By Eleanor and Ray Harder. First produced for the California Museum of Science and Industry by the State Repertory Theatre, Los Angeles. Americanized version of "The Brementown Musicians," set in the California Gold Rush days. Two sets with entr'acts. Costumes: American west for the men and costume pieces for the animals. CAST: 6 (2F, 4M)

Darby, a dreamer of a hound dog, and Molly, a mountain-grown burro, escape their gold prospector master who mistreats them. Setting off for Sacramento, where the streets are paved with gold and the good life abounds, they are joined along the way by a fiery Spanish cat and a dandified Southern rooster. When the foursome find an abandoned cabin, being used by the gold diggers turned gold robbers, they pool their combined wills and talents to claim the cabin as a home of their own, and discover "you can be the town musicians anywhere you are."

By Esther Porter Lane. Holiday pageantry and drama. A charming retelling of the great Mummers play, folk-dramas of the Middle Ages. Christmas season celebrations herald the passing of the old year and the beginning of the new. Properties may be simple, as if handcrafted by peasants. Holly and ivy may decorate everything. The songs are set to well known secular Christmas carols, with plenty of fanfare and exuberance. Any found space will do as setting. Decorated casual costumes of the day, or elaborate period costumes, if desired. CAST: 10 (5 F, 5 M) with doubling, or up to 25 mummers.

Travel back in time to the Christmas celebrations in the Middle Ages which began with a parade of Knights, Princesses, a King, a Queen, and, of course, a Dragon. There were also miraculous medical practitioners who could cure all ills. In traditional rhymed dialogue, Father (or Mother) Christmas presides over exaggerated "sword and shield" battles, court dances, and St. George's heroic and romantic escapades.

By Roxanne Schroeder-Arce was originally produced for the Emerson College Studio Series performances and tour, premiering March 22, 2008.

Sangre de un Ángel, is a play about how the choices we make can affect our relationships and our lives forever. While broaching issues of immigration, acculturation, and identity, Sangre... tells the story of a latino teenager who finds himself involved with a gang, leading him and his family to an unlikely tragic death. The bilingual play, incorporating both Spanish and English, is inspired by the true story of Adam Chapa, who was shot in his driveway by a teen gang member in East Austin, Texas. CAST: 9 (3 F, 6 M) with doubling or up to 11 (4 F, 7 M) with roles distributed.

When his mother has had enough, her older son, Juan, and his family offer to take in his teenage brother, Ángel, thinking he can guide him to make stronger decisions about school and his future. Despite the efforts of a stable home and loving family, Ángel resists the help, looking to his troubled friends and their gang-family for approval.

He is lured back to attending school by a caring, auto mechanics teacher who gives him responsibility and the opportunity to rebuild a classic 1957 Chevy. Eventually, Ángel begins to open up to his family and a hopeful future, but trouble follows him home when angry young men come looking for him—with a gun.

By Moses Goldberg was originally commissioned and produced by Riverrun Theatre of Madison, Indiana, with the support of the Rivers Institute at Hanover College and the Arts Council of Southern Indiana. An original tale by one of America’s TYA master playwrights, this play is influenced in theme and style by Japanese anime and Noh spirit plays. The story voices the continuing struggle for balance and survival between humankind and the earth’s natural forces. Time: past or present. Setting may be simple or elaborate. Geographic location optional. Costumes: peasant and fantasy. CAST: 5 + (2 F, 2 M, 1 + Either)

Eleven-year-old Hannah waves her “magic” sapphire comb, a remembrance from her mother, over the water each day while singing and dancing to commune with the River Spirit. In a fit of anger, her ferryman father throws Hannah’s sapphire comb into the river, insisting that she quit pretending, and help him. When Hannah and her friend Corwin discover a mysterious woman in the river, the three pull her to safety. The River Woman holds secrets of the river’s needs as well as clues to Hannah’s mother’s disappearance eight years before. As the spring flooding season threatens the riverside farms, the village begins the annual process of sandbagging. But the River Woman knows the river must flood regularly in order to replenish the soil and to prevent an angry flood later. She is able to convince Hannah, Corwin and Hannah’s father to stop sandbagging. As the floods rise and recede, Hannah’s sapphire comb is found on the bank, and the puzzle of her mother’s disappearance is completed with a bittersweet reunion.

