Primary School Plays: Book 2 by Teacher Superstore

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Acknowledgements i. Clip art images have been obtained from Microsoft Design Gallery Live and are used under the terms of the End User License Agreement for Microsoft Word 2000. Please refer to www.microsoft.com/permission.

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o c . che e r o t r s super Published by: Ready-Ed Publications PO Box 276 Greenwood WA 6024 www.readyed.net info@readyed.com.au

ISBN: 978 186 397 872 9 2

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Reproduction and Communication by others

Contents

r o e t s Bo 4 r e p o5k Curriculum Links u S Lucky Numbers

(8 – 12 year olds, 20 minutes, 1-2 classes) Production Notes Script

8-9 10-17

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Teachers’ Notes

(8 – 12 year olds, 30 minutes, 1-2 classes)

Farmer Wilson’s Haystack

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(9 – 12 year olds, 40 minutes, 1 class) Production Notes Script

32-33 34-44

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. t o Thee Magic Fishing Line c . (7 – 12 year olds, 30 – 60 minutes, 1-3 classes) c e her r o t Production Notes 46-47 s 48-58 super Script

Teachers’ Notes WHEN TO USE THE PLAYS The appropriate occasions to stage the plays would be at school community events such as speech nights and school concert nights. A family audience entertained by material that is fun to see, as well as perform, has been the consideration.

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ABOUT THE PLAYS

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The plays can be modified to suit the exact number of students in the class. Some plays can be adjusted to include two or three classes. Suggestions regarding increasing or decreasing the number of performance roles accompany each play.

The characters in each play are on stage for more or less the same amount of time to keep the learning of parts as simple as possible and to allow the students to feel equally important. This should encourage a sense of inclusion and self-esteem. No family will feel that their child has missed a chance to shine or a chance to develop his/her stage skills. There are parts for both competent students and for the less confident.

All plays are fairly short so that rehearsals do not become long and arduous, and so that audiences do not lose concentration. The plays in this book range from 15 minutes to 45 minutes in length.

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COSTUMES AND SCENE PROPS

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There are many different roles to play which will accommodate students’ diverse talents. Initial class time should be spent allowing students to choose character roles. This will increase motivation and develop a sense of ownership and self-awareness.

Simple suggestions have been provided regarding costumes and props, but it is considered that individual schools will use the financial and community resources that are available to them.

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It is envisioned that students could make simple accessories that are symbolic of a character in class. Scene descriptions are provided. All plays consist of one act and make use of a one set scene.

Curriculum Links WA The Arts Learning Outcomes (2) Arts Skills and Processes (4) Arts in Society

r o e t s Bo r e p ok u S TAS The Arts Standards 2 and 3 Drama Using skills, techniques and processes Using codes and conventions Presenting with purpose Expressing personal voice

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NSW Creative Arts Stages 2 and 3 Drama

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QLD The Arts Essential Learnings ELs by the end of Year 3, Year 5 and Year 7 Drama VIC The Arts Levels 1, 2 and 3

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SA The Arts Standards 1, 2 and 3 Arts Practice

ACT The Arts Early Childhood, Later Childhood and Later Adolescence ELA 1: uses a range of strategies to think and learn ELA 5: contributes to group effectiveness ELA 7: creates, presents and appreciates artistic works

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Lucky Numbers

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Age group:

9 – 12 year olds

Running time:

30 minutes

Class numbers:

20-60 students

Lucky Numbers Production Notes

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Modifications

Characters, Costume Suggestions and Props

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All students should have a part. Variation to the number of parts can be achieved by using one or two STRIKERS instead of four, or doubling the STRIKER parts and the CARD DISPLAYERS. Optional: a winner from the audience could be found with a lucky door ticket or one of the following numbers under his/her seat: 6, 38, 19, 5, 23, 25.

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ANNOUNCER Dressed in formal attire and using a microphone. FOUR STRIKERS Dressed in black and carrying “dongers” (see Extra Props).

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LUCKY NUMBERS Three or four rows of LUCKY NUMBERS (children) to suit size of class/es . The number of children in each row must be the same. In this script we use 40 LUCKY NUMBERS (four rows of ten). Each child can either have their number pinned to his/her chest or can hold the number on a card in front of him/her. Odd numbers are dressed in one colour; even numbers in another colour.

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DRUMMER Has a drum to perform drum rolls.

CARD DISPLAYERS Carrying the following numbers displayed on card: 6, 38, 19, 5, 23, 25. Dressed in white and black.

Extra Props • Assorted items for opening scene, e.g. jacks or marbles; playing cards; iPod; mobile phone; yo-yos.

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• Bell.

• Dongers for the STRIKERS – long cane with a sponge wadding attached to the end or a large, squeaky toy hammer.

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• Six pieces of large card displaying the following numbers: 6, 38, 19, 5, 23, 25.

Staging/Scene

The stage is set with a tiered set of steps in the centre so that four rows of children can stand for a photograph and be seen clearly. There must be at least a 1.5 metre clearance at each side. There is a lectern and microphone at front right of stage for the ANNOUNCER.

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Stage left

LUCKY NUMBERS FOUR ROWS OF STUDENTS

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Stage right

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ANNOUNCER BEHIND LECTERN AND MICROPHONE

NUMBER DISPLAYERS

STRIKERS

DRUMMER

Front of Stage

Lucky Numbers Script Curtain opens * * *

r o e t s Bo r e p are positioned randomlyo The LUCKYu NUMBERS on the stage k and on the steps. They talk in small groups. Some sit on the S tiered steps, some lie asleep. One group is sitting on the floor

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playing jacks or marbles. Another group is playing cards. One is listening to an iPod. One is texting on a mobile phone. One is doing push-ups. Two are playing with yo-yos. A bell rings. The LUCKY NUMBERS stop what they are doing and begin to position themselves on the tiered steps with much chattering.

Announcer:

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16: 17:

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There is much fuss and bustle. NUMBERS 16 and 17 tussle. 16! 17! Come here! What’s the problem?

Why do I have to be next to 17? He’s always annoying me.

o c . ch (Sternly) You know that you have to be together. e r er o Unfortunately 16 and 17 go together. Now get into t s s r u e p position! She’s always annoying me.

16 and 17 obey. 28, 29 and 30 have taken their spots first, and 27 cannot get through on the right side.

28! 29! 30! Move out so 27 can get into position.

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Lucky Numbers *

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29 and 30 move out, but 28 remains where he is, looking steadfastly ahead. 27:

Move 28!

28 pushes 27 backwards into 29 and 30. All four scuffle and shape up to each other.

r o e t s Bo r e p ok u Sstand to attention. All four 27! 28! 29! 30! Attennn-tion!

27!

27:

Yes sir!

Announcer:

Move into position.

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Announcer:

29! You move into position.

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29 takes his position.

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28 takes his position.

o c . 30 takes hisc position. e her r o t s s30!p er 27! 28! 29!u Attennn-tion! 30, you go now.

They all stand to attention.

For the next game you must take your positions without any problems. Is that clear?

27,28,29,30:

(In unison) Yes sir! 11

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Lucky Numbers *

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All of the LUCKY NUMBERS are now in position except 13, who sits sullenly, cross-legged, on the front left of stage facing away from the stage. His arms are folded, his shoulders humped. He stares at the floor. Also, 36 and 37 are in each other’s spot. 10 is in 11’s spot, so that 10’s spot is empty, and 13’s spot is taken.

r o e t s Bo r e p ok u S 10! Why are you in the second row?

10:

This is where I belong. The numbers in the top row all have one digit. I have two.

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10, nothing has changed. There are 10 numbers in each row. Get back where you should be.

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Announcer:

10 begrudgingly moves back to the top row. The ANNOUNCER studies the group.

36! 37! Swap places.

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Some of the LUCKY NUMBERS point 13 out and say, “Over there.”

. te o c 13 crosses his arms more tightly and says nothing. . che e r o t r s 11: Come ons 13. We’re waiting for you. r u pe

13! Hurry up. We’re waiting for you. There’s 12 minutes to go.

13:

I don’t want to!

All of the LUCKY NUMBERS call out to 13 impatiently. 13 hunches over even more than before and edges closer to the wall. Announcer: 12

(Kindly) What’s the matter 13? Are you unwell?

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Lucky Numbers *

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13:

It won’t make any difference if I’m not there. Nobody ever picks me.

What? What difference does it make?

13:

It’s alright for you 7. You always get picked. You’re a lucky number.

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They never pick me either, but I’m not crying about it.

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For goodness sake 13, you’ve been “donged” twice as much as me. I’m the most infrequently “donged”. You’re more important than me. I’m jinxed! (Begins to sob) Why don’t I get “donged” more often?

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But you’re important 1. You’re the first number. You’re right at the top.

Well, what’s the point of being “donged” if nobody picks you? Nobody picks 13, so I might as well not be in the line-up.

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The LUCKY NUMBERS all discuss this amongst themselves.

