RIC-0415 Favourite Fairytales on Stage

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©R.I.C. Publications 

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Written by 

Robyn James 

<strong>RIC</strong>-<strong>0415</strong> 5.2/349 

Published by R.I.C. Publications PO Box 332 Greenwood WA 6024

<strong>Favourite</strong> <strong>Fairytales</strong> on Stage 

Contents 

Foreword ...............................................................................................1 

Mimes, Games and Improvisations.................................................. 2-7 

Games and Improvisations .....................................................................3 

Pinocchio and Geppetto ........................................................................4 

Goldilocks Mime ...................................................................................7 

Preparing for a Performance .......................................................... 8-16 

Know Where You Stand - Stage Directions ...........................................9 

Character Warm-ups ...........................................................................10 

Getting into Character ................................................................... 11-12 

Putting it all Together.................................................................... 13-15 

Tension ......................................................................................... 16-17 

Stage Fright .........................................................................................18 

Plays ............................................................................................ 19-41 

The Three Little Pigs ..................................................................... 20-23 

Little Red Riding Hood ................................................................. 24-27 

The Wisdom of Wung Loo............................................................ 28-31 

The Lion and the Mouse ............................................................... 32-34 

The Hare and the Tortoise............................................................. 35-36 

Cinderella - A Comedy .................................................................. 37-41 

Poetry .......................................................................................... 42-50 

The Beanstalk Rap ......................................................................... 43-44 

Magic Moonlight Night.......................................................................45 

Bunyips, Bumpkins, Miniatures and Munchkins .................................46 

Mister Moneykins ................................................................................47 

Ghost...................................................................................................48 

The Ladybird and the Giant ................................................................49 

Flight of the Pixies ...............................................................................50 



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<strong>Favourite</strong> <strong>Fairytales</strong> on Stage – 51

<strong>Favourite</strong> <strong>Fairytales</strong> on Stage 

Written by Robyn James 

Foreword 

The material in this book is intended to provide the basis for an enjoyable introduction to the art and 

discipline of drama. The activities range from structured mimes and improvisations to complete play scripts. 

The section 'Preparing for a Performance' provides a detailed guide for students, taking them through all the 

stages of preparation necessary to ensure a smooth and successful production. 

All the ideas presented can be used in a normal classroom , although, of course, in drama the more space 

students have to work in the better! 

MIME: The mime routines provide the opportunity for every member of the class to become 

immediately involved in a safe, structured and highly-controlled drama experience. 

Safe –␣ everyone is doing the same thing, so no one person is singled out. 

Structured – as the mime routine develops, plot and character are conveyed entirely by 

movement. The student quickly discovers the importance of attention to facial expression and 

precision of movement. 

Controlled – the development of the action is controlled by the teacher's narration. The student 

is thus free to concentrate on his/her actions, rather than being distracted by trying to memorise 

dialogue and movements. 

From the teacher's point of view, this controlled start has several advantages: 

1. Mime is quiet and requires precision. By starting with mime work, the idea of drama merely 

being 'playing about' or just 'fun and games' can quickly be dispelled, and the students will 

respond accordingly with increased commitment. 

2. All students can have an equal, satisfying introduction to drama, rather than the 'best' 

readers getting the biggest parts. 

3. Many students find mime work less threatening than oral work. 

4. It will quickly become evident to students that the best performances (whether individual 

or group) result from careful thought and hard work. 

Following this controlled start the teacher can choose to progress in a number of directions with 

varying degrees of freedom; for example to structured games, further mime exercises, 

improvisations, creative writing… 

THE PLAYS: The plays follow familiar popular story-lines, and this assists students in learning 

the dialogue and creating the characters. They are also comparatively short, providing an 

opportunity for students to produce a relatively polished work in the time available. 

With, for example, four groups working concurrently on four plays, all students should become 

quickly and actively involved, with the teacher moving from group to group providing assistance 

as needed. 

It is an excellent idea to arrange for the class to perform their work for an audience –␣ in this case 

a younger class would be ideal. The performance could consist simply of the plays or could 

include mimes, poems and even polished improvisations. 

In places HINTS are provided on the staging of the plays. These hints will help students to 

discover what is most effective. For example, extra rehearsal of key scenes where the TIMING 

is very important would be most worthwhile. 

THE POEMS: The poems can be enjoyed as fun verbal dynamics in the classroom, or can be 

performed by a group. If some groups need more time than others in preparing their plays, the 

'quick finishers' could be given an extra task of preparing a poem to perform. 

The poems also provide a pleasing contrast in style and manner of delivery to the other works 

in this book. They could be used as part of normal classroom activities, or to enhance a 

performance program based on the <strong>Fairytales</strong> theme. 



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<strong>Favourite</strong> <strong>Fairytales</strong> on Stage – 1 

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Mimes, Games and Improvisations 

Pinocchio and Geppetto 

Goldilocks Mime 



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Games and Improvisations 

You could try some of these activities either before or after trying out the mime routines in this book. 

ICE-MAKER 

MIRRORS 

SCULPTOR/ 

SCULPTURE 

MARIONETTE/ 

OPERATOR 

One or two children are elected as the Ice-makers. They chase after 

the other children who must stand as still as statues when the Icemaker 

blows on them. The statues are allowed to blink if they have 

to but otherwise they must not move at all. 

The Ice-makers try to get the statues out by making them move. They 

can tell jokes, wave, do anything except actually touch the statues. 

The students work in pairs. One person is the mirror, the other 

person leads the action by, for example, cleaning teeth or, combing 

hair. NOTE: The aim is to work together and cooperate, so that it 

looks effective. Start off slowly and avoid sudden movements. 

Swap leaders after a while. 

3-4 people. One person is the sculptor who creates a statue out of 

the others. They start off in a shapeless huddle and then hold the 

position the sculptor puts them in. 

Give your sculpture a name and, if you like, explain it to the class. 

(Remember that you are a famous artist, of course.) 

Take turns being the sculptor. 

Work in pairs. One person is the marionette puppet, while the other 

operates it by pulling imaginary strings tied to its wrists, head and 

knees. As a string is pulled, the puppet reacts accordingly. Try 

making the puppet walk. 



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TOYS THAT COME 

TO LIFE 

FAIRYTALE MIME 

HINT! This is another exercise that calls for good cooperation and 

teamwork. Start off slowly. 

It is midnight on Christmas Eve and the toys have come to life! 

Decide what toys there will be in your group, then work out a short 

scene to show the rest of the class. The scene could be a mime, a 

dance, or a short play. Perhaps you could find some music to use in 

your improvisation. 

In mime, show a scene from a fairytale you know. You could try this 

by yourself, or work in small groups. 



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Pinocchio and Geppetto 

• Whole class 

• Students work in pairs 

• Teacher narrates as students act out the details. 

• NOTE - actions are mimed. The teacher should not hear a sound. 

NARRATION: 

Before you start: Try walking like old Geppetto. 

Now show how young Pinocchio might walk. Remember, he is made of wood! 

From now on you will need to work in pairs, so choose a partner and decide who will be old Geppetto, and 

who will be the block of wood that will become Pinocchio. 

Remember, when Geppetto is making the puppet, he should not actually touch the other person except 

when he is placing an arm where he wants it or tilting the head. 

Now we are ready to start. You will need to act out the story as I narrate it. 

PINOCCHIO AND GEPPETTO 

The block of wood sits still on the workshop floor, not moving at all. 

(Squat with head bowed and hands covering face.) 

It is early morning. Old Geppetto lies asleep in his bedroom, which is next to the workshop. He is snoring 

gently. (But silently!) 

Meanwhile, out in the workshop, a piece of wood sits on the floor, motionless. 

A cock crows outside the window, and Geppetto stirs in his bed. It is very cold and he pulls the covers up to 

his chin, but he knows he has a long day's work ahead of him to earn his living, so he climbs out of bed and 

makes his way over to the chair where he has left his cardigan, and puts it on. Ah! That's much warmer! 



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Now he crosses to the shelf where he keeps his pair of little 

round glasses. That's much better, now he can see. He 

notices in the mirror that his hair is rumpled and, being a 

tidy man, picks up a comb to do his hair, looking carefully in 

the mirror. Now he is satisfied. He replaces the comb and, 

still a bit stiff with cold, walks out to his workshop. 

