you know about
fairytales. Put up your hand if you think that my real name is George. Okay, who thinks that it
is Grumpy? Raise your hand if you think that my name is Dorothy. And who thinks that it is
Rumplestiltskin? It seems most people think that it is D) Rumplestiltskin.
#2: Well, I’d like to use my fifty/fifty before I make my final decision.
#3: Okay, your remaining choices are Dorothy and Rumplestiltskin.
#2: I’ll have to go with the audience on this one. Although you would make a very cute Dorothy,
I’m going to say that your name is D) Rumplestiltskin.
#3: Is that your final answer?
#2: Yes, yes it is.
#3: And you are right. (#2 jumps up and cheers while #1 gives #2 money, a baby, and a cheque
for the king and the kingdom. #1 also throws confetti.) Look at that, folks. She just won her
baby back, and I’ve been foiled. Make sure you join us again next week, when the evil sea
witch will be your host, and a little mermaid will try and get a boyfriend, human legs, and her
voice. The news is next, but first, a message from our sponsors.
(All of them take off their costumes, and #1 dresses in a witch’s hat and an apron. #1 grabs two
cookbooks as he/she approaches centre stage.)
#1: You asked for it, and now you’ve got it. Secrets of Cooking with a Witch for the low price of
nine dollars and ninety-nine cents. This innovative cookbook is filled with tons of exciting
recipes that will delight your family and guests. It has tantalizing recipes for poisonous candy
apples, the catch-him-if-you-can gingerbread man, and everyone’s favourite, Hansel and
Gretel pie. If you order right now, you’ll receive a guide on how to grind an Englishman’s
bones into bread, absolutely free. Call now and get the book that no household should be
without. Operators are standing by.
(All three change into suit jackets and come to the front holding reporter scripts.)
#2: Hello. This is Kelly Mundell from RRY News.
#1: I’m Robin Cogan.
A Fairytale Medley
-6-
#3: And I’m Dale Williams with your noon news update. Officials have a young delinquent in
custody for breaking and entering with charges of theft and vandalism pending. It seems that a
family of three had their house invaded by a young blonde girl yesterday afternoon. The
parents found their baby’s porridge had been eaten and that the baby’s high chair had been
destroyed. Upon investigating their upstairs rooms, they found the intruder asleep in their
child’s bed. The intruder fled the scene. With the help of a sketch artist, the police were able
to track down the intruder. A piece of golden hair found at the crime scene is expected to be a
DNA match to the suspect’s. The little blonde girl will be tried as a young offender and if
convicted, could face two years of community service.
#1: In other news, it seems there was a wolf at large in our community. The wolf impersonated a
grandmother and attacked six people, including a well-armed woodsman who tried to
apprehend the animal but was unsuccessful. Two citizens had their homes destroyed by the
wolf and were forced to take refuge in a relative’s brick house. The three citizens managed to
subdue the animal in a pot of boiling water when the beast tried to enter through the chimney.
Here is exclusive footage of this event.
(All three cast members throw off their jackets and put on pig noses. There is music playing in
the background as this scene unfolds. #1 grabs a bundle of straw and takes a defensive pose.
#2 grabs sticks and does the same. #3 grabs a brick. They throw a stuffed wolf on stage, and #1
tries to beat it with the straw but fails. #2 uses sticks but is also unsuccessful. #3 uses the brick,
and they all cheer. Then they stuff the wolf in a pot and dance around it. Once they are done,
they all take off their costumes and come to the front of the stage.)
#3: (talking to the audience) And now to wrap up our performance, we would like you to call out
fairytales that we may have missed, and we will make a tableau for you. Don’t take out your
dictionaries – a tableau is a frozen picture used in dramatic performances and improvisation
games. Make sure you allow us five seconds to get in position and three seconds to hold the
pose before calling out the next fairytale. Go ahead and begin.
(All three cast members should participate in the tableaux as the audience calls them out. Here
are some suggestions to get the audience started: Robin Hood, The Three Billy Goats Gruff, The
Golden Goose, The Country Mouse and the City Mouse, etc.)