By Francis Elitzig (aka David Eliet). Based on a Chinese Folk Tale, this charming play has received ovations and long-runs from the Honolulu Youth Theatre, the California Theatre Center, to the Rhode Island International Children's Theatre Festival. Setting is a playing space defined by carpet. All props and costumes surround the edges.Except for Seagirl, the roles are gender-neutral. CAST: 4 (1 F, 3 Either -one to be the musician) with doubling, or up to 12 (1 F, 11 Either).

A Dragon lands on Horse Ear Mountain, and the river in the valley dries up. Seagirl goes up the mountain to discover what has happened. At the top she finds a great lake, blocked by an enchanted gate. A Wild Goose tells her to find the golden key. Parrots tell her she must first find the Dragon King's Third Daughter. And the Peacock tells her where the Third Daughter lives. The Third Daughter takes Seagirl underwater to a palace where the golden key is kept. Seagirl risks her life to obtain the key. Together the two girls open the gate.

Adapted by Aurand Harris. A superb adaptation for one-act play contests, classroom study, and mini-productions. Medieval costumes. CAST: 7 (3 F; 4 M)

The plot of this early religious drama is from the Bible (Luke) with an added comic side plot. Mak's wife pretends the stolen sheep is a new born baby. An angel announces the birth of the Christ-child. The shepherds bring gifts to Mary and the Child, and join in singing the glad tidings. This simple folk version of the nativity story blends a secular comedy plot with a moving religious scene.

By Helen P. Avery. Premiered at Seattle Junior Theatre with a successful second production at Adventure Theatre in Glen Echo, MD. Adapted from the beloved classic by Frances Hodgson Burnett, here is a poetic adventure that enthralls and delights as it always does. Several settings suggested. 1910 English costumes. CAST: 8 (3 F, 5 M)

Mary Lennox, the spoiled child of uncaring parents dead in India, is sent to Yorkshire to live with her Uncle and Guardian in a mansion on the moor. There she hears mysterious crying down the halls and knows that the housekeeper and the doctor are plotting something evil. Through the sympathy of a young housemaid, Martha, and her brother, Dickon, who tames animals, including a live rabbit, Mary comes to know what love means. Together they solve the mystery of the crying. In the "secret garden" she and her friends experience the restorative powers of creativity and self-realization.

Books $7.00
Royalty $40.00
35 pages text
Approx. running time: 50 min.
Bilingual: English/Spanish
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By Roxanne Schroeder-Arce. Commissioned and first produced at the Plano Repertory Theatre in Texas. A celebration of the assimilation of two cultures and languages, this bilingual (English/Spanish) play uses the wisdom tales of the Mexican culture to give hope to a family faced with too much reality. Setting: Elaborate or simple. Suitable for touring. Costumes: Contemporary or stylized. A live musician is suggested to provide impromptu underscoring. Puppets are suggested for the Serpent. Written for six roles originally performed by four actors. CAST: 4 (3 F, 1 M) with doubling or 10 (3 F, 1 M, 6 Either) with roles distributed.

In this enchanting bilingual play, young Pedro and his family make their home in a barn on the Mexican border. Pedro complains of having nothing and brings his mother many headaches. She invites a hungry woman to share the family dinner once, but this Señora returns time and again to eat and tell fantastical stories of the Enchanted Serpent and Cucuy of Mexican legend, filling Pedro's nights with heroic, yet frightening dreams. Surprisingly, Pedro is learning from these wisdom tales, but his mother is suspicious of the Señora until it is revealed that Señora Tortuga holds the thread that ties their past dreams to their future. (Also see bilingual play-Legend of the Poinsettia.)

By Joanna H. Kraus. First produced by the Department of Theatre, State University of New York College at Brockport. A one-act, participatory play designed for a student audience of 4th through 7th graders. The script may also be used as a theatre-in-education vehicle. Study guide included. Simple interior set. Easy to tour. 1936 upstate New York costumes. CAST: 10 (5 F, 4 M 1 Either) or 6 (3 F, 2 M, 1 Either) with doubling.

A mongrel dog is accused when a boy drowns. This drama, based on one of America's most unusual court cases, results in a trial which gets nationwide coverage, splitting the town in half. The testimony of the witnesses is contradictory. It is up to the audience to vote whether the shaggy dog should live or die. The ending will vary among performances.