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But what would happen to his spot? You can’t have a gap there.

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(Kindly) 13, you know people are very superstitious. It’s not your fault they are so silly. You shouldn’t take it so personally.

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How would you like to spend your life being called unlucky? It’s as if I’ve got the plague or something. They all hate me. And then if I do get “donged”, I don’t win anyone anything and everyone is sad. (Despairingly) I’m no use! I’m no use to anyone.

25:

(Primly) I win for people all the time. I’m popular. They always pick me.

They do not! They always pick me. They’re always saying, “7 is my lucky number”. 13

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Lucky Numbers *

25:

They do not.

Do too!

25:

(Shouting) Do TOOO!

26 and 27:

Shut up 25!

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r o e t s Bo r e p ok u S The LUCKY NUMBERS all stand to attention.

15 punches 25 on the head. 6 and 8 grab 7 and make him quiet. Everyone! Attention!

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Announcer:

13, pleee-ase – we are running out of time. We cannot run our number game without you. You are part of the number system from 1 to 40.

14:

13, you are very important to me. Without you, nobody could count to 14.

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(In frustration) OK! Nobody could count past 13, without 13. We would be stuck at 12.

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(Looking a little happier) But I still don’t win anything for anyone.

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Or to 17.

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o c . ch e r And ifr we don’t exist, then we wouldn’t win anybody e o t s sup er anything either. Ever! Please join us 13. We can’t exist without you.

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Please 13, we need you. This is the only job I have, and I’ve got a wife and six children to feed.

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I’m trying to pay my way through uni.

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(Wailing) I’d have to go back to that racing job and be a horse number and the money’s not good.

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Lucky Numbers *

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I worked at the Olympics in the diving section before this. The divers loved me, but it’s a long time between Olympics!

40:

The only other job I had was on a mailbox. It was very boring.

39:

I was on a motel door.

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31:

I was on the Sydney cricket ground scoreboard. Sometimes it rained and the pigeons pooped all over me! It’d be the dole for me.

All numbers:

(Wailing) Please 13. We need you!

Announcer:

13?

13:

(Reluctantly) Oh, OK then.

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12:

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I was on a ballroom dancer’s back. I got giddy.

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A bell rings. After three seconds, the DRUMMER steps forward and performs a drum roll.

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Go!

Luck-ee Num-bers! (Repeat once more.)

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Lucky Numbers *

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FOUR STRIKERS march from off right of stage to the left side of the LUCKY NUMBERS. They turn and come to attention on the left of the LUCKY NUMBERS. Each STRIKER stands next to a line of LUCKY NUMBERS. Each time it is a STRIKER’S turn to “dong” a LUCKY NUMBER, the STRIKER marches along the back of the LUCKY NUMBER line, “dongs” the LUCKY NUMBER, and returns to his/her original position, standing to attention.

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r o e t s B r e oowhile The DRUMMER begins and continues a drum roll p u k the STRIKER is marching along the line towards a LUCKY S NUMBER. When the LUCKY NUMBER is struck, the

DRUMMER plays a more pronounced drum beat and the LUCKY NUMBER flashes. The DRUMMER begins a drum roll again only when the current STRIKER has regained his starting position and it is time for a new LUCKY NUMBER to be “donged”.

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Announcer:

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There is a drum roll by the DRUMMER. STRIKER 1 marches along the back of row 1, stops at NUMBER 6, turns with a click of the heels and “dongs” NUMBER 6 on the head. NUMBER 6 jumps up, throws up arms and thrusts them up and down. NUMBER 6 continues to do this until all the LUCKY NUMBERS are “donged”. STRIKER 4 marches along the back of line 4, etc., and “dongs” NUMBER 38. NUMBER 38 flashes in the same way as NUMBER 6. STRIKER 2 marches along the back of line 2 and “dongs” NUMBER 19. NUMBER 19 flashes. STRIKER 1 then “dongs” NUMBER 5. NUMBER 5 flashes. STRIKER 3 “dongs” NUMBER 23, returns to position and then “dongs” NUMBER 26. NUMBERS 25 and 26 flash. The DRUMMER stops. The flashing LUCKY NUMBERS stop.

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(Facing the audience) The numbers for the first Lucky Number game of the day are …

DRUMMER performs a drum roll. The CARD DISPLAYERS walk to the front of the stage carrying the numbers as they are called. 16

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Lucky Numbers *

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6! … 38! … 19! … 5! … 23! … 25! Someone is a very lucky person today, and they owe it all to one particularly generous and extraordinarily special number ...... NUMBER 13.

All numbers:

Thank you 13! We love you 13! You’re the best 13!

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Three cheers for 13! Hip-hip---

All numbers:

Hooray!

24:

Hip-hip---

All numbers:

Hooray!

24:

Hip-hip---

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The LUCKY NUMBERS all come down from the tiered steps, push 13 to the middle of the top step, and go to the bottom of the steps and face NUMBER 13.

All numbers:

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* * * Curtain closes * * *

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NUMBER 13 jumps up and down and performs his own “flash” - a big grin on his face. The LUCKY NUMBERS all laugh and clap him. They surround him, patting him on the back, shaking his hand and congratulating him.

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The Wild West

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Age group:

8 – 12 year olds

Running time:

30 minutes

Class numbers:

20-60 students

The Wild West Production Notes

Modifications

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Adjust single class numbers by varying the group numbers. Adjust speaking roles by alternating them. It is possible to have two, three or four ARTISTS. For two classes increase the number of COWBOYS, POSSE, PIONEER WOMEN and ENTERTAINERS to six, seven or eight.

Optional song items have been added at various points in the play. For copyright reasons, no song titles have been given. Teachers should use internet search engines and YouTube to find “songs about -----“ the theme words suggested. If song items are used, it is recommended that they be edited to a short 60 seconds or less.

Have a toy gun each. Dressed in cowboy gear - belted brown pants, checkered shirts, neckerchief neckties, cowboy hats, heeled boots.

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HORSE Played by two children dressed in brown with black shoes. The second child has his/ her head covered with a brown hood and brown gloves. He/she holds onto the first child, head down, around the waist. Other simple costume additions can be made, such as a string mane and a tail. The horse also has a bridle or a neck rope.

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INDIANS 1, 2 and 3 Dressed in Indian gear - bare chest, beige pants tied with rope, moccasins, headband with feather. INDIAN 3 has a dagger in his waistband.

INDIAN SQUAWS 1, 2 and 3 Dressed in simple calico knee-length tunics, frayed at the hemline, moccasins, and headbands with a feather. PIONEER WOMEN 1, 2 and 3 Simple long dresses or skirts with long-sleeves, white aprons, plain head-scarves tied under the chin, and lace-up brown boots. Each woman carries a basket loaded with sticks.

SHERIFF Cowboy clothes with a brown leather vest and sheriff’s badge. He carries a toy gun in a holster. POSSE MEMBERS 1, 2 and 3 Cowboy clothes and carrying a toy gun each. POSSE MEMBER 3 can be dressed to appear a bit dopey - trousers pulled up very high at the waist and too short at the ankle, hat pulled down too low.

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FEMALE ENTERTAINERS 1, 2 and 3 Gaudy cabaret singer and dancer outfits - very brightly coloured and gathered fulllength skirts with white petticoats showing underneath. Low cut off-the-shoulder, short-sleeved blouses, high heels of the period, net stockings, jewellery, glamorous hairstyles, thick make-up. ARTIST Dressed in city clothes with a beret on his head. He carries an easel and a suitcase. Has a paintbrush and a large piece of paper.

Extra Props

• A rifle A whip • A branding © Re adyEd• P ubl i cat i ons iron •f orr evi ew pur posesonl y• Staging/Scene • Bucket of feathers

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Stage right

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COWBOYS 1, 2 and 3 HORSE

INDIANS 1, 2 and 3 INDIAN SQUAWS 1, 2 and 3 PIONEER WOMEN 1, 2 and 3

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A simple stage prop of one large cactus stands in the centre left of stage. The cactus could be a cardboard cut-out attached to a hat stand. Stage left

o c . che e r o t r s super CACTUS

SHERIFF POSSE MEMBERS 1, 2 and 3 FEMALE ENTERTAINERS 1, 2 and 3 ARTIST

Front of Stage 21

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The Wild West

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The Wild West Script Curtain opens * * *

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r o e t s Bo r e plead the HORSE onto the stageo Three COWBOYS from right u k of stage. S They drag their feet wearily. They stop and scan the horizon across the audience. ***

Cowboy 1:

We sure are a long long way from Tulsa.

Cowboy 2:

And it’ll be a lot longer now that all our horses escaped during the night.

Cowboy 3:

(Looking guilty) I can’t work it out. I only dozed off for a minute.

Cowboy 2:

The ropes were untied, so I reckon it must have been INDIANS.

