Cinderella, Sleeping Beauty, Snow White

Cinderella

About the Play: From the classical fairytale by Charles Perrault, Mickey Coburn spins a funny, lively play for children of all ages. This Cinderella is feisty and fiery, the dialog is full of humor; the addition of two sprites – Junot and Julie – give additional casting possibilities for younger actors. A charming version of the well-loved story.

Characters:

CINDERELLA: Young, sweet beautiful but not sappy; “Puckish” and high spirited

AUBERT: Stepsister; eats all the time; slightly round

ARMENTINE: Stepsister; the skinny one; everything is hers; bosses Aubert; throws tantrums

GASPARDE CRISPIN Stepmother: silly and vain; has-been Opera singer; equipped with sprays, gargles and continual scales; sings part of all her sentences

MINNIE (HYPATIA IGNATIA HESPARA MINETTE) : Fairy Godmother; a bit of a bag lady; absent minded; talks in riddles; adorable

JUNOT: Well-Wishers/Sprites; elves; tricksters;

JULIE: Invisible to all except Cinderella and

CLAUDE: The Prince; charming, regular; bored with the royal life

DARCY: Prince’s sidekick; devoted to Claude; overly interested in the ladies

KING FONTAINE: Jolly: more Chevalier than Boyer; something of a voyeur

MARC, RENE: Guests at the ball; charming courtiers

METISSE, REINETTE: Guests at the ball; charming courtieres

SIBELLE:King’s Girlfriend; the floozy of her time; Speaks with Brooklyn accent

FOOTMAN/PAGE

DANCER CINDERELLA Cinderella’s dancer double to permit magic

The Scenes::

The French Countryside, early 19th Century.

Act I scene 1 Cinderella’s small country cottage. The kitchen. The morning of the great ball.

Act I scene 2 Later that morning. The garden of Cinderella’s house.

Act II scene 1 At the ball. Evening of the same day

Act II scene 2 The ballroom; after the ball

Act II scene 3 The following morning. The garden of Cinderella’s cottage

Act I: Scene 1

(The French countryside, early 19th century; the kitchen and garden of a small, country house. Inside, there is a cooking hearth, table, chairs, etc.; outside, there is a wishing well, garden bench. It is morning of the day of the great ball. As the curtain opens, we hear GASPARDE CRISPIN, a widow in her early 40’s, practicing her scales. She gets stuck on a high note, repeats it several times and then trills downward as she enters. She wears a flowing negligee over her corset and bloomers; and though not having completed her toilette, is nonetheless “done up.” She attempts her scales again; gets stuck again – this time going to the counter near the hearth, pours water from the pitcher, gargles – tries scales again -- succeeds at the high note.)

GASPARDE: Manifique! Manifique! Ma-ni-fique!! (kisses her hands, arms, fingertips) Tonight I’ll be la belle du balle – My gown – my hair – my eyes – but most of all – (hits high note). (Improvising; giggling) Oh, your majesty – you flatter me. But I’ve already sung eight songs – (flirtatiously) Well, maybe jut two or three more. Of course, if you dance with me, I’ll sing all night. (she dances around the kitchen) This is a magnificent ball! I was so pleased to be invited. You old meany, you didn’t invite me last year. (she continues dancing singing; suddenly she stops – lets out a vibrato screech --) The ball!! Aubert! Armentine !! Armentine!! Aubert!! Up – up – up!! Tonight’s the King’s ball! Aubert!!

(She sings the last word and is off vocalizing again. AUBERT and ARMENTINE enter; AUBERT is eating an apple; ARMENTINE carries a mirror and hairbrush)

AUBERT: What’s all the screeching about? It isn’t even noon yet. We’ve got ten hours until the ball.

GASPARDE: Only ten? I’ll never have you looking beautiful by then. Would you please stop eating? You’ll pop your seams tonight!

(She takes the apple away from her; AUBERT gets another from a bowl, and eats it.)

ARMENTINE: (has been looking in the mirror; let's out a scream) Aaaaaagh!! Aaaaagh!! Aaaaagh!!!!

GASPARDE: What? What? What?

ARMENTINE: A gray hair! I found a gray hair!

AUBERT: (laughing and singing) Mademoiselle called Armentine how old are you? Mademoiselle called Armentine how old are you?

(ARMENTINE chases her, grabs her and pulls hairs out of AUBERT’S head)

ARMENTINE: Not as old as my old maid sister!! There’s a gray hair (yank) There’s another! (continues)

AUBERT: Ouch! Mama!! Help!! Mama! Ouch! I’ll be bald!