Immediately he notices the piece of wood and his face lights 

up. He rubs his hands with pleasure. This is the new piece 

of wood that was delivered yesterday evening. He is wide 

awake now and eager to start work. 

The piece of wood does not move. 

Geppetto walks slowly around the wood, studying it carefully. What shall he make? A statue of a beautiful 



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woman? — A piece of furniture? — (pause) Ah! That's it! A wooden marionette puppet! 

Quickly he crosses to his workbench and picks up a chisel, and now he returns and starts to shape out the 

puppet. First he roughly shapes out the head. 

The wood moves its hands away from its face and lifts its head. 

Now Geppetto starts working on the arms, chiselling out their shape … giving special attention to the hands 

and fingers. 

Wood extends arms. 

Now he shapes out the puppet's body… 

Wood extends body, kneeling right up. 

… and its legs. 

Geppetto stands back for a moment, studying his work 

carefully. He nods briefly then moves in to finish the fine 

detail of the puppet's face. He carefully puts the finishing 

touches to the eyes —to the cheeks —and to the mouth, 

giving the puppet a cheerful, happy smile. 

Geppetto stands back to admire his finished work. His 

puppet looks just like a small, happy, rather cheeky boy. 

Geppetto looks pleased with his work, but now he sighs and looks rather sad as he thinks 'What a pity he is 

only made of wood. How I wish I had a small boy just like this to call my own!' 

He is tired after his morning's work. After all, he is quite an old man, and he crosses to his chair for a rest. 

Gently he dozes off to sleep. 

While Geppetto sleeps, a Good Fairy, who has heard his wish, enters the room and talks to Pinocchio. With 

a wave of her wand she brings the puppet to life, although he is still made of wood, then flies away. 

Pinocchio first blinks his eyes in surprise, then, moving stiffly, looks from left to right. 

Stiffly, as if a string is tied to the top of his head, he nods his head up and down. 

He tries his arm. It shoots straight up, as if a string is tied to his wrist. He lowers it down to his side then it 

shoots straight back up again. 

He tries the other arm. 

Both arms together. Ha ha! This is fun. 

Now he moves his arms as if they are lifted by strings tied to his elbows with the lower half of his arms 

flopping down. 

Carefully he lifts his knees, one at a time, and practises walking. Oh, careful! He is very wobbly—he goes a 

little faster. Yippee! He tries a little dance. 

Oh-oh, Geppetto is starting to wake up. Pinocchio quickly stands still. Geppetto moves over to the puppet, 

looking puzzled. Surely he wasn't standing quite like that before? He scratches his head and turns back to 

his chair. 



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Pinocchio cheekily pulls a face behind his back. Geppetto turns around, but Pinocchio is standing very still. 

Geppetto turns and walks away again, shaking his head and scratching his chin. Pinocchio creeps behind 

him, copying his walk and making fun of him. 

Geppetto whirls around. Pinocchio is standing very still. Geppetto is very suspicious. 

Geppetto walks around the puppet, examining him with great suspicion, trying to catch him out. Finally he 

comes round to the front of the puppet and brings his face very close to Pinocchio's. 

They both stare into each other's eyes for a few moments… then Pinocchio exclaims 'Boo!' 

They both fall backwards and are left sitting down, face to face, staring at each other, Pinocchio with a big 

smile on his face. 

Freeze, as if for a photo! 



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Goldilocks Mime 

It is early morning. Goldilocks (or her brother!) is sleeping. A beam of sunlight shines through the 

window onto her face. Goldilocks stirs, then wakes up properly and jumps out of bed. 

She runs to the window and looks out. What a beautiful day! Quickly she gets dressed, ready to go 

for a walk. 

Quietly she opens the front door, careful not to wake anyone else. Carefully she closes the door 

behind her. Off she skips down the woodland path. She can hear all the birds singing in the trees. 

She waves 'hello' to her special friend, the little robin. 

Now Goldilocks is a little tired. She slows to a walk, but there is still a spring in her step. What's that 

she can see over there? She peeps out from behind a large tree to have a closer look. Why, it's a little 

house she has never seen before! 

Cautiously she creeps up to have a closer look. No one seems to be home. She walks all round the 

house, with great curiosity. She stands on her toes to peep through a window. No one is there. 

Oh—she MUST have just one little look through the front door. 

Quickly she opens the door and steps inside – she looks all around. What a dear little house! Now 

where could that DELICIOUS smell be coming from? My goodness, she feels so hungry all of a 

sudden. 

Now Goldilocks notices three bowls of porridge cooling by the window. She pauses for just a 

moment, then decides she must just have a tiny little taste. She picks up a spoon and tries the first 

bowl. 

OUCH –␣ It's too HOT! She tries the next bowl. 

OOHH – That one is too COLD! She tries the next one… 

AAHH! – That one is JUST RIGHT! 

Now, finish the story yourself - 

or teacher can continue narration. 



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Preparing for a Performance 



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Know Where You Stand –␣ Stage Directions 

A 

Sightline 

Up Right 

Up Centre 

Down Centre 

Up Left 

Right Centre 

Left 

Down Right 

B 

Down Left 

FOLLOWING STAGE DIRECTIONS 

There are a few important terms you need to know when reading stage directions. 

Downstage This is the front area of the stage, toward the audience. 

Upstage This is the back part of the stage, furthest away from the audience. 

Stage left The side of the stage to the actor's left, as the actor face the audience. 

Stage right The side of the stage to the actor's right, as the actor faces the audience. 

In a playscript directions will often be shown by letters, for example: 

DL - Down left UR - Up right C - Centre 

When rehearsing a play you should at first try keeping to any stage directions shown in the playscript. 

The writer will often have a good reason for making a particular suggestion. 

However, it is YOUR play, and you are free to make any changes you feel will improve your 

performance, as your rehearsals progress. 

1 2 3 4 5 PERFORMING ON A RAISED STAGE 

If you are performing on a raised stage it is most important 

that you keep to the area of the stage where you can be easily 

6 

seen. (The area shaded in diagram 1.) 

Imagine you are Person A in the diagram below. Do you 

think you could see every person on stage clearly? How 

much of your view would be blocked by: 

(i) the position of the curtains, or (ii) the height of the stage? 



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PERSON A: Can only see the heads and shoulders of numbers 2, 3, 4 and 5. 

PERSON B: Can only see the heads and shoulders of numbers 1, 2, 3 and 4. 

NUMBER 6: Can be easily seen by both person A and B. 



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Character Warm-ups 

1. Walk around the room showing how your character moves: 

• normally 

• when in a hurry 

• when feeling tired or sad 

• when angry or upset 

2. 'Freeze' in an attitude typical of your character, hold the position, then quickly change to another 

position and 'freeze' again. Show your character when: 

• happy 

• tired 

• excited 

• sad 

• angry 

3. Walk around the room as your character, saying 'hello' and shaking hands with other characters. 

4. Make a still 'photograph' of the characters in your play, showing the relationships among the 

characters. Think of a caption (or title) for your photograph. 

Try photographs of: 

• just two characters 

• different combinations of characters 

• a series of photographs 



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Mr 'Niceguy' 'Go that way.' 'Tricked her!' 

(His true character shows!) 



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Getting into Character 

In order to act a part well, you need to have a very good idea of the character you are playing. 

Try filling in an 'identikit' record for your character, using the example below as a guide. 

Dress: Often wears a sports cap. 

Name: 

Age: 33 

Eyes: 

Hair: 

Address: 

Other distinguishing features: Long ears, sharp claws. 

Big Bad Wolf 

Brown, sneaky 

Brown, furry, covers body 

The forest near Grandma's house. 

Walk: Usually moves quickly and quietly. Can pounce suddenly. Holds hands out like 

claws. 

Nickname: 'Meany'. 

Personality: Untrustworthy and dangerous! Cowardly when outnumbered. 

Family background: Always mean to his brothers and sisters. Ran away from home at 

the age of 2. 

Likes: Scaring people, tricking people. 



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Dislikes: Being outsmarted. Looking like a fool. 