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Cowboy 3:

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Cowboy 1:

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© ReadyEdPubl i cat i ons Cowboy 1: r Well it was your turn to be on lookout, you idiot! You’re •f o r ev i e w p u r p o s e s o n l y • not supposed to doze at all. (Looking around fearfully) I could’ve been scalped!

I wonder why they took every horse except our packhorse. He’s such a fine specimen.

o c . The HORSE c has been standing behind the COWBOYS with his e h r er ohearing this, he head down dejectedly, his back legs crossed. On t s s r u e p lifts his head up, uncrosses his back legs, stands tall and gives a loud “nei—ei—ei—gh”.

Cowboy 2:

Reckon we should be on the lookout every minute. They could be following us.

Cowboy 3:

Yeah, reckon we should practise drawing our guns.

Cowboy 1 and 2:

Yeah. OK!

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The Wild West

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COWBOYS 1, 2 and 3 position themselves in a triangle, one at the back of the stage, one either side. With legs apart, hands held near their guns, they move an inch towards each other like gunners in a showdown.

r o e t s Bo r e ok 1 and COWBOY 3p shoots wildly off left of stage. COWBOYS u 2 turnS and shoot frantically also at the same spot. They shoot six times each. Someone off stage calls “squawk!” Feathers are

(Looks up suddenly and across to off left of stage.) What’s that?! INDIANS!

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Cowboy 3:

thrown onto the stage.

Cowboy 1:

(Still looking at the spot. He relaxes) It’s only a wild turkey you fool!

Cowboy 2:

(Reholstering his gun) Better get movin’. Everyone knows we’re here now!

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Indian 1:

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are in single file and they move stealthily and cautiously, step by step, as though creeping up on something. They should try to synchronise their steps and movements and exaggerate them for comic effect. The lead INDIAN (INDIAN 1), looks from side to side, listening. The INDIANS’ speech is slow and pronounced, with little modulation.

o c his hand up for the others to stop.. Indian 2 stops. ch(Puts e r Indian 3, who is looking at the back of the stage, bumps e o t r s s rhere. into Indian We stop u2.)p e

Indian 2:

(Turning to Indian 3) We stop here.

Indian 3:

(Feeling his nose) Me stopped already.

Indian 1:

(Touching the ground and looking at footsteps in the dirt) Paleface came this way.

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The Wild West

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Indian 2:

(Sneering) Paleface soon sorry he came.

Indian 3:

(Sneering and drawing out a dagger from his waistband) Paleface looky good with haircut.

Indian 1:

Paleface no hunt buff-low no more.

Indian 2:

Paleface no set fire to tepee.

Indian 3:

Stop! (Holds up hand) First dance...war dance. Keep bad spirits away.

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Indian 1:

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(Drawing dagger across his neck) Paleface learn lesson.

The INDIANS form a circle and perform an Indian style dance, stomping and chanting in a clockwise direction.

Indian 1:

Now. Follow.

INDIANS 1, 2 and 3 exit left of stage stealthily, in single file, and synchronised as they entered. Three PIONEER WOMEN enter from right of stage. They have baskets loaded with sticks.

Woman 2:

Yes, and I’m afraid to go too far away from the wagons. Who knows what might be out here.

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(Fearfully) INDIANS! … Wolves!

Woman 3:

Woman 2: Woman 3:

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That should be enough firewood for the evening meal.

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Woman 1:

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Well, it certainly is dangerous. But the Wild West has to be tamed by someone.

It’s such wonderful news that our husbands have found land and have sent for us.

Woman 1:

I’m so stiff from sitting on that wagon day after day, day after day.

WOMAN 2:

Cheer up. It’ll be better than living alone in the city. (Looks out at the audience) Just look at all that space.

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Woman 3:

The Wild West

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(Dreamily following her eyes) Somewhere out there, me and hubby and the kids will have our own farm!

*Optional song item by three WOMEN about: “somewhere”, “searching”, “waiting for a lover”, “moving towards a goal”, “missing you”, “praying for you”, “loneliness”, “struggle”.

The three PIONEER WOMEN exit left of stage arm in arm. Three INDIAN SQUAWS enter from right of stage. They are in a hurry. They stop centre stage.

Squaw 2:

(Kneeling down and examining the ground) Sitting Bear was here. This his big footprint. (Also kneeling down) Bawling Bull was here also. This his ear hair.

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Squaw 1:

r o e t s Bo r e p ok u S

Squaw 3:

(Sniffing the air) And Stinking Skunk was here too. Me smell him.

Squaw 1:

When me get hold of Sitting Bear, me kill him! (She makes a wringing neck gesture with her hands.) Him promise to take papoose while me go on secret squaw business.

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And Stinking Skunk – he minced meat. (She makes chopping motions and throws it over her shoulder). Him miss mother’s dinner.

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Squaw 3:

We get. But first we ward off spirits. Do love dance. . te o The three SQUAWS form a circle and proceed in anc Indian style . che e stomping dance in an anti-clockwise direction. They do warbling r oeach do their own t Indian style chants r and come toe a halt. They s s r u p vengeance action of wringing, clubbing and chopping as they face

Squaw 1:

each other into the circle, and complete the ritual by all clasping their hands in a pact. Finally they hurry off left of stage. Enter from right of stage, the SHERIFF and his POSSE. Sheriff:

(Walking to front of stage, shading his eyes and looking out across the audience) This is a good spot to check for those 25

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The Wild West

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horse rustlers we’re looking for. You can see for miles. Can any of you see anything? Posse member 1: (Peering into the distance) Is that a cloud of dust over there near the mountain? Posse member 2: I reckon it is.

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Posse member 3: (Following his gaze) Yup. Sheriff:

It’s a big dust cloud too - must be our stolen horses.

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Posse member 1: (Grabbing at his gun and pretending to shoot) Them outlaws got a thing comin’ to them.

Posse member 2: (Copying POSSIE MEMBER 1) We gotta rid the frontier of that thieving gang. Posse member 3: (Copying) Yup. Sheriff:

Remember we catch them alive and bring them to justice. (He goes to the ledge, shakes his fist at the horizon) You boys’ve got a lesson to learn!

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Posse member 3: (Joining them and shaking his fist) Yup.

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Sheriff:

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Posse member 2: (Joining the other two and shaking his fist) Youse won’t know what hit you!

(Shouting into the distance) Reckon you guys are gonna trip up pretty soon.

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*Optional song item by SHERIFF and POSSE about: “tripping”, “chasing”, “searching”, “working towards a goal”, “catching you”, “teaching you a lesson”.

Sheriff:

Mount up boys. Let’s go get ‘em.

SHERIFF and POSSE MEMBERS exit right of stage. Three FEMALE ENTERTAINERS enter from right of stage. They are gaudily dressed. Entertainer 1: 26

(Hands on hips) Thank goodness they let us out of that

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The Wild West

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stage coach for a break. (Stretching her neck and back) I’m so stiff.

Entertainer 3:

(Having a swig from a canteen) It’s so far! How much further?

Entertainer 1:

Three more hours they say. Remember girls … no pain, no gain.

Entertainer 2:

Ha, Haaa! Let me at ‘em, I say.

Entertainer 3:

I’m gunna find me a rich gold miner!

Entertainer 1:

And settle down?

Entertainer 3:

Don’t be silly! I’ll fleece him and then take off to the next town.

Entertainer 2:

Ha, haaa! It’ll be like taking candy from a baby. Those poor lonely men will be falling all over us.

r o e t s Bo r e p ok u S

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Entertainer 2:

Entertainer 1:

Entertainer 3:

(Also joining in) Ohhh, but Mr. Rancher, I don’t want to marry you. I only want your money.

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(Joining in) Ohhhh, Mr. Rancher, what a fat wallet you have.

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Entertainer 2:

o c . ch The FEMALE ENTERTAINERS exit left of stage. An ARTIST e r t enters from righte ofr stage. He ise dressed ino city clothes with s s r u p a beret on his head. He carries an easel and a suitcase with

*Optional song item by three ENTERTAINERS about: “money”, “being rich”, “having a good time”, “spending”, “fancy free”.

art materials inside. He surveys the area, stops in front of the audience, shades his eyes and looks at the view. Artist:

Why this is perfect! I can see for miles, and not a soul to be seen. I bet I’m the first person to ever set foot in this place. (He sets his easel up at the back of right of stage so 27

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The Wild West

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that he can paint the view. He unpacks his painting gear, pins his art paper onto his easel, and begins to paint.) I’ll be the first person to paint the Wild West before it is populated and destroyed. (He paints for a minute, every now and then he looks up to copy what he sees) I’ll be famous!

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The ARTIST continues painting. Shrieks from the three FEMALE ENTERTAINERS are heard off left of stage. The ARTIST stops and looks up, surprised. The three FEMALE ENTERTAINERS run in and stop centre stage in front of the ARTIST, gasping for breath.

Entertainer 1:

(Looking over her shoulder left of stage) Hurry up! They’re out to murder us.

