“I’LL BE FAMOUS ONE DAY, BUT FOR NOW I’M STUCK IN MIDDLE SCHOOL.”
Charleston Stage, now celebrating its 48th Season, is South Carolina’s largest professional theatre company in residence at the Historic Dock Street Theatre. Charleston Stage’s acclaimed full-scale productions light up the stage with stunning scenery, dazzling costumes, and brilliant lights! Productions feature a Professional Resident Acting Company and over 100 professional actors, singers, designers and theatre artists. All performances take place at the Historic Dock Street Theatre, “America’s First Theatre,” in the heart of downtown Charleston.
Book by Kevin del Aguila
Music and Lyrics by Michael Mahler and Alan Schmuckler
Based on the “Diary of a Wimpy Kid” Book Series by Jeff Kinney and 20th Century Studios
Direction and Choreography by Rylee Coppel
Music Direction by Michael Lopez
BRIEF SYNOPSIS:
Diary of a Wimpy Kid: The Musical is a high-energy stage adaptation of Jeff Kinney’s bestselling book series. The story follows Greg Heffley, a wise-cracking middle schooler who just wants to be popular—but he keeps getting tripped up by his awkward best friend, Rowley Jefferson, and his own questionable choices. As Greg navigates bullies, embarrassing family moments, and the infamous “Cheese Touch,” he learns that popularity isn’t everything and true friendship matters more
RUN TIME:
Approximately 60-70 minutes without intermission
TARGET AUDIENCE:
Elementary and middle school students, and fans of the book series
MAJOR THEMES:
Friendship – Greg’s evolving relationship with Rowley reveals the ups and downs of middle school bonds.
Identity & Popularity – Greg wrestles with who he is vs. who he wants others to see him as.
Consequences & Growth – The story highlights how poor decisions can lead to learning and growth.
Empathy & Loyalty – Students explore how understanding others leads to stronger relationships.
BACKGROUND INFO
THE CREATIVE TEAM
Kevin Del Aguila (Book Writer)
Kevin Del Aguila is an Emmy-winning writer, actor, and playwright. He’s best known for his witty, heartfelt storytelling in family and youth theater. His writing credits include Altar Boyz (Off-Broadway), the stage adaptation of Dog Man: The Musical, and television shows like Peg + Cat and Dora the Explorer. As an actor, he earned a Tony nomination for Peter and the Starcatcher. Del Aguila specializes in capturing the humor and struggles of growing up in ways that resonate with young audiences and adults alike
Michael Mahler and Alan Schmuckler (Music & Lyrics)
Michael Mahler and Alan Schmuckler are a Chicago-based songwriting team known for their sharp, contemporary musical voice and strong storytelling. Their work often appears in new works and youth theater productions, including: How Can You Run With a Shell on Your Back?; Something in the Game: The All-American Musical; Knuffle Bunny: A Cautionary Musical (Mahler, co-lyricist). They blend humor, heart, and modern musical styles, making their songs especially appealing to young audiences while still sophisticated enough for older students and adults. They’ve worked extensively with TheaterWorksUSA, Chicago Shakespeare Theater, and First Stage.
Jeff Kinney — Original Author
Jeff Kinney is the author and illustrator of the Diary of a Wimpy Kid series, one of the most popular middle-grade series in the world. A ormer cartoonist and game developer, Kinney created Greg Heffley as a eflection of his own childhood experiences. His books have sold over 275 million copies worldwide and inspired multiple films and this stage musical. Kinney is known for his humor, relatability, and ability to authentically capture the awkward, funny, and honest parts of growing up
Based on the popular book series by Jeff Kinney, Diary of a Wimpy Kid: The Musical explores the challenges of middle school life. While the musical is generally appropriate for students, there are several elements to be aware of.
Language: The musical includes mild language reflective of middle and high school vernacular, such as “sucks,” “shut up,” and insults like “butt-munch,” “rat face,” “lame,” “stupid,” “loser,” and “dork.”.
Themes and Situations: The story addresses bullying, sibling rivalry, and strained friendships. Greg and Rowley are bullied, and Greg's friendship with Rowley is tested as he competes for popularity.
Violence & Scariness: There are instances of bullying and mild physical confrontations, such as Greg and Rowley being threatened by older students and engaging in a mock fight
Sensory Advisories: The production includes bright lights, loud music, and occasional haze and fog effects, which may be intense for some students.
SC STATE STANDARDS ALIGNMENT
English Language Arts (ELA)
K.RL.1.2 / 1.RL.1.2 / 2.RL.1.2: Retell stories, including key details; determine the central message, lesson, or moral.
K.W.2.3 / 1.W.2.3 / 2.W.2.3: Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events; include details to describe actions, thoughts, and feelings
K.SL.1 / 1.SL.1 / 2.SL.1: Participate in collaborative conversations with diverse partners about kindergarten topics and texts with peers and adults in small and larger groups.
Mathematics
K CC 4 / 1 CC 4: Understand the relationship between numbers and quantities; connect counting to cardinality.
K OA.1 / 1 OA.1: Represent and solve addition and subtraction problems within 20
DISCUSSION QUESTIONS
Before the Musical
What do you think middle school will be like?
Why do you think Greg wants to be popular?
How do you think Greg's friendship with Rowley will change throughout the story?
After the Musical
How did Greg's actions affect his friendship with Rowley?
What did Greg learn about popularity and friendship?
How can you relate Greg's experiences to your own life?
