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STAGE FRIGHT by R.K.White Copyright 2014 / R.K.White All rights reserved.
These plays are free to print and to use in the classroom or for workshops and treaties, provided any performance is for non-profit. This ebook may not be re-sold or given away to other people. For commercial re-production of any of these works, it must be first authorized by the author by emailing [email protected]
Thank you for respecting the hard work of this author.
SPECIAL THANKS To my love & partner in crime Shannon Wright for all your help and encouragement putting this series together. Especially during times of formatting frustrations! Also to Stagecoach for providing a practise arena and platform to perform new works.
CONTENTS
Letter from the author
How to use this book
Extract from Stage Fright
Characters
Stage Fright
L E T T E R F RO M T H E AU T H O R I have been teaching drama to children for over six years. In that time I’ve found myself plagued by a severe lack of plays that are adaptable to an ever fluctuating number of students. Kids join
up, kids leave half way through a term; this can make it quite a challenge with casting, let alone finding a suitable script. So over the years I have taken to writing my own material - that the kids would enjoy AND could be easily adjusted if students were to come and go during a term – and these plays are the result.
They have been met with tremendous positive feedback from both children and parents. Break a leg! R.K.White
R.K.White
HOW TO USE THIS BOOK Line Learning & Distribution A teachers’ worst nightmare. Nothing is more stressful for a director than it being the week before a performance and having students that still don’t know their lines. Generally speaking, as a drama teacher, you’re only seeing each student once a week and you can’t be there to make sure lines are
being practised at home. With this in mind, I keep lines simple and avoid getting bogged down in heavy writing. This keeps the dialogue moving, the pace up, and the energy high!
CASTING The script layout is divided into three columns. The first column is the Character Speaking, the second column is for keeping track of which actor is delivering each line and the third column is for dialogue and movement.
FIXED CHARACTERS Whilst wanting a flexible formula to work with when writing for kids, I felt it necessary to have a few Fixed Characters. These characters are the basis on which the story was built. These roles should go to the more reliable students who are likely to see it through to the end of term.
INTERCHANGEABLE CHARACTERS Interchangeable characters are easier to replace than Fixed Characters and have lines that can be easily distributed however you see fit. You can keep track of lines by simply writing the name of the actor in the middle column under Actors’ Name. I recommend holding on to one or two of these interchangeable lines for children starting the class term late or to reward those who have worked hard and would like more. Still have students desperate for more involvement? Why not have them create a short introduction to the play they are about to perform? Sometimes this is all it takes to make a student feel important.
Each play is close to ten minutes in length and characters are unisex unless stated otherwise.
FIXED This play is flexible enough that no characters need be fixed. Most of the operators can be played by just one person or multiple.
INTERCHANGEABLE BRAIN OPERATOR(S)
The Brain Operators are leaders but over thinking can lead to worrying. They like to be busy and are in charge of making sure everybody-part is organised.
HEART OPERATOR(S)
Heart Operators are passionate and highly emotional.
STOMACH OPERATOR(S)
The Stomach Operators are often grumbly and have one thing on their mind — Food!
STOMACH BUTTERFLIES
As the body gets nervous, Butterflies emerge from the Stomach Operators Station. They act like noisy, excitable teenage girls.
LUNG OPERATORS
The Lung Operators (minimum two actors) are the peace-keepers of the body. They spend much of their time meditating and encouraging other Body Station Operators to chill out.
CASTING NOTE
If you are short on students, STOMACH OPERATORS can double as STOMACH BUTTERFLIES providing there is at least one person left to play the STOMACH OPERATOR lines.
TIP
It may help to begin with each body part in their own designated station ; the Stomach Members sit eating, Lungs do Yoga, Heart Members play Clap Hands merrily and the Brain(s) walk around with clipboards.
CHARACTERS
ACTORS’ NAME
DIALOGUE & MOVEMENT
BRAIN
Attention all body parts!
BRAIN
Okay everybody-part this is our big day today.
BRAIN
That’s right the day of our big show!
BRAIN
And we need everybody-part working together to make this the best performance of our life!
BRAIN
Let’s start by checking that everybody-part is ready and accounted for.
BRAIN
Lungs?
LUNGS
ALL
BRAIN HEART
LUNGS bow. Namaste. Heart?
ALL
BRAIN
I’m always here for you. Thanks Heart. (beat) Stomach? STOMACH doesn’t respond.
BRAIN STOMACH
Stomach? ALL
Various STOMACH grumbles. Yeah, yeah.
BRAIN
Okay looks like we have everybody part ready. Five minutes till Showtime.
HEART
I love the theatre!
HEART
I love going onstage!
HEART STOMACH
ALL
The audience is going to love me! Blah blah blah. Love, love, love. That’s all you Hearts ever talk about.