#1: Thanks for helping us with our assignment. Now I guess that we can all go our separate ways
and live…
#1, #2, and #3: …happily ever after. The end.
A Fairytale Medley
-7-
A Look All Her Own: A Modern Cinderella Story
(This script can accommodate 14 to 50+ actors.
It is designed so that smaller casts can easily double up on roles.)
Cast: Cindy, Reporter, Heartthrob (Damen), Anna, Drew, Stepmother, Squeaky, Mouse, Ashia,
Reese, Marty, Phone Person #1, 2, 3, & 4, Headline Readers #1, 2, 3, 4, 5, 6, & 7,
Three colour models (Red, Yellow, and Blue), Three shape models (Circle, Square, and
Triangle), Three texture models (Smooth, Furry, and Rough), Screaming fans (with armloads
of clothes, trying on shoes, fighting over magazines, and doing their hair and makeup),
General Fans, Bodyguards, Band members, Cameraperson
******************************************************************************
Scene 1
(There are general fans on stage right. Bodyguards are holding back the fans. The reporter and
the heartthrob are downstage left. The reporter is talking to his/her cameraperson. The
heartthrob is waving to the crowd and talking to his band members. The band members are
upstage centre. Finally, the cameraperson cues the reporter that it is time to go on the air.)
Reporter: Hi, I'm Chris Connelly of WPX News at Night. I am here at Concert Hall where
Damen Timberly will soon appear up close and personal to one very lucky lady who wins a
very special contest. And to answer all of your questions, who better than Damen himself?
And here he is.
(The fans cheer.)
Heartthrob: Hello, Chris.
Reporter: Damen, tell us about the surprise you have for our local ladies.
Heartthrob: Well, we are holding a contest to raise money for charity.
Reporter: Give us the juicy details, Damen.
Heartthrob: This Friday, my band and I will be performing at Concert Hall. All proceeds will
go to support local charities. Throughout the night, I will be waiting for a special lady who
meets my secret criteria. (The heartthrob holds up an envelope.) In my hand I hold that secret,
but no one will know what it is until Friday night.
Reporter: What do you mean by secret criteria, Damen?
Heartthrob: Well, let’s say I’ve written “the tallest girl,” or “the girl with the prettiest smile.” I
will be watching for that girl all night. At midnight I will open my envelope and reveal the
secret criteria. I will find the girl who meets it best. That girl will win the contest.
Reporter: And what is the prize for the delighted damsel?
A Look All Her Own: A Modern Cinderella Story
-1-
Heartthrob: I will sing my latest hit to her, and then I will whisk her away in a horse-drawn
carriage to a romantic dinner for two.
Reporter: Whoo-hoo, I'd like to win that contest. Is there an age limit?
Heartthrob: No, it could be you. Just be here at midnight on Friday.
Reporter: I certainly will be here. My boss would fire me if I didn’t show up.
Heartthrob: Well, I hope to see you (points to the reporter), and all of you (points to the fans
and the fans cheer), on Friday night.
Reporter: I wonder what Damen has hidden in that envelope. I am sure all you girls will be
trying to figure out what the secret criteria could be. I’m Chris Connelly of WPX News at
Night. Stay tuned for exclusive coverage of this event.
(The phone persons emerge from the crowd one at a time. They each deliver their lines and then
exit. As each phone person comes out of the crowd, the reporter, the fans, and the band members
dissipate off-stage. Cindy’s house is being set up as this happens. Cindy’s room is stage right.
The kitchen is stage left.)
Phone Person #1: (talking on the phone) Hello, Sara. You’ll never guess who I just saw on the
street. Damen Timberly. Yeah, I know, I can hardly believe it myself. I was really close to
him... (Phone person #1 mimes talking on the phone as he/she exits.)
Phone Person #2: (talking on the phone)...He was talking to a reporter about a contest.
Something about his secret criteria and choosing a special girl this Friday night... (Phone
person #2 mimes talking on the phone as she exits.)
