welcome to the theater
CONGRATULATIONS!
You’ll be working with your creative team and fellow cast members to put on a musical. Before you begin rehearsals, there are some important things you should know.
This book is your script Whether putting on a school production or rehearsing a professional show, every actor, director, and stage manager works from a script. Your script contains some additional information like this introduction and a glossary. You can look up any bold words in the glossary at the back of this book. Be sure to take good care of your script, and use a pencil when taking notes in it, since what you’ll be doing onstage can change during rehearsals.
One of the first things you’ll need to learn is what to call the various areas of the stage. Since most stages used to be raked, or tilted down toward the house, where the audience sits, we still use the term downstage to refer to the area closest to the audience and upstage to refer to the area farthest from the audience. Stage left and stage right are from the actor’s perspective when facing the audience. The diagram above shows how to use these terms to label nine different parts of the stage.
what to expect during rehearsals
You will be performing a musical, a type of play that tells a story through songs, dances, and dialogue Because there are so many parts of a musical, most shows have more than one author. The composer writes the music and usually works with a lyricist, who writes the lyrics, or words, to the songs. The book writer writes the dialogue (spoken words, or lines ) and the stage directions , which tell the actors what to do onstage and what music cues to listen for.
Your director will plan rehearsals so that the cast is ready to give its best performance on opening night! Remember to warm up before each rehearsal so that your mind, body, and voice are ready to go. Every rehearsal process is a little bit different, but here is an idea of what you can expect as you begin to work on your show.
music:
Since you’re performing a musical, it is important to learn the music early on in the rehearsal process. Your music director will teach the cast all the songs in the show and tell you what to practice at home.
choreography:
After you’ve got the music down, you’ll begin working on the choreography – or dance – in the show. Your choreographer will create the dances and teach them to the cast. The music and the choreography help tell the story.
blocking & scene work:
Your director will block the show by telling the cast where to stand and how to move around the stage. You’ll use your theater terms (downstage left, upstage right, etc.) a lot during this portion of the rehearsal process. You will also practice speaking your lines and work on memorizing them. Rehearsing your part from memory is called being off-book. Your director will help you understand the important action in each scene so you can make the best choices for your character’s objective, or what your character wants.
A Musical Fable of
make the script your own
Always write your name legibly, either in the space provided on the cover of your script or on the title page. Scripts have a way of getting lost or changing hands during rehearsals!
Although you should feel free to mark up your script, be careful it doesn’t become so cluttered with notes that you have a hard time finding your lines on the page! 1 2 4 5 6 7 8 3
Mark your lines and lyrics with a bright-colored highlighter to make your part stand out on the page. This will allow you to look up from your script during rehearsals, since it will be easier to find your place when you look back down.
Underline important stage directions, lines, lyrics, and individual words. For example, if your line reads, “Get to work, my little chickabddies.” and your director wants you to stress the words “Get to work,” underline them in your script.
Save time and space by using the following standard abbreviations:
ON: onstage OFF: offstage
US: upstage DS: downstage
SL: stage left SR: stage right
CS: center stage X: cross
You may use these abbreviations to modify other instructions (e.g., you could write “R hand up” to remind yourself to raise your right hand). You may also combine them in various ways (e.g., you could write “XDSR” to remind yourself to cross downstage right).
Draw diagrams to help clarify your blocking. For example, if you are instructed to walk in a circle around a table, you might draw a box to represent the table, then draw a circle around it with an arrow indicating the direction in which you are supposed to walk.
Draw stick figures to help you remember your choreography. Remember, the simpler the better.
Mark your music with large commas to remind yourself where to take breaths while singing.
Actor’s Script
From the beginning?
GUILDER
HEADMISTRESS THAGAR
Starting with two plus two is four.
We learned that years ago.
CRANTZ
HEADMISTRESS THAGAR I’m not sure all of us did. Get to work, my little chickabiddies. #12 – INCHWORM begins.
Hans Christian Andersen JR.
Inchworm
INCHWORM
(As the STUDENTS solve the problems, CHRISTIAN mutters the problems a few beats behind them.)
Not Too Fast
# 4 3
(except CHRISTIAN)
some tips for the theater
Don’t upstage yourself. Cheat out so the audience can always see your face and hear your voice.
Always arrive at rehearsal on time and ready to begin.
Keep going! If you forget a line or something unexpected happens, keep the scene moving forward. Chances are, the audience won’t even notice.
Remember to thank the director and fellow cast and crew members.
If you are having trouble memorizing your lines, try writing them down or speaking them aloud�
It takes an ensemble to make a show; everyone’s part is important.
Bring your script and a pencil to rehearsal.every
Before the show, say, “Break a leg”– which means “good luck” in the theater.
Be respectful of others at all times.
Be specific! Make clear choices about your character’s background and motivation in the show.
Always be quiet backstage. And keep in mind, if you can see the audience, they can see you, so stay out of sight.
HAVE FUN!
Hans Christian Andersen JR.
A Musical Fable of Copenhagen synopsis
Narrators CRANTZ and GUILDER introduce CHRISTIAN ANDERSEN and his parents, HANS and ANNE MARIE. The family is on the way to Copenhagen, where Christian will begin his studies at the Royal Academy (Hans Christian Andersen –Part 1). The Andersens play the “story game,” where one person begins to tell a story and the others add to it one by one. Christian imagines an UGLY DUCKLING hatching from an egg (Hans Christian Andersen – Part 2), and the family arrives in Copenhagen (Wonderful Copenhagen). A ROYAL GUARD presents PRINCESS VILHELMINA, who enters the academy with HEADMISTRESS THAGAR and the STUDENTS. Christian is nervous to follow them, but Anne Marie and Hans convince him to go (Anywhere You Wander)
PRINCESS CAROLINE, who uses a wheelchair, offers Christian a seat next to her. Christian quickly discovers that he is academically behind compared to everyone else at the academy, and Headmistress Thagar makes the class recite mathematical tables so he can catch up. Christian’s attention wanders, and he daydreams (Inchworm). Headmistress Thagar instructs Christian to stay behind during recess and continue studying. To his surprise, Princess Caroline stays behind as well, her nose in a book. She explains that her mother keeps her a secret to protect the royal image – she is an “invisible princess.”
Headmistress Thagar announces that the Students will present a performance of Shakespeare’s Hamlet to the king. After class, Headmistress Thagar gives Christian the keys to his room and his allowance, directing him to the market. He asks the headmistress to mail a letter to his parents.
MATCH GIRLS (including the MATCH GIRL), NEWSBOYS, CHIMNEY SWEEPS, MRS� MADSEN and the SAUSAGE SELLERS, and GREGORS and the FISHMONGERS are in the town square (Setting Up Shop). Christian mentions two princesses, and though the townspeople have heard rumors of a monstrous princess with scales and just one eye, Christian informs them that Princess Caroline is kind and smart, just hidden. When Mrs. Madsen and Gregors express that they are not getting the foot traffic they need, Christian tells a story to draw a CROWD (Thumbelina). Princess Caroline has also been watching, and she introduces Christian to her NURSE. Headmistress Thagar spots them in the crowd and sends them back to the castle. Christian is thrilled to have a friend in Princess Caroline (Thumbelina Tag) The next morning, the Students are back in the classroom (Hans Attempts Math; Hans Attempts Math Again), and Christian finally gets an answer right! He opts to stay in the classroom with Princess Caroline during recess to cheer her up with a story. He spins
the tale of “The Little Mermaid,” which isn’t finished yet, but Princess Caroline encourages him to keep going (The Little Mermaid).
The Students continue to review mathematics (Multiplication!)
A Crowd has gathered in the market to hear Christian’s story. He obliges, with help from Gregors, Mrs. Madsen, and GERDA (The King’s New Clothes). After the story, Christian is arrested for mocking the king.
Meanwhile back in Odense, Hans and Anne Marie have received Christian’s letter. They write back, continuing the story of the ugly duckling (Doing The Dishes)
Headmistress Thagar rescues Christian from jail, claiming that he is one of her prized students. She shares that, when she left her unhappy position teaching the children of the Russian tsar to come teach the royal children of Denmark, there had been a mistake and she trained the royal dogs instead (What Is Life?). She excelled with the dogs and earned her current position. She asks Christian to tell the story of Hamlet like he tells his stories in the market, and he agrees, so long as she will use his preferred name instead of calling him Hans. She agrees, insisting that he give his completed story to the king.
Back in the classroom, the Students have moved on to calculus (Hans Does Pre-Calc). Headmistress Thagar announces that Christian will lead their production of Hamlet, and Christian explains how he gets his ideas (Rumble, Rumble, Rumble). Princess Caroline encourages him to write down his story, and Christian admits that, as much as he loves his father, he feels pressure to make something of their family name.
Princess Caroline offers to partner with Christian to lead Hamlet (No Two People).
Headmistress Thagar informs Christian that his father has had an accident, and Christian arrives home to a bedridden Hans. During the story game, Christian reveals that the Ugly Duckling has been a swan all along (Ugly Duckling). Though Hans drifts to sleep during the story, he wakes at the end and tells Christian that he’s always been their swan. After Hans’s funeral, Anne Marie decides to run the cobbler business herself and sends Christian back to the academy (Anywhere I Wander – Reprise) Princess Caroline is running rehearsals (Hamlet Rehearsal) Princess Vilhelmina doesn’t want to sing, and the others must convince her (Everybody Sings). Christian returns just in time and hands his story to Headmistress Thagar. Instead of introducing the performance himself, he invites Princess Caroline onstage, who is finally able to stand in the spotlight. The Students perform their show (Hamlet). After the presentation, Christian presents his story to the KING. He is touched when he sees that Anne Marie has come for his royal debut. He has written “The Little Mermaid” as Hans Christian Andersen in honor of his father. Everyone celebrates Christian’s accomplishment (Finale Ultimo).
