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This is to certify that the thesis entitled The Writing and Production of A Children's Play Based on Thackery's The Rose and Ring presented by Mary Jane Larson Watkins has been accepted towards fulfillment of the requirements for _M_°_A°_ degree in M Major professor Date August 9, 1955 0469 THE WITING AND PRODUCTION (F A CHILDREN'B PLLI BASE) UPON THACKEIAI'S THE ROSE AND THE RING By Mary Jane Larson Watkins A THESIS Submitted to the School of Gradunte Studies of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER (I ARTS Department of Speech at 1955 ACKNOWLEDCMENTS Grateful acknowledgment is made to Dr. Roger H. Busfield, chair- man of the author's thesis committee, for his guidance in writing The Rose and the Rigs and in preparing this study. Invaluable assist- ance also was given by Mr. Donald 0. Buell, the author's najor professor, and by Mr. Jed Davis and Dr. Max Nelson. Production of The Rose and the Ring was made possible because of the interest and cooperation of the entire theatre faculty of Michigan State University. The author is particularly grateful to Mr. Ralph Duckwall for supervising costume construction and to Mr. Jed Davis and Mr; Virgil Godfrey for their technical assistance. Especial thanks go to Herbert Canburn.for his ingenious settings and his costume designs for the production of The Rose and the Ring and for the drawings and plates he prepared for the Appendix. The author is indebted to Frank Serresseque, who composed the song used in the play. Acknowledgment is made of the contributions or Hebert Hazzard, Fred Kuekes, Patricia Davies, and of many other students in the Department of Speech to the production of the play. Finally, credit for the successful production of The Rose and the Ring goes to children Iran the Toyshop Theatre organization at Michigan State University UhO‘WBPB members of the cast and crews. ‘H; .‘ .- , c " '9!— .I ‘ ‘ ’5} "l-s ‘-—‘-:‘\)l7 THE'HRITING AND PRODUCTION OF‘L CHILDREN'S PLII BASED UPON THICKERII'S THE ROSE AND THE RING By Mary Jane Larson Watkins AN ABSTRACT Submitted to the School of Graduate Studies of Michigan State University of Agriculture and.1pplied Science in partial fulfillment of the requirements for the degree of MASTER or me Department of Speech 1955 APproved .};;éfzgggggtf(€5Z<:Zég::;§§;;r ajor Professor ABSTRACT The problem of this study was to write a play for children's theatre. Prior to writing the play, a survey of the literature of the field was undertaken to determine criteria for effective children‘s drama. These criteria were applied to each phase of the writing process, from story selection through final evaluation of the produced script. This thesis is a presentation of the play and a report of the problems arising out of its writing and the methods employed in their solution. Chapter One presents the purposes of children's plays as determined by a survey of the literature. Theories of dramatic writing are ana- lyzed to discover which techniques should be employed in.fulfilling the determined.purposes. A discussion of the mechanics of play con- struction indicates similarities and differences of approach in writ- ing plays for adult and for child audiences. IMethods of treating theme, plot, character, and dialogue in children's plays are presented. Chapter Two explores the various theories of selecting stories for children's plays in.order to arrive at criteria to be applied in selecting a work of literature for the purposes of this project. The questions of using works of literature as apposed to creating original ,plots, of the popularity of plays based on well-known stories, and of the wisdom of adapting obscure works of literature are treated. Chapter>Three describes the effort made to apply the discovered principles of writing children's plays to William Makepeace Thackeray's iv The Rose and the Ring. The problem of adherence to the original material from which a play is to be derived is discussed, and a step-bybstep analysis of the process of writing a play for children is presented. The completed manuscript of The Rose and the Ring, as presented at Michigan State University, comprises Chapter*Four. The final chapter is three-fold in nature, presenting an evalup ation of the play, a procedural summary, and a listing of the playb wright's conclusions. The evaluation is based upon the determined criteria for plays for children and the subjective observations of the playwright-director as noted during rehearsals and performances. The procedural steps involved from the initial idea to its culmination as a produced play are reviewed. Finally, the conclusions growing out of the playwright's experience with each phase of the project are pre— sented, along with suggestions for additional research in the field of children's theatre playwriting. TABLE OF CONTENTS CHAPTER HTRODWTIONOOOOOOOC00....0.0;...000000000000000OOOOOOOOIOI. I PURPOSES OF CHILDREN'S PLAYS AND TECHNIQUES OF HRITING PLAYS FOR CWOOOOOOOOOOOOOOCOOOOOOOOOO0.00.00...0.. Purposes of Children's Plays............................ The Construction of Children's Plays.................... The Elements of Children's Play:........................ Conclusions............................................. II Tm grommcm's PmSIOOOOOCOOOOOOO00.000.00.000... Selecting Suitable Story'Material....................... Criteria for Stories in Childrenls Plays................ Conclusions............................................. The Selection of a Story for'This Studyx................ III THE PROCESS OF WRITING A PLAI'FOB CHILDREN................. The Situation........................................... The Course of Action.................................... Character Studies....................................... The Revised Course of Action............................ Iv THE ROSE AN!) TEE RmGOOOOCOOOOOOOOOOOOOOOOOOOOOOOO0.0...... Page 1 h h 8 ll 16 18 18 22 26 27 3h 37 38 he hh h8 v EVALUATION, SUMMARI, AND CONCLUSIONS....................... 105 Evuuationooaaeoaooooooeooaooaooe0.0.0.000.ooeaooooeeoae 105 summeooooooooaeoooooooooaooeoeee0.0000000000000000... 110 conCIuSiODSOoeoaooe000.00.00.00...00000000000000.0000... 111 BIBLIWMOOOOOCOOOOOOOOOOOOOOOOOOOOOOOOOO...OOOOOOOOOOOOOOOOQOO 11? APPmDHOOOOOOOOOOOO0.0OOOCOOOOOOOOOOOOIOOOOOOO00......O.0.0.0.... 118 IN TRODUCT ION Although the first known.play for children.was produced infiFrance in 1781;,1 children's theatre as it is known today is a product of the twentieth century.3 The movement has grown rapidly, particularly since l9hh, when the Children's Theatre'Conference held its first annna1.meet- ing en.the campus of’NorthwesternfiUniversity. During the season preced- ing that first meeting, about one hundred and thirty'plays for children were produced in the United States. Ten.years later an estimated thousand or more productions were presented. Additional evidence of increased interest and activity in the field is the fact that over the tenfiyear period annual sale of books on children's theatre subjects has increased from 1,500 to 20,000.3 The organizational structure of the Children's Theatre Conference has been strengthened, and in 1952 it became a division of the American Educational Theatre Association. A survey of children's theatre literature reveals that, deepite the rapid increase in.nnmber of productions for child audiences, authorities in the field express little satisfaction with the plays i Winifred ward, Theatre for Children, Revised edition (Anchorage, Kentucky: The Children‘s Theatre Press, I950), p. 1. a . Sara Spencer, IChildren's Theatre Past and Present," Educational Theatre Journal, VII (March, 1955), p. M. 3 Sara Spencer, “Annual Report of the Director of the Children's Theatre Conference,‘ Annual IearBBook for l95h of The Childrenis Theatre Conference, (Unpublished report compiled athichigan State College, 195k}, p. 2. currently available to producing groups.4 This criticism applies not only to the quality but also to the number and variety of plays. According to Winifred Hard, whose pioneering in children's theatre has established her as a nationally-accepted authority, "The supply of really good drama . . . has not nearly kept up with the demand.'5 This statement gives rise to a number of questions: 1. What constitutes an effective children's play? 2. Are the techniques of writing plays for children different from those established for dramatic writing in general, and, if so, what are the differences? 3. What material is best suited to children's drama? h. What are the problems inherent in adapting this material to the dramatic medium? These questions constitute the problem of this study. Discovering answers to questions regarding criteria for children's plays, the technique of writing for children, and the selection and I adaptation of suitable material for children's drama are a necessary preliminary step te the process of‘writing‘a play for children's theatre. Therefore, the following procedural steps were established: A l. A survey of the literature was made to determine the purposes of children's plays and to discover the techniques of dramatic writing which should be employed in fulfilling these purposes. 2. A further survey of the literature was made to determine criteria for selecting material for childrenis plays. 4 Spencer, 'Children's Theatre Past and Present," pp. hh-hé. a _ - WW, &0 23:30, Do 60. 3. Next, material was Selected, an effort was made to solve the problems of adapting specific story material to the dramatic nedim, and a play was written. ' h. The play was produced for a child audience. 5. An attempt was made to evaluate the play in terms of the discovered criteria for effective children's theatre plays. CHAPTER I PURPOSES OF CHILDREN‘S PLAYS AND TECHNIQUES 0F WRITING PLAYS FOR CHILDREN The purpose of this unit was two-fold, involving, firsts survey of the literature in children's theatre, particularly the works of Winifred Ward, Charlotte Chorpenning, Caroline E. Fisher, Easel G. Robertson, and Kenneth Graham, to determine the purposes of children's plays. Second, these sources were examined to discover specific tech- niques of playwriting which should be employed in order to fulfill these purposes in writing plays for children, and to detemine areas of di- versity and compatibility between plays for children 's theatre and for adult audiences. Marian Gallaway was used as the authority in the general field of playwriting. PurPoses of Children's Plays An important preliminary step to writing a play for children is to determine the underlying purposes of children's theatre. Next, an understanding of the purposes of children's plays and the manner in which the two sets of objectives complement one another is essential. Kiss Ward discusses five purposes of children's theatre: (1) providing pleasure or entertainment; (2) instilling high ideals; (3) broadening horizons and building increased understanding of people; (h) training future audiences; and (5) offering worth-while leisure ' 1 the activity. Since, for the purposes of this study, children's theatre is con» sidered in its limited sense is a medium for bringing drama to child audiences, it follows that these goals cannot be reached without plays. Further, even'before determining the specific purposes of children's plays, a natural assumption would be that they-must'be closely related to those set forth for children's theatre. In his effort to establish a set of purposes for children's plays, Kenneth Graham undertook an exhaustive study of the literature is.the field. Primary among his conclusions was that: The general consensus appears to be that a children's play should first and foremost provide, or at least afford an Opportunity for entertainment. It has been pointed out that the purpose of entertainment alone is inadequate, and that entertainment values should really be an integral part of other basic purposes. It is further noted that entertainment should not be considered as sheer amusement, which is only a possible element of entertainment, but, as agreeable and refreshing thought and.nental activity exemplified'by identification of children.with characters in situations they can understand.2 The fact that drama can be a potent force in the education of children leads to an insistence on extending its purposes beyond the realm of entertainment. Concern with the instructional aspects of children's plays is natural when one considers the composition of the 1 winirred Hard, Theatre for Children, Revised edition (Anchorage, Kentucky: The Children's Theatre Press, I950), pp. 3h-h0. . - Kenneth L. Graham, "An Introductory Study of Evaluation of Plays for Children's Theatre in the United States,“ (unpublished Doctor's dissertation, The University of Utah, 19h7), p. 67. children' s theatre audionco . The group viewing the average play for children will include a wide age range and an equally wide range of individual differences. But however diverse the children are in most respects, they share several things in common. In spite of individual differences, all children have the same basic psychological needs, among these being the need for new experiences and for expression of emotions. Further, because they are in the process of acquainting themselves with the complexities of the world around them, children are curious, and they have a real desire to learn. A statement on the role plays can fill in meeting the need for new experiences is offered by Charlotte Chorpenning: A child's experience is, and iiust be, limited. Experience is the great teacher. You realize that in life the final outcome of a definite experience may take an hour, a day, years or ages; a play can give the child an immediate experience in the final outcome of something he just saw happen. A well written play is a near thing to life itself in creating experience .‘ In reference to the role plays can fill in the education of children, Hissllard has stated that: . g _ Woven into the fabric of nearly every play for young people are ideals of loyalty and courage, of honesty, good sportsmanship, and justice. Because such ideals are made concrete in characters the children love, and because these characters hold the sym- . pathy of the audience throughout a plot in which good and evil clash, it is inevitable that something worthy must come of it.‘ Two additional purposes of children's plays may be derived from these statements: providing new oxperiences, and instructing. The 3 Charlotte Chorpenning, Twent -One Years with Children's Theatre (Anchorage, Kentucky: The Childrenis matre Press, IKE) , pp. §§-§§. 4 Ward, 32. 933., p. 311. instructional purpose can'be subdivided to include, in addition to instilling worthy ideas and ideals, the training of future audiences, thus arriving at a fourth objective of plays for children. 'Until Graham made his study, no authoritative list of basic purposes which children’s plays should serve had been established. However, following his analy- sis and synthesis of criteria set forth by other authorities, Graham was able to formulate a set of four interrelated basic purposes which should serve to guide the children's theatre playwright: 1. Children's plays should, by presenting opportunities for children to identify themselves'with personalities in situations they'can comprehend, provide pleasant, inter- esting and worthwhile entertainment. Children's plays should, by-providing a wide range of imaginative, vicarious experiences, satisfy'the psycho- logical needs of the growing personalities of children. Childrenis plays should not obviously instruct, but ‘should, by’presenting experiences wherein children can identify themselves with characters in situations which make concrete an estimation of some vital phase (or phases) of life, provide Opportunities for the child to learn sympathetic understanding of people and the reasons for the commonly accepted moral ideals characteristic of American life. Children's plays should, bg'meeting the foregoing purposes and conforming to the accepted fundamental standards of dramatic technique, train the present generation so that they will become intelligent, critical, and appreciative adult audiences of the future.‘ Comparison of the objectives or purposes of children's theatre and of children's plays reveals them to be identical. Simply stated, those purposes are to entertain, to meet basic needs, to instruct, and to train future audiences. If these goals are met, the fifth.purpose 5 Graham, 22, 233,, pp. 118-119. of children's theatre, that of providing worth-dale leisure time activity, will be accomplished. The Construction of Children's Plays Having ascertained the basic purposes of children's plays, the playwright's next step is to determine specific elements of play con- struction and writing technique which should be utilized if these pur- poses are to be fulfilled. The fourth listed purpose includes the statement that plays for children should conform to the accepted fundamental standards of dramatic technique. Further, Winifred Hard says, 'A knowledge of drastic technique is obviously a requirement of the person who would write for am audience.” These statements are substantiated by Charlotte Chorpenning, a leading playwright for children, who says that, 'The general principles of writing plays for children and adults are the same)? modern playwriting theory finds its foundation in the principles set forth by Aristotle in his theory of poetry} In establishing criteria for children's plays, Graham accepted Aristotle's six elements of drama as bases for'evaluating plays for children. Those elements, in the order listed in the Graham study, are: theme, plot, character, s Ward, 22. 91.3., p. 62. 7 Chorpeming, 93o fie, P. h9e s For the purposes of this study, the following translation of Aristotle's Ars Poetica was used as reference: 8. H. Butcher, Aristotle's use of Post and Fine Art, Fourth revised edition (low fork: Dover mlications, 19?.“ . o dialogue, song, and spectacle. Additional echoes of Aristotelian principle are found in Hrs. Chorpenning‘s writing when she emphasises that every cIflldren's play must have a definite beginning, middle, and end. Every good play for children as well as most plays for adults, has three organic elements: 1. A story with a beginning, middle and end, or to use another wording, a problem, complication and solution. 2. A character whose play it is. 3. Meaning. One of these three must control the structure of the play. In a play for adults it may be any of the three. In a play for children it must be the story. That story must never' step-not for comedy, or a big fight, or wise cracks, or fine speeches, or stage effects, or character and meaning development.” That these principles are not contradictory to those established as rules of dramatic construction by modern authorities in the general field of playwriting can be seen on examination of the following quotation from the work of Harian Gallaway: A fine play has a strong and definite central structure or design or skeleton....It rests upon five bases....There is a desiring individual or group of individuals, the protagon- ist of the play; there is the object desired; there is a factor which makes the objective difficult to obtain; there is a definite ending to the story; and there is a clear and logical course of action leading to this ending.“- 9 Graham, 22- 233-: KEELE- io Chorpenning, 22. 3333., pp. 314-35. 1 1 Marian Gallaway, Constructing a Plg (New Iork: Prentice-Hall, Inc., 1950), p. 95. 10 The significant difference noted in these two statements is in regard to story, and that is merely a difference in emphasis. While story is the controlling factor in writing plays for children, within the frame- work of the story the protagonist is of vital importance: You.will.miss the basic source of the child audience response to your play if you fail to arouse in the children identification with the main character of your story;...The child wants to pg the character he is watching on the stage, to feel as he feels;12 Of nearly'equal importance is conflict, the struggle of the protagonist to surmount the obstacle preventing achievement of the objective. Hrs. Chorpenning says that, “With the child audience conflict is the backbone of the play.'1. In essence, the mechanical aspects of play construction are the same whether the dramatist is writing for children or for adults. Any difference is one of emphasis or degree. Every'play for children, as every play for adults, must have a protagonist with whom the audience can identify. Every play must have a story“which includes a logical progression of events depicting the struggle of the protagonist to achieve his goal. The most important consideration is that in children's drama story controls the play. All other structural factors must be considered in reference to the story. 12 ‘ Chorpenning, 92. git” p. to. 13 Ibid., p. h7. The Elements of Children's Plays If the purposes of children's plays are to be served, knowledge of the structural principles of dramatic writing and their application to writing for children's theatre constitutes only a part of the play- wright's background. Equally necessary is a determination of the manner in which the elements of drama, particularly theme, plot, character, and dialogue, should be treated in plays for children. Actually, no element of children's plays can be considered as an entity, for each is closely related to the others. Further, all of these elements must be handled with reference to their contribution to the effective commu- cation of the story. A The first element to be considered is theme or meaning, which is defined as, "the intellectual content, the germinal idea, the sense of direction given to the raw materials, the truths or eternal principles expressed, or the root-idea of the play)“ Current thinking among authorities in children's theatre agreeswith the general rule for handling theme in drama, which is that, "Even in a play designed to carry a message, the skillful playwright will induce belief by making the audience Leg]; as he wants it to feel, rather than by attempting to convince them intellectually."18 Fran the children's theatre viewpoint, theme is inherent in plot and should be developed as the story unfolds. Fisher and Robertson state 14 arm, 0 e fie, pa 1330 is Gallaway, pp. 3333., p. 7. 