Phone Person #3: (talking on the phone)...It could be anything. The girl with the longest hair,
the best dress, the brightest lipstick – who knows! All I know is I’m definitely going to be at
Concert Hall on Friday night at twelve o’clock... (Phone person #3 mimes talking on the
phone as he/she exits.)
Phone Person #4: (talking on the phone)...Break open the YM magazines and see what Damen
is looking for in a girl. Hey, I thought I saw a dress in Vogue last month that would be perfect
to wear. What do you think, Cindy?
(Cindy is in her room, stage right. Her two dogs, Squeaky and Mouse, are with her. Mouse is
sleeping. In the kitchen, stage left, Drew and the stepmother are browsing through magazines.)
Cindy: (talking on the phone) I was thinking of something a little more unique. I’m sure all of
the girls will arrive at the concert wearing outfits from magazines. He’s probably seen all
those. I want to be different.
Phone Person #4: Suit yourself. Hey, I have to go. The shopping malls close in three hours, and
I have to find an outfit. Maybe I can get my hair done while I’m at it. See ya, Cindy.
A Look All Her Own: A Modern Cinderella Story
-2-
Cindy: Good luck, Lee. Let me know how it goes. (Cindy and Phone person #4 hang up their
phones. Phone person #4 exits.) Wow, Squeaky, isn’t this exciting? (Cindy shows Squeaky a
picture of the heartthrob.) Look, isn’t he cute? Lee gave me this picture. I saw her looking at
it in a magazine once. She told me he was better than a knight in shining armour. Better – can
you believe that? Do you think that a popular guy like Damen would ever choose me?
Imagine...my own personal serenade. I wonder what the song will be. Forget the song – as
long as he sings it to me, who cares? I’m more interested in the secret criteria. What would a
knight in shining armour be looking for in a girl? (Cindy tries to wake Mouse.) Wake up, you
lazy dog. How can you sleep at a time like this? Mouse, wake up. (Mouse wakes up.) What do
you think the secret criteria will be? What’s that? The longest ears? I don’t think so. Oh no,
what about my stepmother? She isn’t going to like me going out past my curfew. But if she
lets Anna and Drew go, then she’ll have to let me go too. (Dogs growl at the mention of her
stepfamily.) I know you don’t like my stepsisters, but they’re the only family I’ve got since
Mom and Dad died. Besides, my stepfamily isn’t that bad. Well, here goes nothing.
(Cindy crosses to the kitchen. Drew and the stepmother are sitting at the kitchen table.
They are reading magazines.)
Cindy: Guess what, Drew?
(Cindy leans on the table next to Drew.)
Drew: What is it now? Stop leaning on my magazine. You’re wrinkling the pages.
Cindy: (yelling) Anna, Anna, come here. I have something to tell all of you.
Stepmother: (yelling very loudly, practically screaming) What have I told you about raising
your voice in the house?
(Anna enters.)
Anna: (hops on one foot, while trying to blow on her toenails) This better be good, Cindy. My
toenail polish hasn’t dried yet.
Cindy: If you don’t want to know about the social event of the decade, then I won’t tell you.
Drew: Oh, the event of the decade. I’m so sure.
Anna: If you’re not going to tell us, I’m leaving.
Cindy: Damen Timberly is in town.
(There is a brief silence. Anna and Drew look shocked by the news.)
Stepmother: Well, don’t just stand there with your tongues hanging out. Who on earth is
Damen Timberly?
Cindy: He’s a knight in shining armour.
Anna: A knight in shining armour?
Cindy: You know, the romantic hero, in fairytales and stuff. You know, the fairytales you read
about in books.
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Drew: You are so out of it. Nobody reads books anymore. We read these now. (Drew holds up a
magazine.) They’re called magazines. And because I read a lot of magazines, I know
everything there is to know about Damen. I know how he started his singing career and how
he found his band members. I know his height, his eye colour, his birthday, everything.
Stepmother: All this fuss over a singer? How absurd.
Cindy: Well, anyway, he’ll be at Concert Hall Friday night, performing a concert for charity. At
twelve o’clock exactly, he’s going to pick a girl to sing a song to, and then he’s going to take
her out on a date.
Drew: Who? Who is he going to choose?