Hans Christian Andersen JR. A Musical Fable of Copenhagen Frank Loesser
FRANK LOESSER (Music and Lyrics) One of America’s great composer/lyricists, Frank Loesser began his songwriting career during the Depression as a lyricist, contributing songs to Broadway revues and nightclub acts. His work with composer Irving Actman in the 1936 revue THE ILLUSTRATOR’S SHOW led to a songwriting contract in Hollywood, where he spent the next eleven years working with such composers as Burton Lane, Jule Styne, Arthur Schwartz and Hoagy Carmichael. Some of his film songs from that period include “Two Sleepy People,” “Jingle Jangle Jingle” and “I Don’t Want To Walk Without You.” The first song for which Loesser wrote both words and music was “Praise The Lord And Pass The Ammunition,” written during his World War II service. His Hollywood work after the war included the hit songs “Spring Will Be A Little Late This Year,” “A Slow Boat To China,” and the 1949 Oscar-winning song “Baby, It’s Cold Outside.” In 1948 Loesser was approached by fledgling Broadway producers Cy Feuer and Ernest Martin to write music and lyrics to George Abbott’s libretto for an adaptation of the classic Brandon Thomas play Charley’s Aunt. The new musical, which starred Ray Bolger, was called WHERE’S CHARLEY? and was a hit. This led to Loesser’s next show, the hugely influential and successful GUYS AND DOLLS in 1950, also produced by Feuer and Martin, with a script by Abe Burrows and Jo Swerling. In 1956 Loesser wrote the libretto, music and lyrics for his next show, THE MOST HAPPY FELLA, adapted from Sidney Howard’s play, They Knew What They Wanted. This impressive score contains over 30 musical numbers and makes extensive use of operatic techniques and forms, including recitative, arias, duets, trios and choral numbers. In 1960 he provided the score and was co-librettist for GREENWILLOW. In 1961, Loesser wrote the score for the Pulitzer Prize–winning HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING. His last show, PLEASURES AND PALACES, closed in 1965 during out-of-town try-outs. For more information on Frank Loesser, please visit his official website.
— Did you know? —
In 1952, Frank Loesser, along with orchestrator Don Walker, founded Music Theatre International – home of the Broadway Junior collection!
Frank Loesser, American Songwriter
A Musical Fable of
Hans Christian Andersen JR. A Musical Fable of Copenhagen characters
(in order of appearance)
Crantz
Guilder
Christian
Anne Marie Andersen
Hans Andersen
Mother Duck
Ugly Duckling
Thor
Loki
Mrs� Madsen
Gregors
Royal Guard
Princess Vilhelmina
Headmistress Thagar
Students
Princess Caroline
Vendors
Newsboys
Match Girls
Chimney Sweeps
Sausage Sellers
Fishmongers
Match Girl
Crowd
Nurse
Gerda
Marcario
Child
Mermaid Family
Prince
Ducklings
King (of Denmark)
#1 – OVERLETTE begins.
CRANTZ
(to the audience)
This is the story of Hans Christian Andersen.
GUILDER
Told in excruciatingly accurate, historic detail.
CRANTZ
Except for the parts we made up.
GUILDER
Our story takes place a long time ago. Like when horses were cars.
#2 – HANS CHRISTIAN ANDERSEN (PART 1) begins.
SCENE 1: OUTSIDE COPENHAGEN HANS CHRISTIAN ANDERSEN (PART 1)
CRANTZ: That's Hans Christian Andersen; he just turned eleven years old. He and his mom and dad are on their way to Copenhagen. (CRANTZ and GUILDER exit.) 3x
Bouncy!
Hans Chris tian 2Hans Christian Andersen JR. Hans Christian Andersen (Part 1)
You're ANNE MARIE, HANS:
An der sen,
you! - -
CHRISTIAN: I prefer the name Christian—
ANNE MARIE, HANS: We know.
that's
ANNE MARIE: Game time. "Once upon a time, there was a... mother duck sitting on a... single giant egg."
(A MOTHER DUCK and UGLY DUCKLING appear and act out the story as it unfolds.)
10
HANS: "Suddenly... the egg hatched!" Your turn, Christian. "The egg hatched... and...?"
CHRISTIAN: (purposefully trying to sabotage the game) "Out came the ugliest duckling the world had ever seen."
37 10
The underscoring stops.
ANNE MARIE, HANS Christian?!
CHRISTIAN
(to ANNE MARIE, smiling)
Mom, a sentence laid is a sentence played—
ANNE MARIE Fine.
#3 – HANS CHRISTIAN ANDERSEN (PART 2) begins.
Hans Christian Andersen JR. Hans Christian Andersen (Part 2) HANS CHRISTIAN ANDERSEN (PART 2)
(ANNE MARIE:) "The duckling's mother... took one look at him and said... 'That's my son, and I think he's quite handsome... as long as you look at him precisely at the right angle.'"
UGLY: Quack.
(A MOTHER DUCK and UGLY DUCKLING exit.)
Slighty Relaxed
& C
HANS: (to CHRISTIAN) Son, do you know the difference between a storyteller and a writer?
CHRISTIAN: (reluctantly) No...
ANNE MARIE: It's learning how to read and write.
HANS: That's what's waiting for you in Copenhagen.
take in wash and
scrub and rinse while
HANS: Look! There's Copenhagen. CHRISTIAN: I'm going to be sick. ANNE MARIE: You'll be okay—
You're ANNE MARIE, HANS:
Hans Chris tian (ANNE MARIE, HANS:)
SCENE 2:
WONDERFUL
Hans Christian Andersen JR.
ROYAL GUARD: On behalf of his majesty, King Frederick the Sixth, I present Denmark's only princess, Vilhelmina! Followed by Headmistress Thagar, and the children of the Royal Academy! (PRINCESS VILHELMINA enters, followed by HEADMISTRESS THAGAR and several STUDENTS walking with military precision.)
HEADMISTRESS THAGAR
Ap! Ap! Ap! #5 – WONDERFUL WONDERFUL (PLAYOFF) begins. HEADMISTRESS THAGAR leads the STUDENTS into the school.
HANS
Well, go on, Christian, you’d better join the others.
CHRISTIAN
I can’t. Look at them. They have shoes without holes in them... and books. I don’t even have paper—
ANNE MARIE (sympathetically) Come now, Christian.
CHRISTIAN
You can’t make me go—
HANS
You are the first Andersen to get a formal education— #6 – ANYWHERE YOU WANDER begins.
ANNE MARIE: This is something your father and I have wanted for you since the day you were born. Christian—
Rubato - Colla Voce
ANNE MARIE:
when we're a part, you're -
ANNE MARIE: We'll continue the story game in our letters— CHRISTIAN: But, I don't want to go. (CHRISTIAN desperately tries to hold back tears. HANS hands CHRISTIAN his handkerchief.)
HANS: (offering his handkerchief) Here. Take this. (sternly) You don't have a choice.
(HANS:) One day the entire world will know the name Hans Christian Andersen, because of you, and that starts now. So turn around, and go. Now! (CHRISTIAN does; a beat.)
(HANS:) That was the hardest thing I've ever done.
ANNE MARIE: I know.
HANS, ANNE MARIE:
where you Rit. (HANS opt. 8va)
(ANNE MARIE places her arm around HANS, and they exit.)
#7 – TO THE ACADEMY 1 begins. The STUDENTS enter, marching with military precision as they take their places standing behind their desks.
SCENE 3: INSIDE THE ROYAL ACADEMY
#8 – SCHOOL FANFARE 1 begins. A herald trumpet sounds. The STUDENTS sit.
STUDENTS
Good morning, Headmistress Thagar.
HEADMISTRESS THAGAR
Good morning, my little chickabiddies. CHRISTIAN enters. May I help you?
CHRISTIAN
I’m... um Christian—
HEADMISTRESS THAGAR
Well, you’re late, “um Christian.”
CHRISTIAN
I was saying goodbye to my parents.
HEADMISTRESS THAGAR
Oh, yes, the “grand experiment.” Children, His Royal Majesty has decided that even commoners should have an education. Well, at least one of them. What is your name again?
CHRISTIAN
It’s Christian. Christian Andersen.
HEADMISTRESS THAGAR
(reading the roster)
My ledger does not include a Christian Andersen.
CHRISTIAN
My full name is Hans Christian Andersen. But I prefer Christian.
HEADMISTRESS THAGAR
The ledger reads Hans, so Hans you shall be. Please, take a seat.
#9 – HANS TAKES A SEAT begins.
HEADMISTRESS THAGAR begins writing on the chalkboard.
CHRISTIAN attempts to sit in a chair next to GUILDER, who makes it clear CHRISTIAN isn’t welcome; CHRISTIAN tries the chair next to CRANTZ – same thing.
PRINCESS CAROLINE
You can sit here.
CHRISTIAN takes the seat next to PRINCESS CAROLINE who sits in her wheelchair.
CHRISTIAN
Thanks.
HEADMISTRESS THAGAR
On the board, I have written thirty-two plus thirty-two equals sixty-four. What is the next logical progression of this series of numbers?
All hands go up, except for CHRISTIAN’s. Hans Andersen?
CHRISTIAN Yes?
HEADMISTRESS THAGAR
Answer the question.
CHRISTIAN
Um... It’s... a really big number?
HEADMISTRESS THAGAR
That would be a series of really big numbers.
PRINCESS VILHELMINA is staring at herself in a handheld mirror.
(HEADMISTRESS THAGAR)
Princess Vilhelmina? Put down the mirror.
PRINCESS VILHELMINA
I think. I’m getting. A pimple. Mother will not be pleased...
HEADMISTRESS THAGAR
Princess Vilhelmina, answer the question.
PRINCESS VILHELMINA (matter-of-fact)
Sixty-four plus sixty-four is one hundred and twenty-eight.
HEADMISTRESS THAGAR
Hans Andersen? What comes next?