12 that it is unnecessary for a play for children to teach an obvious or direct lesson. Rather, it should have a plot from which right ideas is can be taken. Hrs. Chorpenning issues a warning about the handling of theme in plays for children: The moral or philosoPhic meaning of a play should reside in the story and not in its lines. 'Show it, don't tell it.‘ ...clearly revealing. . .meaning in the beginning, the middle and the end. .. ,that is,. ”make clear the problem, the compli- cations and the solution of the story." Hrs. Chorpenning further states that: The moral lies in what happens. It is the meaning of your play. It may be worded if the dramatic dialogue demands it, but its power lies not in the words the children hear, but in what they experience. Your play is a story at work; your story is a meaning at work. Don't tell it; show it.“ Theme, then, is an element of children's plays that should not be con- sidered except in reference to story. The plot of a play evolves from the story. Since the majority of 19 favorite children's plays are adapted from or based upon literature , a distinction should be drawn between the meanings of the terms "story" and "plot'. as they apply to dramatic writing. Miss Gallaway provides a definitive statement when she says , I"The story is only part of the plot. It is what happens to the characters, what they do. The plot... is Caroline E. Fisher and Easel G. Robertson Children and the Theatre, Revised edition (Stanford, California: étanford University Frees, 1950), p. 2. 17 Chorpenning, 22. 933., pp. 36-37. is Ibid., p. Sh. 19 Ibid., p. 36; Fisher and Robertson, 92. 313., p. 119; Ward, 32. 21.3., p. 65. 13 is the story arranged and amplified by the playwright to make the audience respond as he wishes it to!”0 In establishing criteria for plot in children's plays, Graham con- cluded that, with certain exceptions and with emphasis placed on particular elements, plot development in plays for children should follow accepted dranatic technique. He found that carefully and strongly developed plot is equally, if not more, important children's plays than in plays for adults and that story is more important in the fonner than in the latter.“ The dramatist for adults relies on the use of complications as an important device for develOping plot. In adult drama complications have been called "perhaps the most useful device for creating suspense .‘22 Complications are used deliberately to change the original course of ' action, ;'to increase suspense tensions and to prevent the story from developing too easily toward a showdown."23 In children's drama, on the other hand, plot must develop simply. and clearly, avoiding compli- cations and sub-plots which do not move the story forward.“ Other general rules of plot construction which are of particular importance, such as the requirements that all major action shall take so Gallaway, 22. £553., p. 122. an. . Graham, 22. 92.3., pp. 181-183. 22 'Ga‘llaway, 32. £13., p. 191. 23 Ibid., p. 207. 24 Graham, Q. 222-: p. 181. 1h place on stage, and that every scene must end with something exciting that arouses expectancy, are stressed equally by authorities in play- writing for children as well as for adults.28 One of the most important considerations in writing plays for children is the rule that the story must never stop in its forward movement toward final resolution. One obstacle to contixmous flow is created by intermissions in the theatre. Therefore, in plotting plays for a child audience, providing for what Hrs. Chorpenning terms 'carry-over' and 'pick—up' is particularly essential. In other words, there should be a‘moment of building suspense prior to the end of each scene to carry audience interest forward to the next, and there should ‘be a quick re-arousing of that interest at the opening of the succeed- ing scene.‘as Dialogue, the third element of plays for children, also can stop the flow of the story. Hrs. Chorpenning's rule, 'Show it, don't tell it,‘' applies to dialogue as it does to theme. The threefold purpose of dialogue in children's drama is to reveal character, to unfold the plot, and to clarify the situation.” If it is to fulfill its second function, dialogue should not be lengthy. Verbosity makes a play stand still and causes children's interest to flag. Brief speeches are characteristic of a play that youthful audiences enjoy....Children are right in demanding short speeches. People do talk that way. Though the adult may take 25 Ibid., pp. 181-182; Gallawa, 32. 321., pp. 170 and 175. as Chorpenning, gp. 225., pp. 13-11:. 37 Graham, 22. g_1_1_=_., p. 211:. 15 delight in Shakespeare's poetic lines or the lovely rhythm of the Irish plays, the child audience must be educated to them. The story lives for them far more truly if it is 25 told graphically, with short, natural, and pointed dialogue. This does not mean, however, that the vocabulary used in children's plays should be geared to the lowest grade levels, despite the require? ment that dialogue be simple and direct. Except where words are essential to plot development or for comedy, the language of certain characters or certain passages need not be completely within.the vocabulary of the audience as long as the context carries the meaning or mood value ihich children can comprehend. Clarity of expression rather than difficulty of words should be the criterion.39 As in the case of plot and dialogue, simplicity is a keynote to the development of character, the fourth.element in children's plays. This does not release the playwright from his obligation to portray characters vividly. Rather it implies that, "In general the mmJor characters in children's plays should be developed to 'semi-roundness,‘ i.e., between one-sided, flat stereotypes and subtle, cemplexzpsycho- logical studies,I and that, EMinor characters are usually conceived as types in order that emphasis may thereby'be placed on the development of the major characters.” It also means that characters such as heroes and villains should exhibit the traits usually associated with their so roles. Every play needs a protagonist, a person or group of persons about whcm the play revolves. Three criteria guide the playwright in developing as Ward, 92- 223.. PP. 13h-13S. 29 Graham. leg. 2.2:. so Ibid., pp. 199-201. 16 the central character(s) in‘any play: 1.1 good protagonist is credible or lifelike. 2. A good protagonist is attractive, more necessarily in the moral or spiritual than in the physical sense of the word. 3. 1 good protagonist is volitional, exhibiting strong need or desire for his objective.”- One of the main differences between the protagonists of adults' and children's plays has been mentioned, that difference being the require- ment that no character in a play for children should be a complex psycho- logical study. A second difference is that in children's drama the protagonist always must achieve his objective. The play must have a happy ending with tragic experience limited to the progress of the play. .The happy ending, however, must result from a true interpretation of life's values.32 In other words, the protagonist must win, but he must be clearly worthy of his triumph. In summary, the four basic elements of plays for children are theme , plot, dialogue, and character. Simplicity and directness are essential in handling the last three. Each of the four elements. must be con- sidered with reference to the story, which must control every phase of the process of writing plays for children‘s theatre. Conclusions The basic purposes of children's plays are to entertain, to meet basic needs, to instruct, and to train future audiences. In order to 31 Gallamy, 22. 933., pp. h6-6h. as Chorpenning, 92. 31.3., Pp. 35-36. l7 fulfill these purposes, the playwright must follow the general rules of dramatic construction in writing plays for children. Every play for children must have a protagonist with when the audience can identify. Further, every play for children must have a story which is based upon the struggle of the protagonist to achieve a goal. The important dif- ference between writing plays for children and plays for adults is that the story always is the controlling factor in plays for children. The same rule governs the treatment of theme, plot, dialogue, and character in writing for children's theatre. Theme is an integral part of the story; children's plays should present worthy ideas, but they must be implicit in the story and not superimposed. Plot is the story arranged and amplified, and it must develop in a straight line without complications and sub-plots which alter its course. . Plot must be con- structed so that each scene concludes at a high point of interest which is picked up immediately in the next scene. The purpose of dialogue in children's plays is to reveal character, to unfold plot, and to clarify the situation. Dialogue fails to achieve its purpose unless it is sinple, direct, and economical. Characters in children's plays must be relatively uncomplicated, with minor characters treated more or less as types. In general, the handling of the elements of drama in plays for children does not differ in any basic sense from the methods of treatment established for writing adult plays. The important consideration is that in children‘s plays each element is subordinate to the story and must contribute to it if the purposes of children's plays are to be met. CHAPTER II THE STORY IN CHILDREN'S PLAYS The most significant result in the survey of children's theatre literature to discover'basic techniques of writing plays for children was that all the principles of play construction and all the elements of drama must be considered with reference to the story upon which the play is based. Therefore, the second step in this study involved: (1) attempting to discover what types of story'material are best suited to the child audience; (2) determining criteria for selecting stories for children's plays, basing these criteria on conclusions reached in the first phase of the study plus a further survey of the literature; and. (3) using these findings as a guide in selecting a children's story for adaptation to the dramatic medium. Selecting Suitable Story'Haterial Having gained an understanding of the techniques of writing plays e for children, the playwright next is faced with the problem of story selection. He mmst decide whether he will originate his own plot, or whether he will turn to children's literature for his story. This decision can be guided by the findings of authorities who have studied the response of child audiences to various types of plays. In introducing her suggested.procedure for writing children's drama, Winifred Hard.advises the novice playwright to base his first plays on 18 “‘l'li‘lllllllll 19 good stories rather than to undertake what she considers to be the more difficult task of developing original plots. She adds that, ”After one has had successful experience in dramatizing children's stories, he should venture into original plots, but in most cases not until then."1 Aside from the fact that basing plays on.children's literature is considered to be less difficult than writing original plots, the play5 wright has some evidence that children prefer plays based on stories and novels. IHiss Hhrd states that a thorough knowledge of children's literature is a necessary foundation for the playwright, "because of the indisputable fact that drama based on literature is dearer to children's hearts than any other kind."2 The results of a survey under- taken.by'Fisher and Rebertscn prior to the.publication of their book in 1950 show that classical stories and fairy tale plays constituted a definite majority of successful children's theatre productions.3 In her experience as a.playwright-director for children's theatre, Charlotte Chorpenning also found that familiar folk and fairy tales drew the larg- est audiences.4 In attempting to discover reasons for the popularity of plays based upon children's literature, Mrs. Chorpenning first concluded that parents l Winifred Hard, Theatre for Children, Revised edition (Anchorage, Kentucky: The Children's Theatre Press, I950), p. 68. 2 Ibid., p. 63. 3 Caroline E. Fisher and Hazel G, Robertson, Children and the Theatre, Revised edition (Stanford, California: Stanford University'Fress, 1950), p. 9. ' 4 Charlotte Chorpenning, Twenty-One Years with Children's Theatre (Anchorage, Kentucky: The Children 3 Theatre Press,fil95h), p. 36. 20 are eager to have their children share their own childhood enjoyment of traditional stories. However, in studying classical stories, she found that: Each one embodies some great human.yearning. My-audience was not alone in wanting to see the little conquer the big, the lowly rise to heights. That desire persisted from earliest recorded time in all lands....These stories are really voices from the wisdom of long ago and far away, calling to our yearnings of today.6 In addition to providing psychological satisfaction by allowing children to identify with characters who overcome Obstacles and triumph in the end, traditional stories provide satisfaction through sheer enjoyb ment. In the first place, if the story on which a play is based is familiar, children find it easier to follow. Folk and fairy tales-also offer the producer of children's plays many Opportunities to create beautiful visual effects which increase the pleasure of the audience. Another element in these stories which gives satisfaction to children is their remoteness in time and place and their departure from fact and reality. Finally, plays based on fairy tales reinforce children's sense of security, since the fairy usually is a.symbol of goodness Operating for the benefit of the forces of right. Children also sense security in invisible powers which help worthy characters in fairy tale plays achieve the rewards they deserve.6 Strong arguments are advanced for using funiliar material for childrenfis plays. Primary among these is the fact that seeing a favorite B . Ibid., pp. 87-88. ‘l 1 III Alli I ll. '1' I'lltl'iilll' Ill .11. 21 story come to life is a great source of pleasure for children. However, use of unfamiliar material is not condemned, and reasons for using stories new to the child audience are presented by several authorities. The first of these reasons is a practical one: It is often more satisfactory if the audience does not know the particular plot; for, if the story is familiar, they will be disturbed by any changes made necessary by the exigencies of the drama. They will also become restless unless there is something new and fresh to hold their attention.7 IMoving from strictly'practical considerations to the psychological and educational purposes of children's plays, Hiss'whrd says: The new, the fresh, the unusual must have their place....if children are to grow in appreciation and outlook. And indeed it has been proved again and again that though a new’or unp known.play fails to attract the crowds which come when such a title as Pinocchio is announced, it has quite as much chance of pleasing those who do come. Some of the most enthusiastic reactions come at the performances of new plays, and certain it is that a children's theatre has a responsibility to bring to its youthful audiences new ideas, stimulating productions, and an introduction to varied forms of art.’ The children's theatre playwright is well advised to turn to litera- ture for story ideas, particularly until he has gained experience in the field. Child audiences show a marked preference for drama based upon folk and fairy tales. Plays based upon familiar stories attract larger audiences than do those with unfamiliar titles. However, this should not deter the playwright from selecting unknown stories for dramatization, provided that these stories meet the criteria for good children's plays. v Fisher'and Robertson, 22, gifi., p. 95. 8 um, 22. 313., p. 12h. 22 Criteria for Stories in Children's Plays The mechanics of dramatic construction and the elements of drama must be utilized primarily to communicate the all-important story in plays for children. 021 the other hand, the techniques and elements cannot fulfill their functions unless the story is adequate. Therefore, in selecting a story to dramatize, the playwright should evaluate his choice on the basis of the factors a story must contain if it is to serve his purposes. In terms of the principles of dramatic construction, the story chosen for a children's play must present a problem with a complication or obstacle which must be overcome before the problem can be solved. Overcoming the obstacle must involve conflict which builds to a strong climax. Further, the story must center about a protagonist, or leading character, with whom children can identify closely and easily. Considering story with reference to the elements of drama, the playwright first should evaluate the theme or idea the story presents. While obvious moralizing cannot be justified in children's plays, the story must contain worthy ideas. Clare Tree Major, a pioneer in bring- ing professional touring children's theatre productions to youthful audiences throughout the United States, once said that in choosing books or stories for dramatization for children's theatre, ethical value is e the most important thing to consider. 9 Letter from Clare Tree Major to Kenneth L. Graham, 19117, in Kenneth L. Ch'aham , ”An Introductory Study of Evaluation of Plays for Children's Theatre in the United States " (unpublished Doctor's dis- sertation, The University of Utah, 19h7)’, p. lhh. 23 Plot, the second element in children's plays, is an amplification of the story. If a story is to serve as a satisfactory basis for the plot of a children‘s play, it must be suitable for children, and it must be the kind of story children enjoy. The story will not hold the interest of a youthful audience if it contains a maturity of relation- ships which make it difficult to follow and understand. Unless he has a knowledge of children's literature and of children's tastes in stories and plays, the playwright should let the opinions of authori- ties have a bearing on his choice of story. To provide the basis for a good plot, the story selected should contain a main course of action which moves forward without undue complications or side issues which break or alter the line of deve10p- ment. Yet, as Miss Ward says, the story “must be meaty enough to pro- vide several good episodes which will build to a real climax!“ Additional criteria for story in children's plays are offered by Graham: first, the story should be rich in dramatic action involving strong basic emotions; next, it must be plausible and consistent, though it need not be true.11 . Dialogue need play no part in selecting a story for dramatiza- tion, since this third element of drama differs in its function in stories and in plays. In children's drama dialogue serves three pur- poses: revealing character, unfolding plot, and clarifying the situ- ation. The writer of stories does not rely solely on dialogue to 10 Ward, 22. 335., p. 614. 11 Graham, 22. 225., p. 181. J11. ills-'11.. III . 2h communicate. He can write descriptive passages which serve his pur- poses much more adequately than conversation. The playwright, however, must place much greater reliance on dialogue in communicating his ideas. ' Rather than using dialogue directly from the story, the playwright should write his on lines, using criteria for dramatic dialogue as his guide. No authoritative evidence to support this point of view was found in children's theatre literature. In fact, it is entirely con- trary to Miss Ward's Opinion that the dramatist using a novel as the basis for a play for children must use all possible dialogue from the story itself}2 However, one conclusion reached in this study is that children's stories do not contain enough dialogue for plays and that the playwright accepting Miss Ward's suggestion must fill in with lines of his own. Consistent dialogue is difficult to achieve if this pro- cedure is followed. The playwright who captures the spirit of the story and its characters and then writes his own lines will find that the dialogue in his play not only will be more consistent, it also will seem more spontaneous and natural . The central character is an important consideration in evaluating a story on the basis of character, the fourth element of children's plays, since it ‘is through identification with this character that children respondto the story. The main character of a story chosen for a children's play must have the qualities of attractiveness, 12 Hard, pp. 313., pp. 811-85. _ 25 credibility, and strength of will to make a strong protagonist. Other traits which should be discernible in the main character are listed by Graham: Heroes should be bold , courageous, and above moral reproach, depicting such elemental virtues as truth, honor, justice , fair play, and loyalty. Romantic or adult heroines should be lovely and plucky; child heroines should be able to do whatever their brothers can do and capable to thinking their way out of difficulties.” Other characters have little bearing on the merit of the story as potential material for a play for children. In the process of writing the play, minor characters can be developed with reference to their relationship to the protagonist. In summary, the playwright must evaluate any story he hopes to use as the basis for a play for children in terms of the elements of drama and the techniques of playwriting. To serve its purpose, the story in a children's play must contain a problem, a complication or obstacle, and a solution. The story must have a worthy theme. The story must contain the elements necessary to develop into a strong dramatic plot. The central character must have the qualities that will make him or her an effective protagonist. The one element of drama which need not be considered in evaluating a story is dialogue. The playwright should write his own dialogue consistent with the spirit of the story. 