Entertainer 2:

(Taking off her high heels) These PIONEER WOMEN sure are protective.

(Hitching up her skirts) They can keep their boring men if © Rea d y E d P u b l i c a t i o n s they want them. I’m outa here! •f orr evi ew pur posesonl y•

Entertainer 3:

Pioneer Woman 1: Which way did they go?

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The three FEMALE ENTERTAINERS rush off right of stage. The three PIONEER WOMEN race in from left of stage. One carries a rifle, one a whip and one a branding iron. They stop centre stage.

o c . Pioneer Womanc 3: They can just stay right away from my husband –a e h r hundred miles away! er o st s uper Pioneer Woman 2: That floosy! I’ll give her what she deserves.

PIONEER WOMEN 1, 2 and 3 continue their chase exiting right of stage. The ARTIST has watched the scene greatly perplexed. He gets up and looks out towards the disappearing WOMEN. He goes to the left and looks out that way. He sighs and turns back to his painting. Next the three INDIANS race onto centre stage from the left. They hide behind the cactus tree and look furtively back the way that they have come.

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The Wild West

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Indian 1:

Have we lost them?

Indian 2:

Little Fox, she plenty mad.

Indian 3:

And Prancing Deer, she ready to kill me.

Indian 1:

(Afraid) I see them! Quick, we hide behind that rock (pointing off stage right).

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Squaw 1:

(Looking all around but ignoring the ARTIST) They go this way (pointing and kneeling down). This Sitting Bear’s big footprint.

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The INDIANS hurry off right of stage. Enter the three INDIAN SQUAWS from left of stage. They stop centre stage.

Squaw 2:

(Picking something from the dirt) And this Bawling Bull’s nostril hair.

Squaw 3:

And Stinking Skunk go this way. Me smell him.

Cowboy 1:

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They’re gaining on us!

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to his painting. The three COWBOYS stagger in from left of stage gasping loudly for breath. One hides behind the cactus and shoots off stage left from where he came.

o c . Cowboy 3: c And I keep falling over these rocks. e her r o t s s r u e p With a couple more backward shots behind them, COWBOYS 1, Cowboy 2:

How can we get away without a horse? I keep tripping over.

2 and 3 stumble off right of stage. The ARTIST grips his ears. The SHERIFF and the three POSSE MEMBERS enter warily from left of stage, guns drawn.

Sheriff:

They’re up this way somewhere boys. Better continue on foot. 29

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The Wild West

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Posse member 1: (Looking out across the audience) No sign of them out there. Posse member 2: I reckon they’re up there behind those rocks (points to right of stage. He shoots). Posse member 3: (Sticking very close behind POSSE MEMBER 2) Yup.

r o e t s Bo r e p o u k The ARTIST has taken cover behind his easel. He gets up, dusts S himself down, looks to the view, looks to his painting, puts his brush behind his ear, looks to the view again.

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The SHERIFF and the three POSSE MEMBERS creep stealthily off stage right, taking the odd pot shot ahead of them.

The HORSE ambles on from left of stage, neighs, stops behind the painting, crosses his back legs, contemplates the painting, looks out at the view, looks back at the painting, shakes his head vigorously.

Horse:

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The ARTIST looks after the HORSE for some seconds. He looks again at his painting, at the view, at the painting. He sighs, takes the paper artwork off the easel, tears it up, throws it on the ground and packs up all of his gear. With his easel and suitcase he exits right of stage.

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Curtain closes * * * * * * c

r o e t s Bo r e p ok u S

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Farmer Wilson’s Haystack

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Age group:

9 – 12 year olds

Running time:

40 minutes

Class numbers:

20-30 students

Farmer Wilson’s Haystack Production Notes or e t

s r e p u S

Modifications

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Teac he r

Characters, Costume Suggestions and Props FARMER WILSON

Checkered shirt and jeans/overalls, boots, felt or straw hat.

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To reduce the numbers in the play, trios can be changed to pairs - simply alternate the speaking parts. Alternately, one or two groups of three could be omitted. To increase the numbers in the play, trios could be changed to fours. Speaking parts would need to be taken in turns.

POOR PEASANT WOMEN 1, 2 and 3

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First appearance: ragged clothes, shirts and long trousers, old shoes, tattered felt hats. Straw sticking out from under hats, out of shirt necks, bottom of trousers and at waists. The shirts and trousers can be tied with rope at the wrists and ankles. There is no padding in the body, making the scarecrows look very thin. Second appearance: wadding is used to pad out their arms and bodies to make them look fat. Long plain skirts, long-sleeved blouses (perhaps patched), aprons, and scarves around their heads. Each carry a basket.

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TRAMPS 1, 2, and 3

First appearance: very tattered clothes and shoes, old felt hats. Each carry a swag (and maybe a billy) tied on to a pole. Second appearance: neat and tidy manual workers’ clothes such as overalls. One could wear a fluorescent road-worker’s vest. Each carries a tool of trade, such as a hoe, shovel and miner’s helmet.

NATIVE MEN/WOMEN 1, 2 and 3

First appearance: one in smart office clothes with briefcase, two in simple factory worker clothes. Second appearance: full native costume with the obvious inclusion of straw skirts, headdresses and accessories.

SANTA CLAUS

First appearance: SANTA suit and an empty toy sack. Second appearance: SANTA suit and full toy sack. 32

REINDEERS 1 and 2

Children with antlers, brown clothing and round red clown noses.

ANGELS 1, 2 and 3

Long white robes tied at the waist with gold cords, soft flat shoes. They have long flowing hair and could have cardboard wings attached to their backs.

WITCHES 1, 2 and 3

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First appearance: dressed in long black dresses or black caftans, black shoes and hats. Optional false noses and broken teeth. Each carry a broom handle with a tattered scorched straw end. Second appearance: as before but with new straw brooms.

PROMPTER

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Holds a “No” sign.

HAYSTACK PROP PERSON Holds a mop.

Extra Props • • • • •

Haystack Two pitchforks Wheelbarrow Imitation eggs Baby-sized doll in a blanket

STAGE RIGHT

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A large haystack sits in the middle of the stage. The stack needs to start at about 2.5 metres high and gradually shrink to 1 metre at the end of the play. This could be done by constructing the stack with calico or other strong fabric, shaped into a steep dome and opening at the back. A student could sit underneath holding it up at the apex with a mop and gradually lower the apex as needed. The play opens with FARMER WILSON and his son FRANK WILSON, working with pitchforks and building the haystack.

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FARMER WILSON

HAYSTACK

STAGE LEFT

frank WILSON

Front of Stage 33

Farmer Wilson’s Haystack * * * * * * * * * * * * * * * * * * * * *

Farmer Wilson’s Haystack *

* * * * * * * * * * * * * * * * * * * *

Script ***

Curtain opens * * *

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Farmer Wilson: (Stopping work and resting on his pitchfork to the right of the haystack) Well that’s about it, FRANK. I think we’ve got it all. (Mopping his brow and stopping also, on the left of the haystack) Phew! That was hard work (surveying the stack critically). I’m not sure that’ll be enough to feed the cows for another month though Dad.

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Frank:

Farmer Wilson: (Looking at the haystack and shaking his head) No, son. It’ll be touch and go, that’s for sure. This mongrel drought has been enough to make me consider selling up the farm. The cows are skin and bone and there’s only one small parcel of pick left in the back paddock.

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The farmers trudge out together left of stage, FARMER WILSON shakes his head and looks at the clouds overhead. Three SCARECROWS enter drearily from right of stage. They are very thin and downcast, their straw arms drop limply downwards from the elbows, their heads and shoulders bowed. They stop before they reach the haystack.

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o c . c e h r Scarecrow 1: It’se no good guys. We’ve searched high and low. o t r s s r u e p Scarecrow 2: It’s this rotten drought! There’s no scarecrow stuffing anywhere.

Scarecrow 3:

We’ll be for the bonfire if we don’t sharpen up our act.

Scarecrow 1:

We will. The crows think we’re a joke!

Scarecrow 2:

They laugh at us. We’re falling apart in bits and pieces.

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Farmer Wilson’s Haystack *

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Scarecrow 3:

We’re a disgrace.

Scarecrow 1:

All the pumpkins have been eaten …

Scarecrow 2:

And the corn …

Scarecrow 3:

We’re not doing our job at all.

Scarecrow 2:

And mine.

Scarecrow 3:

And mine.

Scarecrow 1:

(Spotting the haystack) Hey, look!

Teac he r

My farmer is VERY unhappy.

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Scarecrow 1:

SCARECROW 1, 2 and 3 all study the haystack, walking in front of it and around it.

Scarecrow 2:

I only need a handful.

(Wistfully) veryu big haystack. © Read yEIt’s da P b l i cat i ons Scarecrow e Ifi the owner knew itp was a good cause… •f or1:r v ew p ur oforse so nl y• Scarecrow 3:

Scarecrow 2:

I’m sure he wouldn’t miss a couple of handfuls.