Other comments: Can seem very nice when he is trying to trick someone. Moves eyes 

and head in a shifty manner and licks his lips when he is ready to attack. 



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Use this blank 'Identikit' form to fill out the details for your character. 

Name: 

Dress: 

Other distinguishing features: 

Walk: 

Nickname: 

Personality: 

Family background: 

Age: 

Eyes: 

Hair: 

Address: 



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Likes: 

Dislikes: 

Other comments: 



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Putting it all Together 

Question: Who do you think would put on the best performance: 

The group with the best actor? 

or 

The group with the best teamwork and preparation? 

The cartoons below might give you some ideas to help you discuss this question. 

What's Andrew 

standing there for? 

Thinks 

Why hasn't Paul 

come on yet? I look 

like an idiot up here 

by myself. 

Um! I think the wolf 

might be along here 

any minute. 

I think he's supposed 

to be the Wolf. He 

forgot his costume. 

Meanwhile, backstage 

Quick, I've got to 

find my wolf tail. 

Not very good is it? 

I can't even hear them. 



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Psst! Music! 

It's the wrong 

music!! 

W A A A 



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Putting it all Together 

There are many things you will need to think about if you wish to make your performance as 

successful as possible. 

1. AUDIENCE 

Is your play most suitable for adults, teenagers, or young children? Could you make 

arrangements for a suitable audience to see your play? For example, could you invite 

another class to come and see it? 

Where will the audience sit? 

Who will arrange the seating? 

Who will show people to their seats? 

Who will clean up afterwards? 

2. PROMOTION/ADVERTISING 

How will you let people know about your play? Posters, the school newsletter, a short 

promotion at assembly? 

Will you design a program? What would you put on it? 

3. COSTUMES AND MAKE-UP 

What will you use for costumes? 

When will you aim to have them ready? 

How will you keep them organised? 

Will you need make-up? 

HINT: A good way to organise costumes is to hang a plastic bag with your name on it 

over a coat-hanger. Hang clothes on the hanger and put everything else you will need in 

the bag - including a checklist of all the items that should be in the bag! 

4. PROPS 

Make a checklist of any other essential items that you must have, such as a basket for Little 

Red Riding Hood. 

IMPORTANT. Props must always be SAFE. You should never use sharp instruments 

such as real knives. Instead of a real axe, the Woodcutter, for example, would have to use a 

cardboard one or a safer substitute. 

WARNING. Do not use valuable props or items such as your grandmother's favourite 

pearl necklace! They could easily be lost or damaged! 

5. SET 

You will need to plan how you will design your stage set very carefully and work out 

exactly where each piece of furniture or scenery should go. It is a good idea to sketch out a 

plan of your stage, showing the location of all items. 

These are the main points to consider: 

(a) leave plenty of room for the actors to move about freely; 

(b) keep your stage set as simple as possible; 



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(c) 

(d) 

(e) 

you will need to be able to set your stage up quickly; 

it is much more important to learn your part well than it is to spend a lot of time working 

on your set (unless, of course, you have especially been given the task of organising sets); and 

arrange furniture so that the audience can see the actors' faces. For example, turn chairs to 

face slightly toward the audience. 

6. LIGHTING 

Will you need any special lighting effects? If so, who will operate the lights? 

7. SOUND 

Do you need any special sound effects such as disco music, musical instruments, thunder? 

Who will organise this? 

Who will operate the cassette player or instruments for you while your play is on? How will they 

know when to use the sound effect? Will they need a copy of the script? 

Will you need an extension cord? 

8. REHEARSALS 

Where and when will you rehearse? 

What if you need to have extra rehearsals outside class time? 

9. PROMPT 

Will you have a prompt? (That is, a person with a copy of the 

script who is ready to help you out if you forget your lines.) 

10. ANNOUNCER 

Who will announce your play? What will he/she say? 

11. CURTAIN OPERATOR 

If you are performing on a real stage, who will work the curtains? How will they know when to open 

and close them? 



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12. BOWS 

Will you take bows at the end of the play? In some cases this is appropriate, in others not. 

13. CHANGE ROOM 

What area will you be able to use for a change room? Remember, it spoils the effect a little if the 

audience sees you in costumes before the play. 

14. CLEAN UP 

Who will tidy up the stage area and change room afterwards? 

WRITE IT DOWN! To help you get organised, it might be a good idea to 

write down your own set of production notes, using each of the headings listed 

above. 



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Tension 

Just imagine the story of Little Red Riding Hood without the wolf: 

One fine day Little Red Riding Hood set off through the woods with a basket of goodies for 

her grandmother. In no time at all she arrived there safe and sound. After a lovely visit, 

Little Red Riding Hood went home again. The end. 

Not much of a story, is it? Or just think what the story of Cinderella would be like if she had a loving family 

and was allowed to stay at the ball as long as she liked: 

One evening, Cinderella went to the ball with her lovely stepsisters and danced with the 

Prince. The Prince immediately fell in love with her and they lived happily ever after.'The end. 

SOURCES OF TENSION 

Every story or play needs to have a source of tension which drives the action in the story. Without tension 

(as in the examples above), the story will not develop in an interesting way. 

Tension can arise from a number of sources: 

(i) Personal problems: 

Example: The Three Little Pigs had nowhere to live after leaving their mother's home. 

(ii) Problems in relationships with other characters: 

Example 1: The Ugly Stepsisters make life difficult for Cinderella. 

Example 2: The Little Pigs are not safe with the Wolf about! 

(iii) Problems caused by outside factors: 

Example: The Fairy Godmother's spell ends at 12.00 midnight, causing problems for 

both Cinderella and the Prince. 

The actors in a play must help build up the tension as much as possible. The first important way to do this 

is to understand the relationships between the characters and show this as clearly as possible. For example, 

the Ugly Stepsisters should make it very clear that they are jealous of Cinderella. 



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CLIMAX: The climax of a play is the point where tension is at its height and must be resolved (sorted out) 

one way or another. 

EXERCISE: In pairs, try practising the following short scene from 'Rumpelstiltskin'. 

Firstly, make little attempt to establish tension and put little effort into your voice and actions. 

The second time, establish as much tension as possible by: 

• showing facial expressions (for example, fear and anger) very strongly; 

• using large hand movements and gestures; 

• using strong, loud voices (when appropriate); and 

• using fast action and dramatic pauses where suitable. 



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NOTE: You will quickly find that skilful use of TIMING helps create dramatic impact and tension. 

With good use of timing there are no unnecessary pauses to slow down the action. 

A SCENE FROM THE STORY OF RUMPELSTILTSKIN: 

In this story Annette must guess the name of a funny little man called Rumpelstiltskin! If she can 

not guess it, she must keep a promise she has made to him and give him her firstborn child. 

Unknown to him, she has secretly found out the name, but in this scene she leads him on for a little 

while, pretending that she is still only guessing. 

ANNETTE: 

RUMPEL: 

ANNETTE: 

RUMPEL: 

ANNETTE: 

RUMPEL: 

Could it be … Malcolm? 

Malcolm! Ho ho ho! 

No, you'll never guess it, that I know! 

Oh dear… Well, could it be … Arthur? 

Arthur? Do I look like an Arthur? Oh what fun! 

Say goodbye to your little son! 

Well then, I wonder… would it be… could it be… 

RUMPELSTILTSKIN? 

What? Who told you? You've cheated me! Nobody knows my secret name! 

NOBODY… 

(He goes off furiously) 



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NOTE: Decide for yourself how Annette might react at the end of the scene. 



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Stage Fright 

Just before a performance, after all the hard work and excitement of preparation, it is quite natural to become 

nervous or overexcited. All good performers will admit to this. It is most important to calm yourself down 

now. 

• Find a quiet space for yourself and concentrate on breathing calmly and steadily. 

• Stop thinking about all the distractions around you and instead concentrate on your character and 

how you are going to play it. 

• Try some simple character warm-ups, such as walking around as your character and saying 'hello' 

to the other characters. 

• When your play is announced, take a deep breath then go out and do your best. 

THE PLAY MUST GO ON! 

Every famous actor knows only too well that lots of unexpected things can go wrong (just think of any TV 

'Bloopers' shows you have seen). 