1.: Graham, pp. git” p. 201. 26 Conclusions The problem of selecting stories for children's plays involves, first, a decision as to whether an original plot will be developed , or whether a selection will be made from children's literature. 1 survey of children's theatre literature reveals that youthful audiences prefer plays based‘upon stories and that many children's stories contain elenents which make them worthy material for dramatization. While familiar stories appeal to children, unfamiliar ones also should be used for plays if children's theatre is to provide its audiences with new and varied experiences. The novice playwright should use children's stories for his first plays. - Assuming that the playwright decides to use a selection from I children's literature as a basis for his play, the second step in story selection involves evaluating possible material on the basis of criteria for children's plays . To provide an effective foundation for a play for children, a story should meet the following requirements: 1 . The central situation should provide conflict . 2. The story should provide enough episodes to build to a real clinmx. _3. There should be essential action in the development of the plot. 11. The story should have a worthy central idea or theme; it should contain universal qualities which give it lasting value . 5. The story should be suitable for children and should have a plot which avoids complex and mature relationships uhich make it difficult to follow and to understand. 27 6. The story must appeal to children. 7. The central character must be one with when children can identify closely and easily. 8. Dialogue in the story has no bearing on its effectiveness as a basis for a play for children. The Selection of a Story for This Study Before undertaking a survey of children's literature to discover a story meeting the requirements for children's plays as set forth in this study, certain limitations as to story types were established. First, a decision was made to use a folk or fairy tale because of the evidence that children prefer plays of this type. Next, a decision was made to select a story from the body of literature now in the public domain. This decision was based on the practical reason that such works are readily available for use in a study of this nature. Finally, a number of the best-known children's folk and fairy tales have been dramatized, some of them in several versions. Therefore, catalogues of major dramatic publishing houses were studied to discover the stories already available in play form. This automatically eliminated from consideration many stories containing the elaents necessary for dramatic adaptation. ‘ . The first conclusion reached in an extensive perusal of children's literature was that a story must do more than provide adequate material for an acceptable children's play. A prime requisite is that a story must appeal to the playwright if he is to use it as a basis for dramatic writing. Other things being equal, a story which satisfies the 28 subjective criteria of the playwright is the one he should choose. While a knowledge of purposes, technique, and authoritative criteria is essential to the playwright, the process of writing a play is highly subjective, and unless the story stimulates and inspires, it should not be considered as material for dramatization. This conclusion is borne out by Mrs. Chorpenning, who says, 'Iour story must light a spark in you." On first reading, Thackeray's The Rose and the Ring evoked a pleasant subjective response. The story was felt to be whimsical and humorous, and the characters were appealing. In spite of the fact that the story was written in the archaic and elaborately embellished literary style of a century ago, it stirs the imagination, and even cursory reading revealed possibilities for children's theatre production. However, The Rose and the Egg seemed to be a book that is not popularly lmown and read. A search to discover various versions of the story re- vealed that it is not available in modernized version. Since the story contains elements which would make it appealing to children, its compli- cated language might be the reason for the book's obscurity. Further, literary critics offered favorable cments about the work. For example, the following reference was found in a critical biography of Thackeray: The last of the Christmas books was The Rose and the Iii—mg (1855), begun at Rome as a Twelfth Night Mr his tire daughters....Thackeray is never more pleasing than when he is doing something for children, who always touched his heart deeply and whom he never mentions without a flood of ldndness and affection. Children loved him, too, as well they might. u Chorpenning, 22. git” p. 56. 29 This fireside pantomime for great and small children is in a sense beyond criticism, for it is a fairy tale perfect of its kind-ma fairy tale woven with a sprakling humor. The Princes Giglio and Bulbo and the Princesses Angelica and Rosalba--to say nothing of the unforgettable Countess Gruffanuff, the most delightful. of villainesses, and that most impressionable of usurping kings, Valoroso HIV-ware real enough and yet not too real. Over such characters the satire slides without hurting.“ Critics in the field of children's literature cement that: Thackeray's The Rose and the Ring...is a gay bit of nonsense which borrows the trappings of the traditional fairy tale and handles them with a delightful humor and sense of fun that is greatly aided by Thackeray's own cleverly absurd drawings.“-6 While literary merit does not automatically guarantee dramatic merit, it still has a bearing on selecting stories for children's plays. If one of the purposes of- children's thatre is to educate, the stories selected for children's plays must have literary worth. Since the story provided an opportunity to bring an unfamiliar work of recognized literary merit to children through the medium of the drama, the book then was examined to discover whether it meets the cri- teria for story in children's plays. To assist in this evaluation, a synopsis of the plot was written: Not content to serve as regent for his nephew, Prince Giglio, Valoroso claimed the throne of Paflagonia and became King Valoroso XXIV. Gdglio, meanwhile, lived at court and was kept in the background while all attention was lavished on Valoroso 's daughter, the pampered Princess Angelica. Giglio had inherited a ring from his mother, but no one but Fairy Blackstick knew that is John W. Dodds, Thackera : 1 Critical Portrait (London: Oxford University Press, l9h1) , p. 106. is Cornelia Heigs, A. Eaton, E. Nesbitt and R. H. Vigners, A Critical History of Children's Literature New York: The Macmillan Conpw, 19537, P. 203. 30 it was a magic ring which made its wearer irresistably attrac- tive to the opposite sex. Being very fond of Angelica, Giglio had given the ring to her, and this made her appear much more attractive than she really was. Simultaneously, Padella had driven the King of Crim Tartary from the throne, and Princess Rosalba, the rightful heir, had wandered into the forest and was presumed to have died there. Prince Bulbo, Padella's son and possessor - of a rose having the same magical properties as the ring, eventually was sent to woo Princess Angelica in order to form an alliance between the two kingdoms. Soon after the revolution in Grim Tartary, Princess Rosalba's wanderings brought her to Paflagonia, where she was found in the. palace garden. At the time she was too young to be aware of her true identity, and she called herself Betsinda. She became a maid to Princess Angelica, and she remained a maid until after Prince Bulbo arrived to press his suit with Angelica. When Bulbo arrived, Princess Angelica threw away Giglio's ring, which was found in the garden by Countess Gruffanuff, her unattractive governess. While she had the ring, the Countess captured Giglio's fancy, and she tricked him into signing a marriage agreement. Not knowing its magical properties, Gmffanuff then gave the ring to Betsinda, who became so attractive to all the men that she was driven from the palace by the women. Princess Angelica acquired the magic rose frm Bulbo, whom she married. Betsinda wandered to Crim Tartary, where she was recognized as the Princess Rosalba. Padella, assisted by his henchmen Hogginarno, took her prisoner and planned to destroy her, for she was a threat to the throne. Prince Giglio, who meantime had regained the throne of Paflagonia, pursued Betsinda, and, with the help of his loyal armies, overthrew Padella, establishing Betsinda as Queen Rosalba. Giglio and Betsinda returned to Paflagonia to be married, only to find Gruffanuff ready to hold Giglio to his vow to her. Fairy Blackstick, whose interventions had alternately improved and upset the fortunes of the royal pair, finally saved Giglio. He and Betsinda were married and lived happily ever after. This is the essential story of The Rose and the Ring. Each of the eight criteria for story in plays for children was used to evaluate the book: 1. The central situation should provide conflict. The struggle of the maid Betsinda against the forces keeping her from discovering her true identity and ascending her throne, and the struggle of Prince Giglio to regain his status and thus to help Betsinda all are conflict situations. 2. The story should provide enough episodes to build to a real climax. Again, each phase of the struggle of the two young peeple to achieve their goals provides a strong episode. Two possible climaxes are pre- sented: the reunion of Betsinda and Giglio and Betsinda's restoration to royal status, or the final resolution of Giglio's problem involving Countess Gruffanuff. The many episodes and the two climax situations posed a problem of selection and compression to be solved during the process of writing the play. 3. There should be essential action in the development of the plot. While this criterion applies to dramatic action in all its ramifi- cations, the children's theatre audience particularly likes and expects to see considerable action in the physical sense only. The Rose_and the £125 contains a number of episodes which provide Opportunity for the playwright to write scenes containing strong and visually observable action. For example, Giglio has a physical struggle with Prince Bulbo and with King Valoroso. Princess Angelica has an active encounter with Giglio, and later the women of the palace descend upon Betsinda. The scenes in Crim Tartary include soldiers, the capture and rescue of Betsinda, and the overthrow of King Padella. h. The story should have a worthy central idea or theme; it should contain universal qualities which give it lasting value. The theme of The Rose and the Ring is that worthy individuals who have a just claim to success ultimately triumph over the forces keeping 32 then from their goal. As in the case of traditional fairy tales, the book embodies the universal human yearning to see the weak triumph and the lowly rise in position. . S. The story should be suitable for children and should have a plot which avoids complex and mature relationships which make it difficult to follow and to understand. Here a question arose with regard to the relationship of Giglio and Gruffanuff and with some of the episodes involving Betsinda and the various men who were attracted to her while she wore the magic ring. However, these relationships and episodes are only part of the story. Therefore, there seemed to be no need to discard the book because of them. Rather, they constituted problems to be solved in the process of adaptation. 6. The story must appeal to children. By simplifying the complexities and removing the essential elements of the story from their cloak of obscure verbiage, The Rose and the Ring was found to contain elements which appeal to children. Among these are humor, interesting characters, an element of fantasy and magic, physical action, and remoteness in time and place . 7. The central character must be one with when children can identify closely and easily. I ‘ ‘Both Betsinda and Giglio , particularly Betsinda, exhibit the traits of coinage , virtue, and intelligence considered essential in heroes and heroines in plays for children. 33 8. Dialogue in the story has no bearing on its effectiveness as a basis for a play for children. This criterion was established late in the study after an attempt was made to utilize as much dialogue as possible from the book. Thackeray's dialogue employs archaic phraseology which is very much out of keeping with present-day conversational speech. Should this dialogue be transferred literally from the story to a play, it would be difficult for children to follow, understand, and believe. If the characters in a children's play are to seem real and alive to the audience, their speech must be credible. However, The Rose and the Ring is particu- larly rich in dialogue. When this is the case, a study of the dialogue in the story assists the playwright in analyzing and develoPing his characters, in spite of the fact that it may prove of little or no value in writing the lines those characters speak. The Rose and the Ring was selected for adaptation for children's theatre because it is a fairy tale which is not restricted for use by copyright. Further, no published dramatization of the story was avail- able at the time this study was begun. Most important, the book not the criterion that any story chosen for dramatic adaptation must be appeal- ing and inepiring to the playwright. Subjective evaluation was reinforced by published criticism attesting to the literary merit of The Rose and the Ring. Finally, the story met, at least to a major degree, the criteria established for stories suitable for children's plays, thus strengthening it as a work of dramatic as well as literary merit. CHaPTER III THE PROCESS CF WRITING A PLAY FOR CHILDREN Having selected the story from which a play is to be fashioned, the playwright is faced with the problem of translating material from one medium of writing to another. There are several basic differences in technique involved in writing novels and in witing plays. For example, the novelist is not restricted by time limitations, whereas the playwright must work within a rigid time framework. The reader of a story or novel is able to proceed at his leisure and to turn back in his reading at any time he chooses. The theatre audience, on the other hand, must be able to grasp every situation as it unfolds on the stage. Further, the novelist can use descriptive passages and other narrative devices to convey the ideas and thought processes of his characters. The playwright cannot stop the flow of his story to narrate and describe. All of these factors constitute problems of selection and compression as the playwright analyzes story material . A second problem concerns the playwright's adherence to the orig- inal material selected for treatment. The question immediately arises as to what degree of faithfulness to the original material the play- wright is obligated to maintain in translating a story to the dramatic medium. Following a study in which he attllpted to discover an answer to this question, Roger H. Busfield, Instructor in Dramatic writing at Michigan State University, concluded that the treatment of a work of 3b , F 35 fiction by a playwright may vary from faithful adherence to the original story to liberal interpretation in which the playwright borrows as much or as little of the material as he chooses in terms of his own specific purpose. A further conclusion was that some story material contains elements which make it suitable for literal transference to the dramatic medium, while other works of fiction are suitable for dramatic interpretation only in some respects. When the latter is the case , the playwright must interpret literary material more liberally in order to serve his own purpose. Doctor Busfield has defined four varying degrees of adherence in the following manner: 1. Dramatization implies faithfulness to story and characters and the taking over of the thematic purposes of the original work. If the material lends itself to literal transference, the playwright accepts the plot, characters, and theme _i_1_1_ to___t__o and gives them dramatic life. 2. gaptation implies that the purposes of the playwright may supersede those of the author. Since a story usually does not lend itself to literal transference, an adaptation is somewhat faithful to the original material, but the play- wright may take greater liberties with plot, character, and theme in terms of dramatic feasibility. 3. Based upon is a term applied by the playwright to a play which takes as its basis portions of an original story and its characters. More liberal changes in plot, character, and theme are made in accordance with the purpose of the play- wright. )4. Suggested by is a term used when an idea or ideas expressed in an original work are borrowed and amplified and in all probability lose their original identity in the plot of the play.1 1Roger H. Busfield, |"The Problems of Adaptation and Dramatization,‘l (unpublished paper). 36 The story of The Rose and the Ring contains many episodes placed in a variety of settings. Further, the plot presents a number of complex situations which would be difficult to portray on the stage. To serve the purpose of the playwright, treatment of the characters in the story also would have to be altered. Therefore, adaptation, rather than dramatization, was selected tentatively as the means of translat- ing the story into play form. Before the play was plotted, a decision was made to accept Thackeray's theme that “worthy individuals who have a just claim to success ultimately will’triumph over the forces keeping them from their goal.‘ This central idea met the criterion that children's plays should empress eternal truths and worthy principles. Since Thackeray's story contained two main characters, another essential preliminary step to outlining plot was to decide whether Betsinda or Giglio would be selected as the protagonist of the play. is the two characters were drawn by Thackeray, Betsinda was the more consistently attractive. Further, evaluation of the two potential cli- maxes for the play offered by The Rose and the Ring led to selecting Betsinda's rescue and restoration to royal status in preference to the more anti-climactic rescue of Giglio from the clutches of Countess Graffanuff. Not only is the first climax point stronger, it also is more appealing to children, who tend to react unfavorably to emphasis of situations involving romantic love. Selection of Betsinda's rescue as the climax of the play was a determining factor in selecting her as the protagonist . 37 With Betsinda as protagonist, the plot of the play had to revolve around her discovery of her true identity and her restoration to the throne of Grim Tartary. The scenario of the play was written from an outline of Betsinda's story. Using this method of plotting made possible an almost automatic selection of other characters for the play in tens of their relationship to the main character situation. The plot outline follows: The Situation Betsinda, a girl whose true identity is unknown, is a maid in the royal palace of Paflagonia. The only clues to her identity are the tattered remnants of a cloak and a single shoe which she had with her when she was found and taken into the palace by the royal family a number of years ago. These are kept on display to remind Betsinda of her good fortune. Paflagonia is ruled by King Valoroso, a usurper who took the throne rather than serve as regent for his nephew following the death of the old king. Prince Giglio lives in the palace with his aunt and uncle, but his position is secondary to that of Princess Angelica, his spoiled cousin. Giglio, however, is content to live this way, because he has been promised that eventually he will marry Angelica and share the throne with her. To seal the agreement, Giglio has given Angelica a ring which he inherited from his mother. No one but Fairy Blackstick, who presented it to the late queen, knows that the ring has the power to make its wearer irresistably attrac- tive to members of the opposite sex. Angelica is indifferent to Giglio, who is blind to her faults because of the magic of the ring. Betsinda, feeling compassion for Giglio, always is doing thoughtful things for him and giving credit to Angelica. Adjacent to Paflagonia is the kingdom of Grim Tartary, which is ruled by King Padella, also a usurper. He gained his throne by revolting against his predecessor and doing away with all the royal family except the very young Princess Rosalba, who, in the confusion of the rout, wandered off into the forest. A search revealed no trace of her except some rags and a shoe, so she was presumed dead. Padella's son, Prince Bulbo, was declared heir to the throne. Bulbo possesses a rose which he inherited from his mother. The rose also had been a gift from Fairy Blackstick, and it possesses the sane power as the ring. 38 The Course of Action Act I Glmnboso, the Prime Minister of Paflagonia, brings word to King Valoroso that Prince Bulbo of Crim Tartary is coming to visit. The implication is that Bulbo is planning to pay court to Princess Angelica. Seeing an Opportunity to strengthen his position through an alliance with King Padella, Valoroso ignores Prince Giglio's claim to Angelica and prepares an elaborate welcome for the visit- ing prince. Angelica, who has tired of Giglio, decides that she would like to be wooed by Bulbo, and she tries to give the ring back. When Giglio insists that she remain faithful torher promise, Angelica throws the ring away. Stripped of the power of the ring, Angelica is revealed in her true light, and Giglio welcomes the Opportunity to be rid of her, though he still worries about his status. Countess Gruffanuff, Angelica's ugly and ambitious governess, finds the ring and takes possession of it. Prince Bulbo arrives and is warmly welcomed by Veloroso and his family. Giglio insults him and refuses to be his friend. Angelica finds Bulbo particularly attractive and lavishes attention on him. During the welcoming ceremony for Bulbo, Giglio falls victim to the attraction- the ring gives Gruffanuff . His flattering re- marks lead her to believe he is discarding Angelica in her favor. In the warm mood generated by Gdglio' s attention, Gruffanuff gives Betsinda the ring. Bulbo and Giglio both are attracted by Betsinda's magic beauty, and the boys quarrel. Hhen Valoroso comes to step the fight he also succumbs to Betsinda's spell, and Giglio turns on him, knocking him down. Valoroso calls Hedzoff, Captain of the Guard, and orders him to hang the Prince. Hedzoff, prompted by his affection for Giglio, deliberately misinterprets the order and arrests Bulbo. Gruffanuff attempts to warn Giglio and tries to get him to run away with her, but Giglio rejects her offer, deciding to cast his lot with Betsinda. The Queen, Angelica, and Gruffanuff are jealous of Betsinda. They give her her tattered cloak and shoe and turn her out of the palace . 