Cindy: I don’t know.
Anna: You don’t know?
Cindy: Nobody does. He has his secret criteria hidden in an envelope. He won’t reveal the secret
until Friday night. It could be anything …the smartest girl …the nicest girl....
Drew: The girl who looks most like Hillary Duff. That would definitely be me.
Anna: If it’s the girl with the most divine profile, then I’m sure to win. See? (Anna turns to the
side, so that her profile can be seen.)
Stepmother: Now, girls. This is silly. Either one of you two could win in a flash, I’m sure.
There is simply no need to fret and fuss about it. (The stepmother acts calm so that Cindy
won’t suspect that she is plotting to stop Cindy from going to the concert.)
Anna: Yeah, Mom is right. It’s no big deal. (Anna has caught on and is playing it cool.)
Drew: What do you mean? No big deal? This is a dream come true. It’s... (Anna and the
stepmother stare at Drew so that she’ll quiet down. Drew gets the hint.) Oh...right, no big
deal. I’m just going to sit and read my magazine.
Anna: I can’t believe you disturbed my toenail painting for something so lame.
Cindy: (disappointed) I guess I’ll have to go alone then.
Drew: Oh, we’re going.
Anna: Yeah, we don’t have plans this Friday night.
Cindy: (excited) Oh, good. We can all go together. What fun! We hardly ever do anything as a
family. This will be awesome. I can’t wait. (Cindy enthusiastically leaves the kitchen and
goes back to her room. She silently browses through a magazine while the action continues on
stage left.)
Stepmother: Girls, hurry and start looking through these magazines. We have to find each of
you an outfit.
Anna: And my hair. How will I ever get an appointment in time? Thank goodness I’ve already
started my toenails.
Drew: And I’ll need some new lipstick. All the ones I have are from last season. Oh, there’s so
much to do.
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Stepmother: And we’re going to have to find a way to stop Cindy from going.
Drew: Why? She’ll never win. Unless the prize goes to the girl who dresses most like a clown.
Anna: Or the girl who is most out of style and unpopular.
Drew: How about the girl who looks most like a troll?
(Anna and Drew laugh.)
Stepmother: Yes, yes, I know her chances of winning are slim, but the secret criteria could be
anything. No matter how you look at it, she is competition. We can’t take any chances.
(On stage left, the stepsisters and stepmother frantically search through magazines.
Cindy is in her room on stage right. She is also looking through a magazine.)
Cindy: (talking to her dogs) All of these outfits look so boring. No wonder I never buy any of
these silly magazines. Lee gave me this one. Personally, I don’t think there is anything in here
that is going to help me win the contest. I should just wear something I already have. I like my
clothes, but it’s just nice to have something new to wear on special occasions. You
understand, don’t you, Squeaky and Mouse? (Squeaky and Mouse have found a pamphlet that
they are playfully fighting over.) What are you two fighting over? Give me that. (Cindy takes
the pamphlet away.) Don’t you know I’m trying to figure out what to wear? You’re breaking
my concentration. What is this? It better not be my English essay! (Cindy looks at the
pamphlet.) Look! This could be the answer to all my problems. It’s a fashion show – but not
just any average show. It has clothes designed by amateurs, people who are tired of
mainstream styles. The flyer says…
Reporter’s off-stage voice: Looking for something different? Well, come on down to Market
Square and see the alternative fashions. We have clothes for every taste, size, and budget.
Cindy: These people look really talented and creative. Look at the outfits on the front. And they
are affordable too. Let’s go for a walk, Squeaky and Mouse, and check out the show. (Cindy
waves as she walks past her stepsisters and stepmother. The stepfamily stops getting ready for
the heartthrob’s arrival when she walks by.) I’m going for a walk.
(Stepmother and stepsisters resume fussing once Cindy exits.)
Scene 2
(The reporter is stage left. The reporter could have a podium or be on a riser. The cameraperson
is filming the reporter. Ashia is beside the reporter. Ashia’s three colour models enter. The blue
model is downstage right, the red model is downstage centre,
and the yellow model is downstage left.)