These plays are free to print and to use in the classroom or for workshops and treaties, provided any performance is for non-profit. This ebook may not be re-sold or given away to other people. For commercial re-production of any of these works, it must be first authorized by the author by emailing [email protected]
Thank you for respecting the hard work of this author.
SPECIAL THANKS To my love & partner in crime Shannon Wright for all your help and encouragement putting this series together. Especially during times of formatting frustrations! Also to Stagecoach for providing a practise arena and platform to perform new works.
CONTENTS
Letter from the author
How to use this book
Extract from Stage Fright
Characters
Stage Fright
L E T T E R F RO M T H E AU T H O R I have been teaching drama to children for over six years. In that time I’ve found myself plagued by a severe lack of plays that are adaptable to an ever fluctuating number of students. Kids join
up, kids leave half way through a term; this can make it quite a challenge with casting, let alone finding a suitable script. So over the years I have taken to writing my own material - that the kids would enjoy AND could be easily adjusted if students were to come and go during a term – and these plays are the result.
They have been met with tremendous positive feedback from both children and parents. Break a leg! R.K.White
R.K.White
HOW TO USE THIS BOOK Line Learning & Distribution A teachers’ worst nightmare. Nothing is more stressful for a director than it being the week before a performance and having students that still don’t know their lines. Generally speaking, as a drama teacher, you’re only seeing each student once a week and you can’t be there to make sure lines are
being practised at home. With this in mind, I keep lines simple and avoid getting bogged down in heavy writing. This keeps the dialogue moving, the pace up, and the energy high!
CASTING The script layout is divided into three columns. The first column is the Character Speaking, the second column is for keeping track of which actor is delivering each line and the third column is for dialogue and movement.
FIXED CHARACTERS Whilst wanting a flexible formula to work with when writing for kids, I felt it necessary to have a few Fixed Characters. These characters are the basis on which the story was built. These roles should go to the more reliable students who are likely to see it through to the end of term.
INTERCHANGEABLE CHARACTERS Interchangeable characters are easier to replace than Fixed Characters and have lines that can be easily distributed however you see fit. You can keep track of lines by simply writing the name of the actor in the middle column under Actors’ Name. I recommend holding on to one or two of these interchangeable lines for children starting the class term late or to reward those who have worked hard and would like more. Still have students desperate for more involvement? Why not have them create a short introduction to the play they are about to perform? Sometimes this is all it takes to make a student feel important.
Each play is close to ten minutes in length and characters are unisex unless stated otherwise.
FIXED This play is flexible enough that no characters need be fixed. Most of the operators can be played by just one person or multiple.
INTERCHANGEABLE BRAIN OPERATOR(S)
The Brain Operators are leaders but over thinking can lead to worrying. They like to be busy and are in charge of making sure everybody-part is organised.
HEART OPERATOR(S)
Heart Operators are passionate and highly emotional.
STOMACH OPERATOR(S)
The Stomach Operators are often grumbly and have one thing on their mind — Food!
STOMACH BUTTERFLIES
As the body gets nervous, Butterflies emerge from the Stomach Operators Station. They act like noisy, excitable teenage girls.
LUNG OPERATORS
The Lung Operators (minimum two actors) are the peace-keepers of the body. They spend much of their time meditating and encouraging other Body Station Operators to chill out.
CASTING NOTE
If you are short on students, STOMACH OPERATORS can double as STOMACH BUTTERFLIES providing there is at least one person left to play the STOMACH OPERATOR lines.
TIP
It may help to begin with each body part in their own designated station ; the Stomach Members sit eating, Lungs do Yoga, Heart Members play Clap Hands merrily and the Brain(s) walk around with clipboards.
CHARACTERS
ACTORS’ NAME
DIALOGUE & MOVEMENT
BRAIN
Attention all body parts!
BRAIN
Okay everybody-part this is our big day today.
BRAIN
That’s right the day of our big show!
BRAIN
And we need everybody-part working together to make this the best performance of our life!
BRAIN
Let’s start by checking that everybody-part is ready and accounted for.
BRAIN
Lungs?
LUNGS
ALL
BRAIN HEART
LUNGS bow. Namaste. Heart?
ALL
BRAIN
I’m always here for you. Thanks Heart. (beat) Stomach? STOMACH doesn’t respond.
BRAIN STOMACH
Stomach? ALL
Various STOMACH grumbles. Yeah, yeah.
BRAIN
Okay looks like we have everybody part ready. Five minutes till Showtime.
HEART
I love the theatre!
HEART
I love going onstage!
HEART STOMACH
ALL
The audience is going to love me! Blah blah blah. Love, love, love. That’s all you Hearts ever talk about.
