JUST FOR ms FUN (:5 rr'. A AN QmmNAL MAY ma Amman warn AN ANALYSIS 0:. IN: WRITING ANp machINe PROBLEMS anowep ~ ’ ” ' , m fa rho Dumped ALA ‘ MIG-HEM STATS COLLEGE Bmy Jana Cibuia I953 , TIHEQS ’ , 124'al’i’lflllllm L I \\w . Q; . T'Iiis “is to certify fhat the 2:: :1 LIt‘flsIa-eptltled __Just For The Eun Of It _. An Original Play For Cfiildren wifih An Analysis of thr‘a‘r—iting- and Biredting Prebiams Involved presented bggu ”a“ I v Betty Jane‘fiibula .. ' ‘ 55 . I has been accepted towards fulfillment of the requirements for ILA. degree MM Major professor Date August 10, 1953 0469 V'r, :--' ran—A. PLACE IN RETURN BOX to remove this checkout TO AVOID FINES return on or before date due. from your record. DATE DUE DATE DUE DATE DUE ______——— ________——— MSU Is An Affirmative Action/Equal Opportunlty lnetitution W ”3-9-1 JUST FOR ME FUN g1; g1: .AN ORIGINAL PLAY FOR CHILDREN WITHYAN ANALYSIS OF THE WRITING AND DIRECTING PROBLEKS INVOLVED By Betty Jane Cibula Au cram“ A THESIS Submitted to the School of Graduate Studies of Michigan State College of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech, Dramatice, and Radio Education 1953 111 "Pipe, pipe! Play away! We all dance to dance to-day! ACKNOWLEDGIA’IENT S Myapecial thanks go to Mrs. Zack York for her gracious and kindly guidance of my work in Children's Theatre over this past year and for her wise advice and patience in the forming of this play and its produc- tion. My thanks is also expressed to Professor Donald 0. Buell for his 'willing assistance in shaping the thesis; to Dr. John Jennings for his guidance in the area of playwriting; and to Dr. Max Nelson for his advice on the writing of this thesis. My sincere appreciation also goes to Faber DeChaine for his ingenious contributions to the staging of this play and to the many students in the department who assisted.me in all of the phases of production. My thanks go to the Toyshop Theatre members who lent such inspiration in forming the characters of this new play; and to Herbert Camburn and Frank Serresseque for their emergency aid in playing King Cole and Malwick Buffet. Finally my gratitude goes to Bette Shannon for the help she so graciously gave in.the many hours of typing. LIST OF ILLUSTRATIONS OPPOSITE PAGE "Pipe, pipe! Play away! We all dance to dance to-day!" . . . . . . . . . . . . . Frontispiece "Guards! Guards! Seize him! He's trying to poisonthekingl"................... 67 "Why, it doesn't hurt to laugh!" . . . . . . . . . . . . 72 CHAJHHEI PAGE I WRITIYG FOR CHILDREN . . . . . . . . . . . . . . . . . . . 1 II THE ACTING SCRIPT OF JUST FOR THE FUN OF IT . . . . . . . 12 III muLYSIs or masons; PROCEDURE . . . . . . . . . . . . . 83 Iv ANALYSIS or ammo, Paosmts arm senses SCRIPT . . . . . 97 VCONCLUSIONS.......................171+ VI m PRODUCTION BOOK OF JUST FOR THE 13; g5; 31; . . . . . . 179 BIBLIOGRAPHY O O O O O O O O O O O O O O O ...... O O 205 AN INTRODUCTION TO THE STUDY AN INTRODUCTION TO THE STUDY Even though this author had little experience in the field of play writing, and especially in the area of children' s theatre, she has written Just For The Fun 9;; _I_t_ in the hope that a thorough study of the component parts of the play would make her a better director and leader in children's theatre. She also felt that the results of her experience-—the mistakes and discoveries-—might prove of value to other writers of children's plays. the characters have been based on Mother Goose favorites. The author has attempted to keep their basic characteristics, familiar to all children, the same. Wee Willie Winkie has remained the delightful, impish little boy who tucks the children in their beds; Mary Contrary is still surrounded by her "silver bells and cockle shells.” King Cole becomes the "merry old soul", though he does not have his fiddlers three. Tom-Tom, the Piper's son has become Cole's son but is accused of stealing a pig, which characterizes him in the nursery rhyme. Mollie Muffet does not sit on a tuffet, but is still a frightened little girl. Lolar the Scholar, based on "Dillar Dollar, the Ten 0' Clock Scholar", retains his characteristics of lateness and studious- ness. The Butcher, Baker, and Candlestick Maker have also been based on the nursery rhymes. The other characters have been drawn from the author's imagination to complete the people who live in the kingdom of Likemeland. ix The first chapter of this study will include a resume of the essen- tials of a good children‘s play. Chapter II includes the original script of Just For The Fun 9;; It; Chapter III, an analysis of