If something does go wrong, don't give up, just keep doing your best and you will still have a good 

performance for your audience to enjoy. For example, if someone forgets his/her lines, you should all stay in 

character and try to help each other out. A pause like this is much better than if people break character and 

start giggling out of embarrassment. 

THE DRESS REHEARSAL 

It is most important to have a dress rehearsal two or three days before the real performance. This means that 

everyone should be in their costumes, and you should try to perform your play just as if it were the real 

performance, with as few interruptions as possible. 

It is much better to find out what is likely to go wrong in the dress rehearsal than to have a disappointing 

performance before your real audience. 

Examples of problems that may be exposed in the dress rehearsal. 

• Actors can take too long to change into their costume, and then miss out being on stage at the 

right time. (This is one example of 'missing your cue'.) 

• There is too much noise backstage, which can be heard by the audience. 

• Music cassettes are forgotten. (HINT: Have a spare copy.) 

• People don't know their lines. 

• Someone in the audience might laugh when you don't expect it. Ignore them. 

• Voices are too soft. 

• People can't be seen clearly because of their position on stage. 

• Props are forgotten. Make sure you check your props list. 

• Parts of a costume (for example, a hat or moustache) falls off! 



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Plays 

The Three Little Pigs 

Little Red Riding Hood 

The Wisdom of Wung Loo 

The Lion and The Mouse 

The Hare and the Tortoise 

Cinderella 



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The Three Little Pigs 

7 Actors: Narrator, Mother Pig, Man, Big Bad Wolf, Pig 1: Pinky, Pig 2: Perky, Pig 3: Spunky 

Punky 

5-6 Actors: Narrator or Mother Pig could also play the part of the Man or the Wolf, if necessary. 

NARRATOR: 

PIG 1: 

NARRATOR: 

PIG 2: 

NARRATOR: 

PIG 3: 

NARRATOR: 

MOTHER: 

NARRATOR: 

MOTHER: 

PIG 1: 

PIG 2: 

PIG 3: 

MOTHER: 

PIG 1: 

MOTHER: 

PIG 2: 

MOTHER: 

PIG 3: 

PIGS 1,2, 3: 

SCENE 1: MOTHER PIG'S HOUSE 

(The three little pigs are noisily eating breakfast at a table, stage left. Mother Pig is serving 

glasses of milk at a bench, stage right) 

Once upon a time there were three little pigs. Pinky… 

That's me! 

Perky … 

That's me! 

And Spunky Punky. 

That's me, guys! 

They lived in a little house with their hard-working mother. 

And that's me! 

One day the time came for the three little pigs to leave home: (Narrator steps to the 

side of the stage and watches the action quietly) 

(Sighs loudly) Stop making so much noise while you are eating! You're worse than 

little children! 

Yes, Mum. 

Sorry, Mum. 

We won't do it again, Mum. 

(Pigs immediately start eating noisily again. 

Mother brings milk on a tray to the table) 

There you are, Pinky. 

Thanks, Mum. 

There you are, Perky. 

Thanks, Mum. 

There you are, Punky. 

HINT: Make sure the characters do not have 

Thanks, Mum. 

their backs to the audience. 

(Mother Pig is finally ready to sit down and eat her own breakfast, but just as she sits 

down…) 

More please, Mum! 



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MOTHER: 

MOTHER: 

PIGS 1,2,3: 

MOTHER: 

MOTHER: 

PIG 1: 

PIG 2: 

PIG 3: 

PIGS 1,2,3: 

MOTHER: 

PIGS1,2,3: 

PIG 1: 

PIG 2: 

MOTHER: 

MOTHER: 

(Standing up) All right, dears. (Mother crosses to bench, pours milk and returns to table. 

Meanwhile the pigs eat noisily but stop the noise as soon as she returns) 

There you are, dears. 

(Just as Mum sits down) MORE PLEASE, MUM! 

(Standing up very crossly and stepping back to the centre of the room) RIGHT! THAT'S 

ENOUGH! Everyone come and stand over here. (The three pigs line up in the centre 

of the room with their heads bowed) 

Just look at you, nearly as big as your own mother! 

Ever since your dear father went to the Great Pigsty in the sky, alas, I've cooked for 

you and cleaned for you and washed for you, but now I've had ENOUGH. 

It's time you all moved out and looked after yourselves for a change! 

Aw, Mum. 

We're sorry, Mum. 

We'll be good, Mum. 

WE LOVE YOU, MUMMY. 

(Three pigs rush over to hug Mother) 

We-ell. Just one more chance then. 

THANKS, MUM. 

(To Pig 2) Works every time. 

(Pigs rush back to table and start eating noisily. Mother just sits down) 

MORE MIL… 

(Cutting him off) THAT'S IT! 

(Standing in centre and pointing to door on stage right) OUT YOU GO. 

OUT! (The pigs troop out muttering 'it's your fault' to each other) 

Thank goodness. Peace at last. 

(She collapses in a chair and picks up a copy of 'Piggy Weekly' to read) 

(After a while) How quiet it is. I'll go and read this in the bedroom. 



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ISBN 978-1-86311-332-8

PIGS 1, 2, 3: 

MAN: 

PIG 1: 

PIG 2: 

PIG 3: 

MAN: 

PIG 1: 

PIG 2: 

PIG 3: 

PIGS 1, 2, 3: 

MAN: 

PIG 1: 

MAN: 

PIGS 2, 3: 

PIG 2: 

PIG 3: 

PIG 1: 

MAN: 

PIG 2: 

MAN: 

PIG 3: 

PIG 2: 

MAN: 

SCENE TWO: IN THE WOODS 

(The three pigs are walking round and round the stage, one behind the other. They are all 

crying with their hands in their eyes) 

Boo hoo hoo! 

Boo hoo hoo! 

(Enters with load of straw) 

(loudly) Hello, hello. 

(Stopping suddenly) Oh! 

(Bumping into 1) Oh! 

(Bumping into 2) Oh! 

What's the matter with you lot then? 

Mum's kicked us out of home. 

And we don't know where to live. 

And we don't know what to do. 

Boo hoo hoo! 

There, there now. I can help you. Here, take this load of straw. You can build your 

house with this. 

(Gladly) Thank you. (Quickly starts building house, stage right) 

(Leaving) You're welcome. Goodbye for now. 

(Shaking heads, watching) 

It doesn't look very strong, does it? 

No, not strong enough for me. 

You're just jealous. It will do me just fine, thank you. (Sits happily in house) 

(Enters with a bundle of sticks) 

Here you are, I found some sticks you can have. 

Thank you. (Builds house centre stage) 

You're welcome. (Leaves) 

It doesn't look very strong to me. 

You ARE jealous. It will do me just fine, so there! 

(Sits down happily) 

(Enters with a pile of bricks) 

Hello again. I've brought some old bricks you can use. 



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PIG 3: 

PIG 1: 

PIG 2: 

PIG 3: 

Thank you. (Sets to work, puffing) 

Ha ha. That looks like hard work to me. 

Don't you wish you could build your house quickly like us? 

(Puffing) This will do me just fine. (Finishes and sits down) 

WOLF: (Enters) Aha! (Circles round house 1) 

Little pig, little pig, 

Let me come in! 

PIG 1: 

Not by the hair of my chinnee chin chin. 

WOLF: 

Then I'll huff and I'll puff and I'll BLOW YOUR HOUSE IN. 

(Pig 1 runs to house 2) 

WOLF: 

Little pig, little pig, 


PIG 2: 


WOLF: 


(Pigs 1 and 2 run to the brick house) 

WOLF: 

Little pig, Little pig, 


PIG 3: 


WOLF: 


(Huffs and puffs but he can not blow it down, looks cross) 

PIG 3: 

Quickly, help me put this pot of boiling water under the chimney. 

WOLF: 

That's it, I'll climb down the chimney! 

(Wolf climbs down, falls in pot. He howls loudly, leaps up the chimney and runs off) 

PIGS 1,2, 3: Ha ha ha! 

(They hold hands and dance in a circle, singing) 

NARRATOR: And so the Three Little Pigs lived 

happily ever after. 