CHRISTIAN
I...
HEADMISTRESS THAGAR
Answer the question.
I... don’t know.
(gasp, in shock) What?!
CHRISTIAN
STUDENTS
GUILDER
But the Royal Academic Society will be testing us!
#10 – G & C INTRO 1 begins. Everyone freezes except CRANTZ and GUILDER.
CRANTZ
(narrating)
This is one of those parts of the story that may or may not be true.
GUILDER
We just figured this obsession with testing had to start somewhere.
#11 – G & C OUTRO 1 begins. Action continues.
HEADMISTRESS THAGAR
That’s right. They will be testing us on this very subject. Should just one of you fail, I will be dismissed as headmistress. I did not claw my way from master of the hounds to lose this prized position over basic arithmetic. Therefore, we will spend the rest of the day reciting our mathematical tables, from the beginning.
GUILDER
From the beginning?
HEADMISTRESS THAGAR
Starting with two plus two is four.
CRANTZ
We learned that years ago.
HEADMISTRESS THAGAR
I’m not sure all of us did. Get to work, my little chickabiddies. #12 – INCHWORM begins.
Hans Christian Andersen JR.
Inchworm
INCHWORM
(As the STUDENTS solve the problems, CHRISTIAN mutters the problems a few beats behind them.)
& # 4 3 4 Not Too Fast 12
(HEADMISTRESS THAGAR:)
Two and two
Four and four HEADMISTRESS THAGAR:
HEADMISTRESS THAGAR:
œ œ n Eight and eight
are? Four. ALL: (except CHRISTIAN)
are? Eight. ALL: (except CHRISTIAN)
are? Six ALL: (except CHRISTIAN)
teen.
HEADMISTRESS THAGAR:
œ œ n Eight and eight
HEADMISTRESS THAGAR:
Six teen and six
œ Two and two ALL: (except CHRISTIAN)
n Eight and eight
Œ œ are? Six ALL: (except CHRISTIAN) œ b Œ teen. -
ALL: (except CHRISTIAN) CHRISTIAN: Thirty-two...? HEADMISTRESS THAGAR: All together now.
œ œ teen are? Thir ty two.
are four.
Four and four
are six teen.
are eight.
teen are thir ty two. Rit. 4 Slower (CHRISTIAN notices an inchworm (PUPPET) in a ßower box, outside the window.) - -
Two and two
are four.
Four and four
Mar i golds:
you and your a
Eight and eight
Inch worm,
Six teen and six
teen are thir ty two.
Two and two
HEADMISTRESS THAGAR spots CHRISTIAN daydreaming.
HEADMISTRESS THAGAR
Hans?! Hans Andersen?!
CHRISTIAN
(snapping out of his daydream) Huh?
HEADMISTRESS THAGAR
What are you looking at? Oh, my goodness – there’s a worm eating my marigolds!
HEADMISTRESS THAGAR takes out a handkerchief, captures the inchworm, and drops it onto the floor. She raises her foot, about to stomp on it.
CHRISTIAN
Nooo! Stop!
HEADMISTRESS THAGAR stomps on the inchworm.
HEADMISTRESS THAGAR
That’s recess. Except for Hans Andersen. You will stay inside and review your arithmetic. Everyone else, five minutes.
The STUDENTS begin to run off. Ap-ap-ap-ap-ap! Recess is to be spent in silent reflection.
Shhhh...
The STUDENTS silently exit except for CHRISTIAN and PRINCESS CAROLINE.
CHRISTIAN
Aren’t you going outside with the others?
PRINCESS CAROLINE
(reading a book, ignoring CHRISTIAN)
No. I’m not allowed.
CHRISTIAN
(trying to make conversation)
I’ve uh... never seen a chair like that before.
PRINCESS CAROLINE
(not looking up from her book)
It’s a Bath Chair.
You bathe in that?
CHRISTIAN
PRINCESS CAROLINE
No, silly. Bath is the city where it was made. It was a gift from the king of England.
(continues reading)
Oooh, fancy. (a beat)
So, I was wondering—
CHRISTIAN
PRINCESS CAROLINE
Let’s just get this over with:
(putting her book in her lap)
No, I cannot walk on my own. Yes, I do have some feeling in my legs. And no, I’m not contagious.
CHRISTIAN
I was really just wondering how fast that thing goes.
PRINCESS CAROLINE
Depends on the horse.
CHRISTIAN
You’ve been pulled by a horse? In that?
PRINCESS CAROLINE
Maybe.
PRINCESS CAROLINE resumes reading in awkward silence. CHRISTIAN crosses to look out the window.
CHRISTIAN
You should see them. They’re actually enjoying their “silent reflection.”
PRINCESS CAROLINE, CHRISTIAN
(connecting with each other)
Weird.
CHRISTIAN
(referring to her condition) Was it an accident?
PRINCESS CAROLINE
(putting down the book)
The doctors say I have “acute muscular weakness.” They think it has something to do with my mother being scared by the royal elephant.
CHRISTIAN
Royal elephant? Okay, who are you?
PRINCESS CAROLINE
I’m Princess Caroline.
CHRISTIAN
I thought there was only one princess.
PRINCESS CAROLINE
Mother keeps me hidden from the public. She says I make the bloodline look weak.
HEADMISTRESS THAGAR enters, followed by the rest of the STUDENTS.
HEADMISTRESS THAGAR
Before we continue to drill our arithmetic, I thought I would share with you our next big reading assignment. It’s a work so important that many scholars believe it to be the greatest story of all time—
GUILDER
The Bible?
HEADMISTRESS THAGAR
No. This is fiction. I’ll give you a hint. “To be...”!
The STUDENTS have no idea what she is referencing. She offers another clue. “To be... or not...”
PRINCESS VILHELMINA
I don’t get it.
PRINCESS CAROLINE
She means Hamlet. Shakespeare’s Hamlet.
HEADMISTRESS THAGAR
That’s correct. Shakespeare’s masterpiece! He could have set it anywhere: England, Africa, Mother Russia. But no! It takes place right here in Denmark. How lucky the Danish are.
GUILDER
(stage whisper to CRANTZ)
I’m not feeling lucky.
HEADMISTRESS THAGAR
Quiet. The king himself has provided each of you with your very own copy. At great expense, I might add. You will read it and then work together as a class to present a dramatization for the court, ending with the moral of the story.
#13 – SCHOOL FANFARE 2 begins. A herald trumpet sounds.
PRINCESS VILHELMINA
It’s the end of day, at last.
HEADMISTRESS THAGAR
Students rise. They rise. You are excused. They start to run.
Ap-ap-ap-ap-ap!
She smacks her pointer onto a desk. You will exit with decorum.
The STUDENTS exit silently and formally. Hans Andersen!
CHRISTIAN
It’s Christian...
HEADMISTRESS THAGAR
Hans Andersen, here are the keys to your room and your royal allowance for the week. The market is in the town center; you can’t miss it. Be frugal, Hans Andersen; don’t let anyone take advantage of you.
CHRISTIAN
Yes, ma’am.
Anything else?
HEADMISTRESS THAGAR
CHRISTIAN
Would you mail this letter to my parents?
HEADMISTRESS THAGAR
Certainly. Good day.
Good day.
CHRISTIAN
SCENE 4: FOOD STALLS
Hans Christian Andersen JR. Setting Up Shop
SETTING UP SHOP
(MATCH GIRLS:)
SWEEPS:)
MRS. MADSEN, SAUSAGE SELLERS:
(NEWSBOYS:)
(MATCH GIRLS:)
(CHIMNEY SWEEPS:)
(MRS. MADSEN, SAUSAGE SELLERS:)
(GREGORS, FISHMONGERS:)
& & & & &
Saus a ges!
Fish!
MRS. MADSEN:
GREGORS:
#15 – MARKET (PLAYOFF) begins. CHRISTIAN enters, noticing the MATCH GIRL.
MATCH GIRL (to GREGORS) Matches? Kind sir. GREGORS shakes his head: “No.” Matches, ma’am?
MRS. MADSEN
Sorry.
CHRISTIAN watches the MATCH GIRL exit and then crosses to the food stalls of MRS. MADSEN and GREGORS.
CHRISTIAN
Excuse me. How much is a sausage?
MRS. MADSEN
Five kroner—
CHRISTIAN
How about the fried herring?
GREGORS
Four kroner.
CHRISTIAN
I don’t suppose you have anything for just two kroner?
GREGORS
I’ve got three-day-old clam soup. Here. It might make you sick, but it shouldn’t kill ya.
CHRISTIAN
Thanks?
CHRISTIAN smells the soup and then eats it.
MRS. MADSEN
You’re not from here, are you?
CHRISTIAN
Odense. I’m studying at the Royal Academy—
MRS. MADSEN
You’re that kid! I’m Mrs. Madsen.
GREGORS
Gregors here. What’s it like studying with all them royals?
CHRISTIAN
They’re kinda rude. Except for one of the princesses.
MRS. MADSEN
Did you say one of the princesses? How many are there?
CHRISTIAN
I don’t think I’m supposed to talk about that.
So, the rumor is true!
MRS. MADSEN
(whispering in secret)
I heard she’s got a huge hump, like Quasimodo, and scales all over her body, like a sturgeon.
GREGORS
(in a whisper)
I heard she only has one eye – and it’s in the back of her head.
CHRISTIAN
None of that’s true. She’s kind, and smart, but the queen won’t let her out in public because that would make the royal family look weak.
MRS. MADSEN
Imagine, hiding away your own daughter...
GREGORS
Just to keep up appearances...
MRS. MADSEN
(to GREGORS)
Royal problems. It’s time to get people interested in sausages—
GREGORS
And fried herring!
(to CHRISTIAN)
Business has been way off since they put in that carousel on the other side of the park. Can’t get any foot traffic down here.
CHRISTIAN
Perhaps I can help.
How?