the di- recting problems; the revised script with an analysis of the writing problems will be included in Chapter IV. Chapter V will present a summary pf those factors in writing for children which the author has found of value. Chapter VI will include the production book of CHAPTER I WRITING FOR CHILDREN CHAPTER I WRITING FOR CHILDREN There are certain elements in all drama, whether it be for adults or children, ”which make a play a play.'1 These essentials of plot, character, theme, and dialogue are variable and not to be found to the some extent in every play. This author will not attanpt to.discuss the fundamental requirements of each of these elements since a thorough analysis can be found in the majority of books on playwriting. The playwright of children's drama, like the playwright of adult drama, must have a thorough knowledge of dramatic technique. Because the basic structure of all drama is the same, and because all novice playwrights must master dramatic technique, a general anal- ysis of dramtic structure and technique will not be presented. an. chapter will concern itself with an analysis of the four elusents of plot, character, theme and dialogue as they must be de- veloped for a child audience. METALS 0F WRITING FOR CHILDREN The thus, or the thougtt of a play, is the first of these elements to be considered when writing for children. Miss Winifred Ward, in her book, Theatre 22;; Children, states that the story used as a basis for an adaptation for a children's drone must 1 George Pierce Baker, Dramatic Techniggg, (New York: Houghton Mifflin Cons-aw. 1919), p. 2. 2 have universal qualities which give it lasting value.2 'nlese ”qual- ities of lasting value" are inherent in the theme of the play, which met be applicable to the child's realm of interest. According to Charlotte Chcrpenning, who is considered the dean of playwrights in the field of children's dram, “This experience that happens to the child's 'other self' list be an experience worth having, which will grow into his life and nuke him a better individual for the happen- ing."3 The dramatist's attitude toward his audience is of paramount importance dien conveying this worthwhile theme. He must know and respect children, approach his audience with complete sincerity, and not “write down“ to them. Miss Virginia Lee Comer emphasizes the fac- tor that drau should not be "written down“, and adds that an author met have a direct, honest approach to his audience.“ The drmtist met be aware of the children's viewpoint and not “shoot over their heads with satire and symbolism which are meaningful only to adults."5 At the present time there is great opportunity for the novice playwright who can write plays around social questions. Miss Ward writes that very few plays have been done in this country that help to develop right attitudes toward race differences, social inequalities, 2 Winifred lard, Theatre For Children. (Kentucky: The Children's fheatre Press, 1950), p. 51‘. 3 Charlotte morpenning, Six Rules for Drama. 11s; York Times, Septem. bar 1, l9n9. 3+ Kenneth L. Graham, g Introductory Study g_f_ Evaluation 93. Plays £9; Children's Theatre i_n_ the United States. Unpublished Ph. D. thesis University of Utah, 19‘??? 330 numb. leaves. 5 Iard, 92. 93.1., p. be. 3 and many other problems of the modern world.6 She continues that the presentation of such themes must not be too adult or teach to obviously. "The idea must be so imbedded in an interesting plot that the children themselves sit in Judgement on shat is done.” Without apparently trying to sway his audience, the author must construct his play in such a way that the true values stand out clearly and sympathy is never replaced.8 By suggesting that plays be written on social subjects, Kiss Iard does not imply that present plays are lacking in ideas. She explain: that though there is a lack of plays in which modern questions are discussed, the children are given much more than mere amusement “when we present plays which help them to a better understanding of people, a fairer standard of values, a more intelligent sense of Jus- tice."9 It may be concluded that the playwright, who is attempting to satisfy a child audience, must know and respect children and approach his audience with complete sincerity. The theme he chooses to convey met not obviously teach or contain satire and symbolism or be pre- sented in too adult a manner. The theme must be worthwhile, within the experience of a child's understanding, and help to give him a fair sense of values. {2‘ 1— 5 Ibid., p. 67. 7 Ibid., p. 68. 813.2. 9.1.2.