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THE END 



ISBN 978-1-86311-332-8

Little Red Riding Hood 

5 Actors: Note that Red Hiding Hood will need to be prepared to learn a lot of lines. The 

Woodcutter, Mother and Grandmother have quite small parts. 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

R.R.: 

MOTHER: 

SCENE 1: RED RIDING HOOD'S HOME 

(Mother is at a bench, stage left, sorting out cookies. The basket is on a table, stage right. 

Red Riding Hood enters) 

Good morning, Mum. 

Good morning, dear. 

Yum! (Tasting a cookie) 

What's all this for, Mum? 

I'm putting together a basket of goodies for your grandmother. She's not too well 

these days. 

I'll take them to her, Mum. It's a lovely day for walk. 

That's a good idea. (Crosses to basket and puts last cookies in) 

There's all sorts of things in here… cookies, little mince pies, fresh strawberries… 

even a small chocolate cake. (Hands basket to R.R.) 

She'll love it, Mum. I'll take the basket over right now. (Walks toward stage right) 

Darling… 

Yes, Mum? 

Don't forget your little red riding hood! 

Oh, yes. Thanks, Mum. Bye. 



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(As R.R. nears door) Darling! 

(Looks back a little impatiently) Yes, Mum? 

You will watch out for the Big Bad Wolf, won't you? 

(Impatiently) Yes, Mum. (To herself) Big Bad Wolf, whatever next. Mothers! (R.R. 

exits stage right) 

Daughters. (Shakes head in a slightly worried way) 

I must make the beds. (Exits stage left) 



ISBN 978-1-86311-332-8

SCENE 2: IN THE WOODS 

HINT: In this scene Red Riding Hood should keep quite a distance between 

herself and the wolf most of the time. After all, she is not a silly girl! 

(Red Riding Hood is skipping round the stage and humming. She stops stage left, to pick 

some flowers) 

R.R.: 

Grandmother would like some of these pretty flowers. 

(Wolf enters stage right. He licks his lips and watches for a while) 

WOLF: 

Ahem 

R.R.: 

(Startled) Oh! Who are you? 

WOLF: 

I'm the Big Ba… The Big Nice Wolf. 

R.R.: 

(Stepping further back) My mother told me not to talk to people like you! 

WOLF: 

Oh, don't listen to your mother—children never do. 

(Turning on the charm) What lovely flowers you have there. 

R.R.: 

Well, thank you. They're for my grandmother who lives in the cottage in the 

woods. I've got this basket of goodies for her… 

WOLF: (Rushing across greedily) Have 

you now? Let me see. 

R.R.: 

I beg your pardon! (She pulls the basket away indignantly) 

I must be off now. 

WOLF: 

(To himself) Little goodie-goodie. 

(Turning on the charm again) Why don't you take that path over there? It's a little 

longer, but there are lots of pretty flowers that way. 

R.R.: 

That's a good idea. Maybe Mother was wrong about you after all. (Leaves) 

WOLF: 

(Licking lips evilly) Ha ha ha. Now I can take the shortcut and get to 

Grandmother's cottage first. 



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ISBN 978-1-86311-332-8

SCENE 3: GRANDMOTHER'S COTTAGE 

(Grandmother is lying in bed) 

WOLF: 

Knock knock! 

GRANDMOTHER: Who is it? 

WOLF: 

(In a deep voice) It's me, Little… I mean 

(In a high voice) It's me, Little Red Riding Hood. 

GRANDMOTHER: Lift up the latch and let yourself in, dear. I'm too ill to get up. 

WOLF: 

Aha! (Standing in doorway) 

GRANDMOTHER: The Wolf! Why, you sneaky, lying no-good… 

WOLF: 

(Grabbing her arm) Into the cupboard with you! You're too old and skinny for me 

to eat. 

GRANDMOTHER: Take your hands of me, you nasty, hairy, smelly creature! 

(After a short struggle the Wolf locks Grandmother in cupboard, stage right) 

WOLF: 

Now, I'll put on these clothes for a disguise. 

(Puts on Grandmother's bonnet and shawl) 

R.R.: 

Knock knock. Hello, Grandmother. May I come in? 

WOLF: 

Just a minute, dear. (Dives under bedcover) 

Lift up the latch and let yourself in, dear. I'm too ill to get up. 

R.R.: 

Hello, Grandmother. I've brought you a basket of goodies. 

WOLF: 

Put it near the bed and come and sit closer so I can catch… catch sight of your 

pretty face. 

HINT: Practise the timing in the next section carefully, so that as Red Riding 

Hood leans right forward, the wolf leans right back, keeping their faces close 

together all the time. 

R.R.: 

Oh, Grandmother, what big EYES you have! 

(Leaning forward looking closely into wolf's eyes) 

WOLF: 

All the better to see you, my dear. 

(Leaning forward hungrily looking into R.R.'s face so that she leans right back) 

R.R.: 

Oh, Grandmother, what big EARS you have! 

(Leaning forward to look at them) 

WOLF: 

All the better to hear you with, my dear. 

(Leaning forward again so that R.R. is forced to lean right back again) 

R.R.: 

Oh, Grandmother, what big TEETH you have! 

(Leaning forward again) 

WOLF: 

All the better to EAT you with, my dear! (Leaping at her) 



ISBN 978-1-86311-332-8 



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HINT: The CHASE scene is the climax of the play. Rehearse it carefully with 

Red Riding Hood darting back and forward keeping the bed between herself and 

the Wolf. Most of the lines should actually be delivered while the characters 

are standing still. 

R.R.: 

You're not Grandmother. 

Your're the Wolf! (running around bed) Help! Help! 

WOLF: 

What a clever girl you are! (Lunges after her) 

R.R.: 

I forgot to say what BAD BREATH you have! 

WOLF: 

You'll pay for that! 

R.R.: 

Try this for a hat! (She upturns the basket on his head) 

WOLF: (For a moment the wolf stands facing the audience foolishly, with the basket on his head - 

slowly he raises it above his head with two hands, shaking with anger) 

Aargh—Now you've really made me mad! 

(Chases R.R. round bed and finally traps her in corner, downstage left) 

R.R.: 

Oh no! I'm trapped. 

WOLF: 

AARGH! 

WOODCUTTER: (Appearing in doorway, stage right, with axe raised) I thought I heard shouting! 

WOLF: 

(Turns head to Woodcutter) I'll eat you too then! (Lunges at him) 

WOODCUTTER: (Raises axe threateningly. Wolf dodges back, looks confused for a moment, then escapes out 

window) 

WOODCUTTER: DARLING! (Standing with arms outstretched) 

R.R.: 

DADDY! (Also standing with arms outstretched - they run to hug each other) 

R.R.: 

Oh, Daddy! Thank goodness you came in time! 

WOODCUTTER: There, there. Come and tell me all about it, but whatever happened to… 

GRANDMOTHER: (Muffled shouts) Help! Let me out! 

WOODCUTTER MUM! GRANDMOTHER! 

& R.R. together: } 

(Woodcutter runs to free Grandmother as R.R. stands with hand on mouth, watching) 

GRANDMOTHER: Oh dear. Oh my my. That rotten wolf tricked me. If I ever get my hands on him 

I'll turn him into a fancy dress costume. Oh my, my! 

WOODCUTTER: There there, Mum, we're all safe now. 

R.R: 

Come and sit by the fire, Grandmother, and tell us all about it. (They help her across 

to the seat, stage left) 

GRANDMOTHER: My brave son! 

My brave little Red Riding Hood! 

THE END 



ISBN 978-1-86311-332-8 



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HINTS: 

1. Although this is quite a short play, with not too much dialogue, MOVEMENT is very 

important. With careful rehearsal of movement the presentation of this play can be very 

effective. 

2. To help suggest the Chinese style of theatre, the actors should take small, careful steps, and 

greet each other very formally (seriously). 

For example, Chee Foo and Li Chang should bow very low and keep their eyes lowered 

when first greeting the important Magistrate. (A magistrate is a type of judge.) 

3. Add some MUSIC! A loud gong, sounded at the start of the play and to announce the 

magistrate's visitors, would help suggest the Chinese style of theatre. 

You could also add some servants playing percussion instruments to the scene in the 

Magistrate's house. 