MRS. MADSEN
CHRISTIAN
My mom and dad and I used to tell stories in the park. We’d gather pretty big crowds...
MRS. MADSEN
I’ll tell you what, you stand on that crate, I’ll gather a crowd.
GREGORS
How are you gonna do that?
MRS. MADSEN
I was a carnival barker in my youth. (addressing the CROWD, loudly)
Gentlemen and ladies, lads and lasses! Gather ’round to hear a story unlike any other. Told by – what’s your name, kid?
CHRISTIAN
Christian!
MRS. MADSEN
Told by Christian the Magnificent!
GREGORS
A boy so smart, the king himself brought him all the way from Odense to study at the Royal Academy!
A small CROWD gathers, including HEADMISTRESS THAGAR, PRINCESS CAROLINE, and her NURSE.
CHRISTIAN
(to the CROWD)
So, I’m going to need your help. Throw out three words – any word’ll do—
GERDA
Tiny!
CHRISTIAN
Okay... how about another?
MARCARIO
Tall!
And the final word?
Thumb!
CHRISTIAN
HEADMISTRESS THAGAR
CHRISTIAN
So I’ve got tiny... tall... and thumb. Hm... #16 – THUMBELINA begins.
THUMBELINA
(CHRISTIAN:) Once upon a time, there was a... little girl. A very, very little girl. She was so tiny in fact that she was called...
thing, (CHRISTIAN's "Thumbelina" appears but is shy and hides.)
(CHRISTIAN:)
(MRS. MADSEN sings as CHRISTIAN's "Thumbelina.")
(CHRISTIAN's "Thumbelina" hides.)
MRS. MADSEN: (opt 8va. think operatic/funny)
(MRS. MADSEN's "Thumbelina" appears and then hides.)
(GREGORS's "Thumbelina" appears and then hides.)
Than your GREGORS: (CHRISTIAN:)
thumb
Than your MRS. MADSEN, GREGORS:
(GREGORS's and MRS. MADSEN's Thumbelinas appear and then hide.)
MRS. MADSEN, GREGORS:
Now, now,
Don't be
glum.
(CHRISTIAN leads the audience in a game of Duck Duck Goose. The last CHILD who is “it” becomes Thumbelina.)
ah, ah,
MRS. MADSEN: Sausages! GREGORS: Fried herring here!
(The CHILD who was “it” dances in the center of the CROWD. Think Busby Berkely circles.)
(The “it” CHILD drops within the CROWD, disappearing. Everyone laughs.)
FASTER! (ALL:)
#17 – THUMBELINA (PLAYOFF) begins.
The CROWD cheers, tossing coins into the hat and crowding Mrs. Madsen’s and Gregors’s food stalls as CRANTZ and GUILDER take focus. #18 – G & C INTRO 2 begins.
CRANTZ
(narrating)
Fun fact: Hans Christian Andersen did write the story Thumbelina.
GUILDER
(narrating)
Critics found the informal, chatty style of the tale and its lack of morals inappropriate for children.
A beat. CRANTZ and GUILDER laugh hysterically. #19 –G & C OUTRO 2 begins. CRANTZ and GUILDER exit.
CHRISTIAN emerges through the CROWD, carrying the hat, which is full of money. He spots PRINCESS CAROLINE.
CHRISTIAN
Princess Caroline!
PRINCESS CAROLINE
It’s just Caroline out here.
CHRISTIAN
Shouldn’t you be... in the palace?
PRINCESS CAROLINE
My nurse and I like to escape for some real food. I saw you tell your story – you’re really good.
CHRISTIAN
You think so?
Princess Caroline’s NURSE enters.
NURSE
A sausage for me, fried herring for you. And who might this be?
PRINCESS CAROLINE
This is my friend, Christian Andersen. We go to the Academy together.
CHRISTIAN (thrilled and surprised) Friend? We’re friends?
PRINCESS CAROLINE
Is that okay?
NURSE
Was that story true? About a girl no bigger than your thumb.
CHRISTIAN
(shaking his head “no” while saying yes) Absolutely.
PRINCESS CAROLINE giggles.
NURSE
Imagine, a girl no bigger than your thumb...
PRINCESS CAROLINE
(whispering to CHRISTIAN)
She’s not very bright.
HEADMISTRESS THAGAR emerges from the CROWD.
HEADMISTRESS THAGAR
Caroline! You should return to the palace before someone notices you’ve escaped and releases the hounds.
CHRISTIAN
Would they really release the hounds?
PRINCESS CAROLINE
Nah. But they might release my mother...
HEADMISTRESS THAGAR
Hans Andersen, why are you not reviewing your arithmetic and reading Hamlet?
CHRISTIAN
(as Thumbelina)
I was just leaving... (as CHRISTIAN) and it’s Christian.
HEADMISTRESS THAGAR
Good. Move along, both of you.
HEADMISTRESS THAGAR exits.
PRINCESS CAROLINE
She’s never going to get your name right.
CHRISTIAN
Yeah. It’s annoying.
PRINCESS CAROLINE
Have a nice night.
The NURSE wheels PRINCESS CAROLINE off. #20 – THUMBELINA TAG begins.
THUMBELINA TAG
CHRISTIAN: You, too. (watching PRINCESS CAROLINE exit) I'm friends... with a princess?!
#21 – TO THE ACADEMY 2 begins.
SCENE 5: ROYAL ACADEMY THE VERY NEXT MORNING #22 – HANS ATTEMPTS MATH begins.
Hans Christian Andersen JR.
HANS ATTEMPTS MATH
Hans Attempts Math
four. (The STUDENTS are at their desks studying as HEADMISTRESS THAGAR paces, checking their work.)
the top, spoken)
CHRISTIAN: Sixteen and sixteen are twenty-two? PRINCESS VILHELMINA: You have got to be kidding?!
Hans
5 CHRISTIAN: Sixteen and sixteen are twenty-two? PRINCESS VILHELMINA: You have got to be kidding?!
HEADMISTRESS THAGAR Again, my little chickabiddies!
– HANS ATTEMPTS MATH AGAIN begins.
Hans Attempts Math Again
HANS ATTEMPTS MATH AGAIN
CHRISTIAN:
Hans Christian Andersen JR.
CHRISTIAN (accidentally saying what he means) Princesses. & Four and four are eight.
HEADMISTRESS THAGAR: Hans Andersen?! 4
CHRISTIAN: Eight and eight are... sixteen?! HEADMISTRESS THAGAR: And?
CHRISTIAN
Sixteen and sixteen are...
#24 – HOORAY FOR HANS begins.
(CHRISTIAN)
... thirty-two?
The STUDENTS all gasp: he got it right!
HEADMISTRESS THAGAR
That’s correct, Hans Andersen.
HEADMISTRESS THAGAR whacks a desk with her pointer.
That’s recess, everyone! Ap-ap-ap-ap-ap! When we return, we will discuss your thoughts on the underlying message of Hamlet.
CHRISTIAN and PRINCESS CAROLINE are once again left alone.
PRINCESS CAROLINE (reading a book)
You look tired.
CHRISTIAN
I couldn’t sleep last night.
PRINCESS CAROLINE Why?
CHRISTIAN
I had a lot on my mind.
PRINCESS CAROLINE
Like what?
(CHRISTIAN)
(trying to save his blunder)
I mean, in Hamlet. Yeah, because Ophelia is technically a princess, right?
PRINCESS CAROLINE
She’s a noblewoman, not a princess.
CHRISTIAN
Oh. Thanks for clearing that up. How was your night?
PRINCESS CAROLINE
(still reading the book)
There was a state dinner for the king of Sweden. I played the part of the invisible princess.
CHRISTIAN
Why?
PRINCESS CAROLINE
(putting down the book)
My parents are trying to arrange a marriage between his son and Vilhelmina.
CHRISTIAN
Won’t Princess Vilhelmina become queen no matter what?
PRINCESS CAROLINE
No. In Denmark girls aren’t allowed to rule the kingdom.
CHRISTIAN
Will you marry a prince?
PRINCESS CAROLINE (smiling)
Not unless I find an invisible one.
CHRISTIAN
You know you’re not really a princess, right?
PRINCESS CAROLINE
What?
CHRISTIAN
Well, not a human princess. I knew it the moment I saw you.
PRINCESS CAROLINE
What?
CHRISTIAN
Didn’t you ever wonder why you’re nothing like the king and queen? Or Vilhelmina? (in a whisper) You’re not one of them.
Hans Christian Andersen JR.
The Little Mermaid
THE LITTLE MERMAID
(As CHRISTIAN and PRINCESS CAROLINE talk, the images described come to life. This could be done in silhouette, in dance, in puppetry – anything so long as it is imaginative and visual.)
(CHRISTIAN:) You were born a mermaid princess and you lived under the sea with your mermaid family.
PRINCESS CAROLINE: I had a mermaid family?
(The MERMAID FAMILY appears.)
Mysterious and Magical
CHRISTIAN: Yes, a father, the Mer-King and Þve mer-sisters.
PRINCESS CAROLINE: No mother?
CHRISTIAN: She died, leaving your father a widower.
PRINCESS CAROLINE: And my sisters?
CHRISTIAN: Each one was kinder and sweeter than the next.
PRINCESS CAROLINE: That would be a nice change.
CHRISTIAN: On your Þfteenth birthday, as tradition dictated, you were allowed to rise to the surface to experience the world above.
(CHRISTIAN:) There, you witnessed a ship captained by a very handsome human prince.
(CHRISTIAN:) There, you witnessed a ship captained by a very handsome human prince.
(CHRISTIAN:) You were so taken by his beauty that you failed to notice the terrible storm about to strike.
(CHRISTIAN:) Thunder boomed! Waves crashed! Your handsome prince was cast overboard, into the murky sea. (The PRINCE falls overboard; the LITTLE MERMAID saves him, swimming him to shore.)