Reporter: Our first selection is a colourful, playful ensemble designed by the young and talented
Ashia Travinskiah. His line was inspired by a love for bold and bright primary colours. He
traces this devotion back to his kindergarten teacher who introduced him to red, yellow, and
blue. Little did he know that these three colours would have such an impact on his life. Ashia,
would you please tell us about the three designs we see on the runway?
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Ashia: Yes, Chris, I would love to. This first outfit was inspired by the colour blue. Here you see
blue in its essence. Bright, vibrant, blue like the sky, blue like the ocean, blue. Calm and
serene, yet alive with intensity. Blue, blue, beautiful blue.
Reporter: Well, it most certainly is blue. Why don’t you tell us about the next outfit, perhaps the
red one?
Ashia: Red, yes, red. Flaming red, vibrant red – what more must be said about red? It is the
colour of love, the colour of anger, the colour of our proud Canadian flag. Red, red, blistering
red.
Reporter: Now let’s turn down the heat and mellow out with yellow. Ashia?
Ashia: Yes, yellow, dazzling and daring, sparkling and searing, the versatile colour of yellow.
Often overlooked, yellow envelops the wearer in warmth and radiance. The gentle and strong
hues of yellow, from soft candlelight to the fire of the sun, from the banana peel to the lemon
drop. Yellow, yellow, underestimated yellow.
Reporter: Okay. Thank you very much, Ashia. Let’s applaud Ashia’s delightfully colourful
contribution to this fashion show. (Ashia and the colour models exit. Reese and the three
shape models enter. The circle model is downstage right, the square model is downstage
centre, and the triangle model is downstage left.) And now we welcome the tastes of Reese
Delie. He brings us a line inspired by his geometry teacher. Yes, I said geometry. It may be
hard to believe, but just take a look at his shapely creations. Welcome, Reese. Would you
please tell us a bit about these three designs?
Reese: (uses a lot of hand and body movements) The circle. Round. Unbroken. Eternal.
Surrounds perfect. Second, the square. Perpendicular. Sharp. Harsh. Defined.
Reporter: (interrupting) A frame to fit any frame.
Reese: Last, the triangle. Pointy. Delicate, yet strong. Isosceles, scalene, and equilateral. Slanted.
Angled. Pyramid. Ancient, yet modern. Timeless....
Reporter: Thank you, Reese. Let’s hear a round (draws a circle in the air) of applause for the
shapes of Reese Delie. (Reese and the three shape models exit. Marty and the three texture
models enter. The smooth model is downstage right, the furry model is downstage centre, and
the rough model is downstage left.) Now for our final line, please welcome designer Marty
Hugh Wexler, bringing with him a collection inspired by his high school art teacher, who
taught him about the world of texture. His line was brought to life not by sight but by touch.
You almost need to touch these designs to experience, to feel, their full effect. Marty, please
tell us about these outfits.
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Marty: Let me take you on a tactile journey, Chris. We begin with smooth and pliable. This
fabric is delightfully squishy and can be moulded to suit your mood. Next, we have our soft,
luxurious, fake-fur line. Have you ever wondered what it feels like to be a furry cow or a cute,
cuddly ferret? I bet you have. I bet you’ve yearned to be surrounded in fur. Well, here is your
chance. Just put this on and wrap yourself in paradise. Finally, we end our journey at rough.
Having sandpaper against your skin may not sound endearing, but have you ever been to a
crowded place where you wished the people would just give you some space? Well, you
simply wear this, rub up against your neighbour’s arm, and POW, instant space. If people see
you coming, they may even clear the way for you. Just remember, every rose has its thorny
stem.
Reporter: Bravo, bravo, and a touching salute to Marty’s textures. Well done, everyone. Could
we please have all the designers and the models on the runway? (All designers and models
enter.) This is your chance to support these young and unique artists in their fashion
endeavours. You can purchase any of these outfits at a very affordable price. And remember
that if you are not completely satisfied with your purchase, you can return it for a full refund.
Isn’t that a bonus? Beautiful, unique, and guaranteed! Thank you for joining us and
supporting this event. This is Chris Connelly for WPX News.