- 9 Ibid., p. 126. u The plot, or the story of the play, is the next element to be con— sidered. To facilitate the discussion of the plot in a children's play, this author will discuss the component parts of the plot separ- ately, alnys keeping the child audience in mind. The importance of a clear, simple plot; the handling of exposition, the need for a clear story line that does not stop; and the importance of suspense and climx will be considered. She will show the need for comedy and poetic Justice in the plot, and discuss the advisability of adding romance to the story. If you ask a group of children what they liked best in a play they will invariably answer, “The story!" Miss Ward states that one has only to observe an audience of children to realise that it is the story in the play which holds the most appeal for children.10 The story met be clear, simple, and uncomplicated. It must start out at once and involve plenty of action.11 The exposition, or antecedent action, concerning the characters and situations, should be told swiftly and subtly. “The children want the author to omit the exposition and get the play started at once."12 lard suggests that it be revealed bit by bit in the natural conversa- tion of the characters instead of the conventional prologue or artificial solilcquy.” 1° Ibid., p. 127. 11 Ibid., p. 129. 12 as. 2.1.2.- 13 Ibid., p. 77. As in a play for adults, the settings, costumes, and characters aid in revealing the story. The story line must be clear to the child audience. "me play should build steadily and rapidly to the climax and then stop.'1u If the story line has been broken to introduce complicating episodes, the children will be confused at the end of the play. Ward says that simplicity is characteristic of fine plays for children.15 Charlotte Chcrpenning agrees that the story met never stop. “lot for comedy, unless it actually moves the story, nor for dancers, no matter how beautiful, nor moralizing or philosophy, not for sheer characteriza- tion."]'6 It my be concluded that the story line met never be broken. his climax in a children's play should come at the very end of the play or within a few speeches of the final curtain. Constance D'Arcy Mach” writes that the lack of climx is the lack of most children's plays. Discussing plot, and especially climax, in her book, mildren's Theatres and 11131;, Miss Machy states: 'There met be a beginning, a middle, and an end. There must be what the Greeks de- clared ms the essence of drama-«struggle. The younger son sets out to reach a goal. Three times he is frustrated, but in the end he suc- ceeds. His frustration and final success may be given in one act or in three acts. But each scene, each bit of dialogue met speed him on 1“ Ibid., p. 130. 15 L_9£- 9.1.1. 16 Chorpenning, 92. 31.3., his say, met build toward a clmer."17 Expectancy should carry over from one act to the next, and the play should always point ahead, leaving the outcome uncertain until the very end. Especially in a children's play, the dramatist may heighten the suspense by letting the audience in on the secret. “The suspense in that case results from the desire to know how the char- '18 No play would actors will react when they learn what has happened. be a success if it failed to stir the emotions. Miss Ward states that suspense can be aroused in a children‘s play only when the audience is in sympathy with one. or more of the characters.” The dramatist met not arouse the emotions unworthily. Miss Ward believes that sympathy, Joy, and admiration are awakened by good We and the child grows in sensitivity and understanding, but if the emotions are stirred by cheap sentimentality, the harm my be great"?0 It may be concluded that suspense met be unployed to a goat extent in children's drama but the playwright met n_q_t_ stir the child's emotions unworthily. Comedy should be included in a serious play. According to Miss Ward, relaxation, heightened enjoyment, and a better sense of propor. tion are given to the children when comedy is woven into a serious 17 Constance D'Arcy Mackay, Children's Theatres and Plays, (New York: D. Appleton and Company, 1927): p. 101. 1‘ Ward, 92. _c_i_t_., p. 80. 19 Ibid., p. 79. 20 Ibid., p. 131. 7 play.21 i play that is entirely comedy is less effective with children than a serious play with a few comedy scenes.22 If the plot doesn't provide comedy the characters should, for "not only do the children like it but it has a very salutary effect on their nerves.