(CHRISTIAN:) You dove into action, breathing into the prince's failing lungs as you swam him to the surface.
(CHRISTIAN:) You placed him on the shore and watched from the safety of the sea as the other humans carried him away. (The PRINCE is taken away.) Days passed, and all you could think of was your prince. Overwhelmed, you sought the help of an evil Sea Witch. (The SEA WITCH (played by HEADMISTRESS THAGAR) appears.)
HEADMISSTRESS THAGAR: (as Sea Witch) So the Mer-King's daughter wants to become human?
PRINCESS CAROLINE: (as Little Mermaid) Can you help me?
HEADMISSTRESS THAGAR: (as Sea Witch) I can. However, you will only obtain a human soul if the prince falls in love and marries you. Do you agree?
CHRISTIAN: The Sea Witch began casting her spell. The waters of the ocean spun you around and around! Your Þn transformed into two legs. Your gills became lungs! You swam towards the surface, desperate for air—
HEADMISSTRESS THAGAR: (as Sea Witch) Oh! Silly me. I forgot to ask about my fee.
PRINCESS CAROLINE: (as Little Mermaid) Fee?
HEADMISSTRESS THAGAR: (as Sea Witch) You didn't think I was doing this out of the kindness of my heart, now did you?
(HEADMISSTRESS THAGAR:) (as Sea Witch) What shall it be? Ah, of course! I will take your beautiful voice as payment!
PRINCESS CAROLINE: (as Little Mermaid) But, how will I tell him who I am?
HEADMISSTRESS THAGAR: (as Sea Witch) Not my problem, my dear! Do you agree? Do you?!
CHRISTIAN: Desperate for air, you agreed!
(HEADMISSTRESS THAGAR (as Sea Witch) cackles and exits as PRINCESS CAROLINE (as Little Mermaid) is lifted to the shore.)
(CHRISTIAN:) You found yourself standing on the shore. But remember, the Sea Witch was not to be trusted. So yes, you had two legs, but every time your feet touched the ground, it felt like you were walking on broken glass.
PRINCESS CAROLINE: That's why my legs—
CHRISTIAN: Exactly.
PRINCESS CAROLINE: What happens next?
CHRISTIAN: I don't know yet... that's as far as I've gotten.
(The images of the mermaid world dissolve.)
PRINCESS CAROLINE: That's a pretty good start, Christian Andersen.
CHRISTIAN: (smiling) It's just something I'm working on...
PRINCESS CAROLINE
(taking CHRISTIAN’s hand)
It’s really nice to have someone to talk to.
CHRISTIAN can’t believe PRINCESS CAROLINE is holding his hand and smiles broadly. #26 – G & C INTRO 3/SCARY MERMAID begins.
CRANTZ and GUILDER enter.
GUILDER
(narrating)
So, he did write “The Little Mermaid,” but a word of warning: it’s nothing like the kid-friendly Disney version we all know and love.
CRANTZ
No it is not! It’s seriously scary. People get stabbed, and dissolve into sea foam – or have flesh eating oysters attached to their bodies.
GUILDER
I do not recommended reading it before you go to bed.
CRANTZ
You have been warned. GUILDER and CRANTZ exit making spooky noises. #27 – SCHOOL FANFARE 3 begins. A herald trumpet sounds.
HEADMISTRESS THAGAR
Children! Let’s review our arithmetic, shall we? #28 – MULTIPLICATION! begins.
Hans Christian Andersen JR.
times two
SCENE 6: FOOD STALLS
The MATCH GIRL crosses, hawking her matches as the CROWD enters the market.
MATCH GIRL
(trying to sell matches to PASSERSBY)
Matches! Matches! Please, sir, buy my matches? No one buys her matches.
CHRISTIAN enters, crossing towards MRS. MADSEN.
MRS. MADSEN
Welcome back, Christian.
GREGORS
There’s a big crowd gathering, are we doing the new story?
CHRISTIAN
For sure.
MRS. MADSEN
Gentlemen and ladies, lads and lasses, gather around for a story presented by Christian the Magnificent!
A large CROWD gathers. MRS. MADSEN places a crate, which CHRISTIAN steps onto.
CHRISTIAN
Wow! There’s so many of you. Thanks for coming back. Okay, so this next story is something I’ve been working on—
MARCARIO
What’s it about?
CHRISTIAN
A swindler! You see, once upon a time, there was this king and a swindler who came to sell him a magic suit of clothes: #29 – THE KING’S NEW CLOTHES begins.
Hans Christian Andersen JR.
The King's New Clothes
THE KING’S NEW CLOTHES
MRS. MADSEN: (as a swindler) Your Majesty, since you're so smart, so wise, and so fashion forward, you can obviously see how beautiful this suit is. But to a fool, well it's absolutely invisible. You do see the suit, your Majesty?
GREGORS: (as the King)
Look at the
cut, the style, the
(MRS. MADSEN becomes the Queen) (CHRISTIAN:) Well, they sent for the queen and quickly explained to her about the magic suit of clothes. And naturally, the queen, not wanting to appear a fool, said—
MRS. MADSEN:
seen.
sleeves are vel vet, the
once de ter mine the -
cape is er mine, the
hose are blue and the
(CHRISTIAN gestures, and CRANTZ and GUILDER select a few KIDS from the audience to come onstage and particpate in the storytelling.) (CHRISTIAN:) Well, the court convened and you've never in your life seen as many people as were at that court.
(CHRISTIAN:) All the ambassadors, the dukes, the earls, the counts– (spots HEADMISTRESS THAGAR, is suprised) Headmistress THAGAR! And they were all told about the magic suit and naturally, not wanting to appear fools, they said—
CHRISTIAN, MRS. MADSEN, GREGORS:
tai lor ev er
made. Now
all to geth er with
gloves of leath er and -
hat and feath er it's
thing to wear in -
al to geth er the
rade.
Lead ing the roy al bri
gade!
(CRANTZ and GUILDER escort the KIDS from the audience back to their seats.)
CHRISTIAN: Now, Saturday came, and the streets were lined with thousands and thousands of people, eager to see the king's new clothes.
(CHRISTIAN:) The artillery rolled by. The infantry marched by.
(CHRISTIAN:) The cavalry galloped by. Everyone was cheering and waving like mad, except for one little kid.
(CHRISTIAN selects GERDA to play the role.)
(CHRISTIAN:) The cavalry galloped by. Everyone was cheering and waving like mad, except for one little kid. (CHRISTIAN selects GERDA to play the role.)
(CHRISTIAN:) This kid hadn't heard about the magic suit and didn't know what they were supposed to see.
(CHRISTIAN:) Well, as the king came by, the little kid looked, and horriÞed, said: 4x
GREGORS hands CHRISTIAN his hat to collect money from the CROWD. #30 – THE KING’S NEW (PLAYOFF) begins.
MATCH GIRL
Matches! Matches!
CHRISTIAN crosses to the MATCH GIRL and gives her the hat full of money.
(MATCH GIRL)
(excited)
Thank you! Thank you so much!
The MATCH GIRL hugs CHRISTIAN and exits. The ROYAL GUARD steps forward.
ROYAL GUARD
You! Young man! You are under arrest for mocking His Royal Highness in public.
CHRISTIAN
But that was just a story I made up.
ROYAL GUARD
Tell that to the magistrate—
#31
DOING THE DISHES
(Meanwhile, back in Odense, ANNE MARIE and HANS are washing dishes after dinner.)
ANNE MARIE: Christian wrote! Game time! (As they write, the TURKEY (aka the UGLY DUCKLING) and MOTHER DUCK enter.)
HANS: Ooh! Let me see! Ah! "Convinced he was a turkey, the mother duck took him to the pond to see if he could swim, 'cause everyone knows turkeys can't swim."
(The TURKEY (UGLY DUCKLING) enters the water.)
ANNE MARIE: My turn! "All the other ducklings plunged into the water, including the supposed turkey, and... started swimming!" (The TURKEY (UGLY DUCKLING) swims.)
HANS: Got it! "And the mother duck exclaimed! 'He is my son after all!'"
Quack!
HANS: Now it's your turn, Christian. Love, ANNE MARIE: Mom... HANS: And Dad.
SCENE 8: JAIL CELL
HEADMISTRESS THAGAR enters, followed by the ROYAL GUARD.
HEADMISTRESS THAGAR Royal Guard! Release him at once.
ROYAL GUARD
I can’t. He’s scheduled to see the magistrate—
HEADMISTRESS THAGAR
Hans Andersen is one of my most prized students—
ROYAL GUARD
He was mocking our king.
HEADMISTRESS THAGAR
What Danish king would ever be so gullible as to be convinced of an invisible suit? Unless you think our king is gullible. Do you?
ROYAL
GUARD
I—
HEADMISTRESS THAGAR
Answer the question.
ROYAL GUARD
No, ma’am.
HEADMISTRESS THAGAR
I thought not. Now, unless you’d like me to have a chat with the king, I suggest you let him go.
ROYAL GUARD
Yes, ma’am. The ROYAL GUARD unlocks Christian’s cell and exits.
CHRISTIAN
Headmistress Thagar! Thank you!
HEADMISTRESS THAGAR
Gather your things; we’re leaving.
CHRISTIAN
(holds up Hamlet)
This is all I have.
HEADMISTRESS THAGAR
Hamlet. I see someone’s been doing his homework.
CHRISTIAN
Headmistress Thagar, why did you say that?
HEADMISTRESS THAGAR
Say what?
CHRISTIAN
About me being one of your prized students.
HEADMISTRESS THAGAR
Because it’s true.
CHRISTIAN
So your madness does have a method!
HEADMISTRESS THAGAR
Indeed. And you have a lot to learn if you’re going to become a full-fledged writer.
CHRISTIAN
I can barely spell—
HEADMISTRESS THAGAR
Many people spell perfectly, but few could ever write a tale as cleverly as the one you told in the market today.