CLASSROOM ACTIVITIES
1. Create Your Own Journal
Objective: Encourage self-expression and reflection.
Materials: Paper, markers, stickers, glue.
Instructions: Students create their own journals, decorating the covers and writing about their thoughts, feelings, and experiences.
2. Role-Playing: Friendship Challenges
Objective: Develop empathy and problem-solving skills.
Instructions: In groups, students role-play scenarios where friendships are tested, such as disagreements or misunderstandings, and discuss ways to resolve conflicts.
3. Diary of a Wimpy Kid Quiz
Objective: Assess comprehension and recall.
Instructions: Create a quiz based on the musical's events and characters, testing students' understanding of the story.
THEATRE EDUCATION
Acting Classes
200+ Students Attend Acting Classes After School
Charleston Stage’s TheatreSchool offers classes year-round, for students from kindergarten through 8th grade at Charleston Stage’s West Ashley Theatre Center. Acting classes for students of all ages and abilities are taught by members of Charleston Stage’s Professional Resident Acting Company. Classes range from beginning classes to performance workshops and troupes. We now offer a full-year registration. Tuition scholarships are available for need-based students. Register online today at CharlestonStage.com/education
ArtReach In-School Workshops
Bringing Professional Actors Into the Classroom
Charleston Stage’s Professional Resident Actors provide dynamic workshops in area schools throughout the Lowcountry. Workshops use theatrical skills to teach academic subjects and can be combined with a school matinee performance experience. For information on booking ArtReach workshops, contact Rylee Coppel, Director of Education and Engagement, at rcoppel@charlestonstage.com or (843) 225-3900
TheatreWings High School Apprenticeships A Tuition-Free Apprentice Program For Teens
The TheatreWings High School Apprentice Program is designed to allow talented young people the opportunity to work directly with theatre professionals and gain first-hand experience in professional theatrical production. Students explore stage management, lighting and sound, as well as set, prop, and costume design and construction. Designed for highly dedicated students, TheatreWings requires more than 100+ hours of apprenticeship each season. For more information, email TheatreWings Co-Coordinators Ravyn Meador or Caleb Garner at wings@charlestonstage.com.
For more information on our Education programs, call the Education Office at (843) 225-3900 or visit CharlestonStage.com/education.
DOCK STREET THEATRE
For almost 300 years audiences have delighted in performances at the Historic Dock Street Theatre which stands on the site of the very first theatre building in America which opened its doors in 1736. The current building, originally The Planter’s Hotel was built in 1803 and in 1937 was converted into the Dock Street Theatre know today. Charleston Stage presents over 150 performances at the Historic Dock Street Theatre playing to theatre goers from every state in the union and many foreign countries. The Dock Street Theatre, newly renovated in 2010, is currently owned and managed by the City of Charleston. Other performing arts groups including Spoleto Festival USA perform here annually
On February 12, 1736 the Dock Street Theatre opened with a performance of The Recruiting Officer. Built on the corner of Church Street and Dock Street (now known as Queen Street), the Historic Dock Street Theatre was the first building in America built exclusively to be used for theatrical performances. Flora, the first opera performance in America, took place at the Historic Dock Street Theatre.
The original Dock Street Theatre was probably destroyed by the Great Fire of 1740 which destroyed many of the buildings in Charleston’s French Quarter. In 1809, the Planter’s Hotel was built on this site and in 1835 the wrought iron balcony and sandstone columns of the Church Street facade were added. A number of notable persons worked and patronized the Planter’s Hotel including the noted 19th Century actor Junius Brutus Booth (father of Edwin and John Wilkes Booth). Robert Smalls, an African-American Civil War hero, who stole a steamboat in the harbor and sailed it out past the Confederate-held Ft. Sumter and turned it over to the blockading Union Fleet, served as a waiter in the hotel’s dining room prior to the war. Charleston’s famed Planter’s Punch was first introduced here
After the Civil War, the Planter’s Hotel fell into disrepair and was slated for demolition. But in 1935, after Milton Pearlstine made the property available to the City of Charleston and at the urging of Mayor Burnet Maybank and other notable citizens, the original building became a Depression Era WPA (Works Progress Administration) project. At that time, the present theatre was constructed within the shell of the Planter’s Hotel. The hotel’s grand
DOCK STREET THEATRE
foyer became the grand foyer of the theatre and the hotel’s dining room now serves as the box office lobby. The beautiful woodwork and mantels of the second-floor drawing room were salvaged from the Radcliffe-King Mansion (circa 1799) which stood at the corner of George and Meeting Streets and was razed to build the College of Charleston gymnasium, another WPA project. Modeled on eighteenth century London playhouses by Charleston architect Albert Simons, the present Dock Street Theatre’s new stage house and auditorium were built in the hotel’s courtyard. The local carpenters who were put to work as a part of this Depression era relief effort utilized locally grown and milled native black cypress for the beautiful warm wooden interior. Following this $350,000 renovation,
The Historic Dock Street Theatre’s second grand opening took place on November 26, 1937. Notables in the audience included author DuBose Heyward (Porgy) who was named writerin-residence.
The Historic Dock Street Theatre reopened for the third time on March 18, 2010 after a three-year, $19 million dollar renovation by the City of Charleston. This extensive full-scale renovation brought the historic theatre into the 21st century with state-of-the-art lighting and sound, modern heating and air conditioning, and new restrooms and seating. In addition, the theatre was made seismically secure and fully handicapped accessible. Extensive soundproofing was added to ensure that outside noises no longer intruded on performances inside