(Cindy comes forward to pick out an outfit. She goes and chooses one outfit from each designer.
The models that are wearing these outfits go off-stage with her. Everyone exits.)
Scene 3
(The reporter and the cameraperson are downstage centre. The stage is bare behind them.)
Reporter: This is Chris Connelly with WPX News at Night. Okay, ladies, tonight is the night
that Damen Timberly will choose his girl. I can see that some people are getting a little
excited. Malls have been overrun with young girls searching for the perfect gown. (Screaming
fans run across the stage with armloads of clothes.) Shoe stores are practically sold out of
shoes. (Screaming fans run across the stage, trying on shoes as they go.) Stores can’t keep
magazines on the shelves. (Screaming fans fight over a magazine as they cross the stage.)
Some beauty shops have even offered twenty-four hour service for hairstyling and manicures.
(Screaming fans cross with blow dryers, nail polish, makeup, curlers, etc.) And now we are
down to the wire, with only a few hours left before the party begins. This is Chris Connelly
from WPX News at Night. I’ll keep you updated as the evening unfolds.
Scene 4
(Cindy is in the shower, singing. She has left her purchases and her dogs in her room, stage
right. Stepsisters and stepmother sneak in, tear up her outfits, and try to frame the pets by putting
their fur on the clothes and putting them in the dogs’ mouths. The animals resist, but eventually
the stepfamily leaves the animals with torn outfits on their heads and all around them. Cindy
comes out of the shower. She sees the torn clothes and screams.)
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Cindy: Mouse, Squeaky, you didn’t. You couldn’t. Why? (Cindy begins to cry. Stepmother and
stepsisters enter.)
Stepmother: What is all this whining about? (The stepmother yells.) And what have I told you
about raising your voice in this house?
Cindy: My beautiful clothes! Someone wrecked my beautiful clothes.
Stepmother: Well, I’ve told you over and over again to keep those filthy animals under control
and out of the house.
Anna: Oh no, I am so, so sorry. I guess that means you won’t be able to go to the concert.
Drew: We’ll take tons of pictures to show you what a wonderful time we had. Poor, poor Cindy.
Don’t cry.
Stepmother: You two girls had better head to Concert Hall and get in line early. (Anna and
Drew hug their mother and then exit.) And Cindy (yelling), clean up this mess!
(Stepmother exits.)
Cindy: (picking up her torn clothes) This isn’t the end. I am going to that concert. (Cindy looks
at the torn clothes in her arms.) If only I could sew.
Reporter's off-stage voice: And remember, remember, remember… (echo effect), if you’re not
completely satisfied with your purchase, you can return it for a full refund. Isn’t that a bonus?
Beautiful, unique, and guaranteed, guaranteed, guaranteed… (echo effect)
Cindy: That’s it. I have an idea. (Cindy talks to Squeaky and Mouse.) Be good while I’m gone
and wish me luck.
(Cindy exits.)
Scene 5
(The three designers are miming a discussion. They are congratulating each other and sharing
ideas. Cindy enters and silently shows them her tattered clothes. The designers are shocked that
their masterpieces have been destroyed. They comfort Cindy.)
Cindy: So you see, it’s not that I’m dissatisfied. I just need help. Can you help me?
Marty: No problem, I have a vision.
Reese: Yes, yes, a shapely vision.
Ashia: It will be a palette of colours.
Marty: And tactile too. Yes, if we work together, we will have this outfit done in no time.
Cindy: Oh, thank you, thank you. I'm so glad I bought my outfits here. (Cindy and the three
designers exit, arm in arm.)
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Scene 6
(General fans are gathered outside Concert Hall. The reporter enters with the cameraperson.)
Reporter: Hello, I’m Chris Connelly of WPX News at Night reporting live from Concert Hall.
The time has arrived, and the party has begun. As you can see, this is a busy place. It looks
like every girl in town is here. Can’t really blame them, can we? Inside these doors wait a
roomful of hopeful girls and one very desired young man. Let’s go in and meet him. (The
reporter enters Concert Hall and approaches the heartthrob and his band as they are setting
up. The band and the heartthrob are centre stage. There are fans on stage left and stage right.