CHRISTIAN
But I don’t write my stories, I tell them.
HEADMISTRESS THAGAR
Remind me, how did the king select you for the Academy?
CHRISTIAN
Duke Pederson invited me to tell one of my stories to the king and his guests, when they were visiting Odense. The next morning, my parents received word about the scholarship.
HEADMISTRESS THAGAR
I see. Hans Andersen, do you know how I came to be the headmistress?
CHRISTIAN
I don’t.
HEADMISTRESS THAGAR
In Russia, I was the first woman ever to teach the children of the tsar. I was told exactly what to teach and when. And I hated it. So I came to Denmark to teach the children of the king. But when I arrived, I was told there had been a mistake. I would not be instructing the children. I, Katarina Thagar, the greatest educator in all of Russia, would be training the royal dogs. Did I quit? Did I cry? No. I remembered the advice my grandfather gave me when I was about your age— He said to me... “Katarina, what is life?”
(HEADMISTRESS THAGAR:) (a beat) Now it is time for you to pose that same question. (another beat) Go on, ask me. CHRISTIAN:
HEADMISTRESS
(A peach tree grows from within the basket. CHRISTIAN reaches for one of the peaches; she gently slaps his hand. The tree recedes into the basket.)
(HEADMISTRESS THAGAR:) So I trained the hounds, and they became champions. The king asked me how I did it. I told him, "Training children is difÞcult. Dogs? Not so much."
(HEADMISTRESS THAGAR:) The king was grateful and asked me to be headmistress. I accepted on one condition: nobody, not even the king, would ever dictate what I teach.
HEADMISTRESS THAGAR
Hans Andersen, you will be in charge of our Hamlet presentation.
CHRISTIAN
But, I make my stories up.
HEADMISTRESS THAGAR
Exactly! I want you to tell the story of Hamlet the same way you tell your stories in the market. Complete with your take on the moral of the story. Yes or no?
CHRISTIAN (reluctantly)
On one condition: you call me Christian from now on. Hans is my dad’s name, and I’m not him.
HEADMISTRESS THAGAR
Deal. But I, too, have one condition: you must also write the story down and gift it to His Majesty.
CHRISTIAN
The king himself?! No pressure.
#35 – WHAT IS LIFE? (PLAYOFF) begins.
SCENE 9: ROYAL ACADEMY
#36 – HANS DOES PRE-CALC begins. The next morning, back at school.
HANS DOES PRE-CALC
HEADMISTRESS THAGAR
And that concludes our study of the quadratic formula. And to think not long ago some of you struggled with basic arithmetic. Moving on! I have decided that Christian Andersen will be in charge of our Hamlet presentation. You will do exactly as he says. Any questions?
PRINCESS VILHELMINA raises her hand. None. Good. I leave you to it.
HEADMISTRESS THAGAR exits.
PRINCESS VILHELMINA
Why is he in charge?
PRINCESS CAROLINE
Because he’s the best writer in the class.
GUILDER
How do you know?
I’ve heard his stories.
How
CRANTZ
PRINCESS VILHELMINA
Ask Christian; apparently he’s in charge.
PRINCESS CAROLINE
So, Mr. Playwright, how do you create your stories?
CHRISTIAN
Usually my ideas come to me at night. I’ll be lying in bed, and then it hits me— #37 –
RUMBLE, RUMBLE, RUMBLE
(CHRISTIAN:) And that's when my brain starts to... I don't know... spark!
PRINCESS CAROLINE, STUDENTS:
(CHRISTIAN:)
grope, grope, grop ing for the
#38 – RUMBLE (PLAYOFF) begins. The STUDENTS exit, leaving CHRISTIAN and PRINCESS CAROLINE alone.
So, is it done?
PRINCESS CAROLINE
CHRISTIAN
No. I still don’t know how to do it.
PRINCESS CAROLINE
Just tell it like the stories you do in the market—
CHRISTIAN
Those stories go great with fried herring and sausages—
PRINCESS CAROLINE
Everybody likes fried herring, even the queen.
CHRISTIAN
It’s not like the cover reads “Hamlet, by Christian Andersen.”
PRINCESS CAROLINE
Good point. (a sudden thought) Why do you go by Christian?
CHRISTIAN
Hans is my dad’s name.
PRINCESS CAROLINE
So you two don’t get along?
CHRISTIAN
Oh, I love my dad. He’s by far the best cobbler in all of Odense, and he makes up the most incredible stories about things I couldn’t even imagine.
PRINCESS CAROLINE
He sounds great.
CHRISTIAN
He is, and that’s the problem. He puts all this pressure on me to make something of the family name. I don’t know how to do that. So it’s easier to just be Christian.
PRINCESS CAROLINE
See. Sometimes it’s good to be invisible.
CHRISTIAN
People know you exist.
They do?
PRINCESS CAROLINE
CHRISTIAN
Yeah. And they have all these crazy ideas—
PRINCESS CAROLINE
Do tell.
CHRISTIAN
They think you have a hump, like Quasimodo—
PRINCESS CAROLINE
(being funny) I mean, a girl can dream.
CHRISTIAN
And eyes in the back of your head—
PRINCESS CAROLINE
Doesn’t everyone?
CHRISTIAN
And your body is covered with scales, like a fish.
PRINCESS CAROLINE
Well, I am a mermaid princess.
CHRISTIAN
Why don’t you tell them the truth?
PRINCESS CAROLINE
I can’t do that to Vilhelmina, or the monarchy. No one can know about “the weakness.”
CHRISTIAN
There’s nothing weak about you.
PRINCESS CAROLINE
Would you ever consider... working with a partner?
CHRISTIAN (answers immediately) Yes.
PRINCESS CAROLINE (laughing)
You want to think about that? How about I direct?
CHRISTIAN
We’ll have to spend lots of time together...
PRINCESS CAROLINE
I’m okay with that. Although I wish Headmistress Thagar would have given us something a bit more relevant.
CHRISTIAN
Like...?
PRINCESS CAROLINE
At least Romeo and Juliet were teenagers.
CHRISTIAN
And they had a major crush on each other... um... right?
PRINCESS CAROLINE
I’d call it more than a crush, considering they died for their love.
CHRISTIAN
Do you ever wonder what that feels like?
PRINCESS CAROLINE
It must have felt really great—
CHRISTIAN
Dying?
PRINCESS CAROLINE
No, falling in love. So, how would you tell their story?
CHRISTIAN
I’d just act it out. How about I play Romeo—
PRINCESS CAROLINE
I don’t know, I think you’d make a pretty good Juliet.
CHRISTIAN
I’ll stick with Romeo, thank you. Which makes you—
PRINCESS CAROLINE
The nurse. Kidding! #39 – NO TWO PEOPLE begins.
Hans Christian Andersen JR. No Two People NO TWO PEOPLE
(PRINCESS CAROLINE:) Juliet. So how's it go? CHRISTIAN: I'm thinking something like this—
HEADMISTRESS THAGAR enters.
HEADMISTRESS THAGAR
Christian, I’ve been looking all over for you. Princess Caroline, would you excuse us, please?
PRINCESS CAROLINE
Certainly, Headmistress Thagar. PRINCESS CAROLINE exits.
HEADMISTRESS THAGAR
Please sit.
CHRISTIAN sits.
What’s going on?
CHRISTIAN
HEADMISTRESS THAGAR
Your father has had a serious accident. You must go to him immediately. The palace has made all the arrangements.
CHRISTIAN
Of course.
CHRISTIAN starts to exit, then stops and turns towards HEADMISTRESS THAGAR. Headmistress Thagar? Is my dad going to... die?
HEADMISTRESS THAGAR
That is something you and I cannot predict. Hurry, Christian, the carriage is waiting.
#40 – GO TO HER NOW begins. CHRISTIAN exits.
CHRISTIAN has journeyed home to Odense.
SCENE 10: ODENSE
Mom!
CHRISTIAN
CHRISTIAN and ANNE MARIE embrace.
ANNE MARIE
I’m so happy to see you.
CHRISTIAN
Am I too late?
ANNE MARIE
No. I’ll wake him. Hans, look who’s here.
HANS
Christian?! You’re here. How?
CHRISTIAN
The court made all the arrangements. How are you feeling?
HANS
Like I got ran over by a wagon... ’cause I did. HANS laughs gently, which turns into a cough.
ANNE MARIE
That’s not funny—
Yeah, it is. (to HANS) Does it hurt?
Only everywhere.
What can I do?
CHRISTIAN
HANS
CHRISTIAN
HANS
Play the game, Christian. It’s your turn.
CHRISTIAN
Right. Let’s take it from the top. #41 – UGLY DUCKLING begins.
Ugly Duckling UGLY DUCKLING
(CHRISTIAN:) Mom, you start–(MOTHER DUCK, UGLY DUCKLING, and DUCKLINGS appear and act out the story as it unfolds.)
Allegro Moderato 3
once was an ug
brown and the CHRISTIAN:
duck ling with HANS:
"Quack! Get out of
oth er birds in
quack, get out, quack,
so man y words said, -
feath ers all stub by and
Quack! Get out, quack, HANS, ANNE MARIE, CHRISTIAN:
town. And he ANNE MARIE: Hans Christian Andersen JR.
quack, get out of
went with a quack and a
wad dle and a quack in a
(Through stage magic, MOTHER DUCK, UGLY DUCKLING, and other DUCKLINGS transform UGLY DUCKLING into a swan.)
(CHRISTIAN:) Shh...
MOTHER DUCK, UGLY DUCKLING, and other DUCKLINGS exit; HANS is asleep.
ANNE MARIE (whispering)
That was wonderful.
CHRISTIAN
You should get some rest. I’ll sit with him tonight.
ANNE MARIE
Are you sure?
Yeah.
CHRISTIAN
ANNE MARIE exits as HANS wakes.
HANS
Sorry I drifted—
That’s okay.