GASPARDE: Enough! Armentine – sit down! Sit! Now stop crying Aubert; your eyes will be all red and puffy.

AUBERT: So what? It’s a masked ball.

GASPARDE: At the stroke of midnight, we remove our masks. The Prince will not fall in love with a girl who has red and puffy eyes. There now – eat something – you’ll feel better –

ARMENTINE: The Prince won’t fall in love with a girl who eats all the time either-

GASPARDE: Tina –

ARMENTINE: Or who has gray hair!!

(She pulls one more out of her sister’s head; AUBERT screams)

GASPARDE: Enough!! Stop that! Sit!! (sitting at table) First we’ll have our coffee; then we’ll have a soothing herb bath with scented oil….(all are at table)

…maybe that will calm you both down.

AUBERT: Where is the coffee?

ARMENTINE: Where is Cinderella?

GASPARDE: (calling) Ella! Cinderella!! Oh, that girl – off dreaming at the river again – (she goes outside) Cinderella!

(CINDERELLA runs in carrying a basket of flowers)

CINDERELLA: Here I am – Good morning, Mama.

GASPARDE: Where have you been? There’s no coffee – there’s no breakfast – what are those for? We cannot eat flowers for breakfast.

CINDERELLA: (entering kitchen) The coffee’s ready, Mama.

GASPARDE: (following) Lazy, good-for-nothing girl. What am I to do with you?

ARMENTINE: Oh, what gorgeous flowers – perfect – perfect – I’m going to wear them in my hair! Perfect – I’m going to wear them in my hair!

AUBERT: To cover the gray? Uh- uh – you can’t have them – Cinderella picked them for me --didn’t you, Cinderella?

ARMENTINE: To eat in an omelet? (They’ve been pulling at the flowers, and spill them on the floor. CINDERELLA retrieves them)

GASPARDE: (singing) Silence!! Sit down – it is very déclassé to wear flowers. It’s probably not a good idea to eat them either. (The two girls are squared off at each other)

GASPARDE: (singing) Sit!! Coffee!! Now!! Up! Up! Cinderella – we’re waiting –

(As CINDERELLA serves three bowls of coffee)

CINDERELLA: Tonight’s the ball, Mama –

ARMENTINE: What’s it to you?

AUBERT: (overlapping) What’s it to her?

CINDERELLA: Did you ever see the Prince, Mama?

GASPARDE: Yes, once.

ARMENTINE: You never told me that –

AUBERT: (overlapping) What did he look like? –

CINDERELLA: He’s very handsome, isn’t he?

GASPARDE: He was very small at the time. The King brought him to the opera. I was singing Béatrice – You should have heard me – I was truly magnificent. In Act 2, I…..

ARMENTINE: The Prince – Mama!

GASPARDE: He was only six. He fell asleep during Act I. He missed my best Aria. He’s been abroad at school ever since – hopefully he’s learned to stay awake at the opera.

CINDERELLA: (serving little buns) I can’t wait to see him. I know he’s very handsome –

AUBERT: (stuffing her mouth with rolls) See him? How will you see him?

ARMENTINE: She’s not coming to the ball – Mama! How embarrassing – she can’t come to the ball!!

CINDERELLA: Everyone is invited –

ARMENTINE: Did you get an invitation? You didn’t get an invitation!

CINDERELLA: Everyone got an invitation.

ARMENTINE: Mama! You said you tore it up!

AUBERT: Servants are not invited!

CINDERELLA: I’m not a servant. You’ve treated me like one since my father died. But I’m not a servant. And you had no right to tear up my invitation –

ARMENTINE: You’re a dirty little thing who sleeps near the cinders – Mama – she can’t come to the ball – You can’t let her – Mama –(she throws a tantrum) You mustn’t let her come … (etc.)

GASPARDE: Go—go—go—Tina—Aubert—get ready for your bath! Now! Now!!

(They exit; AUBERT takes her coffee and rolls with her)

GASPARDE: Perhaps next year, Cinderella –

CINDERELLA: But this is the ball to welcome home the Prince an to find him a bride. Please – I’ve always dreamed of going to a ball –

GASPARDE: Well, if you’re very good, when one of your lovely sisters marries him, I’ll let you come to the wedding. Now go fetch water for your sisters’ bath – go—go—go—

Snow White

About the Play: Snow White often considered a Grimm Fairytale, actually came from books by the French Huguenot Charles Perrault, the creator of Mother Goose. This re-creation of the story is made contemporary with it’s humor, timeless charm and a touch of “camp” that adults as well as children enjoy. A delightful romp! Snow White was first produced by the Boston Children’s Theatre, directed by Mickey Coburn, with sets by Bobby Summerlin, costumes by James Beaman, lighting by Christopher Akerlind.