39 Angelica discovers that Hedzoff has arrested Bulbo, and she rescues him. In.the confusion Angelica gets possession of the rose. Giglio discovers that Betsinda has been banished and that Valoroso plans to let Angelica and Bulbo rule Paflagonia. Hedzoff and his armies turn on Valoroso and support Giglio. Valoroso is overthrown, and Giglio sets out to find Betsinda. Act II Betsinda wanders to Crim Tartary, where she is given shelter by Spinachi, a former nebleman who supported Princess Rosalba's father. He lost status under Padella, and he now is a woodcutter living in the forest with his daughters. Spinachi had been a mem- ber of the group who had searched for Princess Rosalba after the revolution, and he has in his possession the remnants of her clothing. These are found to match the garments Betsinda has with her. This establishes her as the lost heir to the Crim Tartar throne. Spinachi calls Count Begginarmo, who has retained his posi- tion at court by supporting Padella. Hogginarmo, enthralled by the magic of the ring, agrees to support Spinachi and other loyal members of the old.regime, but with the proviso that Betsinda must marry hhm. ‘When,Betsinda refuses, Hogginarmo turns her over to the King. King Padella also succumbs to Betsindafis magical charm and offers to share the throne with her. Betsinda refuses. She declares her intention to share the throne with no one'but Prince Giglio. Padella announces that Giglio has overthrown Valoroso and even now is making war on.Crim Tartary, claiming that he is coming to restore the lost Princess to power. He is routing Padella's armies. . - Captain Hedzoff arrives to demand Padella's surrender'and abdication in favor of Princess Rosalba. Padella refuses to surrender. He takes Betsinda prisoner, promising Hedzoff that she will be thrown to the lions the next morning. Spinachi is taken to watch the execution. ho Act III The lions refuse to attack Betsinda. Instead they turn on Hogginarmo‘, and, in the confusion, Spinachi rescues Betsinda and escapes with her. They return to Spinachi's house to await the arrival of Giglio and his army. - Padella gives chase and arrives before Giglio. He looks the Spinachi family in the house and posts a guard, instructing the soldiers to capture anyone who comes along. Angelica and Bulbo have fled to Crim Tartary to seek refuge. As they pass through the forest they are captured by Padella's sentries, who decide that Bulbo is Giglio. They prepare to exe- cute him. Giglio arrives. The arm of Crim Tartary has surrendered, and he has come to demand Padella's abdication. Padella is taken prisoner, but Betsinda forgives Angelica and Bulbo. Angelica turns on Bulbo, who continues to be devoted to her because she wears the rose. Betsinda, feeling that the ring has proved a good luck token which she no longer needs, gives it to Bulbo. Everyone goes off to the palace to proclaim Betsinda queen. The plot outlined in the scenario adhered with relative faithful- ness to Thackeray's story. However, two problems remained to be solved. No provisimn had been made to inform the audience about the power of the rose and the ring or to explain how Giglio learns about Betsinda's real identity and her whereabouts. In both instances, Fairy Blackstick had entered the story, but bringing her into the play in the same manner did not seem feasible. Therefore, Fairy Blackstick was given a story of her own which was planned to serve several purposes. First, letting Blackstick tell her story to the audience would provide a means of communicating essential exposition. Second, her story could provide continuity between scenes. Finally, using Blackstick would bring the charm of a fairy tale character to the play. Developing the Blackstick story brought the first major departure from Thackeray. A decision was made to cpen the play with a narrative in which Fairy Blackstick, appearing as a dejected remnant of the typical fairy tale enchantress, explains that she is making a desperate effort to right a wrong which she innocently perpetrated when she made the magic rose and ring. Since the magic tokens are worn by the wrong peeple, they are causing trouble rather than happiness, and, as a result, she has lost status in fairyland. She is trying to use what is left of her magic power to right the wrong, but so far she has not been success- ful. Her next appearance is made in a between-scenes encounter with Giglio after the overthrow of Valoroso. From the structural point of view, this encounter was essential to the unfolding of the plot. Aside from using exposition, having the fairy meet Giglio was the only reason- able device for revealing how Giglio learns Betsinda's identity and about her plight. This encounter also marks a major, step in Blackstick's progress toward resolution of her personal problem. Finally, at the end of the play, Blackstick appears again, this time as a beautiful fairy, to exalt in the success of her magic. In a sense, this treatment established Blackstick as a protagonist. However, keeping her story outside the main course of action was intended to prevent its infringing on the Betsinda story while it served the pur- pose of making that story stronger, clearer, and more credible to a child audience. After establishing the plot line of the play, the characters were analyzed as to personal traits and also with reference to their place in the story and their relationship to the main character situation. . . rd. liven-adm- in; fl L , . . .ilut h2 Character Studies Betsinda is a young girl exhibiting all the traits of a fairy tale heroine. She is pretty, unselfish, thoughtful, quick- witted, and strong in adversity. In the palace she accepts her lot without complaint, but she exhibits a wistful curiosity about herself that demonstrates her desire to alter her situation. 'Hhen she learns her real identity, she accepts the change in status ‘with humility combined with strong purpose and the intention to use her position to help others. Prince Giglio at the outset is less strong than Betsinda, but he, too, has the characteristics of a fairy tale Prince Charming. When he realizes that he has been duped, he grows in stature. His successful overthrow of Valoroso is not an end in itself,‘but rather a means of assistinngetsinda to achieve her objective. Princess Angelica is a typical over-indulged child, willful, selfish, and thoughtless. She is motivated entirely by her own desires, providing a sharp contrast to Betsinda. Kinngaloroso basically is a coward. He is unscrupulous, but he prefers to take the easy way out of unpleasant situations. His occasional pangs of conscience are easily put to rest as he rationalizes his behavior. The Queen is a vascillating personality. Her main concern is Angelica, and she blinds herself to her daughter's faults. She is moderately interested in Giglio when she takes tine to think of him. She nags Valoroso over little things, but she reinforces his thinking'by'offering excuses for his actions when he has doubts. Countess Gruffanuff, Angelica's governess, is obsequious in her relationships with the royal family. However, in her dealings with those of lower position, she is harsh, petty, de- manding, and snobbish. Betsinda, as a servant in the palace, is a target for her sharp tongue. Glumboso, the Prime Minister, has the sane attitude toward the royal family as does Gruffanuff, who is his arch rival for -favor. He is the palace busybody and bearer of gossip. Captain Hedzoff is blunt and straightforward. He is fond of Giglio, and, when he realizes that the Prince is receiving unfair treatment, he readily turns against valoroso to support a just cause. 113 Prince Bulbo is the least intelligent of the young charac- ters. He is accustomed to submitting to the will of King Padella, and he is apt to blunder when left to do his own thinking. He is likeable enough, and his position results from his being a victim of circumstance rather than from any evil doing on his part. King Padella is a much more villainous character than is Valoroso. He is a man of action and a despotic ruler. He is ruthless, quick-tempered, and belligerent. Count Hogginarmg is of much the same violent disposition as Padella. He is a sinister character, completely lacking in scruples, who is willing to be a traitor to serve his own selfish purposes . fiinachi is a kind, fatherly person whose high principles led him to accept his present menial position rather than betray the deposed ruler of his country. He is willing to sacrifice himself to help Betsinda. Cattarina and Ottavia, Spinachi's daughters, are typically sweet, unspoiled children. They are generous and thoughtful. :::y are awed over Betsinda and all the events they share with The first dramatic version of IThe Rose and the Ring was an adapta- tion following the original scenario. The completed manuscript was analyzed to determine whether it met the established requirements for children's plays. The first act was basically sound. VThe situation was explained in exposition that was woven into the action; Betsinda was established as a sympathetic character, and the mystery of her past was pointed out 3 the fact that there was a lost princess in the neighboring kingdom was established. The major criticism was that too much emphasis was placed on the scenes involving the several transfers of the ring. The treatment stressed the romantic aspects of the magical powers of the ring. This problem was solved simply by rewriting the offending scenes, shortening than, and attenting to make them more humorous. The second and third acts were unsatisfactory, primarily because the story involved complicated action which could not be staged. One of these situations was Betsinda's encounter with the lions. This occurrence is a major crisis in the plot, but the play as it was written required that the encounter with the lions occur offstage. The last two acts consisted almost entirely of expository dialogue about Betsinda's past history, the present war and Giglio's role in it, and about BetsindaI and the lions. The rule thatichildren's plays must show rather than tell the story was violated throughout two acts. Analysis of the static scenes revealed that they presented a prob- lem in plotting which could be solved most easily by departing further from the original story, thus shifting from adaptation to lasing the play upon The Rose and the Rig. 1 new scenario was written for the last two acts. The Blackstick story was retained, and her encounter with Giglio to warn him of Betsinda's plight preceded the opening of Act Two . The Revised Course of Action Act II, Scene 1 Ezdaausted from her wanderings, Betsinda is asleep in the forest of Grim Tartary when King Padella, Count Hogginarmo, and two soldiers come searching for her. Padella is so upset he does not notice the girl. He has heard rumors and predictions that Princess Rosalba is alive and coming to claim the throne, and he is planning ways to prevent this. Padella and Hogginamo decide that Spinachi the woodcutter would be involved in any plot to restore Rosalba to power, be- cause he never has given up his loyalty to the old king. Padella takes soldiers and goes to search Spinachi's house. Hogginarmo is ordered to stay and search in the forest. ’45 Hogginarmo discovers Betsinda. He iunnediately is enthralled by the power of the ring and decides that, no matter who she clains to be, Betsinda must be Princess Rosalba. He offers to help her overthrow Padella and take the throne if she will marry him. Frightened and confused, Betsinda runs away. Act II, Scene 2 Spinachi has heard the rumors about Princess Rosalba, and he knows Padella will take them seriously. He refuses to allow his daughters to go on their usual errands, and he decides to stay at home to protect that in case of trouble. Betsinda runs into the yard and begs for help. She explains why she is alone in the forest and tells of her encounter with Hogginarmo. The Spinachi's promise to help her. Betsinda's bundle of rags greatly excites Spinachi, who has an identical bundle which he found during the search for Rosalba years ago. This tangible evidence plus the fact that Betsinda knows a song he had taught the young Princess convinces Spinachi that Betsinda actually is Princess Rosalba. Padella arrives, and Spinachi's daughters just have time to hide Betsinda in the house before Padella confronts the woodsnan with his accusations. Padella has Spinachi siezed by the soldiers, and he goes into the house to search. Act III Hogginarmo arrives and demands to know whether Spinachi is hiding the girl who eluded hill in the forest. Padella discovers Betsinda, and Hagginamo identifies her as Princess Rosalba. Betsinda tells Padella about Hogginarno's offer to turn traitor and support her claim to the throne.. Padella has the soldiers arrest Hogginano and take him to prison. Padella also is attracted to Betsinda, and he offers to share the throne with her. She refuses, announcing that if she is the real Queen she will share the throne with no one but Prince Giglio. This infuriates Padella. Hhen the soldiers arrested Hogginarno, they left Spinachi unguarded. Spinachi turns on Padella and tells bin that the people will depose hill because of his cruelty. Psdella calls for his soldiers. 1:6 Instead of Padella's soldiers, Giglio and Hedzoff arrive. Their armies have been victorious. Giglio arrests Padella, pro- claiming Betsinda the rightful ruler of Crim Tartary. Angelica and Bulbo, who fled Parlagonia when Giglio took the throne, are brought in by Padella's soldiers. Giglio orders Angelica and Bulbo put into prison because of their treatment of Betsinda, but Betsinda forgives them. Angelica is ungracious about her situation. She blesses Bulbo for all her misfortunes. Since she still wears the rose, Bulbo meekly accepts her accusations. Betsinda gives Bulbo the ring, and Angelica's attitude toward him changes. Betsinda is proclaimed Queen Rosalba, and everyone goes off to the palace as Fairy Blackstick, her beauty restored, appears to rejoice over the wonders of magic. Writing the second draft of the play according to this plot outline made possible the inclusion of scenes of action with very little static exposition. The scenes end at points of excitement and suspense, and the final curtain follows the resolution of the problems of the main characters of the play. The spirit of Thackeray's story was retained, though specific incidents in the course of action were eliminated or altered, and others were added in accordance with dramatic expediency. The final problem remaining involved dialogue . The first dialogue included conversation taken from the story as well as original lines. A critical appraisal of the script revealed that all but very few of the lines which had been taken directly from the story sounded stilted, false, and out of keeping with the original dialogue of the playwright. The final version of the play retained much of the flavor of Thackeray's conversations between characters, but no lines were consciously trans- ferred from the story to the play. Evaluation revealed that the dialogue 117 in the final version of the play was more consistent and credible because it was written according to the playwright's conception of the characters , their attitudes, and their reactions toward the situations in which they find themselves. In sumary, the playwriting process involved, first, discovering that the playwright may be as literal or as free as he chooses in his treatment of story material. Next, a decision was made to adapt The Rose and the Rizg, since this method of treatment allows for some freedom in handling plot, character, and theme. Thackeray's theme was accepted as the theme of the play. Betsinda was selected as the protagonist, and a scenario was written following the outline of her story. Fairy Blackstick was given a story of her own, which was used to unify and strengthen the main course of action. Characters were chosen and developed with reference to their relation- ship to the main character situation. Because Thackeray's story included crises which posed insumount- able staging problems,-the adaptation did not meet the criterion that major action should be shown rather than discussed. Therefore, adapta- tion was discarded in favor of a more liberal interpretation, and a secomi version of the play was written based upon The Rose and the Ring. The first act was revised, and Acts Two and Three were rewritten. Finally, an evaluation of the dialogue, which had been written using conversations from the book as well as the playwright's original lines, revealed that the dialogue lacked consistency and credibility. Therefore, the final version of the play did not include dialogue from the story ex- cept in a few cases where unconscious use was made of Thackeray's lines. CHAPTER IV THE ROSE AND THE RING based upon the story by William Hakepeace Thackeray CAST (in order of appearance) Fairy Blackstick Betsinda Countess Gruffanuff Glumboso Queen King Valoroso Princess Angelica Prince Giglio Captain Hedzoff Prince Bulbo King Padella Count Hogginarmo First Soldier Second Soldier Spinachi Cattarina Ottavia $ENES ACT I: The palace of King Valoroso of Paflagonia ACT II: Scene 1 - The forest in Grim Tartary, several days later Scene 2 - Outside the home of Spinachi the woodcutter, a few minutes later ACT III: The same, a few minutes later h8 1:9 THE ROSE AND THE RING ACT I The scene is the throne room of Paflagonia. There are entrances right and left, and upstage there is a bay window giving a misty view of trees. In front of the bay is a window seat. Down right is the throne, which seats two people. The only other furniture is a cabinet left stage in which can be seen the ragged remnants of a silken cloak and a single small shoe. The curtain opens on an empty stage. It is early morning and not quite light. In a moment PAIR! BLACKSI'ICK , who looks more like a benevolent witch than the traditional fairy, comes in. She enters slowly and cautiously, being careful that me one is in the room. She is a very unhappy fairy, and her dress and manner reflect it. She seems both pleased and relieved that the room is empty. BLACKSTICK Good! No one's In) yet. (Waving her black wand) Fairy, weave your magic spell. weave it strong and weave it well! (She looks and listens. nothing happens.) It's no use. I'm Just a no good has-been. (Coming downstage and addressing the audience) ’ How'd you like to be a fairy who's lost her magic? There's nothing worse, let me tell you! Especially when you want to do a good deed. Oh, everything's all wrong! I used to be able to make the best spells, and I was such a pretty thing...Haking good magic keeps fairies happy and beautiful, you know. But just look at me now. This is my punishment because something has gone wrong. I come here every day trying to make it right...but I'm Just too old and weak. I'm all worn out with trying. Once upon a time I made a magic rose and a magic ring which had very wonderful powers . That was in the days when I was young and beauti- ful. (A typical GOOD FAIRY appears holding the rose and ring. This is BLACKSI‘ICK'S memory, a vision of what she was before her trouble began. BLACKSTICK spies her.) Ho, there I am now! There's my rose! And my ring! . . «II it". all . cfl’ildll g.