4. COLOUR. The Magistrate should wear the most impressive and colourful clothes because 

he is the most important person in the play. 

What do you think Chee Foo would wear? (Remember, he is the son of a poor fisherman.) 



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ISBN 978-1-86311-332-8


4 Actors: Wung Loo, the Magistrate - he is a wise and clever old man. 

Chee Foo, a young Chinese boy. 

Li Chang, a rather sly and crafty man. He is a sandal maker. 

Narrator - Note the narrator should also wear the Chinese style of dress. For example, 

loose long-sleeved top and pants. 

NARRATOR: 

CHEE FOO: 

NARRATOR: 

CHEE FOO: 

NARRATOR: 

MAGISTRATE: 

LI CHANG: 

MAGISTRATE: 

NARRATOR: 

One day a young Chinese boy, named Chee Foo, was fishing on the river bank. 

(Excited) At last I have caught something! It must be a very big fish because it is 

so heavy! 

(He pulls in his line and finds he has hooked an old black purse) 

To his amazement, he found that the purse was full of golden coins. 

I must take this purse to the Magistrate at once. Whoever lost it must be upset! 

(Runs off) 

Meanwhile Li Chang, the sandal maker, had paid a visit to Wung Loo, the 

Magistrate, to report the loss of his purse. 



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(Smiling) Greetings, Li Chang. How can I help you? 

(Bowing) Greetings, good Wung Loo. I lost my purse while walking by the 

river this morning. It had forty golden coins in it! I will offer a reward of ten 

golden coins to the person who finds it. 

That is very generous of you, Li Chang. But I am afraid no one has handed any 

purse in today. 

Just then, Chee Foo arrived with the purse he had found. 

(Chee Foo runs in, breathless, and bows before the Magistrate) 



ISBN 978-1-86311-332-8

MAGISTRATE: 

CHEE FOO: 

MAGISTRATE: 

LI CHANG: 

MAGISTRATE: 

CHEE FOO: 

MAGISTRATE: 

NARRATOR: 

What is it, Chee Foo! 

I found this purse while fishing in the river, Your Excellency! 

(Li Chang is delighted) 

It was honest of you to bring the purse here, Chee Foo. Li Chang has just 

offered a reward for the return of his purse. 

(Li Chang looks unhappy at the thought of having to pay the reward) 

(To himself) How I wish I hadn't offered to pay a reward! 

Let me make sure all the coins are here first. 

(He quickly counts them) Ten…twenty…thirty…forty. Only forty. I just 

remembered my purse had fifty coins in it –␣ just the amount of the reward. 

(He looks accusingly at Chee Foo) 

(Nodding and smiling) 

Have you taken any out, Chee Foo? 

Oh no, Your Excellency. 

Then this can not be your purse, Li Chang, as you say your purse had fifty coins 

in it. I therefore hand this purse back to Chee Foo. 

And so the wise Magistrate rewarded Chee Foo for his honesty, but greedy Li 

Chang lost all the golden coins, not just the ten he had offered for reward. 

THE END 



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ISBN 978-1-86311-332-8

1. SOMETHING TO THINK ABOUT 

(a) 

(b) 

(c) 


Why do you think the Magistrate gave the purse back to Chee Foo? 

Can you think of a moral for the story? (A moral is a lesson that can be learned from a 

story.) 

In this play, the audience can tell that the Magistrate is an important person by the 

impressive way he dresses. 

In our society, can you tell a person's occupation by the clothes he/she wears? How else? 

2. SOMETHING TO WRITE ABOUT 

(a) Try writing a simple story or play that has a lesson for the readers. Make up your own moral 

for your story. 

(b) Tell another story about Chee Foo. Perhaps the setting could be at the river, or in the 

markets, or even at the Magistrate's home again. 

Perhaps this time one of the other characters could be a thief, or someone needing help. 



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ISBN 978-1-86311-332-8

The Lion and the Mouse 

3 or 4 Actors: (Using either 1 or 2 storytellers) 

Beryl James 

Lion, Mouse, Storyteller 1 (Dressed in a white robe in the style of the Ancient 

Greeks) and Storyteller 2 (also dressed in a white robe) 

STORYTELLER 1: This is one of the fables told by the ancient Greeks, over two thousand years 

ago. Aesop, a wise man, wrote down the fables, and that is why they are still 

known today. 

STORYTELLER 2: The lesson taught by a fable is called the MORAL. It is told at the end of the 

story. 

STORYTELLER 1: This is the story of the Lion and the Mouse. 

STORYTELLER 2: Once there was a sleeping lion… 

LION: 

(Walks onto centre stage, lies down and snores) 

STORYTELLER 2: A mouse, mistaking the lion for a mountain, ran up and down his body. But 

the lion, who felt something tickling him, woke up. 

LION: 

ROAR! Who dares disturb my sleep! 

(Catches mouse in his paw) 



ISBN 978-1-86311-332-8 



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MOUSE: 

LION: 

It's only me, a harmless little mouse. I thought you were a mountain! 

I will eat you, little mouse. I am hungry now you have woken me up. ROAR! 

MOUSE: Don't eat me, please Mr Lion. I am so little you would still be hungry. If you 

let me go now, one day I may be able to help you! 

LION: 

Ho ho ho! You help me! What could one tiny mouse do to help a lion? 

But off you go, you are a brave little mouse. 

(Mouse runs off) 

STORYTELLER 2: And so the lion let the mouse go free and forgot all about him. 

STORYTELLER 1: A few days later, while walking through the forest, the lion was trapped in a net 

set by hunters. 

STORYTELLER 2: He roared and struggled, trying to escape before they returned to check the 

net, but he was bound so tightly he could not break loose. 

MOUSE: (Runs in) Hello, my friend! Do you remember me! What a nice rope to 

chew! (Starts to chew through the rope) 

Aren't you glad you didn't eat me the other day? 

STORYTELLER 1: And so the mouse began to gnaw the rope with his sharp teeth. 

STORYTELLER 2: In no time, the rope broke and the lion could escape. 

MOUSE: Now you are free, Mr Lion. I told you I might help you one day! 

LION: 

(With his paw held gently around the little mouse) 

Blessed is the day I did not eat you. 

(The lion and the mouse bound off together, laughing) 

STORYTELLER 1: THE MORAL OF THIS STORY IS: 

STORYTELLER 2: ONE GOOD TURN DESERVES ANOTHER! 



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THE END 



ISBN 978-1-86311-332-8

SOMETHING TO THINK ABOUT 

• What is a 'good turn'? 

The Lion and the Mouse 

SOMETHING TO WRITE ABOUT 

• Try writing your own fable. What is the moral of your fable? 

HINT: You could write a story based on a well-known saying such as: 

Two's company, three's a crowd. 

Too many cooks spoil the broth, 

Many hands make light work 

Better late than never. 

The early bird catches the worm. 

or 

Write your own play or story about a good turn. 



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ISBN 978-1-86311-332-8


HINTS 

• Don't have too many people shouting at once while the race is on. 

• The race could be held with the hare and tortoise simply doing laps back and forth across the 

stage, or better still with part of the course set out through the middle of the audience. 

• When making animal costumes, be careful not to cover your face. Face masks muffle your voice 

so you can't be heard properly. They also hide facial expressions which are very important when 

you are acting. 

• When playing the part of an animal character, walk and run on two feet using your arms to 

suggest paws or claws. (Trying to walk on your hands and knees just makes you look foolish and 

clumsy.) 

• In the race scene, don't run too fast and out of control. It is much better if the hare, for example, 

runs with short steps, lifting his knees very high and using his arms a lot. 

Ha ha! Looks more 

like a lamb in wolf's 

clothing to me! 



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• When playing the part of an animal character, walk and run on two feet. 



ISBN 978-1-86311-332-8

SECTION 1: 

SECTION 2: 

SECTION 3: 

SECTION 4: 


An Improvisation 

You can have a lot of fun with this well-known fable. Try improvising the story about the hare and the 

tortoise using the outline below to help you. 

The actors should make up their own dialogue to suit the character they play. For example, the hare is a 

boastful show-off so his speech should be loud and boastful. He enjoys making fun of other people. 

You will need a minimum of three people but it would be quite easy to work out parts for up to 12 people, 

as shown in the table below. 