By Rae N. Simmonds. Successful premier at Children's Theatre of Maine. A charming original story of the Irish "traveling people" set In Ireland In the late 1800's. It combines adventure, musical comedy, puppetry and is enhanced by a delightful musical score of original songs and dances: solos, duets, and choruses. Open stage and set props. Period costumes. CAST: 9 + (3 F, 4 M, 1 G, 1 B) plus extras.

Jimmy, age 12, with his younger sister and their widowed mother travel the Irish fairs vending their wares. Disaster strikes when their horse Dolly is stolen "legal-like" by two shady "settled people," Jack the Halter and his cohort, Twister Joe. Jimmy takes to the road alone to retrieve Dolly. Amid many adventures, Jimmy meets good and evil characters, leprechauns and gypsies. Through the use of a charm, faith and perseverance, all obstacles are overcome, Dolly is rescued, and all ends happily.

Adapted by Aurand Harris from the play by Oliver Goldsmith. This is the celebrated play that restored "laughing comedy" to the English stage, and put Goldsmith in the great tradition of Chaucer and Shakespeare. Excellent classical piece for high school or college actors. Single set. 18th Century costumes. CAST: 10 ( 3 F, 6 M, 1 Either)

Kate "stoops" to pretending that she is a country servant, and so wins her city lover. The fun of this good-humored play lies in the contrast of country and city manners, farcical intrigues and mistaken identities. It is as true today as when Dr. Samuel Johnson wrote of this play in 1773, "I know no comedy that has so much exhilarated an audience, that has answered so much the great end of comedy, making an audience laugh."

By Kathryn Schultz Miller. Originally produced by Players Theatre of Columbus, Ohio and subsequently by ArtReach Touring Theatre of Cincinnati, this is a heart-warming story of a grandfather's extraordinary gift of life. Many turn-of-the-twentieth century songs such as "By the Light of the Silvery Moon," and "The Good Old Summer Time," enhance the magic. One set. 1890s rural American mid-west costumes. CAST: 4 (1 F, 1 M, 1 G, 1 B).

"Grandpa" remembers his "shining moment" in 1910, the year of Halley's Comet. As his life comes to an end he seeks to pass on the glory of that moment to his grandson. Set on an Ohio farm, the play introduces two children, William Henry and his tom-boy cousin, Ally. They learn about friendship and maturity as Grampa's "shining moment" becomes clear. This heartwarming play with its bittersweet ending won the Post-Corbett Award for excellence in playwriting, and the Ohio Arts Council 1986 Playwriting Fellowship.

By Patrick B. Mace. First produced by the Eastleigh Children's Theatre Group in England. A prize-winning play and long a favorite throughout Britain. Originally written for audience participation, the play is readily adaptable to non-participation format. Simple setting, various locales. Fairy tale costumes. CAST: 13 + (2F, 3 M, 8 Either) plus extras. Cross-gender casting permitted.

A Silver Whistle, possessing magic powers, is lost by a Princess and great adventures are had in the search for it. The whistle may be used to summon the Slave of the Whistle who obeys commands, grants wishes, occasionally issues warnings or reproof. Magic, trickery, theft, and the intervention of a bird bring about changes in the whistle's ownership. Its uses result in exciting and sometimes awkward situations. Finally, the Policeman asks the audience for assistance in his search for the whistle. Their ready help may be accepted and used, or skillfully rejected by the actors, provided the whistle is ultimately returned to the Princess, who, with the Policeman, decide how best to deal with it.

By Jack Melanos. Premiered by Children's World Theatre of New York. A famous thriller, presenting one of the most gripping and dangerous adventures of the hero of the Arabian Nights. Three settings. Arabian costumes. CAST: 12 (3 F, 6 M, 3 Either) or 6 minimum (2 F, 4 M) with doubling.