- .. . .. . i...» .7 an‘ A . é , .. um SO (BLACKSI'ICK hurries toward the GOOD FAIRY and tries to take the rose and the ring, but they are withdrawn.) Ne'...here I am, and that's just my memory. Can you see it, too? Of course you can. Well, look at the rose...and the ring. They don't look very special, do they? (The GOOD FAIRY obligingly shows them .) But they are. Whoever wears that ring should be very happy, because if a girl wears it she appears to be 'specially beautiful to all the boys...and it makes a boy seen most handsome and wonderful to all the girls. The rose does the same thing. You'd think that would be lucky, wouldn't you? But it isn't. You see, the wrong people got hold of them, and that makes everything all mixed up. So here I am being punished and having to look like this when really I'm like that... (Indicating the coon mm) And I can't make good spells any more...so I can't take the magic away from the rose and the ring. Now I'm trying to steal them. But I can't do that, either...no matter how hard I try. (The GOOD FAIRY slips away. BLACKSTICK turns in time to see her go.) See! I can't even keep my nice memory. (Through the above the lights have been coming up, and now it is day.) Oh! It's daylight! I can't stay here...and I haven't fixed anything! (She listens.) Oh! I have to hide! (BIACKSTICK slips out as we hear BETSINDA singing off- stage. BEI‘SINDL enters immediately carrying a feather duster. She is young, pretty, sweet, and a lady. She is a maid in the palace and is dressed very simply. She goes about the room dusting-~first the throne, then the window seat. is she works she sings a song. She cannot remember it too well, and it is obvious that this both puzzles and bothers her.) BEI'SINDA (Singing) The trees are dressed in leaves of green, The birds in feathers gay; The flowers have their petals bright, The sides wear clouds of fleecy white, My cat a coat of gray.... (She has come to the cabinet where the clothes are displayed. She pauses, looks longingly at it, and continues her song.) 51 But I am dressed in softest silk As little ls should be.... She opens the cabinet and takes out the cloak and shoe, examining then wistfully.) But I am dressed in softest silk.... (COUNTESS GRDFFLNUFF bustles in. She is PRINCESS ANGELICA'S governess, and her position has given her a great sense of inportance. She is old, ugly, over- dressed, and no friend of BEH‘SINDA. She spies her and speaks very crossly.) GRUFFANUFF Betsinda! Why are you dallying in the throne room? Stop droning that silly song of yours and get on with your dusting. BETSINDA The dusting is almost done, Countess Gruffanuff. I've been up ever so long. (EDFFANUFF Well, don't deny that I caught you daydreaming. BETSINDA I guess I can't help daydreaming. I'm sorry...But I wonder so about these clothes...where they came fron...what they were like when they were new... GEJFFLNUFT (Impatiently interrupting) You know very well where they came from. Now put them away. BETSINDA Don't you think they might have been very beautiful? GRUFFANUPF Beautiful? (She takes the garments from BETSINDA, impatiently pushing her aside, and puts them away herself.) Well, maybe they were once. But, oh that day you wandered into the palace garden! Such a sight you were! All ragged and dirty. ..and you couldn't even speak good Paflagonian. How dear Princess Angelica laughed! And the sweet, kind child said, 'Gruffy, I'll have that little girl for my maid.“ And dirty as you were she took you right into the palace. BETSIIDA (Dusting the cabinet) I know all that...and I'm very grateful. But, Countess, if you were me, wouldn't you wonder who you really were? Where you came from? 52 GRUFFAIUFF (Inspecting the throne for dust) No time for that. Come here. (BEESINDL does as GBUFFAHUI-‘F bids, and through the following this inspection continues.) Just be grateful to be who you are now. Most girls would be so glad to serve our beautiful Princess they wouldn't care about anything else. (Finds more dust) I thought you said you'd finished your work. You're careless today, Betsinda. BEI'SINDL I'm sorry. I guess I was thinking about me and maldng up stories about myself. Gruffanuff, I know it's silly, but suppose I was a princess...and simpose I got lost and no one could find me... GRUFFANUFF ( Interrupting) Ho! Enough of this. Silly indeed! Don't you get any notions, missy. I suppose you think it would be nice to find a little royal blood in your veins...Then you could make eyes at Prince Giglio. (Going to the cabinet) And that's why these things are here...just to remind you about your- self. So don't put on airs. Take a good look and remember your duty to be grateful. Now be off with you. (BETSIHDA scurries off. GRUFFANUFI" pulls out her pocket mirror and admires herself.) 0h, Gruffy, you do look charming today...every little curl just so. As lovely as the Queen herself! (She struts about the room, practicing curtsies, straightening her gown, and generally admiring herself. GIUMBOSO enters. He is Prine Minister and as full of self-importance as (RUFFLNUFF. That they do not like each other is obvious.) GLUMBOSO Well, you old turkey hen! it it again, are you. You'd better watch your step or you'll find yourself in the kitchen peeling potatoes... I'll see to it myself. GRUFFJNUFF who are you to talk to me like that! You may be Prime Minister, but I'll have you remember that I an a Countess...a real Countess, do you hear? And you, ES. Glumboso, Just might lose the next election. Then where would you be? GLUMBOSO Stop your chattering! The King is coming, and he's in a bad mood today...So be careful how you act. Ea. .iflh l..!- .qu- [47... 95.3.3; J , . . . . r 53 GRUFFLNUFF Oh, his poor Majesty! Poor Valoroso! That's the matter? GIUHBOSO ‘ I don't know. But at the royal breakfast table he wasn't himself. He sent Prince Giglio to his room for no reason at all. He ate only seven oranges, six eggs, and eight and a half pieces of toast. £9.51 he even frowned at Princess Angelica. GRUFFANUFF Oh, my poor Princess! I'll have to excuse her from her lessons today, she'll be so upset. . GLUHBOSO That'll be no loss. 01‘ all the teachers in Paflagonia I'm sure you are the worst. C‘RUFFLNUFF (Shrieks) What! GLUMBOSO Don't raise your voice! GRUFFLNUFF You robber of the royal treasury! You'll pay for your insults... (Voices are heard offstage. GRUFFANUFF and GLUMBOSO scurry out of the way as VALOROSO, the QUEEH and ANGELICA enter. VALOROSO is an unimpressive figure, as is the QUEEN, though both are richly dressed. ANGELICA is fancily dressed, spoiled, and not at all likeable . is they enter miUFFLNUFF and GLUHBOSO become all fawning and bow low as they murmur, “Good morning, your Hajesties.“ No one pays attention to them. VALOROSO is preoccupied and paces. The QUEEN flutters as she sits on the throne with her embroidery hoop. ANGELICA , indifferent to all, sweeps in and sits on the window seat.) QUEEN Valoroso, do sit down. - VLLOROSO (Continues pacing) Don't nag, Hrs. V...Hhere is Giglio? QUEEN In his room, I suppose...that's where you sent him. Sh VALOROSO So I did. (He spies GRUFFANUFF and (31111413050) what are you doing here? Glumboso! Who's taking care of my royal business while you stand there? Go check the morning mail. GLUHBOSO Yes, your Majesty. ..by all means, your Majesty. But begging your pardon, Royal Highness... k 1*: var" You heard the King. Now go! (camsoso bows and scrapes his way to the door) GRUFFAHUFF (Whispering spitefully to GLUHBOSO) And good day to you, old time waster! GLUHBOSO (Stiffening and angrily sweeping out) Humph! QUEEN Angelica, dear, isn't it time for your lessons? ANGELICA I can‘t study unless Betsinda is here. If I have to suffer, she must suffer, too. What else is a maid for? QUEEN There's no need for a maid to be well educated, my pet...but if you want her with you, all right. Summon Betsinda, Gruffanuff. (GRUFFANUFF bows her way out) And, Valeroso , do stop wandering about and sit down. (With a sigh of resignation VALOROSO joins her on the throne) Angelica, my sweet, what are you going to do today? AIGELICA (Leavin the window seat and approaching her parents) I think I'll order some new clothes. And I may have Betsinda fix my hair a new way. And I haven't counted my jewels for weeks. QUEEN Aren't you going to play in the garden with Giglio? Poor boy, you haven't paid much attention to him lately. _3._ 1‘ . .3- N P M \- ..e ANGELICA Bother Giglio! He's not the only prince in the world. I'm tired of him. Gruffanuff showed me a picture of Prince Bulbo of Crim Tantary, and I think he looks much nicer. is F SS VALOROSO Oh you do , do you! ANGELICA Yes, and I'd like to meet him. (Struck by a sudden idea) Papa, couldn't I go to Crim Tatar-y? Travel would be good for me. ‘ VALOROSO You may not! We'll have nothing to do with Grim Tartary. ((EUFFANUFF enters with BE‘I‘SINDA. GRUFFANUFF, who carries a large book, pushes BETSINDA aside.) (BUPTANUFF Here is Betsinda. Shall we begin our lessons? QUEEN Yes, Angelica, let us hear what you've learned this week. GRUFFANUFF Ready, your Highness? ANGELICA I suppose. GRUFFANUFF What country lies to the east of Paflagonia? ANGELICA That's easy. ..Crim Tartary. That's where Prince Bulbo lives. VALOROSO Oh, so that's where you're getting your notions! ' QUEEN But see how bright she is, Valoroso. VALOROSO Um hum. (BUFFANUFF And who is the King of Crim Tartary? ANGELICA well...Bulbo will be some day...but... (ANGELICA grapes for her answer. BEI‘SINDA signals and months the answer .) King Padella, who drove his brother from the throne in the great Grim Tartar revolution. . .JLIH» .11. ..lqt Innisrt huh“: Ills" . w. A L 56 GRUFFANUFF Very good, my dear. Now tell us about the revolution. ANGELICA Well, before the revolution it was... (ANGELICA is at a loss. BETSINDA runs to her and prompts. YALOROSO and the QUEEN pay no attention, and GRUFFANUFF turns away so as not to see. From now through to the end of the recitation BETSINDA supplies ANGELICA with answers.) It was King Savio who ruled...but Padella grew strong and powerful and gathered an army...He forced King Savio off the throne...and... Padella got to be King. VALOROSO (Virtuously) He stole the throne, that's what he did. GRUFFANUFF And what happened next, dear? ANGELICA Hell...everyone got ldlled...or ran away... (BETSINDA prompts again) There was a princess named Rosalba. She was a tiny girl then...and... they forget her when they ran away.. . (The recounting gets harder and harder for ANGELICA, . who really doesn't know very much.) Oh, let Betsinda finish. Go on, Betsinda. Tell them what I know. BETSINDA The little princess wandered into the forest, and Padella's men went after her...but all they found was some rags and a shoe. So everyone thinks she was eaten by wild beasts. And that means Prince Bulbo will be the next king. GRUFFANUFF What would you like to recite next, Angelica, dear? YALOROSO That's enough. 00 for your music lesson now. But be sure to close the door so I don't have to listen. \. ANGELICA ’-' Papa, dear kind Papa...may I order six new dresses? And then I'll need bonnets and slippers and ... VALOROSO Of course, of course. Anything. Buy a diamond necklace if you like. I just want to be left alone. 57 ANGELICA Goody! (To @111?me) . Let Betsinda take the music lesson. I have more important things to do. (ANGELICA runs out. GRUFFANUFF puts the book down.) GRUFFANUFF Very well, though why a maid needs music lessons I'll never know. Come, Betsinda. (Without ceremony G'RUFFANUFF pushes BEI‘SINDA ahead of‘ her, and they exit.) VALOROSO Where's Giglio? QUEEN I told you...You sent him to his room. You seem worried about him. VALOROSO He bothers me. QUEEN Now, Valoroso, he's a nice boy...and after all he is your nephew. VALOROSO That's why he bothers me. My crown is heavy on my head when I think of Giglio. He's getting to be a big boy. He could be king. QUEEN Don't be silly. He's happy the way he is. VALOROSO Well, I'm not. He should be king. I QUEEN Maybe he doesn't want to be. VALOROSO And maybe he does, too. Oh, Hrs. V., why did I steal my nephew's crown? QUEEN Now, Valoroso...no need to get upset. After all Giglio was just a baby when his father died. How can a baby be king? VALOROSO Of course! Yeudre right! I didn't steal the throne. I sacrificed myself to save the kingdom. I took this heavy crown to save my nephew the headache of wearing it. ..a 'ant’.?.‘ .7. i.’ u . 77? t 5 V 58 QUEEN - Never mind. When Angelica marries Giglio he'll get to be king. But you must be nicer to Giglio...You must stop sending him from the table. Now I'm going to call him in to see you...and you be pleasant to him. (The QUEEN starts to leave. On her way out she is nearly knocked down by GLUMBOSO, who rushes in with an impressive looking scroll.) GLUMBOSO Oh! A thousand pardons, your Majesty! QUEEN (As she exits) Clumsy thing! GLUNBOSO (Hurrying to the throne) Your Highness! I have news. Good news? Distressing news? Anyway, it isn't every day news. In fact, I should think it is momentous news! VALOROSO Well, out with this news, whatever it is. - "‘ ‘ * ‘“" GIUMBOSO Here is a letter signed by King Padella of Grim Tartary...signed with his own royal hand. See! VALOROSO Bother the signature. What does he say? GLUMBOSO He is sending his son, the most royal Prince Bulbo to visit you. He is sending him today. VALOROSO Today! And who does this King of Grin Tartary think he is, sending his son to visit without any warning! He can't do that! He's no king... he's wearinga astolen crown... (Suddenly realizing that he is the same kind of rogue, VALOROSO becomes happily enthusiastic.) Yes...and...So! Prince Bulbo is coming to visit! This is a great day, Glumboso. Call the servants! Send the guard to meet him! I'll tell the Queen. We'll have a party. (GLUMBOSO bustles out. VALOROSO starts to leave, but his exit is interrupted by GIGLIO. He is a good looking boy, the true King. He is simply dressed and he approaches VALOROSO with some hesitation. 5 59 VALOROSO What do you want, Giglio? GIGLIO The Queen said you want to see me. VALOROSO (Annoyed) Later, my boy. Later. (VLLOROSO leaves in haste. GIGLIO looks after him, then toward the throne. He crosses to the throne, hesitating a moment, but finally sitting down and assuming a ldngly pose. is he gets settled BEISINDA tiptoes in and starts for the cabinet. She sees GIGLIO, and both are embarrassed.) BETSINDA 0h! . . .Prince Giglio . . .I was . . . GIGLIO (Jumping off the throne) Betsinda! . . .I. . . (Recovering himself) You bring me a message from the Princess? BEI'SIKUA I'n afraid she's quite busy this morning. And she did send you muffins for breakfast. Remember? GRU'FFANUFF (Off) Betsinda! ' (Entering) Betsinda! I sent you back to work once this morning. What are you doing now? BETSIHDA I'm sorry, Countess. GEJFFANUFF Acting like a princess with nothing to do. The idea! GIGLIO Gruffanuff, leave Betsinda alone. She's Angelica's maid. Maybe the Princess doesn't need her right now. GRIJFFANUFF (Sweetly) 01’ course, Prince . (To BETSINUA) This may be so, but there's other work to be done...and not in the throne room! (GRUFFLNUFF exits. BEISINDL starts to leave.) GIGLIO Never mind, Betsinda. When I'm King you'll be Angelica's lady in waiting...and you'll never have to dust again. BETSINDA Thank you...I really must go. (BETSINDA starts out. GIGLIO calls after her.) GIGLIO If Angelica wants to see me I'll be right here. (GIGLIO goes to the window and looks out at the garden. VALOROSO returns, annoyed to find GIGLIO waiting.) VALOROSO Are you still here? GIGLIO I thought you wanted to see me. VLLOROSO No time now. There's too much to do. GIGLIO But can't I help? I should be learning how to be king. VALOROSO You can do that later. Go and play now. hat me worry about the ' kingdom. GIGLIO But how can I ever be a good king unless... VALOROSO (Interrupting) Oh, by the way, Giglio...we're going to have company. Prince Bulbo is coming from Grim Tartary. Today. Any time now. GIGLIO Why is he coming here? . £.vm.‘\.‘r'..oill1n’.10|4 . r;- -.L« e s h 1 a 61 VALOROSO State visit. But I think...and this is a secret...I think he's really coming to see Angelica. That's what I think. GIGLIO What does he want to see her for? Angelica's promised to me. And she wears my ring to prove it. . VALOROSO Of course, my boy. But we must be kind to the Prince...make him feel welcome. His father has a strong army, you know, and it wouldn't do to have Bulbo carry any bad tales home with him. GIGLIO Well, he isn't going to carry Angelica home with him, either, army or no army. VALOROSO Now, Giglio, that's not the proper attitude. You must... (He is interrupted by the entrance of ANGELICA, who runs to her father, ignoring GIGLIO's attempt to speak to her.) ANGELICA Oh, Papa, is it true? Is Prince Bulbo really coming? VALOROSO Yes. Today. And I must see to things. Now hurry and get ready. (VALOROSO exits. ANGELICA starts to follow, but GIGLIO stops her.) . GIGLIO Wait a minute, Angelica. ANGELICA I'm in a hurry. What do you want? GIGLIO I never see you any more...and I want to thank you for the muffins you baked for me this morning. ANGELICA Muffins? He? Whatever are you talking about? GIGLIO This morning Betsinda brought me some muffins. She said you'd baked them yourself. . .especially for me. ,I.. .v ..I A “I-I III I . a y ..uflu Fido . ii 62 ANGELICA Oh, silly...that's Betsinda's way of making up to you. Can't you tell she likes you ever so well? And I think that's just fine. Go and talk to Betsinda. I'm too busy for you now. I want to look especially nice when Prince Bulbo comes, so I have to go. GIGLIO You look especially nice all the time. You're the most beautiful princess in all the world. ANGELICA Oh, I know that. Now let me go. I'm in a hurry. . GIGLIO? Angelica, why can't you be nice? You used to smile at me. ..Remember when I gave you my ring? You were nice to me then. . ANGELICA I told you to go away. Now do it!...And besides, I don't want your old ring any more . GIGLIO Please , Angelica . . . ANGELICA Leave me alone. And take your ring. (She holds out the ring, but he refuses it.) GIGLIO The ring is yours now. You can't give it back. ANGELICA Oh, can't I? ' (Throwing the ring) There! That for your ring! (GIGLIO gets down to look for the ring. ANGEICA laughs at him.) GIGLIO That was my mother's ring, and you have no right to treat it that way. Why do you have to be so mean? (He turns. toward ANGELICA and looks at her in astonishment.) Ugh! Angelica! What have you done to your face? ANGELICA Don't be silly. -/“ ,.-‘ 63 GIGLIO (Coming to her and looking closely at her) It's all crooked and cross looking. You aren't beautiful any more. In fact, you look awful! ANGEEICA (She tries to hit GIGLIO, who dodges, and through the following she chases him around the room.) Whyyou... GIGLIO Ha! To think I used to want you to be queen! Why your hair is like straw...your face is unpleasant...your voice is like a crew's! (He 13mghs as ANGELICA attacks him with impotent rage. ANGELICA You brute! Brute! Brute! GIGLIO You'll look worse than ever if you don't stop. Go get ready to meet Bulbo. _ a e , ANGELICA I'll show you you can't insult me! I GIGLIO Even Bulbo won't like you. __.... ed ANGELICA I hate you! ‘ GIGLIO You're weak as a kitten...ugly as a toad... ANGELICA I'm not. I'm beautiful, and you know it. GIGLIO Go try to get beautiful for Bulbo. Just try to. (GLUMBOSO rushes in, shocked at what he sees.) GLUMBOSO Vhy your Highnesses! This is no time for play. You .must get ready for our royal visitor. . ANGELICA All right. But I'll fix you, (liglionJou dust wait! 6h (ANGEICA exits in a huff, and GIGLIO follows, laughing. GLUMBOSO, having taken a good look at ANGELICA, stands pondering what he has seen as GRUFFANUFF enters.) GRUFFANUF'F Having trouble thinking again, eh? I must say you aren't very bright. GIUMBOSO No time to argue with you now. But have you seen the Princess lately? Have you taken a good look at her? CEMFFANUFF Of course. And such a lovely child she is. GLUMBOSO Somehow I don't think so. GRUFFANUFF Bah! Who are you to judge, you ugly old man? ((RJFFANUFF spies the ring on the floor.) What's that on the floor? GLUHBOSO Something left behind because of your poor housekee ing, I suppose. (He looks, then goes to pick up the ring. Why, it's a ring...it looks like the one Princess Angelica wears. (BUFFANUFF Nonsense. I lost a ring in here just this morning. Give it to me. (She goes to take the ring, looks at GLUMBOSO, and changes her attitude, for the magic is working.) Why, dear Prime Hinister...1d.nd Glumboso...most handsome of men... GLUHB OSO (Recoiling) Now what ails you, old owl? GRUFFANUFF I mean it. It's as if I'd never seen you before. Oh, such manly beauty! (She advances on GLUHBOSO, who retreats.) GLUMBOSO For heaven's sake take your ring...And leave me alone, ugly witch. (He gives GRUFFANUFF the ring, and his attitude changes.) Oh, lovely Gruffy...you of the beautiful shining eyes...What were you saying? (GLUMBOSO advances on GRUFFANUFF, but he has lost his charm, and she shies away from him.) 65 GIUFFANUFF Out of the way, upstart'. How dare you try to flatter me? Get on about your business. GLUMBOSO Think of it, Countess'. Dear, kind Gruffanuff...See how I admire you? _ ' Gaurmmrr ' I haven't time to listen to such foolish talk. (cmurnnurr starts to leave with 51111113030 after her.) GLIDEOSO Don't leave'. Come back! (BETSINDA rushes in.) BETSINDA Il'he Prince is coming! Bulbo is at the gates! Here come the King and Queen. (GRIFFANIFF, BETSINDA and GLUHBOSO scramble out of the way as the voices of the royal family are heard. GLUHBOSO still looks adoringly at CBUFFANUFF, who elaborately ignores his. VALOROSO and the QUEEN sweep to the throne. ANGELICA follows and sits at their feet. GIGLIO stations himself behind the throne .) QUEEN Angelica, dear, do straighten your dress. Valoroso, your crown is on crooked. We should have been ready long ago. VALOROSO Hrs. V., kindly save your breath to greet the Prince. (CAPTAIN mm, the head of the army, enters and makes his announcement vath a flourish. He retires immediately as BULBO enters and bows low before the throne. He is a little travel worn, and his hair is not combed. He really is not a very impressive prince. He wears a large rose at his shoulder.) EEDZOFF . His most royal Highness, Prince Bulbo of Grim Tartary. BU‘LBO Your Hajesties . 