SMALL GROUP 

LARGE GROUP 

Hare 

Course markers 

Tortoise 

1 or 2 commentators 

Starter 

Supporters for hare 

Supporters for tortoise 

The Race 

The hare has been showing off and teasing the tortoise, who is finally provoked into 

making a bet that he could beat the hare in a race. 

The Race 

The big day has come. The course has been marked out. The Starter announces the 

rules, instructs the contestants to shake hands, then starts the race! 

The hare passes the tortoise several times on the circuit, then stops to take a rest. 

At the finish line 

There is much excitement at the finish line. Someone is coming down the track. 

Who is it? The tortoise! Someone runs to wake up the hare. He jumps up and 

runs for the line in desperation. The tortoise just wins! 

Moral 

After being congratulated, the tortoise is asked to say a few words. He clears his 

throat, and in a loud, slow voice says: 'Thank you, everybody. I guess it just goes to 

show: SLOW AND STEADY WINS THE RACE!' 



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ISBN 978-1-86311-332-8

Cinderella - A Comedy 

6 Actors: Cinderella, a kind, hard-working girl; Fairy Godmother, a kind, friendly person; 

Stepmother, a mean and demanding lady; Ugly Stepsister 1, greedy, mean and bossy; 

Ugly Stepsister 2, just like her sister!; and Prince Charming, rich and good-looking. 

Small parts as footmen, attendants and guests at the ball could be added to this script if necessary. 

NOTE: • The person who plays the part of the Fairy Godmother will need to learn quite a 

lot of lines. 

• This play could be turned into a play for the whole class. 

FAIRY GODMOTHER: 



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SCENE 1: CINDERELLA'S HOUSE 

(Fairy Godmother dashes from place to place around the stage, even behind the 

curtains. She is a little flustered. At last she finds her wand) 

Ah, there it is. 

(Looking up and seeing the audience, to her surprise) 

Oh, you're there already! Hello, girls and boys. (Smiling to audience) They tell 

me you want to hear the story of Cinderella. I thought everyone had heard 

that story. I knew (name of your town or city) was backward, but I didn't think 

it was that backward! 

Now, once upon a time there was a beautiful girl called Cinderella… (looks 

offstage for Cinderella to enter)… I said, once upon a time there was a beautiful 

girl called Cinderella –␣ CINDER-EL-LA! 



ISBN 978-1-86311-332-8

CINDERELLA: 


(Cinderella hurries onto stage holding a scrubbing brush. She sees the audience and 

stops) 

Everybody's here already. I thought… (she shrugs and takes up her place 

scrubbing the floor) 

Cinderella lived with her beautiful but posh stepmother… 

STEPMOTHER: (Walks onto stage with her nose in the air) DO hurry up, Cinderella. I think 

you've missed a little speck of dust over there. (Exits) 

CINDERELLA: 


STEPSISTER 1: 

CINDERELLA: 

STEPSISTER 2: 

CINDERELLA: 

STEPMOTHER: 

STEPSISTER 1: 

STEPSISTER 2: 


STEPMOTHER: 

STEPSISTER 1: 

STEPSISTER 2: 

CINDERELLA: 

STEPMOTHER: 

STEPSISTER 1: 

STEPSISTER 2: 


CINDERELLA: 

Yes, Stepmother. 

… and with her two mean stepsisters. (The two stepsisters enter) 

Yes, DO hurry up, Cinders. I need you to wash my wonderful designer-made 

clothes! 

Yes, Stepsister. 

Get a move on Cinders. I need you to brush my hair to make me look 

beautiful. (Bats eyelashes) 

Yes, Stepsister. 

(Returns with invitation, excited) Look, look girls! It's an invitation from the 

Prince. Every lady in the land is invited to attend his ball! 

(Fighting over it) Oh, let me see! 

Let me, let me! 

(All the characters freeze except for the Fairy Godmother who continues telling the 

story) 

Before long it was the day of the Great Ball. Everyone was very excited, but 

poor Cinderella had to do all the work, as usual… 

(The characters come back to life) 

Cinderella! Get my dress. 

Mine too! 

Mine too! 

(Rushing about) Yes, Stepmother, here it is. 

Tie my bow! 

Brush my hair! 

Get my shoes! 

(Cinderella rushes about helping them to get ready, then all freeze) 

At last they were finally ready to go to the ball. 

Oh, I do so wish that I could go to the ball too. 



ISBN 978-1-86311-332-8 



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STEPMOTHER: 

STEPSISTER 1: 

STEPSISTER 2: 

CINDERELLA: 


CINDERELLA: 


CINDERELLA: 


CINDERELLA: 


You! A ha ha. Ha ha ha. 

Just look at you. Ha ha ha. 

Ho ho ho. The Prince would never dance with you. 

(Stepmother and sisters leave) 

It's true. I could never go to the ball like this. 

(She picks up a broom and starts slowly dancing around the room with it, 

humming a tune. She stops and starts crying) 

(Going over to her) Stop crying, child. Of course you can go to the ball. You 

have always been such a good girl and have worked so hard without 

complaining. 

(As if seeing her for the first time) But who are you? 

I'm your Fairy Godmother. Really! You should read more books! Now, let 

me have a look at that dress of yours. 

(She walks around Cinderella, who turns her back to the audience) 

ABRACADABRA, CALAMAZAN! 

(Cinderella drops off her ragged clothes and turns around in a beautiful dress) 

Oh, it's beautiful! Thank you! 

Now off you go. You'll find a coach waiting for you outside. 

(Cinderella starts to leave) 

Thank you, Fairy Godmother! 

But don't forget, you must be home by midnight, because that is the time that 

your dress will change back into rags again. 



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ISBN 978-1-86311-332-8

SCENE 2: AT THE BALL 

(Disco music is playing and the Prince is dancing with Stepmother. The sisters are 

also bopping away comically. Fairy Godmother is dancing in the background) 

STEPMOTHER: Oh Princey, you dance divinely! 

PRINCE: 

(Formally) Thank you, madam. 

STEPSISTER 1: (Pushing Mother away) Let ME have a turn. 

STEPMOTHER: Be nice to him dear. He's filthy rich you know. 

STEPSISTER 1: (Excited) I know. I KNOW. (Dances with Prince) Cool party, Princey. 

PRINCE: 

(Pulling a face) Er –␣ thank you, miss. 

STEPSISTER 2: (Pushing Stepsister 1 away) Let ME have a turn. 

STEPSISTER 1: Be nice to him. He's MEGA-rich you know. 

STEPSISTER 2: I KNOW, I KNOW! (Dancing) You're a fabulous dancer, Princey Wincey. 

(Cinderella enters. Everyone stops dancing and stares at her) 

STEPMOTHER: My goodness. 

STEPSISTER 1: Who is she? 

STEPSISTER 2: Never mind who she is. Just find out where she got that FABULOUS dress! 

PRINCE: 

May I have this dance? 

CINDERELLA: Of course. 

(They dance, either modern or classic. Everyone else watches enviously. Prince 

Charming and Cinderella strike a pose at the end of the dance) 

FAIRY GODMOTHER: But all too soon the clock struck 12 and Cinderella had to dash… 

(Cinderella rushes off as the clock chimes, leaving a shoe behind. The Prince picks it 

up and hurries after her) 

PRINCE: 

Wait! Come back! 

STEPMOTHER: Looks like the party's over. Come on girls. 

STEPSISTER 1: Oh DRAT it! 

STEPSISTER 2: Just our luck. 

(Stepmother and the sisters exit) 

FAIRY GODMOTHER: And so it was that the Prince searched far and wide, trying to find the owner of 

the shoe. One day, he finally arrived at the Stepmother's house. 



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ISBN 978-1-86311-332-8

STEPMOTHER: 

STEPMOTHER: 

STEPSISTER 1: 

STEPSISTER 2: 

CINDERELLA: 

STEPMOTHER: 

STEPSISTER 1: 

STEPSISTER 2: 

PRINCE: 

CINDERELLA: 

PRINCE: 

CINDERELLA: 




SCENE 3: CINDERELLA'S HOUSE 

(Enters) Girls, girls. Come quickly. The Prince is going to marry the person 

who can wear this shoe. 