Inquisitive young Abou, eluding his Aunt Zobeide's discipline, is caught by a stranger, who proves to be his hero, the famed explorer, Sinbad. Sinbad offers to undertake an expedition in search of Abou's lost father, but before he can do so, is drugged and captured by a scheming pair who require his navigation skill to lead them to a hidden treasure on the dangerous Isle of the Genii. For security reasons, they are obliged to take Abou along, as well as his playing companion, who proves to be the royal Princess. Challenged by the Old Man of the Sea, as well as the Genii, the plotters fall victim to the Genii's spell; and Sinbad and his friends are required to prove their courage before they secure the treasure and return home, heroes all.

A fantasy adapted by Dennis Scott. Originally made for the National Theatre of the Deaf, and premiered at Washington's Kennedy Center as a part of the first National Children's Art Festival. This wonder-filled tale of old is a gleaming thing of marvels, adventure, magic, and mystery, to be cherished by all people, young or old - - for any time of the year, and most particularly as a play of Festival at New Year's or Christmas. An empty space. Costumes: versatile tunics over black dance pants. CAST: 6 (2 F, 4 M) with doubling, or up to 20 + (3 F, 6 M, 11 + Either)

Inspired by the late 14th-century Middle English story of an adventure of Sir Gawain, a knight of King Arthur's Round Table and his encounter with a mysterious warrior, The Green Knight. Faithful to the wit, elegance, and perceptions of the fabled original tale of old as told by Sir Gawain. Conteur tells the story - - like a Merlin/Morgan le Fey of the Arthur legend - - producing all the magic and creating all the obstacles for Gawain who must exhibit honor and chivalry in the face of danger.

Books $7.00
Royalty $40.00
70 pages text
Y T YA

By Eberle Thomas and Barbara Redmond. Originally commissioned by Florida's Asolo Touring Theatre for high school performance, here is a lively comic adventure in which the characters tell and perform freely adapted versions of Chaucer's beloved "Wife of Bath's Tale," "Clerk's Tale," "Friar's Tale," "Manciple's Tale," "Franklin's Tale," and the "Pardoner's Tale." A favorite with high school actors and audiences. Simple interior setting. 14th century costumes. CAST: 6 (2 F, 4 M)

Four pilgrims on their way to Canterbury have arrived at the Tabard Inn on a rainy evening in April 1385. They are a Wife of Bath, a Nun, a Knight, and Geoffrey Chaucer. They are joined by two new arrivals who introduce themselves as a Miller and as a Plowman. Over supper the Wife of Bath suggests that they should entertain each other by telling their favorite stories. They proceed to do so, and the results are by turn amusing, moving, and revealing of the six characters... so revealing that the two latecomers are exposed as thieves. One of the lawbreakers is driven from the Inn; the other is offered a measure of forgiveness and accepted as a pilgrim.

Dramatized by Charlotte B. Chorpenning. One of the classic playwrights of children's theatre, dramatizing the most charming of fairy tales. Two sets. Fairy tale costumes. CAST: 12 (8 F, 4 M)

This is a play made of beautiful imagery, telling the age-old story of the lovely Princess who was given every conceivable human gift on her christening day, but who was cursed on that day by a wicked fairy who had not been invited to the christening, who prophesied that on her sixteenth birthday the Princess should prick her finger on a spindle, and fall into a deep sleep, from which she could only be awakened, a hundred years later, by a Prince who was brave enough to fight his way through the wilderness that had grown up around the castle. The scene in the Tower room, where she pricks her finger, is one of the most poignant in dramatic literature.

A Participation Play with script and lyrics by Moses Goldberg and music by Ewel Cornett, adapated from the Brothers Grimm. Originally produced at STAGE ONE: The Louisville Children's Theatre. An American master of participation theatre has adapted this beloved Grimm Brothers tale, with its many levels of psychological truth, and presents it as a musical fantasy for audience ages 4 through 8. Two settings (simple rotating unit). Contemporary and fairy tale costumes. A printed music score with simple vocals and instrumentation is available from the publisher. CAST: 6 (2 F, 3 M, 1 Either) with doubling, or up to 10 (5 F, 4 M, 1 Either)

A group of actors solicits help from the young audience to perform this well-known fairy tale with its rich characters including a wise Frog, a garrulous Bush, the lively Briar Rose, her well-meaning but testy Father, and, of course, the drama of the blessing of Briar Rose by the fairies of Earth, Wind, and Water and the Fairy of Fire's curse of a 100 year slumber before Briar Rose awakens to recognize "what she has never seen and live in joy." This is the archetypal story of timeless love and the virtues of patience.