66 VALOROSO welcome to Paflagonia, Prince Bulbo. BULBO II'hank you, King Valoroso. Please excuse the way I look, but I was so eager to see the Princ...the royal family of Pafla onia... (GIGLIO stifles a laugh. VALOROSO cuts in. VALOROSO Your Highness is welcome no matter how you look. Glumboso, a chair for the Prince. (GLUHBOSO goes off to get the chair. BULBO still is trying to straighten his clothing and smooth his hair. GIGLIO laughs aloud this time.) BULBO Who was that laughing? GIGLIO I was. So eager to see the Princess you couldn't even comb your hair. BULBO (Belligerently) And who are you? GIGLIO (Equally hostile) My father used to be King of this country, and... VALOROSO (Glowering at GIGLIO and clearing his throat) Dear Prince Bulbo, may I present my dear nephew, his Royal Highness Prince Giglio. Giglio, shake hands with the Prince. (GIGLIO wrings BULBO'S hand until the latter howls with pain. GLIDEOSO returns with a chair and places it before the throne. BULBO sits chatting with the solicitous royal family. GIGLIO retires upstage where he is accosted by GWFFANUFF.) GRUFFANUFF Oh, dear Prince, how could you act the way you did? Why were you so cruel to poor Prince Bulbo? GIGLIO I don't think I like him, that's why. 67 GRUFFANUFF ”’1? ; (Carly) Jealous because of Princess Angelica? GIGLIO I should say not. Just look at her...She's no friend of mine any more. No one's a friend of mine. CEUFFANUFF That's not so, dear Prince. GICEJO ‘ Charming Gruffy'. Will you be Iv friend? You are so beautiful and kind. Will you sit with me at dinner so I may admire you? GRIIFFANUFF Why you dear, sweet, silly Prince! (This conversation lapses into pantomime as the group around the throne starts to talk aloud.) ANGELICA th, dear Prince Bulbo...what a charming thing to say'. BULBO . p ’ In Crim Tartary we have no such princess as you. .. GIGLIO And in Paflagonia, I'm glad to say, we have no such prince as you'. ANGELICA Oh, do be quiet, Giglio. VALOROSO (Again glowering at GIGLIO) Ahem'. I think we should get ready for the party. Glunboso, show Prince Bulbo to his rooms. ‘ (To the QUEEN) Come, aw dear. (VALOROSO and the QUEEN exit. As BULBO pmpares to go memo; steps him.) ANGELICA If we hury I can take you walking in the garden before dinner. I could show you our roses...though we have none as fine as yours. BULBO (Fingering his rose) I've had this ever since we moved into the palace of Crim Tartary the day my father became King. 68 ANGELICA It's a beautiful rose. (She moves toward BULBO to examine the rose. He moves away.) BULBO I never take it off. GIGLIO (Who has been watching with interest) So he's not going to give it to you.no matter what you say, Angelica. ANGELICA Prince Bulbo, please excuse the rudeness of my cousin...Come, Glumboso is waiting. \ BULBO , (Bowing low to ANGELICA) Until dinner time then. (He leaves.) . GIGLIO (Bowing low to ANGELICA) Be careful he doesn't spill soup on.your dress. (ANGELICA sweeps out without a word. GIcmo turns to GRUFFANUFF.) ' Remember, dear Gruffanuff, you sit with.me at dinner. (GIGLIO goes out. GRUFFANUFF starts to follow.) GRUFFANUFF Silly, sweet Prince! (She hesitates and turns to BETSINUA who has remained in the background through the scene. Betsinda, I think you must have done my hair especially well today, and I'd like to give you a little present. Here's a ring I picked... er...that I've had for quite some thee. It's yours now. BEESENDA (Taking the ring) It's like the ring the Princess wears. GRUFFINUFF No such thing! I've had it ever so long. BETSINDA Thank you, Countess. How nice to have a ring of my very own. (BEI‘SINUA tries to embrace (RUFFANUFF, who rebuffs her.) 69 GRUFFANUFF Now, Betsinda, while the party is going on you'll have time to mend my stockings and press my gown for tomorrow;..then be sure to turn down all the beds...and I'd like my tea at five tomorrow'morning. Also, you'd better study dear Angelica's history lesson. BETSINDA Yes, ma'am. GRUFFQNUFF (As she goes out) If you have any spare time you may clean.my shoes. . BEISINDA Yes, Countess. (BETSINDA gets the book and goes to the window seat where she sits turning pages and humming her song. BULBO enters) BULBO I beg your pardon...have you seen the Princess? (He really notices BETSINUA .) no, what have we here? No one introduced us...What is your name? BETSINDA (Hastily rising and curtseying) Betsinda, sir. BULBO tAh, Betsinda! Beautiful name! Beautiful girl! Beside you.Angelica is nothing. BEESINDA Oh, please, sir! BULBO Never have I seen such a'beantiful creature! Ybu.must come with me to Crim Tartary...Let us leave at once. BETSINDA Yen don't know what you're saying, sir. I'm only a maid here. BULBO What does that matter? (He kneels) ~ See...I kneel before you. Come away with me at once. 70 BEH‘SINDA 0h Prince, please go to the party...they'll be waiting. (BULBO tries to catch BETSINDUS hand. In snatching it away she unbalances him and he falls flat.) 0h, your Highness! I'm so sorry. But you mustn't! (BULBO howls and moans loudly at this indignity.) Please, your Highness...I'n sorry...Now get up and go to the party. (BULBO continues meaning, and BEI‘SINDA tries vainly to quiet him and to help him to his feet. GIGLIO bm'sts in.) ' GIGLIO What's happening? (He sees BULBO.) Bothering the servants, are you? (BULBO tries to get up, but GIGLIO pushes him back.) Betsinda. (He looks at her closely. BULBO scurries upstage.) Why, Betsinda, how beautiful you are! Why haven't I noticed you before? No one is as nice as you. Angelica is ugly...Gruffanuff is worse than that...You're prettier than anyone I've ever seen! Never mind , BEESINDL ' (Who has been trying to protest through the above) But, Prince...I'm no different than I ever was. What's the matter with you? GIGLIO I don't know. But you are so sweet and kind. Haven't you always smiled at me? Didn't you bring me luffins for my breakfast? BULBO (Who has been smoothing his clothes while he builds up courage) Enough of this. I saw _her first. (GIGLIO and BUIBO threaten each other, and as the dialogue proceeds they begin to maul each other. BETSINDA takes refuge behind the throne.) GIGLIO You big booby! You insulted my Betsinda,. BULBO She's not your Betsinda. She's nine. GIGLIO You're going to marry Angelica. K 71 BULBO I hate Angelica. GIGLIO No you don't. And you insulted my Betsinda. BULBO I'll have your life . GIGLIO I'll run you through. BULBO I'll cut your throat. GIGLIO I'll blow your brains out. BULBO I'll knock your head off. (During this struggle HILBO drops the rose, which lies unnoticed on the floor. VALOROSO enters to investigate the noise.) VALOROSO (Separating the boys) Here! Here! Shame on you, Giglio! BEISINDA (Emerging from her hiding place) I beg your pardon, your Majesty, but... VALOROSO (All his attention centered on BEI'SDIDA) th, charming little maid! what are you doing here? (BEI'SINDA tries to make an explanation.) Never mind...I know you like to be with the Prince. But forget him. Look at me instead. Oooooh, such a pretty thing as you are! BETSINDA Your Majesty! You mustn't talk like that. What would the Queen say? GICEIO (He has been threatening BULBO with the book from the window seat. Now he hits VALOROSO with it, and VALOROSO falls flat, howling loudly. GIGLIO turns on BULBO, who runs off.) What would I say. Leave Betsinda along...Both of you! 72 VALOROSO Oh my royal head! My royal bones! Ho! Captain of the Guard! BETSINDA Oh, Prince! See what you've done! (BEI'SINDA takes GIGLIO'S hand and runs off to hide.) VALOROSO Hedzoff! ' (The QUEEN, AIGELICA and GRUFFANUFF rush in. The cum helps ViLOROSO to his feet, and all of them flutter around him.) QUEEN What happened? ANGELICA Look at Papa! ' GRUFFANUFF Oh, most royal Majesty! VALDROSO Hedzoff! Captain Hedzoff! (HEMCFF rushes in.) Hedzoff! Seize the Prince! He dared to floor me with a book. He! the King! Hang him! See that he dies! At once! (VALOROSO, with ANGELICA and the QUEEN fussing over him, exits. more (To (murmurs) I don't want to hang Giglio. I like him too well. I can't do it. (RUFFANUFF Fiddlesticks, Hedzoff. The King said to hang the Prince. well, hang the Prince. HEDZOFF I don't understand you. . (BUFFANUFF linny! He didn't say whichPrince. HEDZG‘F So he didn't. GRIJFFANUFF well, then, take Bulbo and hang min. 73 - HEMOFF Of course! The King wants me to hang a Prince, and Bulbo will do nicely. I'll arrest him this minute. (HEDZOFF leaves. CRUFFANUFF goes to pick up the book. BETSINDA peak: to see if the coast is clear, then leads GIGLIO into the room. He starts to tiptoe across ahead of BEI'SINDA when (murrmurr sees him .) GRIIFFANUFF Oh, dear Giglio, you're in terrible trouble! ...But I'm your friend. I'll help you. . GIGLIO I don't need your help. . I'll settle this myself. ’ (awn-”mum? But Prince . . . GIGLIO Please go away. (He starts out.) Cone, Betsinda. (GIGLIO exits. (summon keeps emsmm from following.) (RUFFANUFF Well!...Betsinda, you stay here! Flirting with the Prince, were you? - BETSINDA Oh, no, Countess. CEUFFANUFF I saw you. Haven't I warned you about putting on airs? Haven't I told you to remember your place? How dare you act this way? (During this tirade the QUEEN and ANGIEICA enter and join GRUFFANUFF in her accusations. BEfSINUA is com- pletely bewildered.) ANGELICA There she is, llama! ~ QUEEN I heard about you carrying on with the King! ANGELICA And trying to steal Bulbo: cum (Snatching at BEI'SINDA) Take off the cap I gave you! ANGELICA Give me the shoes I let you wear! GRUFFANUFF Take off the royal apron. QUEEN Get out of my sight! ANGELICA Go away. Right now! GRUFFANUFF (Taking BETSINDA by the shoulder and starting out) Come along. QUEEN (Following them) Give her the rags and turn her out. (GHUFFANUFF gets the tattered cloak and the shoe out of the cabinet and thrusts them at BETSINUA while everyone keeps up a chorus of threats and accusations.) GRUFFANUFF Now away with you! - (BEI‘SINDA, unable to protest, is led away with no cere- mony by GRUFFANUFF.) QUEEN .. My party is ruined! Everything is ruined: , ANGELICA That ungrateful thing. And we were so nice to her. QUEEN (Sitting on tln throne) Hell , she's gone now. Sit down and catch your breath. (ANGELICA starts to join the QUEEN when she notices the rose on the floor and News to pick it up.) ANGELICA 0h, Hana! Look...here's Prince Bulbo's rose. At last I have it. (She puts it on her dress.) Bulbo's nice, isn't he? Ever so much nicer than Giglio...and he's handsome, too. 71;- 75 QUEEN Aha! Forgotten Giglio already, have you? ANGELICA Ugh! I forgot him long ago. (VALOROSO enters.) VALOROSO When is the party going to start? I'm hungry. QUEEN The party is spoiled. VALOROSO There's still food left, isn't there? ANGELICA I'm hungry, too. (The voices of HEDZGEF and BULBO are heard off and continue to be heard through the following.) BULBO This is aLmistake, I tell you! HEDZGEF I have my orders. You are to hang, and I'm to see to it. QUEEN I Valoroso, what's all this? ’ VALOROSO I decided it's time to get rid of Giglio. Call Betsinda. I'm hungry. I QUEEN I we decided it was time to get rid of Betsinda. BULBO (Still off) You can't hang me! ‘Uhat have I done? i more Come along. ANGELICA That's Bulbo! Papa! Stop them! 76 VALOROSO It's dinner time. I'll take care of it later. ANGELICA Then I'll stop them! They can't hang Bulbo! (Running out) ' fledzoff! Hedzoff! QUEEN (Running to the door) Angelica! It's not polite to run! (To VALOROSO) Uhy are they hanging Bulbo? VALOROSO It's a mistake. I meant Giglio. QUEEN This is terrible! VALOROSO (Suddenly realizing that she is right) It is! Hedzoff did this on purpose! He wants to ruin me. QUEEN (Who has been looking out the door) Here comes Angelica. She stopped them! (ANGELICA enters pushing a disheveled BULBO.) ANGELICA I got there just in time! BULBO (Going to VALOROSO) This means war! VAIDROSO Now, Highness, we all make mistakes. QUEEN We apologize, dear Bulbo. ANGELICA (Brushing BULBO off and helping him straighten his clothes) Poor Bulbo...they couldn't hang you. (She looks at him, and her manner changes.) 77 BULBO I'm going back to Crim Tartary right now; ANGELICA Maybe that's a good idea. You don't look very niée any'more. BULBO (Becoming aware of ANGELICA and the magic of the rose) Beautiful Angelica! You saved my life...you saved.my rose. ANGELICA It's my rose now. BULBO But I don't want to give it away! (He starts to take the rose, then relents. ) All right...it'll be your reward. QUEEN How sweet! Let's have the wedding right now. ANGELICA I'll be queen of two kingdoms! VALOROSO Not until I've dealt with Giglio. . (At this moment GIGLIO, accompanied by HEDZCFF, bursts in, brushing aside a protesting GLUMBOSO, who has come to try to hold them back.) GDUMBOSO You can't go in there! GIGLIO You can't keep me out! (Going to VALOROSO) So! You wanted to hang me! VALOROSO Hedzoff! Arrest the Prince! ‘ HEDZOFF I'll take no more orders from you. VALOROSO Glumboso, call the guards! GLUMBOSO They've all gone away. 78 VALOROSO Then I'll arrest you myself. (VALOROSO moves toward GIGLIO, who menaces him with his sword. VALOROSO retreats.) GIGLIO Don't come near me! Seize him, Hedzoff. (HEDZOFF seizes VALOROSO and holds him on the throne. The women flutter in the background. GLUMBOSO makes ineffectual gestures. and BULBO cowers in a corner. GIGLIO addresses VALOROSO.) I know about you now. You did steal. w throne . You never meant no to be King. (To BULBO) Take Angelica away with you. But don't think you're going to rule Paflagonia! I'm king here. , BULBO (Making a half-hearted move toward GIGLIO) Who do you think you are? GIGLIO (Pushing BULBO aside) I'm the real king, and you know it! It's time I had something to say about my own kingdom. Hold him, Hedzoff. I'm going to find Betsinda. CURTAIN 79 ACT II PROLOGUE Before the Opening of Act II, GIGLIO appears before the curtain. He is tired and discouraged. He calls I'Betsinda!" several times, then sits down, weary and disappointed. GIGLIO She's gone! I can't find her anywhere. Suppose she's lost forever! (He buries his head in his hands. BLACKSTICK appears.) BLACKSTICK King Giglio! GIGLIO (Alarmed) Who are you? BLACKSTICK A maker of magic. I've come to help you. You are searching for a maiden lost in the forest. GIGLIO How do you know? BLACKSTICK Fairies know'everything. The girl you seek is miles from here, across the forest, across the river, lost in.Crim Tartary. GIGLIO CrimrTartary! BLACKSTICK [Magic has led her there. There she must go. You think she's Betsinda, a maid in the palace...But she came from Crim Tartary long, long ago. Padella, the bad King, stole the throne from his brother, just as Valoroso stole yours from you. There was a lost Princess. Her name was Rosalba. And soon she'll be found. GIGLIO What are you telling me? BLACKSTICK Your maid is the Princess. But she is in danger. Go back to your palace and gather'your army. IMake haste! You.must save her! She needs you! GIGLIO Oh, thank you! I'll go! It worked! (GIGLIO runs off. BLACKSTICK is filled with glee.) BLACKSI’ICK Lucky me! Maybe I'll get my beauty back yet! (She disappears.) 80 81 ACT II Scene 1 The curtain opens on a scene deep in the forest of Crim Tartary. There are gnarled trees through whose branches occasional shafts of sunlight stream, but the atmosphere is gloomy and mysterious. BETSINDA, her bundled cloak and shoe beside her, is asleep on the ground, concealed from sight by the undergrowth. In a moment KING PADELLA, the usurping ruler of Grim Tartary, enters. He is cruel and harsh, much more forceful than KING VALOROSO was. He wears his royal garb. He is accompanied.by COUNT HOGGINARMO, his adviser, a crafty, conniving character who is enjoy- ing the excitement of the search for the Princess. TWO SOLDIERS enter carrying spears and stand off to one side. PADELLA He'll comb every inch of this forest. She can't escape us. HOGGINARMO But are you sure, your Majesty? PADELLA (Pacing) My fortune teller never makes mistakes...And there have been too many signs. I don't like it, HOgginarmo. HDGGINARMO You're sure he said Princess Rosalba is alive? PADEELA Not just alive...but coming to push mg, the great Padella, out of the palace. _, HDGGINARMO I don't believe it. The girl was lost years ago. She must have died in the forest. ‘ PADELLA Did anyone ever find her body? The only trace was the rage Spinachi brought home. That doesn't prove she died. HDGGINARMO And that old woodcutter never gave up hope, either. 82 PADELLA we have to find her. Word is passing among the peeple that the Princess is coming...They're restless...I don't like it, Hagginarmo. HDGGINARMO who's at the bottom of this? PADELLA Spinachi, that's who. If anyone knows about this he does. I don't trust him,..He never liked me. HOGGINARMO Then we know what we have to do. PADELLA Let me take care of him. I'd like to throw'him to the lions! I'll take soldiers and surround his house. No one will be able to get in or out. You search the forest. Capture any girl you see. we'll find this Princess before she can.make trouble! (PADEILA exits .) HOGGINARMO (B owing) Yes, your.Majesty. (To the SOLDIms) You guards! Go with the King! (The SOLDIERS exit after'PADELLA. HOGGINARMO turns in the apposite direction and begins his search. BETSENDA stirs in her sleep and sighs, attracting his attention.) What's this? (He goes to BETSINDA.) A girl! 'Uake up there! (BETSINDA rises quickly, reaching for her bundle.) Come here! (BETSINUA draws back.) ‘What are you doing alone in the forest? ‘Where did you come from? Why.... BETSINDA Please, sir, you're frightening me. ’ HOGGINaRMO Are you the Princess? BETSINDA Why no, sir! (HOGGINARMO goes to BETSINDA and leads her out into the light. 83 HOGGINARMO Let me look at you. Why, you're the prettiest thing I've ever seen! You.must be Rosalba. . BETSINDA Rosalba! My name is Betsinda. I'm not a princess. _ HOGGINARMO f-Anyone as pretty as you has to be a princess. BETSINDA I'm only a maid, and I'm lost in the forest. If you'll just tell me how'to get to the city I'll be on my way. A HOGGINARMO Not so fast! I've decided that you're the Princess, and I'm never wrong. Listen to me. Years ago the Princess of CrimlTartary was lost...lost completely...and everyone forgot about her. But stories are going around that she's come back. King Padella is afraid of her. He plans to find her and kill her. BETSINUA But why? ‘ HOGGINARMO Because he's a bad king...And he's afraid Rosalba will take the throne. BETSINDA If he's a bad king he should lose the throne. accommo You're right. And since you.are Princess Rosalba, you.must take it from him. BETSINDA You're wrong...I'm not the Princess...I told you... HOGGINARMO Don't argueg’ I'm the strongest man.in the kingdom. And I have a plan. Together we'll destroy Padella, and I'll make you.Queen. But you must marry me first. BETSINDA Marry you! You don't know what you're saying! HDGGINARMO Oh yes I do. You are too lovely, too charming...you must be the Queen. And I'll share the throne. (He reaches for BETSINDA.) Come, we're off to the palace. BETSINDA I don't want to go! Leave me alone! HOGGINARMO Don't make me angry! I've made up my mind. (Again he tries to take hold of her, but she runs.) .. ‘ BETSINDA I won't go! Oh, help! Help! CU MAIN 85 ACT II Scene 2 The scene is in another part of the forest outside the hut of SPINACHI the woodcutter. The house is stage right. There is a stool by the door, and down left there is a bench. SPINACHI is sitting on the stool sharpening his axe. He is an older*man, kindly and pleasant. CLTTIRINA, one of his daughters, is heard inside the house singing the same song BETSINDA was trying to remember at the opening of Act I. CATTLRINA The trees are dressed in leaves of green, The birds in feathers gay; The flowers have their petals bright, The skies wear clouds of fleecy white, My cat a coat of gray. (CATTlRINA comes out of the house with a basket of sewing and settles herslf on the bench as she con; tinues her song. She is BETSINDA'S age, pretty, sweet, and dressed simply.) But I am dressed in softest silk As little girls should be, And I can choose what I will wear, For all the colors shining there were made up just for me. SPINACHI . I haven't heard you sing that song for a long time, Cattarina. CATTARINK I'd almost forgotten it. I guess all the talk about the Princess made me think of it again. SPINACHI It was her song. No one else knew it except you and Ottavia. CATTARINA It's the song you.nade up for the Princess, isn't it, Father? SPINACHI Yes, back in the days when I served the old King. I used to take the Princess for walks in the garden... CATTLRINA Father, do you think.Rosalba's alive? 86 SPINACHI King Padella believes it. And the people seem to. CATTLRINA I hope he won't find her. SPDIAGHI Padella will do everything he can to put her out of the way. (UI'TLVIA, SPINACBI'S other daughter, comes out of the house carrying a covered basket of cakes. She is about the same age, size and temperament as CATTARDIA and is similarly dressed. She goes to SPINACHI.) .. OTTLVIA See my pretty cakes? I'm off to the market to sell them. CATTARINA ‘ (Gathering up her sewing) f.I'd better go with you, Ottavia. SPINACHI Not today. It won't be safe in the forest. Both of you must stay at home. O'I'I‘AVIA Do they really plan to harm the Princess? SPINACHI If they find her they will. Padella will stop at nothing. CATTARINA Are you going to cut wood today, Father? SPINACHI No. I'm going to stay at home with you. (BETSINDA, carrying her bundle, runs in crying out.) BETSINDA Please help me! Oh, hide me! SPINACHI What is it, child? BETSINDA A man...He was chasing ne...0h, please! 