(Prince enters with 

the shoe on a cushion; mother snatches it) 

I'm sure it will fit me. 

(Hops around trying to force the shoe onto her foot. The Prince stands politely 

watching, upstage left, obviously shocked by her behaviour) 

(Snatching it) Let ME try. (Hops round) 

It won't fit YOUR big hoof. Let ME try it. 

(Snatches shoe and hops round) 

(Stepping forward) Could I try it? 

YOU! Ha ha ha. 

Silly little thing. 

Ho ho ho… oh—it DOES fit! (Her laughter changes to sobs) 

It is you. I knew I would find you again. 

I didn't think you would recognise me in these plain rags. 

To tell the truth, I didn't at first… but the shoe fits! 

(Kneels) Will you marry me? You will never have to wear rags or scrub floors 

again! 

Of course I will marry you. I just HATE scrubbing floors! 

(They embrace and all the characters except Fairy Godmother freeze) 

And so Cinderella and the Prince lived happily ever after… 

(Cinderella and the Prince go off arm in arm) 

… but I'm afraid I can't say the same thing for the mean Stepmother and her 

daughters… 

(Stepmother and daughters exit arguing loudly) 

… and that's the end of the story. Goodbye children. Don't forget to be 

good. And remember, your own Fairy Godmother is always watching over 

you! 



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ISBN 978-1-86311-332-8

Poetry 

The Beanstalk Rap 

Magic Moonlight Night 

Bunyips, Bumpkins, Miniatures and Munchkins 

Mister Moneykins 

Ghost 

The Ladybird and The Giant 

Flight of the Pixies 



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ISBN 978-1-86311-332-8

The Beanstalk Rap 

Young Jack was a poor boy 

You know what I mean 

Though his Mum worked so hard 

And she kept the place clean, 

Our Jack he was nimble 

Jack he was quick 

He climbed that beanstalk 

Lickety-split. 

There never was too much 

Food on their plate, 

Their clothes, they were rough 

And the house wasn't great 

So Jack took the cow 

To the market to sell, 

When along came a stranger, 

Who offered him this deal: 

He said, 'I'll take the cow now 

And you take these beans, 

If you plant them tonight, 

They'll answer your dreams.' 

When Jack woke next morning 

The first thing he saw 

Was a fantastic beanstalk 

A hundred feet tall 

But waiting up top 

Was a terrible giant, 

He looked mighty mean 

And his voice was defiant. 

He said, 'Fee, Fi 

and Fo and Fum 

I smell the blood 

of an Englishman!' 

Young Jack he was quiet 

And Jack he was sneaky, 

He stayed very still 

Till the giant grew sleepy. 

While the giant lay dozing 

Jack crept through his house, 

He looked all around him 

Just as quiet as a mouse. 



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ISBN 978-1-86311-332-8

The Beanstalk Rap continued 

Then he spied the golden eggs 

That the giant's hen had laid, 

He shoved them in a bag 

And he thought he had it made! 

My story's getting long 

So I'll finish it up quick 

My feet are getting tired 

And I'm ready soon to quit! 

Soon the money had all gone 

So young Jack went back for 

more 

It isn't hard to guess that 

That made the giant sore! 

So he dialled Triple '0' 

And he told the boys in blue 

They all looked very shocked 

And they said it wouldn't do. 

So they paid a little visit 

To the house of that young lad, 

His mum was so upset 

That it made him feel quite bad. 

They said, 'Listen well now, Jack, 

You'd better learn it fast, 

That crime you just committed 

Had better be your last!' 



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He had to give the giant 

All the money that he could 

And the lesson, little children, 

Is to always be GOOD! 

Beryl James 

MORAL: Don't push your luck 

too far. 

Robyn James 



ISBN 978-1-86311-332-8

Magic Moonlight Night 

Listen, listen! Can you hear 

A trumpet call? The fairies cheer? 

The tiny bells all ringing out, 

A laughing song, a happy shout! 

Watch them! Watch them as they go 

Dancing softly on the snow, 

Flitting gently, through the night 

Isn't it a marv'lous sight? 

Silver bells ring: Ching ching–a ching 

ching ching–a ching! 

Tiny drums beat: BOOM BOOMA BOOM 

Golden pipes call: Ta ta–te ta 

On this magic moonlit night 

Robyn James 

BOOM BOOMA BOOM! 

Ta ta–te ta! * 



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* Fading away 



ISBN 978-1-86311-332-8

Bunyips, Bumpkins, Minatures 

and Munchkins 

Fancy, Fantasy! 

Tweedle-Dum and Tweedle-Dee! 

Hobbledy-ho and Hoop-de-hee, 

More than the eye can ever see! 

Bunyips, Bumpkins 

Miniatures and munchkins, 

Eye-popping ogres 

And over-sized pumpkins! 

Talking bears! 

A cat that stares! 

Fairy folk and scary folk, 

Witches, warts and wolves! 

Leprechauns and unicorns! 

Thumbelina! Ali Baba! 

CALAMAZAM! 

A crooked old man, 

And a mermaid who 

lives in the sea! 



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Fancy, Fantasy 

Tweedly-Dum and Tweedly-Dee, 

Cross-your-heart and take-your-leave, 

All in the world of make-believe! 

Robyn James 



ISBN 978-1-86311-332-8

Mister Moneykins 

Loads of laughs and full of fun 

Marvellous Moneykins is a mischievous man! 

He'll tempt you out with pots of gold, 

And promises galore, it's told. 

He'll lead you up and lead you down 

And in and out and round and round, 

He'll boast of jewels that can be found, 

Then disappear in one quick bound. 

But when you're feeling lost and sad, 

Robyn James 

He'll jump ahead and make you glad. 

He'll sing you songs and dance and play 

And laugh with you all through the day. 

Loads of laughs and full of fun 

Marvellous Moneykins is a mischievous man! 



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ISBN 978-1-86311-332-8

Ghost 

Person 1 Person 2 Person 3 

UGH, SPLAT 

What is that? 

No, no 

THAT! 

Listen! 

There it is again 

Something's out 

there in the dark, 

Something SPOOKY… 

Just a mouse 

You scaredy 

cat 

What then? 

It's just a bullfrog 

in the drain. 

Oh sure! You 

MEAN it! 

What a lark! 



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AARGH-OO 

AARGH-OO 

Oh no! 

It's NEARER, 

Please watch out… 

Why, what will happen? 

NOTE: 

Each part in this poem can be performed 

by one person, or by a group of people. 

YOU'LL FIND OUT! 

Robyn James 



ISBN 978-1-86311-332-8

The Ladybird and the Giant 



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You naughty giant, 

What a disgrace, 

Don't you come stomping 

near my place! 

I'm so sorry 

Such a shame, 

I must confess 

I was to blame. 

You've spoiled my garden 

And the vegies, 

Crushed the flowers 

And ruined my hedges! 

Dear ladybird, 

They're hard to see, 

The ground's so far away 

from me. 

No more excuses, 

Just stay away, you! 

Or you'll have me 

To answer to! 

Robyn James 



ISBN 978-1-86311-332-8

Flight of the Pixies 

Owl 

WHOOO-WHOOO 

WHOOO-WHOOO 

Pixies 

Pitter patter, pitter patter, 

(Soft and clear) Pitter patter, pitter patter. 

Racing, racing, we all go, 

Down the secret paths we know! 

Goblins and Ogres Thomp Thomp Thomp Thomp 

(Loud and steady) Thomp Thomp Thomp Thomp 

Chasing, chasing we all follow 

O'er the hill and down the hollow! 

Pixies 

Pitter patter, pitter patter, 

(Very fast) 

Goblins and Ogres 

(Loud and menacing) 

Pixies 

pitter patter. 

THOMP THOMP THOMP THOMP 

THOMP THOMP THOMP THOMP 



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Hurry all now, quickly scatter 

Hiding quietly, no more chatter! 

Owl 

(Fading away) 

WHOOO-WHOOO 

WHOOO-WHOOO 

WHOOO-WHOOO! 

Robyn James 



ISBN 978-1-86311-332-8

RIC-0415 Favourite Fairytales on Stage

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