Bodyguards are holding back the crowd.) Follow me, and we will go and speak to the man of
the hour. Hello, Damen. How does it feel to be loved by so many beautiful young ladies?
Heartthrob: It feels great. I’m the envy of the whole band. (The other band members nod.)
Reporter: Let’s get things underway. The girls are anxious to hear your voice whisper the secret
criteria.
Heartthrob: Okay, girls. Are you ready? (The heartthrob holds up the envelope containing the
secret criteria.)
Fans: (chanting) O-pen it. O-pen it. O-pen it... (The crowd continues to chant until they are
hushed by the reporter.)
Heartthrob: You know, I’ve been looking around the room, and although you all seem to be
very special ladies, I think it might be difficult to find someone who meets my criteria.
Reporter: Okay, you’ve kept us in suspense long enough. Rip that envelope open.
Fans: (chanting) O-pen it. O-pen it. O-pen it…
(The heartthrob opens the letter as the fans chant.
Once he has the criteria in front of him, he calms the crowd.)
Heartthrob: The girl I’m looking for is the girl with the most unique outfit. We are going to
scan the crowd before my judges (points to his band) and I make our final decision.
(The heartthrob and his band members look around as the fans call out the heartthrob’s name
and try to get his attention. Finally, the heartthrob and the band get into a huddle.
When they emerge, the heartthrob settles the crowd.)
Reporter: Quiet. Quiet. Damen is just about to make his announcement. I know none of you
want to miss this. Okay, Damen.
Heartthrob: The winner is...and let me assure you it wasn’t easy to decide. The winner is...and
we agonized over this. So the winner is...the girl... (points toward stage left) over there... the
girl that...
(Cindy suddenly enters from stage right in a wildly unique outfit that is composed of her
damaged clothing. All three of the designers’ styles are reflected in the outfit. The outfit is fun,
unusual, and inventive. Everyone stares at her as she walks in.
There are hushes and gasps from the crowd.)
Anna and Drew: Oh no.
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Heartthrob: It’s obviously the girl that is right there. (The heartthrob points to Cindy.) The one
that just walked in and took my breath away with her unique outfit. (The heartthrob walks up
to Cindy.) What’s your name?
Cindy: My name is Cindy, but right now I feel like Cinderella.
Heartthrob: Well, Cinderella, come with me.
(The heartthrob takes Cindy’s hand, leads her to her own seat, and sings to her while the band
dances. About halfway through the song, Cindy and the heartthrob leave,
and the band ends the song for the screaming fans.)
Scene 7
(People reading newspapers and magazines line up along the front of the stage.
The reporter is stage left.)
Reporter: Good morning. This is Chris Connelly from WPX News. It’s the morning after the
big event, and what an event it was. The secret criterion was the girl with the most unique
outfit. The winner arrived at the last possible moment. It was like a Cinderella story. Already
the tabloids are buzzing with rumours and speculations. The designers of the world are tossing
out their old designs for this bold new trend that will soon be sweeping the nation, thanks to
our contest winner’s extraordinary outfit. Let’s sneak a peek at some of the early media.
(The headline readers put down their newspapers or magazines in turn to reveal their faces as
they read their headlines. After each headline reader is finished, the newspaper or magazine is
raised in front of his/her face again.)
Headline Reader #1: Young orphan takes fashion world by storm.
Headline Reader #2: Amateur designers collaborate to create a spectacular new design.
Headline Reader #3: The true story of jealousy and deceit behind Cindy’s victory.
Headline Reader #4: Ten tips on how to look more like Cindy.
Headline Reader #5: Was Cindy actually an alien wearing her native uniform? Inquiring minds
want to know.
Headline Reader #6: Stepsisters claim to be the masterminds behind Cindy’s winning
ensemble.
Headline Reader #7: Do I hear wedding bells in Cindy’s future?
Reporter: So there you have it – the story of how an orphan’s life was turned into a fairytale.
I’m Chris Connelly of WPX News, signing off.
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