87 CATTLRIHA You're safe here... (Before anyone can get to her, BETSINDA collapses.) Oh, she's fainted. OTTIVIA (Running into the house) I'll get some water. SPINACHI Here, Cattarina...help me move her. (SPINACHI lifts BETSINDA onto the bench. The bundle lies unnoticed on the ground.) BETSINDA (Meaning) Giglio...I'n lost... CATTARIHA It's all right. 'we won't let them hurt you. IBETSINDL (Still muttering) But I an dressed in...I can't remeMber...I can't... " 3911mm Listen! CATTARINA The song! 0h, wake up! Please wake up! OTTAVIA (Coming out of the house with a mug) Hold her so I can give her a drink. BETSINDA (More conscious than before) I'm lost...l'm afraid...Don't let them find me! SPINACHI Vb won't, child. (BETSINDA tries to sit up. CATTARINA helps her. man gives cmrmm the mug.) OTTIVIL - Here, give her this. I'll fix her something to eat. (OTTIVIA runs into the house.) 88 BETSINDA What happened? CATTARDIA You fainted. You're all right now. BETSINDA I was so frightened. I was lost in the forest, and a man came along. He said I was Princess Rosalba. He... SPINACH]: Why were you in the forest all alone? BETSINDA I cane from King Valoroso's palace. They sent me away because Prince Giglio was nice to me. I didn't know where to go. ' seminar You came from Paflagonia? CATTLRINA How does she know our song? BETSINDA Song? SPINACHI You were muttering a little tune. CATTLRIHA And we're the only ones who know it. It goes like this... (CATTARINA sings, and after a few words BETSINDA joins in. SPINACHI signals CATTLRINA to stap, and BETSINDA continues.) The trees are dressed in leaves of green, BETSINDA (Joining CATTARINA) The birds in feathers gay; (Alone) The flowers have their petals bright, The skies wear clouds of fleecy white, My cat a coat of gray. But I am dressed in softest silk As little ' ls should be... Ens-the stops singing.) I can't remember any more... {ll .1111.I-: Elan-v.- zo- ... ):.:..\,..~.\t:a :s .Vfi ...-ws.. ... v. on: to n! .0.-. .u....\ \\r ... uuovuooue ... at ueo u .I. . e . O n I I I ~u-~ .IR—E null-uswauli aux-ls: -\.J‘§.\\~1.\ _. .a ~..‘a\ huwu- .- .w- ..‘Le-Mnnsc Ins-.- .‘heoa... .... Huerta-t I flu. 01$.» No.0: - so.“ i . tothfin-nnufin n_.u.an.IlR.\-..w..b> nap,- hesunn flak-R s\:.-.\.. II .- lul u . O.‘ ‘J q-“‘ ‘0 ‘o .‘o 89 CATTARINA (Finishing the song) And I can choose what I will wear, For all the colors shining there Here made up just for me. . IBETSIEDL That's how it goes! I tried and tried to remember...and no one could tell me. SPINACHI 'Who taught you the song? BETSINDA I've always known it. But shouldn't I hide? ‘Won't that man come after'me? CATTARINA It's all right. SPINACHI You're safe here. Don't be afraid. (OTTKVIA enters from the house.) OTTLVIA I'n.warmin some soup for you. Spying BETSINDA'S bundle on the ground and picking it ” P 11 Here are your things.- Is this all you had.with you? BETSINDA (Unrolling the bundle) I'm afraid so. Poor old rags...they aren't much good to me now. SPINACHI Look at that shoe! ‘Where did you get these things? BETSINDA Once they were the only clothes I had. SPINACHI (Examining the cloak) cattarina, run and get the bundle hidden in the cupboard. .- CATTARINA The Princess' things? 90 OTTKVIA (Also examining the cloak and shoe) 0h,,hurry, Cattarina! (CATTLRINL.runs into the house.) BETSINDA I don't understand. ' SPINACH]: Where is your home? BETSINDA I've lived in the palace as long as I can remember. I have no family. “3 drawn (Running to the door) VOh, hurry, Cattarina! CATTARINA (Within) I'm coming. (CATTIRINA hurries out and gives SPINaCHI a bundle just like BETSINDA'S. He amines it.) SPINACHI Just as I thought. The shoes match! OTTKVIA The rags fit together! CATTLRINA She knows the song! SPINACHI This $5 the Princess! .BETSINDA Oh, don't you say that, too! OTTIVIA You must be . CATTARINA Ybu're Princess Rosalba. SPINACHI The story is true. Padella was right! 91 BETSINDA Oh, no! SPINACHI Of course you don't understand. King Padella's fortune teller has said that Princess Rosalba has come back to Grim Tartary to take the throne away from him. BETSINDA But how can I be the Princess? SPINACEI You see these clothes...I found them in the forest after Rosalba was lost. We know they were hers. OTTAVIA And these things you had...They match perfectly. CATTLRINA You know the song. (Suddenly PADELIJ'S voice is heard giving orders .) FADE-LL You there! Guard the path! Surround the clearing! (The orders lapse into unintelligible confusion offstage .) SPINACH It's Padella! Quick! Into the house! (OTTAVIA rushes BETSINDA into the house. CATTARINA gathers up the clothes and follows them. SPINACHI is trying to assume a nonchalant pose when PADEILA bursts in followed by his two SOLDIERS.) PADELLA well , Spinachi! SPINACHI Good morning, your Majesty. PADELLL Don't good morning me! Your house is surrounded. The woods are full of soldiers. Now tell me your part in this plot. SPINACHI Plot? 92 PADELLL Don't play innocent. What do you have to do with bringing the Princess back? SPINACH]: I know nothing about any princess. PADELLL Speak up! What do you know about the Princess? SPINACHI I know she was lost long ago and no one ever found her. PLDELIA Stop your nonsense. If I know you, you're hiding her in your house under my very nose. SPINACHI There's no one in the house but my two daughters. PADELLL He'll see about that. (To the SOY-DIES) Seize him! (The SOLDIERS overpower SPINACHI and drag his to the bench. PiDELLL bursts into the house.) If she's here I'll find her! CU RI‘AIN 93 ACT III The scene is the same as the last, and only'minutes later. SPINACHI is seated on the bench guarded by the SOLDIERS. Voices of RaDELLL, OTTIVIL and CATTARINL are heard in the house.) OTTIVIA No! No! CATTARINA You can't go in there! PADELLA Go outside! I'm going to search this house. OTTLVIA There's no one here! CATTARINA we're all alone! PADELLA Outside! (OTTLVIL and CATTLRINA come out. They see SPINACHI'S plight and run to him.) CATTARINA Father! Have they hurt you? SPINACHI No. OTTAVIA What shall we do? SPINICHI There's nothing we can do. ' cummnu But the King will... (SPINACHI motions her to be silent. The girls retire upstage.) OTTAYIA I think Padella's mean. 9h CATTLRINA So do I . (HOGGINARMO bursts in.) HOGGINARMO ‘Hhere's the Princess? (He spies the girls.) You there! Let me look at you! (The girls shrink back.) Come here, I say! SPINACHI (Trying to rise, but forced back by the SOLDIERS) Those are my daughters, Hagginarmo. Leave them alone! HOGGINLHMO You're not the one I'm looking for. Neither are ou. (He brushes OTTAVIA and CATTARINJ. asidBS Where's the King? (The SOLDIERS indicate the house. HOGGINARMO starts for the door.) PADELLA (Within) Ha! There you are! Come out here. CLTTARINA 0h, Ottavia! OTTAVIA He's found her! HOGGINARMO So she is here! (PADELLA emerges from the house leading BETSINDA.) PADELLA Spinachi! I know you'd have something to do with this. I can't wait to get my hands on you. HOGGINARMO That's the girl! There's the Princess! PADELLL How do you know? Why aren't you searching the forest? 95 HOGGINaRMO I was. I found this girl, but she got away before I could question her. PADELLL This girl got away from you? HOGGINARMO She ran into the woods and was gone like a flash. But I came after her. FIDELLA You didn't question her? HDGGINARMO I didn't have a chance. PADELLA Then how do you know she's the Princess? HDGGINARMO Well...we..ll...I just know, that's all. (To BETSINDA) You won't escape this time, young lady. M”, BETSINDA I haven't changed my'mind, though. I still can't marry you. I PADELLA Marry'you? Hhat is she talking about? HOGGINARMO She doesn't know what she's saying. BETSINDA Your Majesty, this man told me you are a bad king. HOGGINARMO That's enough! PADELLA II thought you didn't talk to her, Hogginarmo. HDGGINARMO ‘1 didn!t...I... BETSINDA He said he's get rid of you and.lake'me Queen. 96 HOGGINAIDTO I did not! PADELLA 30! Of course you didn't question her. You were too busy telling her stories . Hogginarmo . . . .! (PADELLA moves threateningly toward HOGGINARMO.) HOCBINAIMO (Flustered) Now, your Majesty...You're not going to listen to this child... PADEILA Maybe she's a child, but she got away from you. A big strong man out- smarted by a girl! You let her escape, that's what you did!. HOGGINARMO You don't believe . . . PADEILA I do. My true and loyal servant! This is the end of your tricks! (To the SOLDIERS) You there! Take him away. Turn him over to the soldiers in the clearing. Have him thrown in the dungeon. (The SOLDIERS lead out a loudly protesting Homo. The three girls react gleefully, and SPINACH starts to go to BETSINDA, but PlDELLi turns his attention to her.) And you! «L (The impact of the ring has its full effect, and his manner changes. Why, you lovely thing...won't you sit down? (He ushers a bewildered BETSINDA to the bench.) CATTARJNA What's the matter? OTTAVIA What's happened to him? SPINACHI Hush! PADEILA So you are Rosalba. I didn't think you'd be so pretty. (Sharply) But you've cone to take my throne! BETSINDA I hadn't planned to. 97 PADELLA Hy fortune teller said so. (He paces a moment; then an idea strikes him.) Well, we'll fool him. We'll share the throne. I'll l_e_t you be queen. CATTARINA Let her? OTTAVIA It's a trick. BETSINDA That wouldn't work. PLDELLA Of course it would. I will share the throne with you. You will be my queen and mother to my Bulbo. (OPTAVIA and CATTARINA giggle at this, exclaiming 'Bulbo!‘ 'Silly old man!‘ SPINACH quiets them.) BETSINDA I can't do that. PAMELA And why not? BETSINDA You stole the throne from my father. You have no right to be king. If I'm the real queen, I'm going to send for Prince Giglio and make him king. PADELLA Giglio! He's king of one country already. BETSINDA (Amazed) He is? PADELLA Yes. So don't be silly. Without my help you can't be queen. You listen to me. I can fix it so no one knows you ever came back. And I will unless you do things my way. Think it over! (He goes to SPINACH.) You'd better persuade her, Spinachi. I might not punish you so hard if you do... SPINACH Padella, you're a cruel, bad king. The peOple are tired of you. 98 OTTAVIA 0h, Father! Be careful! PADELLA What did you say? CATTLRDIA Father! Stop! SPINACHI I said you deserve to lose the throne. PADELLL Why you...You can't talk to the King that way. I'll send you to the dungeon! I'll throw you to the lions! SPINACH]: And that will be more proof that you're bad and cruel. (mum and cum run to Bmsmm.) o'r'mvn Princess! Make him stop! * CATTARINL He'll hurt him! SPINACHI When people know the Queen is back, you won't last long. PADELLA Silence! Guards! SPINACHI I'll not be silent. It's time you heard what we think of you! PAMELA I won't listen. (Calling) Guards! SPINACHI You'll be thrown out of the palace. PLDELIA Where are my soldiers! Guards! (To SPINACH) You'll suffer for this! _ (Instead of the SOLDIERS, GIGLIO and CAPTAIN HEDZOFF enter and greet BETSINDA.) GIGLIO Betsinda! BETSINDA It's Giglio! 1nd Hedzoff! ' HEDZOFF YOur Highness! PADELLA Here, seize this man. ‘BETSIHDL (To OTTKVIA and CATTARINA) It's the Prince! It's Giglio! PADELLI I said seize this man! ‘ GIGLIO We've come to seize you. PIDELLI I an the King! GIGLIO Not any'more! Give up, Padella. Your army has surrendered. They wouldn't even fight for you. PADELLA I don't believe you. GIGLIO 'Who came when you called? Not your soldiers. They want the Queen to rule them. .lnd in her'name I, King Giglio of Paflagonia, take you prisoner. Hedzoff, away with him. (HEDZOFF seizes PADELLA and leads him away without t~ ceremony. OTTKVIL and CATTARINA run to SPINACHI,jand BETSINDA and GIGLIO greet each other, everyone speaking at once. Finally BETSINDA and GIGLIO dominate.)-: BETSINDA ' Giglio! 100 GIGLIO Betsinda, I've found you! OTTAVIA We're saved! CATTARINA It's like a dream! SPINACHI It's true. Our Queen is back. BETSINDA What happened to Valoroso? GIGLIO After you were sent away he wanted to hang me. Well, Hedzoff came to my rescue, and I just took the throne back, that's all. BETSINDA So you're really King Giglio! ' GIGLIO And you're Queen Bosalba. ' sex-3mm But how did you know? GIGLIO Magic. But it doesn't matter. I have my kingdom, and you have yours. ' BETSINDA And we'll make them into one peaceful country. GIGLIO There won't be any more cruel kings. CATTARINA Think of it! OTTAVIA A real king and queen. SPINACHI This is a happy day. BETSINDA Oh, Giglio, I want you to meet the kind friends who helped me. This is King Giglio of Paflagonia. Spinachi. Ottavia. Cattarina. 101 (Each bows in turn saying "Your Majesty.“ There is a noise offstage, again sounds of protest, as the two somms lead ANGELICA and BULBO on.) FIRST SOLDIER Your Majesty. GI GLIO Yes? SEECND SOLDIER You aren't the King. Where's Padella? SPINACH On the way to the dungeon. GIGLIO Here is your ruler. ‘ (GIGLIO indicates BETSINDA, and the SOLDIERS respond with awe.) - FIRST SOLDIER This is the lost Princess? SEEOND SOLDIER Isn't she beautiful? ANGELICA (Bursting into the scene with BULBO) If you're going to put us in prison, do it. I'm tired of walking. BULBO What have you done to my father? BETSINDA Angelica! Bulbo! \ A FIRST SOLDIER We found these two on the road. He says he's the Prince. BULBO I am. ANGELICA And I'm a princess. GIGLIO Not any more...either of you. (To SOLDIERS) Lock them up, too. (The SOLDIERS start to canply.) ANGELICA Bulbo, you've caused me nothing but trouble. ‘ BULBO I can't help it, Angelica. BETSINDA Wait a minute. Giglio, am I really Queen now? GIGLIO Of course. BETSINDA (To the others) What do you say? EVERYONE You are. Yes. ANGELICA You a queen? You're my maid. Giglio, stop making jokes. GIGLIO 102 This isn't a joke. Betsinda is the Queen of Grin Tartary. . Bulbo, may I present your cousin, the lost Princess. BULBO You're Rosalba? GIGLIO Yes, she's Rosalba...And I'm going to see you both pay for being mean to her. ANGELICA I don't believe you. GIGLIO Well, it's true. s - (To SOLDIERS) Now take them away. BETSINDA No. Let them 30. 103 GIGLIO After all the trouble they caused you? BETSINDA I forgive them. BULBO Thank you, cousin. ANGELICA You'd better let us go. ' (To BULBO) I don't know why I ever thought you were charming. You're dull and sttqaid. ..and now you aren't even a prince . BULBO Please, An elica. (To BETSINDA) Angelica isn't very nice to me. GIGLIO But I see she still wears your rose. ANGELICA I thought it would bring me good luck. BETSINDA Maybe it will. And, Bulbo, I have a ring...it's been my good luck token...and I'd like to give it to you. Now let's all be friends. (BULBO accepts the ring.) ANGELICA No tokens for me, I suppose. Let me see that ring. (She notices BULBO, and the magic works.) m, Bulbo...how handsome you are! I don't care if you're not a prince. .. FIRST "SOLDIER Look at the Queen. SEEOND SOLDIER She's not so beautiful any more. FIRST SOLDIER But think how nice she is. GIGLIO You're prettier than ever! 10h BETSINDA Come, friends. Let's go to the palace. Come, Spinachi, Ottavia, Cattarina. Come, King Giglio. GIGLIO Here I am, Queen Rosalba. (Everyone goes out happily together. Suddenly BLACKSTICK appears, restored to her original beauty. She is very happy.) BLACKSI‘ICK Magic is wonderful! All that was needed was sharing the sham of the rose and the ring. The bad kings are gone now, replaced by our good friends...The peOple who need them are wearing my tokens. ..The magic is right. So now I'm my old self. And what do you know? We'll all live so happily--just like in stories! Forever and ever. Believe me...it's so. CURTAIN CHAPTER V EVALUATION, SUMMARY, AND CONCLUSIONS The final phase of this study involved: (1) evaluating the play by subjecting it to the test of stage production; (2) reviewing the procedural steps of the study; and (3) drawing conclusions based upon the purposes established at the outset. Evaluation A play in manuscript form still is incomplete as a drama. The success or failure of’a play is determined, not by the script alone, but by the contributions of all the factors involved in dramatic pro- duction, including the presence of an audience. The true test of dramatic effectiveness comes with the interpretation of a script by a director and actors and its reception by an audience. No one contribu- tion can be evaluated out of context with the others. Seeing a play in production makes possible a more thorough analysis of the effectiveness of the script. To make possible a more sound evaluation of The Rose and the Rigg, the play was produced for a child audience. The cast, which was com- posed of children ranging in age from ten through sixteen years, rehearsed six weeks. The rehearsal period included one technical and two dress rehearsals. Three performances were presented before three different audiences. The playwright acted as director. ‘When a 105 106 playwright directs his own script, objectivity in directorial as well as critical approach is difficult to attain. Nonetheless, an attempt was made to evaluate the effectiveness of the script from the director's point of view, noting during rehearsals the response of the cast to the story and its characters and the ease or difficulty with which the play could be staged. An additional basis for evaluation was observation of audience response during performances. A third basis for judgment was provided by analyzing the produced play according to the determined ' criteria for effective plays for children's theatre. However, in spite of efforts to base judgment on objective factors, the following evalu- ation is largely subjective in nature. Treatment of story is a major aspect of playwriting technique to be scrutinized in the evaluation of a play for children. Story used in this context refers, not to Thackeray's book,‘but to the story as evolved by'the playwright. In drama, the story must have a definite beginning, middle, and end. The Rose and the Ring meets this criterion. The beginning presents the problem of disharmony'which has resulted from the misuse of the rose and the ring and from the greed of the usurp- ing kings. The middle presents the obstacles to restoration of harmony as well as the initial steps in the progress toward solution of the problem. The end depicts the solution of the problem in accordance with universally accepted concepts of justice. However, evaluation of tech- nique revealed the beginning to be the strongest section. The problem is stated, the major characters are introduced and established, the background of the problem is presented, and the story is started on its 107 forward progress. The middle and end were found to be weaker, because events move too swiftly; This shortcoming resulted from the compres- sion necessary to meet the limitations of running time and also from concern with incorporating as much visually perceptible action as possible into the communication of the story. Consequently, one crisis situation follows another with too little relaxation of tension through the second and third acts. The script meets the criterion that theme in.a play for children should be implied rather than directly stated. None of the lines con- tains direct moralizing. The central idea is crystallized in the action and in the final outcome of the story. The plot of the play was evaluated in terms of three criteria: (1) plot in children's plays should be uncomplicated; (2) all major action should occur on stage; and (3) there should be excitement at the end of each scene which carries over into the next. The plot of The Rose and the Ring is complex, but it is uncompli- cated in presentation. That is, the plot is not complicated in terms of subeplot and episodes which side-track the story. Complex though the events and relationships may be, all contribute to the development of the story. The play also meets the second criteron.that all major action should occur on stage. Emery transfer of the rose and the ring is shown; the overthrow of both kings and the capture and rescue of Betsinda are portrayed; and the encounter between Giglio and Fairy Blackstick occurs before the audience. 108 The attempt to meet the criterion that every scene must end at a high point of excitement and interest which is picked up at the opening of the succeeding scene resulted in building scene endings to an almost overly high level of tension. Act One ends with the forcible overthrow of Valoreso and Giglio's departure to find Betsinda. The revelation of Betsinda's identity and plight follows. Next, the scene opens with Padella's sinister plans and ends with Betsinda's terrified flight from Hogginarmo. The following scene Opens quietly, introducing the Spinachi family and establishing their connection with the lost Princess Rosalba prior to Betsinda's entrance. It ends with Padella's threats and his bursting into the house where Betsinda is hiding, and the following act opens on the same scene with Hogginarmo adding his threats to those of Padella. From the point of view of the adult observer, excitement is overly sustained in the last two acts. However, in performance there was no indication of unfavorable reaction from the child audience to this strongly emphasized excitement. The three functions of dialogue in children's plays are: revealing character, unfolding plot, and clarifying the situation. To satisfy the child audience, dialogue should be simple, economical, and direct. In order to determine whether dialogue fulfills its first function, totality of effect rather than individual lines must be the basis for evaluation. The dialogue of The Rose and the Ring was found to be satis- factory'as a means of revealing character. Further, the play contains no dialogue, even of an expository'nature, which does not further the forward progress of the story. Verbose dialogue tends to prevent action. 