By Judith Baker Kase. A delightfully refreshing adaptation of this popular classic with original (and optional) music by the noted composer, Theodore Hoffman. Two settings. Tours comfortably. CAST: 11 (2 F, 2 M, 7 Either)

Snow White's vain stepmother, the Queen, orders Lord Pettifogg to kill Snow White in the forest because the Magic Mirror says she is the fairest in the land. Instead, he warns Snow White to run away; but the Queen discovers Pettifogg's deception. Disguised as an old woman selling apples, she locates Snow White at the cottage of dwarfs, and persuades her to bite a poisoned apple, causing her to fall into a deep sleep. The Prince awakens her with a kiss and proves to be her old friend, Jollo the Jester, who was enchanted by the Queen and forced to speak only in rhyme.

By Pat Sternberg and Dolly Beechman. Based on the historical life and character of the remarkable 19th century black woman, Sojourner Truth. Slave-born in 1797, in New York State, she was committed to the cause of freedom for black and white men and women all her life. Single set on an open stage or platform. Unadorned dress of the period. CAST 6 (3 F, 3 M)

At the age of 9, Sojourner is placed on the auction block and sold away from her parents to a cruel master. Her cunning survival skills and unshakable faith in God are her only resources. She is also endowed with a glorious singing voice which wells up to voice her yearning for a better life. She gains her freedom at age 31, and, thereafter, becomes a dedicated leader in the struggle for human rights, notably during the Civil War, appearing as a fervent orator alongside such figures as Frederick Douglas, Amy Post, William Lloyd Garrison, and Wendell Phillips. For the rest of her life, undaunted, she worked for the rights of all men and women, black and white, seeking freedom for slaves, and social justice for all.

By Mary Hall Surface. Originally commissioned and performed by the Kennedy Center Theatre for Young People, followed by STAGE ONE: The Louisville Children's Theatre. A magical look at a timeless tale. This is a dream play for every imaginative director, one that "probes deeply into the original folk tale and d the workings of the human spirit." (Louisville Courier-Journal) Single set, the workshop of the Sorcerer. Elaborate or simple costumes, as desired. CAST: 6 (1 M, 5 Either)

Inspired by a bewitching cat, a lazy apprentice, Klaus, tries to use his master's magic to do everyday chores. Soon he unlocks more magic than he imagined possible. Not only Klaus must learn to well use his magical powers. Even the Sorcerer himself must struggle with the good and evil at his command. In this spirited escapade, three silent actor-dancers effect the magic of the production, including an overflowing cauldron, a sky-high mountain, a seafaring table. All is realized in a highly theatrical style.

Books $7.00
Royalty $50.00
Printed Music Score (vocal/electric keyboard) $40.00
42 pages text
Approx. running time: 45 min.
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By Judith Kase-Polisini. Music by Theodore Hoffman. First presented as a touring production of the University of South Florida Theatre Department. Adapted from Southern folk tales, this emerges as a remarkably playable story theatre production, with music, dance and mime. Producers may select from among stories unified by folk dances. Works equally well with school-aged actors as well as adults. Playlets may be used singly. Simple unit set. Ideal for touring. Folk dance costumes. CAST: 6 (2 M, 4 Either) with doubling, or up to 12 + (2 M, 10 + Either)

Storytellers introduce the colorful characters: Daddy Mention and Sourdough Gus, a mysterious Great Conjur Alligator Man of Florida, an absurd Talking Mule, the scatterbrained Georgia Piney Woods Peddler, a sinister Mister Fox, the droll Twist Mouth Family, and a ludicrous Pudding That Broke Up the Preaching---and all share in the energetic fun.

By Brian Kral. First performed by the Rainbow Company of Las Vegas who took the production for performance at the American Theatre Association Convention in San Diego.Other successes include an appearance on "Good Morning, America," a two-year-run that included performances at the Kennedy Center. Single interior. Contemporary realistic setting and costumes. The original cast was a mix of children and adults. CAST: 14 (8 F; 6 M)

A teacher asks, "What's the first step?" The student answers, "To find the common denominator." From that innocent premise, Special Class explores through a blend of comedy and drama, the dreams and disappointments of the disabled child in our society. The text also includes informative notes on the original rehearsal process, helpful both in preparing performers to portray characters with disabilities, and in describing how standard acting exercises may be adapted for the performer with a disability. A challenge for actors of all ages, and a moving, haunting experience for every audience member.