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The SCARECROWS take two handfuls of hay each and limp out left of stage. The haystack lowers slightly. Three POOR PEASANT WOMEN carrying baskets enter from right of stage. They stop before the haystack.

. t e 1: We’ve searched the road all the way toc o Poor woman the village, and . I’ve found are a few bits of corn,e an apple core and a challsandwich r that someone has thrown away. er o t s su per

Poor woman 2:

I managed to pick up some green grass in the creek.

Poor woman 3:

And I found some rotten fruit that had dropped off a tree and onto the path.

Poor woman 1:

It will keep the hens fed for another day.

Poor woman 2:

I do hope they lay some eggs before the markets this 35

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Farmer Wilson’s Haystack *

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weekend. I need the money to buy the baby some milk. Poor woman 3:

And I need the money to buy my children some shoes.

Poor woman 1:

What our poor hens need is some fresh nesting in their boxes. They don’t have the nesting instinct on those cold boards that they have to lay on.

r o e t s Bo r e POOR WOMEN 1, 2 and 3 study the haystack with greedy eyes, p o walking around and around it. u k S

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Poor woman 2:

Ladies! Do you see what I see?

It’s just what our hens need!

Poor woman 1:

I only need a handful.

Poor woman 2:

It’s a very big haystack.

Poor woman 3:

If the owner knew it was for a good cause …

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Poor woman 3:

I’m sure he wouldn’t miss al couple handfuls. © Rea d yE dPu b i caoft i ons POOR 2 and each take twos handfuls ofn hay • f oWOMEN rr ev1,i e w3p ur po eso l y•

Poor woman 1:

w ww Tramp 1:

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and hurry off right of stage. The haystack lowers slightly. Three TRAMPS enter front stage left. They carry swags tied on poles over their shoulders. TRAMP 3 slumps to the ground.

Come on mate (he lifts TRAMP 3 by the arm). Not much further to the next village. Maybe they’ll have work for us there.

o c . ch e r We’ve tramped hundreds oft miles. I’ve hardly had any e o r s s r u e p shut-eye. I look too crook to do any work. They’d take one What’s the use. I’m so weak, no-one would employ me.

look at me and say, “Hit the road, punk!”

Tramp 2:

Just like every other time.

Tramp 1:

If we get a good rest tonight, we’ll look good and sprightly in the morning.

Tramp 3:

That’s the trouble. The ground is so hard, I can’t sleep.

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Farmer Wilson’s Haystack *

* * * * * * * * * * * * * * * * * * * *

Tramp 2:

Me either. My bones ache like I’ve been on a torture rack.

Tramp 1:

(Seeing the haystack) Would a little bit of straw under your back make a difference, do you think?

Tramp 2:

(Turning and following TRAMP 1’s gaze) A little bit of straw under my back would make a BIG difference!

Tramp 3:

Tramp 2: Tramp 3:

It’s a very big haystack.

If the owner knew it was for a good cause…

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Tramp 1:

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(Finally seeing the haystack and walking around it wideeyed) I only need a handful.

I’m sure he wouldn’t miss a couple of handfuls.

TRAMPS 1, 2 and 3 each take an armful of hay and exit with their swags, right of stage. The haystack lowers slightly. Three NATIVES enter from right of stage and stop in front of the stage before the haystack. They can be Hawaiian type natives or Australian Aborigines, whichever fits better with the class dynamics / school culture. The NATIVES are dressed in simple working clothes.

Native 2:

The boss wouldn’t let me out of the factory. I told him I had an important cultural ceremony to attend tonight and he took no notice.

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(Looking stressed) We’ll never make it in time.

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Native 1:

o c . chThe e r tourists have come allt the way from Japan. They’ll e o r s s r u e p expect us to be dressed in full native costume.

My boss called a full staff meeting and kept droning on and on.

Native 2:

Well, I’ve got the body paint ready, but the ceremonial dress just can’t be done. The gear is back on the other side of town.

Native 3:

We’ll just have to wear our work trousers.

Native 1:

We’ll be a disgrace to our own tribe. 37

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Farmer Wilson’s Haystack *

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Native 2:

We’ll probably lose the privilege of representing the clan again.

Native 3:

The Elders won’t be happy.

Native 1:

Wait a minute! (Spots the haystack) Look!

Native 2: Native 3:

Native 2:

It’s a very big haystack.

If the owner knew it was for a good cause… I’m sure he wouldn’t miss a couple of handfuls.

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Native 1:

r o e t s Bo r e p ok u S I only need a handful.

The three NATIVES grab an armful of hay each and hurry off left of stage. The haystack lowers slightly. SANTA CLAUS and two sorry and very weary looking REINDEERS enter from left of stage. SANTA carries an empty sack. They stop in front of the haystack.

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to collect the rest of the toys ... but I don’t think you are going to make it.

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The REINDEERS lift their heads, take a few limping steps forward and nearly fall over.

. t e Santa:

Reindeers 1 and 2: (Nod) Yes we can SANTA.

o c . che e r o t r s susleep. er The REINDEERS lie down andp SANTA paces about.

Santa:

Stop! Stop! My loves. No need to overdo it. We’ll rest for a while until you can gather some strength.

(To the audience) This year there has been a bad drought and no one has left any food for my REINDEERS. The poor things are starving. Dear me. Dear me. There will be no Christmas for some of my children this year if I can’t get back to the North Pole.

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Farmer Wilson’s Haystack *

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SANTA paces towards the back of the stage and on his way back to the front of the stage trips into the haystack.

Ho! Ho! Ho! Heavens be to Christmas! We are saved! I only need a handful (circling the haystack). It’s a very big haystack (considering). If the owner knew it was for a good cause. (Looking at his suffering REINDEERS) I’m sure he wouldn’t miss a couple of handfuls … Ho! Ho! Ho!

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r o e t s Bo r e p o u k SANTA wakes up his REINDEERS, gathers two armfuls of S hay, and the three exit right of stage looking very pleased with

themselves, SANTA ho-hoing as he goes. The haystack lowers slightly. Three ANGELS: ANGEL OF MERCY, ANGEL OF PEACE and ANGEL OF VIRTUE, enter gracefully from the right back of stage and glide softly around the haystack twice. If there are dancers in the class, an applicable dance could be choreographed. The three stop to the left of the haystack and pose gracefully, each with their right arm and hand extended towards the haystack and the left held slightly behind. They each speak in lilting, musical voices. They assume an air of reverence and obedience.

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Angel of Mercy: Behold! This is the place that we have been sent to ANGELS.

Angel of Peace: How wonderful it is ANGEL OF MERCY. You have lead us directly to the proclaimed haystack.

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Angel of Virtue: Our mission is almost complete ANGEL OF PEACE. As we were told, this hay is freshly cut and stacked.

Angel of Virtue: Glory be! (Smelling a handful.) Such a sweet perfume. They all smell the handful of hay. Angel of Mercy: Yes, ANGEL OF VIRTUE, it was stacked by an honest man and his humble son. 39

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Farmer Wilson’s Haystack *

* * * * * * * * * * * * * * * * * * * *

Angel of Peace: Then the straw is perfect ANGELS, for the very special baby who is to be born in the stable and placed in the manger tonight. Angel of Mercy: We only need a handful. Angel of Peace: It’s a very big haystack.

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Angel of Virtue: And it’s certainly for a good cause. But what about the owner ANGEL OF MERCY?

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Angel of Mercy: There’s no need to worry ANGEL OF VIRTUE. The owner will be rewarded for his goodwill.

The ANGELS collect two armfuls of hay and they all glide gracefully out back right of stage. The haystack lowers slightly. Three WITCHES trudge in from left of stage. They each carry a broom handle with a tattered scorched straw end. They speak with cackles and raspy voices.

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Witch 1:

Hah! You ugly couple of WITCHES. How do you think we’re going to get home now? We’re hundreds of miles away, and these burnt brooms are never going to fly us there (holds up her burnt broom).

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Witch 2:

Cackle! Cackle! Well, what if we have to walk? It was worth it to save those koalas and wallabies in that bushfire.

o c . (Slapping her side and guffawing) If we’d only had a ch e r camera! Three WITCHES flying through the fire with e o t r s s r up singed animals on e their brooms. Hahh! Haahhhh! We must have looked a sight.

Witch 3:

(Cackling) I nearly fell off into the fire when one of the wallabies started jumping around.

Witch 2:

(Sternly) Well, you’ll be laughing when the villagers catch us and burn us at the stake. Then you’ll know what it’s really like to burn in a fire.

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Farmer Wilson’s Haystack *

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Witch 3:

(Looking worried) Burn us at the stake? They wouldn’t would they?

Witch 1:

(Sobering up) I guess you’re right sister. They did that to my grandmother back in 1753.