CHRISTIAN
HANS
Christian. I really wish you’d reconsider the whole name thing—
CHRISTIAN
Dad, I’ve thought about it, a lot. Do you know why I don’t use your name?
HANS
You’re embarrassed that your dad can barely read or write—
CHRISTIAN
No. I don’t see any way I could ever live up to it. They each take this information in, finding a bit of resolution.
HANS
That story tonight, about the duck, you know the truth, right? (a beat)
That’s your story, Christian. You’ve always been our swan.
SCENE 11: GRAVEYARD
#42 – ANYWHERE I WANDER (REPRISE) begins.
Hans Christian Andersen JR.
Anywhere I Wander (Reprise)
ANYWHERE I WANDER (REPRISE)
(A CROWD of people carrying umbrellas are revealed at the gravesite.)
(A CROWD of people enter singing mournfully.)
(They hum, underscoring the following scene. CHRISTIAN and ANNE MARIE are standing at the grave of Hans, directly after his funeral.)
ANNE MARIE: You spoke brilliantly at the funeral, Christian, but it's time for you to go back.
CHRISTIAN: No. I'm staying here with you.
ANNE MARIE: Your father and I expect you to complete your education.
(They hum, underscoring the following scene. CHRISTIAN and ANNE MARIE are standing at the grave of Hans, directly after his funeral.)
ANNE MARIE: You spoke brilliantly at the funeral, Christian, but it's time for you to go back.
CHRISTIAN: No. I'm staying here with you.
ANNE MARIE: Your father and I expect you to complete your education.
CHRISTIAN: But who will run the shop?
ANNE MARIE: Me.
CHRISTIAN: A woman cobbler?
ANNE MARIE: Why not? Hurry, or you'll miss your boat.
(CHRISTIAN exits as ANNE MARIE places a wreath on the gravestone and exits.) Rit.
y where I
#43 – MEANWHILE, BACK IN COPENHAGEN
begins.
SCENE 12: ROYAL ACADEMY THEATRE
Back at school, PRINCESS CAROLINE is running rehearsals.
PRINCESS CAROLINE
There’s no way Christian is going to make it back in time for the performance. It’s less than an hour away.
GUILDER
What are we going to do?
PRINCESS CAROLINE
(reluctantly)
We’ll have to present the show you two wrote.
CRANTZ, GUILDER
Yes!
PRINCESS CAROLINE
Let’s take it from Vilhelmina’s entrance. Give her the cue. #44 – HAMLET REHEARSAL begins.
HAMLET REHEARSAL
CRANTZ and GUILDER gesture to PRINCESS VILHELMINA, who doesn’t sing.
PRINCESS CAROLINE
That’s your cue, Vilhelmina.
PRINCESS VILHELMINA
I quit! I’m not doing it.
CRANTZ, GUILDER
What?!
PRINCESS CAROLINE
But you were so excited about getting the biggest part.
PRINCESS VILHELMINA
That’s before I knew I had to sing. I don’t sing.
PRINCESS CAROLINE
Yeah, you do. I’ve heard you in the bathtub a million times.
PRINCESS VILHELMINA
That’s different. Nobody is supposed to be listening.
GUILDER
Then you might want to sing a little quieter.
PRINCESS VILHELMINA
Mother says singing is an undignified activity for a princess. #45 – EVERYBODY SINGS begins.
Hans Christian Andersen JR.
Everybody Sings
EVERYBODY SINGS
PRINCESS CAROLINE: That's nonsense. Singing is for everyone. (to CRANTZ and GILDER) Right? Ó
GUILDER:
Ó CRANTZ, GUILDER, SMALL GROUP: (like babies)
PRINCESS CAROLINE: Birds sing!
CAROLINE: Babies sing!
ALL: (except CAROLINE and VILHELMINA, (like birds))
PRINCESS CAROLINE: So you're just gonna let Mother dictate your life?!
Take five.
Thank you, “five”!
PRINCESS CAROLINE
GUILDER
All STUDENTS exit, leaving PRINCESS VILHELMINA and PRINCESS CAROLINE alone. PRINCESS VILHELMINA spontaneously, and unexpectedly, embraces PRINCESS CAROLINE.
PRINCESS CAROLINE
What was that for?
PRINCESS VILHELMINA
For reminding me that life can be more than endless blind dates with princes.
PRINCESS CAROLINE
I’m sorry you have to go through all that.
PRINCESS VILHELMINA
Did you know that I ask each prince the same question: “Will you, Prince Blah-Blah-Blah of Blah, have a problem with my sister... being smarter than you?”
PRINCESS CAROLINE
You do not.
PRINCESS VILHELMINA
I do. And only one of them said he didn’t.
PRINCESS CAROLINE
Who?
PRINCESS VILHELMINA
Prince Oliver of Belgium. He said, “When I’m king, I’m going to surround myself with the smartest, most forward-thinking men and women I can find.”
(a beat)
Don’t tell Mother but... he’s the one. They’re writing up the formal offer.
PRINCESS CAROLINE
Offer?
(sarcastically)
PRINCESS VILHELMINA
Romantic, isn’t it? The announcement will be made next week. Mother is going to lose her teeth.
PRINCESS CAROLINE
I’m so happy for you.
PRINCESS VILHELMINA
I’m happy for you, Caroline. You’re free. There’s no reason to hide anymore. I never thought there ever was.
HEADMISTRESS THAGAR enters, followed by the STUDENTS.
HEADMISTRESS THAGAR
Children! The king and queen are arriving! That’s places everyone! Places!
GUILDER
Thank you, “Places!”
The STUDENTS start to take places.
PRINCESS CAROLINE
I can’t believe Christian’s gonna miss the performance. CHRISTIAN enters carrying luggage.
CHRISTIAN
No, he’s not.
Christian!
He’s back!
STUDENTS
CRANTZ
HEADMISTRESS THAGAR (impatiently)
Children! Places! Now!
The STUDENTS scramble to their places.
GUILDER
Thank you, “Places now!”
HEADMISTRESS THAGAR
I’m sorry for your loss. Tell me, were you strong?
CHRISTIAN
No. Otherwise I’d be home, taking care of my mother.
HEADMISTRESS THAGAR (sincerely)
Why? Is she feeble?
CHRISTIAN No.
HEADMISTRESS THAGAR
Then why would she need your help?
CHRISTIAN spontaneously embraces HEADMISTRESS THAGAR, who stiffens.
CHRISTIAN
Thank you.
HEADMISTRESS THAGAR
You are welcome. (a beat) And that’s enough of that.
CHRISTIAN
Here— (hands her a manuscript) I finally wrote one of my stories down.
HEADMISTRESS THAGAR
Is it good?
I think so.
CHRISTIAN
HEADMISTRESS THAGAR
Good enough for the king?
Yeah.
CHRISTIAN
HEADMISTRESS THAGAR
Well, since you are here, you might as well make yourself useful. You will introduce the performance and then gift your story to His Majesty afterwards. Got it?
CHRISTIAN
Sure.
HEADMISTRESS THAGAR
Then get onstage! The king and queen are entering! Go!!!
GUILDER
Thank you, “Go!” #46 – FROM THE TOP begins. CHRISTIAN crosses onstage as HEADMISTRESS THAGAR exits.
ROYAL GUARD
Ladies and gentlemen, please rise for the entrance of the king and queen of Denmark.
ALL
(offstage)
To the crown!
CHRISTIAN
Headmistress Thagar asked me to introduce the performance, but that doesn’t seem right since I didn’t have anything to do with it. So instead, I thought you might want to hear from the director of our show.
The STUDENTS pop their heads out from the wings, curious as to what is about to happen.
PRINCESS CAROLINE
He didn’t.
PRINCESS VILHELMINA
He did. Go get ’em, Princess Invisible. PRINCESS CAROLINE enters.
PRINCESS CAROLINE
Hi. My name is Caroline. Princess Caroline. Some STUDENTS and CROWD gasp.
(PRINCESS CAROLINE)
And as you can see, I do not have a hump like Quasimodo, and for the record, I do not have scales like a fish. What I do have, according to the doctors, is “acute muscular weakness,” which is why I use this chair to get around. That is my only limitation, and I don’t find it limiting at all. So there’s no need to talk behind my back, because who knows? Maybe I do have eyes in the back of my head. So, now you know the truth about the invisible princess... who, from this day forward, demands to be seen.
CHRISTIAN applauds as some other STUDENTS enter, applauding. Thank you. And now, the students of the Royal Academy present Hamlet
GUILDER
Written and conceived by Guilder—
CRANTZ
And Crantz. #47 – HAMLET begins.
Hans Christian Andersen JR.
Ham let was the (PRINCESS VILHELMINA:)
prince of a spot called (HAMLET, played by GUILDER, is revealed holding a skull in his hand.)
GUILDER: (as Hamlet) To be, or not to be!
Den
STUDENTS:
GUILDER:
phel ia Man this'll kill ya
(STUDENTS:)
her cork she jumped the
3 tell i gent mind de
œ vel oped a per man ent - - - - - -
(STUDENTS:)
Things went
(PRINCESS VILHELMINA (as Ophelia) makes the screw-loose gesture.) PRINCESS VILHELMINA: - - -
(PRINCESS VILHELMINA (as Ophelia) dances as GUILDER (as Hamlet) pulls a wooden dagger and slays POLONIUS (Ophelia’s father). Note: each time someone is slayed, they reveal a strand of red silk. The effect should be silly and gratuitous.) (STUDENTS:)
chopped down her fath er just to (PRINCESS VILHELMINA (as Ophelia) dances as GUILDER (as Hamlet) pulls a wooden dagger and slays POLONIUS (Ophelia’s father). Note: each time someone is slayed, they reveal a strand of red silk. The effect should be silly and gratuitous.)
teach the girl a les son Yes he
PRINCESS VILHELMINA:
(Their battle begins! GUILDER (as Hamlet) and CRANTZ (as Laertes) Þght with lay swords.)