By Mary Hall Surface. Commissioned and premiered by STAGE ONE: The Louisville Children's Theatre. Based on innovative programs throughout the U.S., the play places a recently-arrested inner-city boy in an alternative to jail with an Applachian horse whisperer––for a chance to learn trust, patience and self-worth by helping to gentle a wild mustang, in this highly theatrical, poetic play for upper elementary through high school audiences.The music, included in the script, includes three vocal melodies with chord notation. The ensemble underscores the emotion and pace of the play with improvised percussion (wood poles), wood flute, and simple guitar accompaniment. Simple setting, suitable for touring. Costumes: Contemporary. CAST: 5 (1 F, 4 M), or up to 10 ( 1 F, 4 M, 5 Either) with added ensemble.

Spirit Shall Fly explores the unlikely coming together of Trey, a 14 year-old hardened by the streets; Clara, a trainer with an uncanny ability with horses, but little faith in herself with people; and Anima, a furious, frightened mustang taken from the wild world he knows. All three long to break free from their personal prisons and journey, perhaps together, toward wholeness.

By Aurand Harris. Premiered by Harwich Junior Theatre (MA). A red, white and blue all-American minstrel show with traditional American music. Open staging. Costumes: contemporary blue denims, white blouses, red sashes. CAST: 5 (1 F, 2 M, 2 Either)plus optional chorus.

All-American entertainment employing the Minstrel Show techniques of Interlocutor, Endmen, with songs, dances, jokes, skits and skills adaptable to your own specialty numbers. A production opportunity for innovative directors, improvisationally gifted actors.

Dramatized by Aurand Harris, from Jane Kristof's novel. A moving drama of escape from slavery and flight to freedom. Premiered by the Louisville Children's Theatre and the West Side Players of Louisville. Bare stage, with set pieces pulled on by stage hands. Mid-19th century American costumes. CAST: 13 (4 F, 9 M) with doubling, or up to 30 + (4 F, 20 M, 6 + Either)

Two young slave boys escape from a South Carolina plantation, and with the help of many good people, both black and white, make their way north to join their freed father in Pennsylvania. Their many adventures, dangers, hidings, disguises, narrow escapes, comic exploits, and heart-rending experiences are bridged with simple spirituals, sung by a choir. This play requires its cast to work together in close harmony, and brings new levels of perception of the people that lived in those anguished times... and indeed to those that live in ours.

By Suzan Zeder. First produced by Southern Methodist University in Dallas. A gifted playwright brilliantly captures the contemporary theatrical fantasies of Ellie, a little girl, electrifying audiences of children and adults alike in both professional and amateur productions. A fragmentary unit set suggesting Ellie's room, a bowling alley, and the streets. Contemporary costumes and pieces. CAST: 6 (4 F, 2 M)

Ellie Murphy lived happily with her widowed father, Max, bowling, eating T.V. dinners and playing with junk. But now, suddenly, life is different. Max has remarried, and Ellie has a stepmother. Ellie and her imaginary friends, Lana and Frizbee, launch into a fantasy world as Ellie seeks to escape real life problems. They romp through "prison breaks," Cinderella, Snow White, and Ellie's own funeral where "Everyone is really sorry for all the mean things they did to you." Only by running away and discovering what it is really like to be alone does Ellie begin to come to terms with herself and her own need for a mother.

By Michael Bigelow Dixon and Valerie Smith. Developed for California's South Coast Repertory Young Conservatory Players, this is the comic portrayal of a co-ed baseball team confronting the worst slump of the season -- without the coach. One set. CAST: 14 (6 G, 8 B) ages 8-16.

A comedy in six innings, this is a delightfully perceptive play about young America's favorite pastime -- Little League. Set in the visitor's dugout, with monologues on the pitcher's mound and at home plate, the Angels brass out a real game against an imaginary team of powerhouse hitters. The result is frantic, funny, and often touching as the team discovers they have a lot to learn about themselves and the true spirit of baseball. The play offers challenges in mime, cheerleading, and accurate, realistic characterization.