Witch 2:

There’s nothing left for us to do than embark on a one hundred mile walk. We’ll have to go without food, skirt the towns and only travel at night. (Discouraged) Gizzard of a cane toad. I never thought I’d miss my old broom so much (looks at the singed broom wistfully). My feet feel like battered roadkill.

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Witch 3:

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WITCH 1, 2 and 3 notice the haystack. They hobble around it and begin to cackle louder and louder. They do a sinister witch dance in front of it, arm in arm, hopping over their brooms which they place in a line on the floor.

I only need a handful. © Read yEdPubl i cat i ons Witch 2: It’s a very big haystack. •f orr evi ew pur posesonl y• Witch 1:

If the owner knew it was for a good cause …

Witch 1:

I’m sure he won’t miss a couple of handfuls.

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Witch 3:

Cackling as they go, the three WITCHES gather armfuls of hay, collect their broomsticks and exit right of stage. The haystack lowers slightly. FARMER WILSON and son FRANK enter with a wheelbarrow. They survey the depleted haystack.

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o c . ch e Farmer Wilson: (Alarmed) FRANK, the haystack is half the size it was r e o yesterday. r st super

Frank:

You’re right Dad. What on earth could have happened to it?

Farmer Wilson: We’ve had no cyclones or tornadoes. Frank:

(Looking around) There are no hungry animals in this paddock. 41

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Farmer Wilson’s Haystack *

* * * * * * * * * * * * * * * * * * * *

Farmer Wilson: (Scratching his head) FRANK, I suspect foul play. Frank:

Yes Dad, I think you are right.

FRANK and FARMER WILSON move to the very front of the stage, looking left and right for evidence.

r o e t s Bo r e p caper across the stage o The three SCARECROWS from left of stage u k Sof the haystack. They have stuffed bodies and arms, at the back

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Farmer Wilson: (Appealing to the audience) Has Bob the Builder stolen it to make bricks?

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and hold themselves erect with arms bent upwards at the elbows. They do a little linked arm dance around the haystack and kick their heels together behind FARMER WILSON’S back, before exiting right of stage. PROMPTER holds up “No” sign to the audience.

No!

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The three POOR WOMEN walk across the back of the haystack from left of stage and exit right of stage. They each carry a basket which is laden with eggs. They are happy, singing and chatting together as they cross. PROMPTER holds up “No” sign to the audience.

o c . c e Farmer Wilson: h (Going to the right side of the stager and looking at the e o t r s from the village taken it audience) Has gossiping Gertie s r u e p for her pigs? No!

The three TRAMPS looking neat and sprightly march with purpose across the stage from right to left at the back of the haystack. One carries a hoe, one a shovel, and the other a miner’s helmet. PROMPTER holds up “No” sign to the audience. Audience: 42

No!

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Frank :

Farmer Wilson’s Haystack *

* * * * * * * * * * * * * * * * * * * *

(Moving to centre front stage) Has Bo Peep taken it for her sheep?

The three NATIVES cross the stage at the back left to right. They are decked out in full native costume including grass skirts and painted bodies (as suits the native type chosen). They practise their songs and dance steps as they move. PROMPTER holds up “No” sign to the audience.

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Audience:

No!

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Farmer Wilson: (From left of stage) Tizzy Lizzy for her garden?

SANTA and his two REINDEERS cross the back of the stage right to left. SANTA has a full bag of toys and the REINDEERS prance merrily. SANTA can be heard Ho! Ho! Ho! PROMPTER holds up “No” sign to the audience.

No! © Read yEdPubl i cat i ons Frank: (Thinking) Giant sparrows for their nests? •f orr ev i ew pur posesonl y• Audience:

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The three ANGELS glide gracefully across the back stage from right of stage, slip around the back of the haystack and forward to the front of it. One ANGEL carries a baby in a blanket. They stop. The three admire the baby and then glide around the haystack and exit left of stage. PROMPTER holds up “No” sign to the audience.

. te Audience:

o c . che e r o Farmer Wilson: (From centre front of stage) I know! It must have been t r s s r u e p kangaroos that hopped over the fence. No!

The three WITCHES riding on brand new straw brooms cross the back stage from right to left. They can be heard laughing in high pitched cries and cackles. PROMPTER holds up “No” sign to the audience. 43

* * * * * * * * * * * * * * * * * * * * *

Farmer Wilson’s Haystack *

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Audience:

No!

Frank:

I don’t know who it was Dad, but one thing’s for sure, we’re not going to be able to feed the cows for very long on that haystack.

Farmer Wilson: (Despondently) No Frank. I’ll just have to sell up. There’s nothing else I can do.

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Frank:

Dad! Can it be?

Farmer Wilson:

(Jubilantly) It is! It is! It’s rain!

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r o e t s Botheir r e FARMER WILSON and FRANK WILSON collect p osound of wheelbarrow and pitchforks and turn to trudge home. Ak u thunder is heard. S They stop and look up at the sky. FARMER WILSON and FRANK WILSON hold their arms and hands out to catch the rain and look up at the sky. They hug each other and cheer.

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FARMER WILSON and FRANK WILSON both stand and look at the haystack.

. teMaybe our haystack has brought us luck Dad. o cgood use of Farmer Wilson: And I hope whoever took the rest of it made . jolly c e it too,h Frank. r er o t s super Frank:

* * * Curtain closes * * *

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The Magic Fishing Line

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Age group:

7 – 12 year olds

Running time:

30 - 60 minutes

Class numbers:

20-60 students

The Magic Fishing Line Production Notes

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Modifications

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Characters, Costume Suggestions and Props

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Choose two or more students for each talent category. Categories may be excluded or new ones added to suit class size. If two or three classes are incorporated there could be up to six students in each category. Students could spend time deciding what their best talents are as a class activity. Each child should be comfortable with his/her allocated role. The teacher needs to encourage all students to recognise their best attributes. For a shorter performance, cut down on the number of talents and add more students to categories such as SINGERS, CHEFS, SPORTSPEOPLE. If a student can juggle then he/she should be incorporated into the act.

PROMPTERS Need “Applause” and “Boo and Hiss” signs to prompt audience.

. te Talent Pool

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BALLERINAS Matching clothes suitable to dance in.

SINGERS Matching clothes, perhaps choir uniforms.

CHEFS 1, 2 and 3 Chef clothes if available, or black trousers, white shirts and large white aprons. Each CHEF carries a large pot and a large spoon.

ATHLETES Athletes’ clothing, singlets, lycra, shorts, gym shoes etc.

GYMNASTS Sports shorts and t-shirts or gym clothes. Mats or other gym props. 46

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shorts, and t-shirts and thongs. The names of the FISHERMEN may be changed to suit the students playing these roles. FISHERMAN 1 carries a fishing rod with a real line and a clip for a hook, upon which cardboard fish and other items will be attached off stage. He also carries a bag. FISHERMAN 2 carries a fishing rod with no line or hook. Both men carry a tackle box and a fold up seat.

SPORTSPEOPLE Sports gear suiting the sport represented. Basketballs, netballs, soccer balls, cricket bats etc.

POLITICIANS 1, 2 and 3 Full school uniform with blazer and tie if available. Neatly styled hair. Sheet of paper each. CLOWNS 1, 2 and 3 CLOWN costumes and make-up. CLOWN 1 rides a small bike with a horn. CLOWN 2 carries a cushion. CLOWN 3 has a stuffed toy (gorilla). CLOWNS 2 and 3 each have a juggling ball in their pockets.

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JAZZ/TAP DANCERS Matching costumes to suit dance performed. ACTORS: 1. MARY Dressed as a young girl with a pretty dress gathered at the waist, white socks, flat shoes, and hair in ribbons. She pushes a pram with a white pillow in it. A black hood is concealed in her pocket.

3. SUPERTOM Any superhero costume or tights, singlet, cape and mask.

SCIENTISTS 1, 2 and 3 All are dressed in white coats. They wear long trousers, leather shoes and glasses. They have very neat middle-parted hairstyles. SCIENTIST 3 carries a book.

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POETS 1, 2 and 3 Dressed to look “arty” with casual, eccentric clothing and hairstyles.

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with the collar cut off and very open to reveal his chest, a black eye patch, and a red bandana on his head. He has a plastic or cardboard cutlass tucked into his waist sash and a waist bag which carries either a doll’s head or a mannequin’s head.

ARTIST 1 and ARTIST 2 Both carry easels with large butcher’s paper secured to them. ARTIST 1 has a black marker, ARTIST 2 has a blue marker. FEMALE MODEL Draped in a shroud.

2. PIRATE PETE Trousers with the legs tucked into knee-high socks, flat shoes with buckles, a waist sash, a white shirt

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Extra Props

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Five small cardboard fish, three large cardboard fish, an old tyre, seaweed, an old boot, a large piece of paper showing a Picasso-like abstract portrait (see below).