Time: The play takes place in 18th century fairytale time

Place: There are several scenes, which can be achieved with drops and/or painted flats.

Cast List:

Lieber Raimund: The Woodsman/Prince

Snow White: The Princess

Walpurga Gerhardina Belechech: The Queen

Eudoxia: The Mirror

Euphemia

Hedwig The Siamese Cat

Flogelind The Bird

Sussig The Skunk

Misha The Lion

Frithmund The Prince/Huntsman

Petrus The Henchman

Mandel The Seven Little Men

Mertel

Werther

Wenzel

Stoffel

Steffel

Fritz

Sprinzchen The Jolly Hag

Fritzinn The Silly Hag

Sigismonda The Ugly Hag

Snow White

From the Play:

(She grabs a broom & starts to sweep; then she polishes the floor with a rag. The 7 little men appear in a choreographed parade. The first is the leader; the seventh, taller than the rest, attempts continually to cover up the fact that he’s taller. They have long white beards & all wear pointed hats or hoods and wooden shoes & carry burlap bags filled with something. They chant to the rhythm of their shoes.)

Together: We’re the 7 brothers Hoffenstein,

We work together in our mine.

No one shirks and no one quits

(one at a time) Mandel, Mertel, Werther, Wenzel,

Stoffel, Steffel and Fritz!

All for one and one for all,

Against a world that’s much too tall;

We use our brains, we use our wits,

(one at a time) Mandel, Mertel, Werther, Wenzel,

Stoffel, Steffel and Fritz!

Together through the thick and thin,

The best of friends, the best of kin,

A brotherhood of opposites –

(one at a time) Mandel, Mertel, Werther, Wenzel,

Stoffel, Steffel and Fritz!

(Mandel opens the door & goes inside; the others are behind him. He sees Snow White & comes out again, forcing the others back.)

Mandel: We seem to have company

OTHERS: (echoing him) Company? Company?? (etc.)

Mandel: Probably a thief -- or a murderer –

OTHERS: (hub-bub of alarm) What ? No! oh --- (etc.)

Mertel: (looking into the house) It looks like a girl –

OTHERS: A girl? A what? A who? (etc.)

Mertel: (looking again) She seems pleasant enough. (The others crowd

to the door to peer in)

Wenzel: Can she cook?

Werther: Is she somebody or just a peasant girl?

Stoffel: She may have lost her way.

Steffel; She’s gonna make more work for us.

Fritz: She’s – she’s – she’s awful pretty.

Others: Pretty?????

Mandel: Let me see –

Mertel: You’re right –

Wenzel: Too skinny –

Werther: Her dress is plain.

Stoffel: She looks nice. (etc. adlibs)

Stoffel: One of us should go in and find out who she is.

Fritz: (quickly) I will!

(They all leer at him; he backs off)

Fritz: (shrugging) I would.

Wenzel: I wish she’d come after dinner; there won’t be enough for

Sleeping Beauty

About the Play: Once upon a time…in an enchanted kingdom, all gathered to celebrate the birth of the royal princess. Wicked Godmothers, good Godmothers, magicians, kings, clowns are fantastically woven into a delicious tale luxuriating with sorcery, processions, and whimsical escapades! THE SLEEPING BEAUTY glitters and charms, amuses and delights. The perfect family entertainment!

The Sleeping Beauty was first produced by the Boston Children’s Theatre, directed by Mickey Coburn and designed by Karl Wendelin.

Scenes (Unit Set)

ACT I

Scene 1: The palace of King Pompous

Scene 2: The same; 16 years later

ACT II

Scene 1: A wood, 100 years later

Scene 2: The palace

Cast List:

Prank, The Jester

The Cook

Two Scullions/Attendants

King Pompus

Queen Imagine

Nurse Hopestill

The Faerie Primrose

The Faerie Thistle

Hemlock

Grunt, The Troll

The Faerie Mistletoe

The Faerie Court (4)

Allura, As A Child

Princess Allura

Prince Gallant

Tripp, Valet To The Prince

From the Play:

(Music in. The procession appears down the theatre aisle. King, Queen, four Pages carrying a baby sedan chair, Followed by Nurse Hopestill. They arrive on stage. Queen proceeds to her throne. Nurse takes baby from sedan chair which the Pages then remove. She shows the baby to the servants, Cook and Prank who make appropriate sounds of delight. She takes her place near the throne. The music stops. Fanfare. The King is at the banquet table picking at the food.