(The STUDENTS playing King and Queen enter and are given a goblet of poison that they drink and immediately fall over dead.)
(The STUDENTS playing King and Queen enter and are given a goblet of poison that they drink and immediately fall over dead.)
(GUILDER (as Hamlet) and CRANTZ (as Laertes), having both lost their swords, are reduced to a boxing match.)
(CRANTZ, GUILDER:)
how have you been? GROUP 1:
(GUILDER (as Hamlet) and CRANTZ (as Laertes) have knocked each other to the ground, each landing next to their sword. They grab their swords and...)
(GUILDER (as Hamlet) and CRANTZ (as Laertes) have knocked each other to the ground, each landing next to their sword. They grab their swords and...)
did n't use his right right
(...slay each other.)
GUILDER: That kills me.
(GUILDER (as Hamlet) and CRANTZ (as Laertes) pull strands and strands and strands of red silk from their costumes. This is a bloodbath.
HEADMISTRESS THAGAR enters, horriÞed by the carnage.)
HEADMISTRESS THAGAR: Children! What is the moral of this story?
GUILDER: The moral?
CRANTZ: We forgot to write a moral! (CRANTZ and GUILDER look at CHRISTIAN, who steps forward.)
HEADMISTRESS THAGAR
Thank you, students, for that very... original telling of Hamlet. CRANTZ, GUILDER Yes! HEADMISTRESS THAGAR
The KING enters. Everyone bows. The KING crosses to his daughters.
KING
Well done. Both of you. (to CHRISTIAN) Continue.
CHRISTIAN
On behalf of my father, and my mother— (spots his mother) Mom? What are you doing here?
ANNE MARIE
I wouldn’t miss your royal debut, Christian. (gently hits CHRISTIAN) You jerk! You made me cry in front of the queen.
PRINCESS CAROLINE
Oh, she left right after my little speech.
ANNE MARIE
Which was brilliant, by the way.
PRINCESS CAROLINE
Thanks.
CHRISTIAN
That’s... that’s... I’m uh...
ANNE MARIE
Christian, continue—
CHRISTIAN
Right. Your Majesty, I’ve written a special story, just for the royal family.
CHRISTIAN hands the KING a book.
KING
How very thoughtful. (opening the book and reading)
Oh! “Dedicated to King Frederick for giving me a princely education, and to my father, who always treated me like a king.”
CHRISTIAN
Your Majesty, please read the title—
Certainly. (closing the book to read the title) The title of the story is... “The Little Mermaid” by— CHRISTIAN turns to ANNE MARIE with anticipation of what’s about to be said. Hans Christian Andersen.
Hans Christian Andersen JR.
#49 – FINALE ULTIMO begins.
Finale Ultimo
FINALE ULTIMO
GUILDER: (narrating) These things are true: Hans Christian Andersen was named after his father, who died when he was only eleven.
CRANTZ: He supported himself and his mother by singing and reciting stories.
GUILDER: His talents became known to the king, who paid for him to go to school.
CRANTZ: Where his actual teacher, unlike Headmistress Thagar, told him over and over again that he was, and I quote, "a stupid boy and would never make it."
GUILDER: Yeah, that teacher?
CRANTZ, GUILDER: (looking at each other) Was wrong.
ANNE MARIE: I wish your father could have been here. He'd be so proud of you. He always was.
Hans Chris tian (ALL:)
ANNE MARIE: I wish your father could have been here. He'd be so proud of you. He always was.
CHRISTIAN: I know. Every time I'd think up a new story, he'd be there egging me on with some crazy word or ridiculous idea that turned out to be... brilliant.
Chris tian
So, it feels right to give him some of the credit.
CHRISTIAN:
Hans Christ ian An der sen, I'm
Hans Christ ian An der sen,
You're
Hans
CHRISTIAN:
(Music swells as ANNE MARIE and PRINCESS CAROLINE congratulate CHRISTIAN - nay HANS CHRISTIAN ANDERSEN.)
#50 – BOWS begins.
#51 – EXIT MUSIC begins.
words to know from Hans Christian Andersen JR.
A Musical Fable of Copenhagen
arithmetic – the branch of math that deals with numerical operations, like addition, subtraction, multiplication, and division. artillery – heavy military weapons that would be carried or mounted on carriages and outrange handheld weaponry.
Bath Chair – a forerunner to modern wheelchairs named after the city of Bath in England. Invented by James Heath, the occupant of the Bath Chair guides its direction via the front wheel while another person pushes the chair.
beanery – an inexpensive dining establishment. chickabiddies – a term of endearment for children.
cobbler – a person who repairs shoes.
commoners – average people without formal societal rank or a royal title.
croon – hum or sing in a gentle, soft tone. decorum – proper and orderly behavior. dictated – required or determined necessary.
doublet – a tight-fitting men’s jacket popular in Europe during the Renaissance.
egging (me on) – to encourage someone into action; typically negative.
eiderdown – soft feathers from an eider duck.
ermine – a small weasel whose fur was fashionable for clothing for European royalty, specifically the white mountain ermine, which has white fur and a black tail.
excruciatingly – in an extremely intense or painful manner.
frugal – sparing with resources or materials; typically referring to spending money.
herring – a type of fish considered a delicacy in countries bordering the North Atlantic Ocean.
kroner – currency used in Denmark and Norway. ledger – a book that contains various records.
macaroon – a small cake-like cookie made from almond paste or coconut.
magistrate – an official who administrates law. marigolds – flowers with yellow, orange, and copper petals. monarchy – a government with a sovereign ruler at the top. ’neath – under or below something; short form of “beneath.” noblewoman – a woman of recognized societal rank, title, or status. piker – gambler or person who doesn’t like to spend money. pocketbook – an antiquated term that meant a flat, small (often leather) case used for holding currency or personal papers. posten – a newspaper.
Quasimodo – a fictional character from Victor Hugo’s novel The Hunchback of Notre Dame. ridicule – to make fun of or mock. scorn – to publicly dislike and reject. tsar – a title used by Slavic monarchs until the Russian Revolution in 1917; Emperor of Russia. widower – a man whose spouse has died.
glossary
actor: A person who performs as a character in a play or musical.
author: A writer of a play or musical, also known as a playwright. A musical’s authors include the book writer, a composer, and a lyricist.
blocking: The actors’ movement in a play or musical, not including the choreography. The director usually assigns blocking during rehearsals.
book writer: One of the authors of a musical. The book writer writes the lines (dialogue) and the stage directions. Also called the librettist.
cast: The performers in a show.
cheating out: Turning oneself slightly toward the house when performing so the audience may better see one’s face and hear one’s lines.
choreographer: A person who creates and teaches the dance numbers in a musical.
composer: A person who writes music for a musical. creative team: The author(s), director, choreographer, music director and designers for a play or musical.
cross: When an actor onstage moves toward or away from another actor or object.
dialogue: A conversation between two or more characters.
director: A person who provides the artistic vision, coordinates the creative elements, and stages the play.
downstage: The portion of the stage closest to the audience. The opposite of upstage.
house: The area of the theater where the audience sits to watch the show.
house left: The left side of the theater from the audience’s perspective. If something is located “house left,” it is to the left side of the audience as they are seated in the theater.
house right: The right side of the theater from the audience’s perspective. If something is located “house right,” it is to the right side of the audience as they are seated in the theater.
lines: The dialogue spoken by the actors.
lyricist: A person who writes the lyrics of a musical. The lyricist works with a composer to create songs.
lyrics: The words of a song.
monologue: A dramatic speech by one actor.
music director: A person who is in charge of teaching the songs to the cast and orchestra and maintaining the quality of the performed score.
musical: A play with songs that are used to tell a story.
objective: A goal or purpose to be achieved.
off-book: The actor’s ability to perform his or her memorized lines without holding the script.
offstage: Any area out of view of the audience. Also called backstage.
onstage: Anything on the stage and within view of the audience is said to be onstage.
opening night: The first official performance of a production, after which the show is frozen, meaning no further changes are made, and reviews may be published.
play: A type of dramatic writing meant to be performed live on a stage. A musical is one kind of play.
protagonist: The main character in a musical. The action centers around this character.
raked stage: A stage which is raised slightly upstage so that it slants towards the audience.
rehearsal: A meeting during which the cast learns and practices the show.
script: 1) The written words that make up a show, including spoken words, stage directions, and lyrics. 2) The book that contains those words.
speed-through: To speak through the dialogue of a scene as quickly as possible. A speed-through rehearsal helps actors memorize their lines, and it infuses energy into the pacing of a scene.
stage directions: Words in the script that describe the actions of the characters.
stage left: The left side of the stage, from the actor’s perspective. The same side of the theater as house right.
stage manager: A person who is responsible for keeping all rehearsals and performances on schedule.
stage right: The right side of the stage, from the actor’s perspective. The same side of the theater as house left.
theater: when theater is spelled with “er,” it is often referring to the physical space where theatre is performed.
theatre: when theatre is spelled with “re,” it is commonly referring to theatre as an art form.
upstage: The part of the stage farthest from the audience. The opposite of downstage.
warm-ups: Exercises at the beginning of a rehearsal or before a performance that prepare actors’ voices and bodies.
Actor’s Script Credits
Contributing Editor
Rebecca Marlowe
Design & Layout
iTheatrics
Kevin M. Johnson
Music Layout
Daniel Mertzlufft
Rob Rokicki
Music Supervisor
Lindsay Lupi
Associate Editor
Marianne Phelps
Publications Editor
Laura Jo Schuster
Senior Managing Editor
Susan Fuller
The
Broadway
Junior® Concept and Format
Created by Music Theatre International (MTI)
Adaptation and support materials developed for MTI by iTheatrics under the supervision of Timothy Allen McDonald.
See MTI’s complete line of Broadway Junior® musicals at: broadwayjr.com
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