Staging/Scene Empty stage. 47

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The Magic Fishing Line *

* * * * * * * * * * * * * * * * * * * *

The Magic Fishing Line Script ***

Curtain opens * * *

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Two FISHERMEN walk onto centre stage. They each carry a fishing rod, a tackle box and a fold up seat.

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Fisherman 2 (Max):

(Looking around) This looks like a good spot MAX. I’m going to give this a shot. (He sets up his seat, sits down approximately 2.5 metres from the wing right of stage, and starts to bait his line.)

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Fisherman 1 (Harry):

Well, good luck mate. I’m going to try over here. (He sets up his seat 2.5 metres from the wing left of stage, and sits down facing the left wing).

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Fisherman 1:

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(Preparing his line and casting out) Ahhh but HARRY. This is a magic fishing line. I’m sure I’ll catch something.

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Fisherman 2:

(Shakes head and goes back to his own fishing. He must throw his hook well off stage each time so that it can be attached to objects. After five seconds he feels a tug) I’ve got something. (He pulls in a small fish) Nah! Too small (throws it back).

o c . c e r FISHERMEN 1h and sit for five seconds. o e2r t s super

Fisherman 2:

I’ve got something this time.

FISHERMAN 2 reels in his line and the BALLERINAS enter from left of stage. They dance at the front of the stage, a two to three minute routine, then exit. PROMPTER holds up the “Applause” sign. FISHERMAN 1 watches in amazement during the BALLERINAS’ routine. 48

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The Magic Fishing Line *

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Fisherman 1:

What! Where did they come from? Am I dreaming?

Fisherman 2:

I fished them out of the pond. They’re talented BALLERINAS. Hey! I’ve got another bite. (He reels in the CHEFS) Ahh! Talented CHEFS.

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Three CHEFS enter from left of stage each holding a large pot in one arm and stirring it with the other hand using a large spoon.

Chef 2: Chef 3:

I’ve just invented the most delicious brandy sauce. (Smelling his pot) Smells good. I’m experimenting with caramel custard.

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Chef 1:

Make sure you don’t burn it! This is my second attempt at a steak marinade. It’s like teriyaki steak marinade but with a difference.

CHEFS 2 and 3 taste the brandy sauce.

CHEFS 1 and 2 taste the custard.

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Ohh! I’ve gotta have that recipe.

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Chef 3:

. t e1 and 2 taste the steak marinade. They bothc o CHEFS grimace. . One makesc choking noises and turns aside and retches. The other e h r er o They compose makes gasping noises and fans his open mouth. t s s r u e p themselves, and smile brightly at CHEF 3.

Chef 3:

Creamy, but not too textured.

Chef 1:

(In a high pitched voice) Yumm! That’s fantastic! Really packs a punch.

Chef 2:

(Still gasping) Dee-li-cee- USsss!

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The Magic Fishing Line *

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Exit CHEFS. The PROMPTER holds up the “Applause” sign. FISHERMAN 1 is wide–eyed. He stands, rubs his eyes and bangs his head with his palm. Fisherman 1:

I must have sunstroke! What are CHEFS doing on a rock ledge?

r o e t s Bo r e p ok u The GYMNASTS run in with mats or whatever is needed, and S do a three minute routine consisting of somersaults, cartwheels,

I told you I have a magic fishing line. I’ve got something else! Ahh! GYMNASTS.

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Fisherman 2:

etc., then exit. The PROMPTER holds up the “Applause” sign.

Fisherman 1:

Magic fishing line. This is just crazy! Hang on! What’s on my line? (He reels in a large fish) At least I can take something home for dinner. (He packs the fish into his bag.)

Fisherman 2:

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Fisherman 1:

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The SINGERS enter and sing a happy, quick-paced song in harmony if possible, then exit. FISHERMAN 1 watches with disbelief, shrugs and returns to his fishing. The PROMPTER holds up the “Applause” sign.

(Grumpily) You’re supposed to be fishing for fish. Look. Watch me. (He reels in a boot. He throws it away in disgust). Blast!

o c . Fisherman 2: cBut I’m fishing for talent, you see. Look! (He reels his line e h r o in.)e ATHLETES r st suand er pSPORTSPEOPLE. ATHLETES enter, do some warm-ups, high knee jogging on the spot, pretend to do some discus throwing, practise starts for sprints, etc. SPORTSPEOPLE bounce and pass basketballs, netballs, dribble soccer balls, swing cricket bats, etc. The PROMPTER holds up the “Applause” sign.

* * * * * * * * * * * * * * * * * * * * *

The Magic Fishing Line *

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NB. If you have a lot of students, ATHLETES and SPORTSPEOPLE could be split. Continue in this way until the talent pool is exhausted. Each time FISHERMAN 2 reels in a new talent, he needs to announce who they are. Intersperse talent pool people with catches from FISHERMAN 1 - a small fish, an old tyre, seaweed, etc. for every three or four of FISHERMAN 2’s “catches”.

Fisherman 1 shakes his head. Fisherman 2:

(Reeling) Now it’s the POLITICIANS.

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Three POLITICIANS enter from left of stage and stand front centre. They each hold a sheet of paper. How’s your speech for the School Captain going?

Politician 2:

Quite well, I think. I’m starting with, “Well may you say ‘God Save The Queen’, because nothing will save the School Principal.“

Politician 1:

Hmmm. Very powerful. How do you like my introduction, “The teachers at this school are a conga line of garden gnomes”?

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Politician 1:

© ReadyEdPubl i cat i ons Politician 3: r e That’ll certainly get their attention. Hey! (gesturing out •f or v i e w p u r p o s e s o n l y • at the audience) What’re all those kids doing loitering around the library?

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Politician 1:

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The playground is too crowded I guess.

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Politician 2:

We need to suggest that the school provide more areas to play.

o c . c e Politician 2: h We could lobby for a basketballr court. er o t s s r u e p Politician 3: A Detention Centre would keep them out of trouble – Politician 3:

I reckon they’re casing the place out (peering at audience). They look suspicious to me.

with barbed wire.

Politician 1:

Who would decide who went to the Detention Centre?

Politician 3:

As Captain, I would decide who goes to the Centre.

Politician 2:

I’m sticking to the basketball court. 51

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Politician 1:

The Magic Fishing Line *

* * * * * * * * * * * * * * * * * * * *

Me too!

POLITICIANS 1, 2 and 3 all turn and go separate ways. Politician 3:

(Calling to them as they leave) There are more votes in a Detention Centre.

FISHERMAN 1:

Poof! They’re a serious lot!

FISHERMAN2:

They’ll probably be councillors or premiers one day. (Reeling in his line) These CLOWNS won’t though.

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The CLOWNS enter – the whole act is mimed.

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r o e t s Bo r e p ok u PROMPTER Sholds up the “Applause” sign.

Clown 1 rides in on a very small bike squeezing his bike horn, waving at the crowd and showing off. He rides around and around the front of the stage. Clown 2 carries a cushion. Clown 3 carries a large stuffed animal (gorilla if available).

CLOWNS 2 and 3 sit the gorilla against FISHERMAN 1’s tackle box, and place the cushion beside it. They watch CLOWN 1 lap up all the attention with derision. Clown 1 stops and bows to the audience.

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The PROMPTER holds up the “Applause” sign.

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Clowns 2 and 3 go to the front and try to attract the crowd by throwing up one ball between them, looking pleased, and then bowing. The “Boo and Hiss” sign is held up by the PROMPTER. They are disappointed.

. te o Clowns 2 and 3 then try to balance the balls on theirc heads and . on the backs ofc their necks. They bow. The “Boo and Hiss” sign is e h r er o held up by the PROMPTER. They are crestfallen. st su per

Clown 1 zigzags around CLOWNS 2 and 3, circling them and putting them off balance. Clown 2 gets the cushion and when CLOWN 1 is not looking he pops it under the bike. Clown 1 falls off the bike. CLOWN 2 walks away, whistling and looking at the ceiling. Clown 3 is standing at the very front of the stage, peering at the audience. CLOWN 1 angrily accuses CLOWN 2, points to the cushion, points to CLOWN 2, shakes fist. 52

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The Magic Fishing Line *

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Clown 2 looks surprised, he gestures as if to say, “Who me?” He points to the gorilla. CLOWN 1 goes to the gorilla and begins to argue with it, picking it up and shaking it. While CLOWN 1 is doing this, ClownS 2 and 3 take turns to ride the bike. They bow. The “Applause” sign is held up by the PROMPTER.

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Clown 1 notices CLOWNS 2 and 3, chases the bike ridden by CLOWN 2 off stage. Clown 3 collects the gorilla and the cushion and follows. The PROMPTER holds up the “Applause” sign.

FISHERMAN 1:

Ha! Ha! They’re funny.

FISHERMAN 2:

Well the world can always do with more CLOWNS. (Reeling in his line) And POETS too.

POETS 1, 2 and 3 walk to centre stage. They recite with exaggerated feeling and gestures.