Queen: (stage whisper) Pompous! Pompous! Everyone’s waiting.

King: Just a moment, my dear. Mmmmm -- everything looks delicious --

Queen: Pompous!

King: I thought I might just have a bite –

Queen: It isn’t time to eat yet – Pompous – please –

King: Well, all right. (he goes to his throne and sits)

Queen: (jabbing him) Pompous –

King: Hmmmm?

Queen: Everyone’s waiting – up! Up!

King: Oh, yes. (rising ) Royal subjects! This is indeed a happy day. Queen Imagine and I invite you all to celebrate the birth of our daughter, Princess Allura –

Queen: They know all that, Pompous –

King: They do?

Queen: Of course they do.

(All smile, whisper, nod)

King: Well, then – (he sits)

Queen: Well, then – go on – go on –

King: (rising) Well then – (to Queen) Well, then – what?

Queen: Tell them to proceed –

King: Of course. I knew that. Proceed! (he sits)

(Attendants alter their stage positions. Prank tumbles forward)

Prank: (not speaking; using mime and sign language)

Not yet your majesties – no!

King: What’s the matter with him?

Queen: What is it, Prank? Time for the gifts perhaps?

King: Attendants! The gifts –

(The attendants begin to gather up the gifts to bring to the Queen; Prank stops them)

Prank: (silently) no – no – your majesty – gifts – no –

Queen: Well, then –

King: The dinner! I’m starved –

Book Excerpt (Copyrighted Material) :

AUTHOR’S FORWARD

SNOW WHITE

At the Boston Children’s Theatre’s opening performance of SNOW WHITE, two irate women accosted me during the intermission. With them was a gaggle of children of assorted ages. The women demanded a full refund because we weren’t performing “the real Snow White. With Dopey and Sneezy and all of them.” I explained that was the Disney version. This was an original version of the Grimm fairytale. “Grimm? We don’t know no Grimm. What’s that about?” And all this time the kids were howling to return to the theatre because they loved the show and wanted to see the second half. The kids won out.

SNOW WHITE is great fun to produce and to perform. And, as with the other plays in this collection, it works on two levels – appealing to a youthful audience and entertaining adults as well. (Except for the two ladies mentioned above!) For me, this is an essential ingredient of children’s theatre – to not play “down” to the kids and to not bore the adults. To help you achieve this, I offer the following production notes.

The German origin of this fairy tale translated into the names of the characters and the design of set and costumes. I spent time in the children’s book section of the local Barnes and Noble gleaning inspiration from illustrations. I highly recommend it.

The Cast: Most of the youngsters who were involved in actual productions were nine or ten to seventeen years old. In a school situation, adjustments would need to be made. This is how I handled the casting of the characters at the Boston Children’s Theatre with an extensive age range:

THE WOODSMAN/PRINCE -- a teenage boy

SNOW WHITE -- a young teenage girl

THE QUEEN – an adult woman ( if yours is a school production, this might not be possible. An older teenage girl would do nicely. In British tradition, a guy with a great sense of humor would be great as well.)

THE MIRROR: Two girls played the mirror; gold costumes and gold makeup. They created the shape(s) of the mirror with their bodies. They spoke in unison and sometimes alternated lines. Of course, boys could do this as well or a boy and a girl – depending on availability.

All the other characters were appropriately cast youngsters. The SEVEN LITTLE MEN were boys and girls. The three hags were played by the same actor, but of course could be three different actors, depending on your needs.

The Set: We used a basic forest drop bringing in set pieces and lighting effects as needed to create each individual scene.

Music and Sound Effects can be original or tunes that are appropriate. We were fortunate to have access to colleges with great music programs; students from these schools would create music for our shows. I do not have copies of these works; the composers correctly kept the rights to their compositions. The Seven Little Men chant; just a rhythmic patter accompanied by their wooden shoes.

One of my best theatre professors reminded us regularly that “Comedy is serious business.” As long as you don’t “play it for laughs,” the laughs will come. The company might enjoy watching old films/videos of vaudeville comics – Marx Brothers, Abbott and Costello, etc. Just to become familiar with the genre of some of the sillier business in this play. Have fun with it!