109 Since a major criticism of the play was that it contains too much un- relieved action, the dialogue was found to be economical and direct almost to a fault. Finally, long and complicated speeches are at a minimum, and short sentences are characteristic of the lines. Characters in the play are treated according to the purposes they were intended to serve when they were selected. The protagonist was chosen and accepted in terms of criteria determined early in the study, and these criteria guided the development of Betsinda as a character. She shows herself to be plucky and capable of thinking her way out of difficulties, particularly in the scenes in.Crin Tartary where she encounters the forces working to prevent her restoration to royal status. Volition is a quality which cannot be fully developed in the protagonist of a fairy tale play, because the element of magic and fate controls and.mandpulates his or her fortunes. The only strong desire Betsinda has is to learn her true identity. However, she undertakes no direct action to solve the mystery of her past, nor does she exhibit a strong desire to become queen. Rather, the forces of justice, embodied in Fairy Blackstick, provide the volitional factor in the play. Characters other than the protagonist in children's play: should be conceived more or less as types. This is true in The Rose and the Ring. Generally, minor characters in the play may be categorized as blundering, often ineffectual, villains, usually more ridiculous than sinister, or as typically kind, ordinary people motivated by noble impulses. 110 Finally, evaluation of the total effect of the play revealed that the story as conceived by the playwright is presented effectively with all the elements of drama subordinate, but contributing, to its communi- cation. The main criticism of The Rose and the Ring was that the play is overly compressed and filled with action in the final scenes. This fault resulted from the playwright's attempt to prevent breaks in the flow of the story and to present it largely'by means of Observable action. Summary This study followed five procedural steps. First, a survey of the literature was made to determine the purposes of children's plays and to discover the techniques of dramatic writing which should be employed in fulfilling the purposes. A further survey of the literature was undertaken to determine criteria for selecting material for children's plays. Next, using information gained in the initial phases of the study as a guide, material was selected, an effort was made to solve the problems of adapting specific story material to the dramatic medium, and a play was written. Before an evaluation of the finished script was attempted, the play was produced for a child audience using a child cast and with the playwright serving as director. Finally, an.attempt was made to evaluate the play in terms of the discovered criteria for effective children's theatre plays. Conclusions This study represents an attempt to discover answers to four specific questions regarding the writing of plays for children's theatre. The questions which constituted the problem of the study are: 1. What constitutes an effective children‘s play? 2. Are the techniques of writing plays for children different from those established for dramatic writing in general, and if so, what are the differences? 3. What material is best suited to children's drama? h.‘What are the problems inherent in adapting this material to the dramatic medium? The following conclusions are based upon the application of criteria and principles discovered in.a survey of authoritative Opinion on writing plays for children to the actual process of writing a play.for children's theatre production. In seeking an.answer to the question regarding effective children's plays, the first discovery was that plays for children should.serve four basic purposes: to entertain, to meet'basic needs, to instruct, and to train future audiences. To accomplish these purposes, plays written for children's theatre must meet certain criteria for dramatic writing. Therefore, the answer to the first question is inherent in the answer to the question concerning techniques of writing plays for children's theatre. . Authorities agree that good children's plays should conform to the accepted.fundamental standards of dramatic technique. Every play for children must have a story with a definite beginning, middle, and end. 112 Every-play for children must have a protagonist with whom children can identify easily and closely, since it is through identification that children follow the story in.a play. Every play for children.must have a worthy central idea or theme. The important difference between writ— ing plays for children and for adults is that the story always controls a play for children. All the elements of drama are subordinate to the story, and their main function is to contribute to the communication of the story. Theme in children's plays must be implied, not directly stated; it must be inherent in the story, not superimposed. Plot is the story arranged and amplified. In plays for children, plot must develop simply and without COMplications and subeplots which alter the course of the story; Further, the story must never stop in its forward progress. Therefore, in writing children's plays, every scene must be developed to a final high point of interest which is picked up immediately at the opening of the succeeding scene. The story in children's plays should be told largely in terms of action, and.all major action.must appear on stage. Dialogue in children's plays must be simple, direct, and economical, though it may contain words beyond the vocabulary level of the audience if the context makes their meaning clear. The threefold purpose of dialogue in children's plays is to reveal character, to unfold plot, and to clarify the situation. Major characters in.p1ays for children should be relatively'uncompli- cated, Minor characters should be conceived and developed more or less as types. 113 The attempt to discover suitable story material for children's plays led to the conclusion, based on authoritative opinion, that the playwright should turn to stories of recognized literary'merit for ideas, particularly until he has gained experience in the field. Further, child audiences show a marked preference for plays based upon folk or fairy tales. In searching for story ideas, the playwright should not eliminate from consideration unfamiliar works of literature, deSpite the fact that plays with familiar titles draw larger audiences. If children's theatre is to fulfill its educational function, audiences should be introduced to new ideas and to obscure literature, provided that the stories chosen meet the criteria for good children‘s plays. To provide a satisfactory basis for a children's play, a story should.meet, at least to some degree, the following criteria: 1. The central situation should provide conflict. 2. The story should provide enough episodes to build to a real climax. 3. There should be essential action in the development of the plot. h. The story should have a worthy central idea or theme; it should contain universal qualities which give it lasting value. 5. The story should be suitable for children.and should have a plot which avoids complex:and mature relationships that make it difficult to follow and to understand. 6. The story must appeal to children. 7. The central character must be one with when children can identify easily and closely. 8. Dialogue in the story has no bearing on its effectiveness as a basis for a play for children. Before the playwright selects material, he should determine whether or not the story he is considering has been.adapted for the stage. Since authorities agree that a shortage of plays for children exists, a greater contribution to children's theatre will be made if new'plays are written based upon works of literature which are not available in dramatic form. An additional factor which must have a bearing on selection of material for children's plays is the playwright's subjective response to a story. Any story chosen for dramatic adaptation.must be appealing and inspiring to the playwright. The first problem encountered in attempting to answer the question regarding adaptation of specific story'material to the dramatic.medium involved determining the playwright's obligation to adhere to the original work. The degree of adherence to original.material depends upon the presence or absence of elements which.make a story suitable for transference to play form. Plays written from works of literature may range in faithfulness to the original material from literal accept- ance of the plot, characters, and theme to the mere taking of an idea and utilizing it to serve the purpose of the playwright. Generally, story'material does not lend itself to dramatization, the most literal method of treatment. Freer interpretation of original material usually is necessary to meet the demands of dramatic expediency. The attempt to apply the principles of writing plays for children's theatre to specific story material led to additional conclusions based upon the playwright's experience. Using a work of fiction with a complex 115 plot involving the stories of more than.one central character'and including several climactic situations creates problems which can be solved only after thorough analysis of the story with reference to the criteria for story in children's plays and to the playwright's purpose. First, the character who is to be used as the protagonist of the play should be selected. Then the episodes in the story involving the problem of the central character should be chosen for possible inclusion in the plot. If more than one potential climax is provided, the one most closely related to the protagonist should be used" Following these steps in selecting material from a work of fiction enables the playwright to make an almost automatic selection of other characters in terms of their relationship to the main character situation. Further selection and compression of events and episodes in the story is necessary when situations prove difficult to present on stage, or when they require more than a minimum amount of expository dialogue. Often this involves major departures from the original story'in de- veloping the plot of the play. However, when the goal is an effective play for a child audience, dramatic expediency and the playwright's purpose should be the controlling factors influencing the treatment of story'material for children's theatre. .Additional conclusions include questions which arose during the study for which adequate answers were not found. These conclusions lead to suggestions for further areas of investigation into the field of writing plays for children. 116 Further investigation should be made into the fundamental principles of writing plays for children. Additional investigation should be made of the body of children's literature to discover story-material suitable for children's plays. More plays for children should be based upon worthy'children's literature which is not popularly known and read and which could be preserved and revitalized through children's theatre production. A comprehensive index of children's plays should be compiled, including the various versions of popular stories, to sim- plify the task of the playwright attempting to avoid dupli- cation. 117 BIBLIOGRAPHY Busfield, Reger H., ”Problems of Adaptation and Dramatisation.‘ Unpublished paper. Butcher, S. H., Aristotle's Theory of Poetry and Fine Art, Fourth revised edition; New York: Dover Publications, 1951. h2l pp. Chorpenning, Charlotte R., Twenty-One Years with Children's Theatre. Anchorage, Kentuckys The Children's Theatre Press, 193k. 112 pp. Dodds, John'W}, Thackeray: .1 Critical Portrait. London: Oxford University Press, l9hl. i3? pp. Fisher, Caroline E., and Hazel G. Robertson, Children and the Theatre, Revised edition; Stanford, California: Stanford University Press, 1950. 235 pp. Gallaway, Marian, Constructing a Plgy. New York: Prentice-Hall, Inc., 1950. 380 pp. Graham, Kenneth L., 'An Introductory Study of Evaluation of Plays for Children's Theatre in the United States.” Unpublished Doctor's dissertation, The University of Utah, l9h7. 330 pp. Heigs, Cornelia, L. Eaton, E. Nesbitt, and R. H. Vigners, A Critical History;of Children's Literature. New York: The Macmillan.Company, 1953. 62h pp. Spencer, Sara, "Annual Report of the Director of the Children's Theatre Conference.“ Annual Yearbook of the Children's Theatre Conference. Unpublished report compiled at Michigan State College, l95h. 16 pp. 'Children's Theatre Past and Present, ' Educational Theatre “ Journal, VII (March, 1955), hh-hé. ‘Hard, Winifred, Theatre for Children. Revised edition;.1nchorage, Kentucky: The Children's Theatre Press, 1950. 317 pp. O L) LESENT TOYSI-IOP THEATRE PP ...“... ,.__ WILEEW'ILEAMELI N G ROSE THE L. R. June 3 and h, 1955 0.: THE ROSE AND THE RIHG by Mary J ane Larson Watkins based on the story by William Ix‘lekepeece Thackeray CAST (in order of appearance) Ffliry BlaCkStiCke e e e e e e e e e e e e o e e eCOCilC WCinStCin Her Memory...... . . . . . .. .. ...... ....I-Inreia 1105510? Betsinda.... ......................Helen Dercngosld. Countess Gruffanuff. . . . . . . . . . . . . . .Maureen Cremton GIUInbOSOOOeeeeeeeeeo 0 .............Richard SChloomor Queen.............................Shaaron Cameron King Valoroso of Paflagonia. . . . . . .Robort Schaibel. . Princess Angelica. . . . . . . . . . . . . . . . .I-iary Louise Cunmpghm Prince Giglio of Paflagonin” . . . . .wjilicun Dorongoskl Captain Hedzoff. . a: o . . . . . . . . . . . . . . .Patrick Stevens Prince Bulbo of Crim Tartary." ....‘mdrew Graham K1118 Padella of Crim Tartary......Edwerd Schmooklcr Count Hogginnrmo. .. . . . . . . . . . . . . . . . .I-fichael Stevens FiI‘S'b SOldioreeoeeoc o e e e e. a ..."..William Garner Second Soldier...... . ....... . ... ..Dole Hefty SpinaCh-ieeeeeeeeeeoeoeeeeeeeps 0 ...Stuart Chappell Cattarina..unuu.nou.........Kathlcon “00d ()tdxnnri£:"."."0'DOGDOII01I01DO*eeweepecvecv01iej)culrun€L AELCdIiII SCENES ACT I: The Court of King Valoroso of Paflagonia ACT II: Scene 1 - The forest of Grim Tartar? several days later . . the Scene 2 - Outside the home of Spinacm- . woodcutter, a few ndnutos later ACT III: The same, a few minutes later :«ELSO .4 'Tfinrnn . | ¥ \ “A a "I‘, § . “WI. 0 g a.._ . 5.: T“ ' ‘ ' bun-U 'mes . J: : sen? ~. ' 0 MA \JL-Us . . . ”'510 f OI ..... ' s 5"! .Iw' TOYSHOP THEATRE CREWS PROGRAMS. . . . . . . . . . . . .Liz Reinertsen; cover design Mary Gozh‘rey, Wytrme Alyn Goff. Larry Kuhn... Susan Kogut. Chery]. Otto , Barbara Paff, Sandra Swen PROP‘SRTES . . . . . . . . o . Jam Byers... Vicki Elmer COSTUZTES. c . . . . . . . . .‘ . cAnn Boylan, Mary Ann Ferguson, and I-Inrflyn Giff ole,- Ann Griffin, l-L’H’E. -UP Marguerite Griz-es, Ellen I—Iill, La Vonne Heels, Bonnie hwin, Kathleen Jaequays, I-ierci". Kessler, Rosalyn Perker, Diane Skfif‘ington, Deanne, Trakas, lbritje Van neuron USHERS. . . . . . . . . . . . . . .Sendy Boyd, Mary Butler, Holly Addison... Ann I-iarie deZeeme. Deni-s Hoppe , {ethy Hulett, I'Janey Jeane; Barry Kaufmn, Carol Fisheifl, Joan Luecke, Ardenne Rohrabecher, Connie Walker PRODUCTION STRFF Director........................Mazr'y Jane Watkins Stage i‘k‘nagora as e e e e e e e e e e e c e o a ..RObC‘rt H322: ”Ad Scone D0818n3¢0 o o e e e o e o e o e a o e g a sHfirhC-I't 03“an Costume Designs 7 . . . r, . . . . -. . . . . . . ,Herbert Canburn Pr0perties. o . . . . . . . . . . . . . . . . . . . .Roberi'. Hezzard Judy Harri 5 Judy Lookmoff Costumes........................Ralph Duekwull Classes in Speech 3116 Scenewg....... so. eeeeeeooeeeeoeCla-SSOS in SPGCCh 2’42“3h3 LiarltsooooeoeeeeeeeOOOOOO00’°"0R0n IquIbOr-t Paul Moore Music for Betsinda' 8 song. . . . . . .Frank Serresseque OUR SINCE-:3 TILT-IBIS TO: 111'. Donald Buell Dr. Roger Busfield l-Ir. Jed 11. Davis l-Iiss Patricia Davies lir. Virgil Godfrey r. Lewin Goff Dr. i'iax Nelson. l-iiss Lois Odle l-‘Ir. Ralph Vanderslice 118 119 Act I "There was a Princess named Rosalba..." Act I . I'Ugh, Angelica! What have you done to your face?‘ 120 Act I W, Dear Prince Bulbo, what a charming thing to say!‘ Act I 'You never meant me to be King!‘ 121 Act II, Scene 1 'Iou search the forest. Capture any girl you see.” Act III "This is the girl'. There's the Princess!“ 122 Act III 'Give up, Padella. Your army has surrendered.‘ Act III I'I have a ring. It's been my goodluck token.“ 123 ,-4 ‘3 L I A ' ”units ' Fairy Blackstiok 12h Betsinda Princess Angelica 125 Prince Bulbo 126 Glumboso Countess Gruffanuff 127 128 129 130 Captain Hedzoff Soldier 131 .~:r‘:v'vH:-ls' .“l3) 1 J a . \ .... - «....mm 4... --.~ 3‘, .' 1 in :c a; T efi'fl" v "' ,v. (1.“"3/‘Ij‘a LI'uLJn o xaereulu—‘g‘tdt- IA -..-Dm-I—O-I‘J" .a'uo-‘rv-l DI... will 0’ J. :1 Jig“. _. .= . .,_ . ‘93,." — av ._. . .-.. _ .. -.. I" ._...‘... -.->: .- - _ . I V r ‘ i. ' . .. , iU- ' '-‘--~---'"- ' ~ «I , . . . ...-. _, P V l - , .. . __. . , .-.--. _, _ V' . \\ E //' Q. . 1.... (1 -.. 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THE TOP LU! m A STOCK BORDER, AND AT THE BOTTOM UUITHA GRASS GROUND Row ACT 11 Scene 1 *- Se‘f @ AC1 K’Sceyue 1) 2, Ad mt .. 38.1. @ u ' “if. , i URANINC‘rs u‘ H.L.CAMB um..- J 1:. flow 132 ‘ ,1 '1. ““-—‘ WRONT ELEVATION. REAR wALL REAR QRANHNG {or PIECE@ .1, PALALE ~ SET @—- E>TOCK 9LATS + PlECE® \ I" ’K{\\ ‘oLHN ‘ g _/ 4/" 1‘1/ WWW SEAT {0. @ X X l 4 X 7‘— i \l i l i n ' I '. l‘ K 1 i * , A\. .5. i g a , r i i i , ,, _L b ,4. 1' g ..by—o 4. 7,] + g .1. s o a 5k, ~ -/ (v 51 l ‘0 \l O \ ——-—--—— ~—-— v~—4 i J ”in- _ . I- __L . 1.1 __.3’«o”...___s; @ is >!___ k— - 746” e L T a e: —— ———— { ~}-—-—--—-—~~~—-~ i 1, c? ‘ ‘m i 0 AU i o r: : ___: _W W WM“ “___.; f f i i , i i : ! LJ -, H L - __A-____-__-e_--___-__.L 1%.. 36”“. Pm.” 5‘10” —-——~--- ~—) REAR WOW/NO {or WINGS 0,! PALACE —SEI @ ' 5H0wwe ADDITIONS T0 STOCK HATS {15"} line ...,— rubber be” DETA IL of LUING 1 SHOWING ATTACHED BALL 3L9° 1‘ ROSE and’fhe KING” ‘4! Man] Jan/e Walkms . Scale: Ol‘i'uzll‘on O Irregulan pieces. a X = hlnoe on {3C6 . ,~_._ _r-_ 7—. .- - _ _ a‘ ORAWWG—S BY H-L.CAMKUKN Q AUG: [‘755' STock “315 used WI'H‘I cons‘fkucfzoou 0““1 of SfooK OLIHX ()I-3” [umber used/w Fflotlle Iboakd. 0 [@quones (5 CORHCK blocks Oh a” bUfi’ iOMTS. . O. rvvv : 1.35") [me 21—,“- ,1” - a. _ m‘gg ‘— "J ‘ _hfi‘ ., -,,. , 133 4.- L r ,. ‘\ C 0V6 R’ LU ; C 3 W ”I O :3 ‘ I ' \ I : Mt \\‘ ', l \\ \ PRC 9 1 LE BOAR: '/-—-' ' i L L \x X I $FOHT >1 KEAK QKLMW‘C 34' {Mir-VT PKCJXL': 0) (mm: Lb ~ ;.gT @A‘Q) éI’O“ L 1 1r H’~<.,”-————] PRC-flLE a; REAR mamwe .4 SET Hcce @Q. ~ serggzwg: \O \M / Cover/w CA/Vvd5 / / V] // / \ T n W l V (; ”l KERR Hl/VYHNG ‘ 5'" H K I K0 2‘ i l— w {’1— \ .7 mom PKOHLE of WING? @~ ber @;@ METHOD of HINGING (a) &@ “ROSE andfiwe KING” by Mary Jane Wafkms . Scale: o'-;"=l‘-0" ShCK Hafs used wifi‘ addHlOn of PRJrib . ° Sfock O'~—I")< O'~3"lumbcr wed/w pRO‘tle baaRd. («1.3103035 X. Comma blocks 0/! 3“ bu++jom+5. O URAWIHGS BY HLCAMBURH -AUG.H55’ 13b fuloufi #3 0"——*~>1 I r W; ’7??— r I ’N\\///fl> : X 03 l'LHolesL, OL-jlhDeeP \‘CLD g :4, ,-/:5'/:% L L ,/?"/ .’ L , l‘ L I; {659/ “L f L, 494‘ , r Lx “X“ '; LTX 7' “ ' v5 "‘1 L"’L’—_Q'5/,DKAPES HUNG 39 i f \Dxapes 5.qu ham Beams 1 / I LLI/ \2 Poles Rectwr‘ed 7. L I OL—IHSCLudRB [M] U M l L 3W.” “"3 .L . i I i 9 I \’ ‘0 REM ww’rue 2, 3mm PRWLE of R00? « Hat/56 — o'cT © ; L» L L I A? A; x u - —~ i _ ___ __ ___-__ fl“ - _. w ;_ ,_ r‘“*‘ _____ ___--_Ar. 7 T Ag * - ”: WAGON :Lh—“JL— ,; L L L SIDE . f FRONT J , A WRONE wnsolv a9 cAmon - SET @ Le, PM ” l ‘ L 3 AK 7? \ "‘—\ 51/31 N F \‘\ Q \ ‘ \$ \‘ ‘ _L, I/ . I L ‘ _ 7, L“ ROSE and fire RING H Man! Jame Wafkws x < x __ fl is 1 ‘ ' SCALE: 01;": #0" \N [:7 7m ‘ 5TOCK 7LATUSED 9‘05? THR’ONE BACKING. ’ ‘77 ¢ STOCK o’-I”xo'-3” LUMBER USED/u} PRo'flLE BOARD. ' x X ‘ Keqsfones 3CORneRblocks on a” bu)? )omi-s. . _ _, WWWLL 7, L- ,, _, J . X= LoosE PIN HINGE ; 7— \ . u " , \\ I/ - (L) f'_——‘ qt 0” >Lr< 2'~é" 511“ 3'~6”—————3~i g - 1L. __.HII’.” % . UMLL O )onns house 9T 0.. WITH hinges onSacc. REAR 4RAMING & QKONT ELEVATION of HousE & ATFACHED WALL ~ SET @ vnAwmgs 5v H.L.CAMBURN . A06.t955 135 136 BIOGRAPHY Mary Jane Larson Watkins was born in Superior, Wisconsin, and received her elementary and high school education there and in the public schools of Marquette, Michigan, and Hanitovoc , Wisconsin. She attended junior college in Ely, Minnesota, and received the. degree of Bachelor of Science in Speech from Northwestern University. Additional educational experiences include study in speech correction at Western Reserve University, Cleveland, Ohio, and in elementary education at Wisconsin State College at Eau Claire. Following graduation from Northwestern, Hrs. Watkins spent two years in Cleveland, where she was Director of Dranatics at Sunbea- School for Crippled Children conducting special projects in puppetry with cerebral palsy patients. She also taught creative dranatics at the Cain Park Creative Playshop. She has served as Director of Junior Red Cross for the Whittier, California, Chapter of the American National Red Cross, and as a caseworker for the Eau Claire County Children's Agency in Wisconsin. Prior to beginning graduate study at Michigan State University, Hrs. Watkins was Director of the Junior Civic Theatre of Kalamazoo , Michigan, where she conducted drainatics classes for children and directed plays for children's theatre presentation. During her residence at Michigan State University, Hrs. Watkins served as graduate assistant in children's theatre, assisting with production of plays for children and serving as one of the advisers and directors of the Toyshop Theatre. Asa-7555 Fs'v‘vL‘s (I. 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