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Poet 2:

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Poet 3:

Poet 2:

Yesterday … Yesterday … Yesterday …

(Seriously, one hand extended) A little bird … Did a turd …

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o c . che e r o t r s super (Matter-of-fact) It fell on the Queen, (Concerned, hand on heart) Let us hope, Not on the Pope.

All slimy and green …

Poet 3:

(Considering) A neat coronation For one of her station.

Poet 1:

(Dreamily) 53

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The Magic Fishing Line *

* * * * * * * * * * * * * * * * * * * *

Yesterday … Yesterday … Yesterday …

POETS 1, 2 and 3 exit arm in arm, whispering together, nodding, gesticulating. The “Applause” sign is held up by the PROMPTER.

r o e t s Bo r e p ok u S Actually, I think I understood those poets.

FISHERMAN 2:

Some say that fishing IS poetry. (Reeling in his line) Here are some talented DANCERS.

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FISHERMAN 1:

JAZZ / TAP DANCERS (matched to attributes of class) enter and perform a two to three minute routine. The PROMPTER holds up the “Applause” sign.

FISHERMAN 1:

Boy those kids can MOVE!

Yes, they’ve certainly got rhythm. (Reeling in his line) © Rea dyEdPubl i cat i ons Looks like we’ve got ACTORS this time. •f orr evi ew pur posesonl y• Three ACTORS enter the stage. MARY enters from left of stage

FISHERMAN 2:

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pushing a pram with a large white pillow in it. PIRATE PETE follows MARY closely behind and overtakes her as they reach the centre stage. He turns to face her and she stops. SUPERTOM enters but waits near FISHERMAN 2, watching the two, and listening with his hand cupped to his ear.

o c . che e r o t r s r e The PROMPTER holds s upu thep “Boo and Hiss” sign to the

Ah- haaa me heartie! (Waves a scabbard sword at MARY) What ‘re ye doing on me island me lassie?

audience.

Mary:

(Primly) I’m MARY. This is my little lamb. Its fleece is white as snow (she takes out the pillow and caresses it).

Pirate Pete:

Arrrh! Looks more like a goat to me. Goat would be nice for me supp-arrrgh.

* * * * * * * * * * * * * * * * * * * * *

The Magic Fishing Line *

* * * * * * * * * * * * * * * * * * * *

The PROMPTER holds up the “Boo and Hiss” sign to the audience. Mary:

(Screams) Ohhhh help! Don’t listen to him lamby (she puts him back in the pram, fusses over him, rocks the pram back and forth).

r o e t s Bo r e p ok u S The PROMPTER holds the “Applause” sign up to the audience.

(Rushing in with big running leaps and landing in front of the two of them) Who needs help? My super-sensitive hearing, heard a cry for help.

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Supertom:

Mary:

(Whimpering) Ohh, SUPERTOM! Save me from this nasty PIRATE.

Supertom:

(Faces PIRATE PETE and moves his hands threateningly like a karate expert) You dastardly force of evil. There is no place in this world for the two of us.

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by the wrist and forces him first onto his knees and then onto the ground. There is lots of grunting and resisting from SUPERTOM. PIRATE PETE kneels over SUPERTOM with his back to the audience. He takes out his cutlass and chops the stage above SUPERTOM’S head. With his other hand he takes out a doll’s head from the sash around his waist and throws it across the stage. MARY who is cradling the lamb during the fighting, runs and kneels beside SUPERTOM. With her back to the audience she takes out a black gauze hood concealed in her pocket and places it over SUPERTOM’s head.

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Mary:

(Standing up) Ohhhhh! PIRATE PETE You are so fearless and strong. (MARY collects her lamb and places it in the pram.)

Pirate Pete:

(Grabbing MARY by the arm) Arrrh! Me little beauty! Come with me on a romantic adven-chaw. Arrrh! (Raises cutlass to the right and exits right of stage.) 55

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The Magic Fishing Line *

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PIRATE PETE exits right of stage and MARY follows pushing the pram. Hooded, SUPERTOM looks up, sees they are gone, gets to his feet, collects the doll’s head, holds it in his left hand, raises his right arm and with running leaps, exits left of stage.

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PROMPTER holds the “Applause” sign up to the audience.

FISHERMAN 2:

(Joining in) Bravo! Bravo! (Throws line in and out.) Ahh, now we have some SCIENTISTS.

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(Putting down his reel and clapping) Bravo!

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FISHERMAN 1:

Three SCIENTISTS wearing white coats enter and come to the front of the stage. SCIENTIST 3 reads from a book. The first two stand still. The third wanders back and forth and around the other two, not lifting his head from the book.

Did know that Jupiter more than © Rea dyou yEd P ubhas l i c at i o60nmoons? s Scientist 2: (Very interested) No I did not! Sixty! Imagine the night sky •f orr ev i ew pur posesonl y• if you lived there. Did you know that the oldest living Scientist 1:

human fossil is 160,000 years old?

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Scientist 2:

When I grow up I want to be an Archaeologist.

Scientist 1:

o c . che e r o t r s s r u e p Hey, (looks at SCIENTIST 3) What do you want to be?

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Scientist 2:

(Amazed) Wow! 160,000 years old! [insert Principal’s name] must nearly be that old.

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Scientist 1:

I’m not sure. But I’m thinking of medical research. You know, golden staph bacteria is now almost completely resistant to penicillin. Something needs to be done about that.

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The Magic Fishing Line *

* * * * * * * * * * * * * * * * * * * *

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SCIENTIST 3 continues walking, his head in the book. SCIENTISTS 1 and 2 watch him for a while. As SCIENTIST 3 walks towards them and goes to pass them, SCIENTIST 1 walks to a spot ahead of his path and puts out a foot to trip him up. SCIENTIST 3, without lifting his head, neatly steps over the foot and continues on. SCIENTISTS 1 and 2 look at each other, shrug, and exit right of stage. SCIENTIST 3 follows, his head still in the book. PROMPTER holds the “Applause” sign up to the audience.

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What’s this? Curses, just some seaweed. I thought it was a snapper.

FISHERMAN 2:

I’ve got some ARTISTS. Let’s see what they can do.

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FISHERMAN 1:

2 ARTISTS and 1 FEMALE MODEL enter. The ARTISTS carry easels with large butcher’s paper secured to them. The MODEL is draped in a shroud, like a Greek goddess. The ARTISTS place the easels facing the audience and the MODEL strikes a pose behind the easels. ARTIST 1 draws with a large black marker, creating an abstract Picasso-like portrait with exaggerated lopsided eyes. ARTIST 2 uses a blue marker and draws a headless torso with no arms, which is draped in a shroud.

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ARTIST 1:

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(Examining the creation critically) Yes. I think that’s about it.

o c . che e r o t r The MODEL looks excited goesr to see. She looks at the torso s suand e p and screams. She looks at the abstraction and shrieks. She covers

ARTIST 2:

Yes. I’ve finished. Come and see what you think (gesturing to MODEL).

her face in her hands and runs out, right of stage. ARTIST 1:

(Miffed) I guess she didn’t like it.

ARTIST 2:

(Reassuring ARTIST 2) Well, you know, not everybody appreciates fine art. 57

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The Magic Fishing Line *

* * * * * * * * * * * * * * * * * * * *

ARTIST 1:

(Examining the torso and pointing to the navel) I think you’ve done a fantastic job capturing her inner soul.

Artist 2:

(Examining the abstract) Oh! That’s incredible! How did you get her eyes so.....so........SEEING?

They collect their easels and exit right, chattering as they go. The PROMPTER holds the “Applause” sign up to the audience.

r o e t s Bo r e p ok u S

Fisherman 1:

(Reeling in his line) Here we go again. These are the last in the pool. (Looking at the catch) Let me guess. Talented JUDOISTS!

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Teac he r

Fisherman 2:

JUDOISTS enter dressed in correct attire with mats as needed. They perform throws and other routines to demonstrate their skills, then exit right of stage. PROMPTER holds up the “Applause” sign to the audience.

Fisherman 1:

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It’s simple HARRY. I used opportunity (pronouncing it clearly and slowly) O-P-P-O-R-T-U-N-I-T-Y. With opportunity every school and every class becomes a talent pool.

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Fisherman 2:

The whole talent pool re-enter and form a line across the front of the stage. The PROMPTER holds up the “Applause” sign to the audience. The two FISHERMEN move through the line to the front of the stage.

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o c . che e r o t r s su r pe Fisherman 1: All the same, that’s a good day’s fishing for me. There’s

breakfast and dinner for my whole family here! (Holds up his catch.)

Fisherman 2:

(Examining the catch) Good job! Maybe I’ll try your pool next time.

* * * Curtain closes * * * 58

Teac he r

ew i ev Pr

r o e t s Bo r e p ok u S

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m . u

o c . che e r o t r s super

Teac he r

ew i ev Pr

r o e t s Bo r e p ok u S

w ww

. te

m . u

o c . che e r o t r s super