“3 Charlotte Chorpenning also feels that too severe tension can be broken up by writing into the story scenes that will give the audience an excuse for exercise such as loud laughter, applause or stamping. She cautions that these met be included only when they do not interrupt the story.21+ Comedy should be added to a play to give the necessary relaxation de— manded by children, to give them a better sense of preportion, and to increase their enJoyment. Romance should be avoided in a children's play. The characters may talk about love if it is kept on a dignified plane, but an embrace between a man and a woman will only cause the udience to grin, accord- ing to Miss Ward.25 It is the impersonal love of the fairy tale that is a satisfying conclusion to the play. Poetic Justice should characterise the ending of a children's play. Miss Vard writes: "Children have a strong sense of Justice and a play to be satisfying to them must distribute rewards and punishments ac- cording to Just deserted“?6 To those who ask if children are being 21 i_._q_q. git, 1&9. 21;. 23 l._9_c_. gig. 2h Chorpenning, 93. £13. 25 Ward, 92. 213., p. 132. ' 26 I-_°_s- sit.- given a wrong picture of life when they contimally see plays which are characterised by an ideal Justice, Miss Ward replies: "It is not neceseary that a child face all the hard realities of life. Childhood is a time to grow strong in understanding, in right attitudes and ap- preciations, in sense of values, so that he may be better able to meet disullusionment when it comes. And to this end he should be exposed to what is fine, what is happy, what is ideal.'27 Certain conclusions may be drawn concerning the plot and its com- ponent parts as utilized and developed in a children's play. The story is the maJcr interest to the children. It met be clear, simple, and uncomplicated; start out at once and involve plenty of action. The exposition should be revealed as swiftly and subtly as possible. The play should rapidly build to a slim and never stop. The climax should come at the end of the act or close to the final curtain. The dram.— tist should arouse only worthwhile emotions that are relieved by ”ex- ercise" scenes to provide a release from tension. The playwriglt will be more successful in his attempt to satisfy a children's audience if he includes comedy, impersonal love, and poetic Justice in his story. Character is the next element to consider in a children's play. he characters in a children's play must be broad and obvious to be understood by the younger children; without subtlety and complexity. Miss lard writes that they must be what they appear to be, or if not, it should be easy to see through them. Bold, courageous heroes are ad- mired, as are lovely, plucky heroines. They like odd comic characters 7 has Cite and villains that a__r_e_ villains, and they want to see these villains outwitted by the hero or heroine and thoroughly punished.28 Al- though considered secondary to plot, ”the characters are at the heart of every play."29 They must seem real to the children so that identi- fication and complete sympathy are possible. The characters must be consistent and yet capable of growth. Helenka Pantaleoni, a former member of the Junior League of America's playreading committee, writes concerning the growth of characters: “The reader must be alert to consistency and growth. Are the characters true to themselves, or does the author, in the interest of plot development, take liberties with their inner nature? Are the actions the spontaneous outgrowth of the situations in which they find thanselves, or are they superim- posed from the outside by an arbitrary whim of an author”)0 Consist- ency in character, according to Miss ward, is denanded in all characters. "If a person is made to do or say something which is contrary to what the audience has been led to think about him, they will not accept him as a real person. The playwright should be most careful not to force characters to do anything which it is hard to imagine them doing."31 Charlotte Chorpenning believes that there must be a character for the children to identify themselves with. This is a mandatory rule in the writing of children's plays because “he or she becomes the other self."32 23 Ibid., p. 13M. 29 Ibid., p. 83. 3° Helenka Ldamowska Pantaleoni, How to Read a Play, Th3 Junior M W October, 19%, p. I4. 31 Ward, op. silo. p. sh. 32 Chorpenning, 92. gig. 10 Mrs. Panteloni, in agreement with Mrs. Chorpenning, writes that it is a mat for young people to draw certain characters for sympathy. Chil- dren, mre readily than adults, identify themselves with characters and ”are not happy in the company of an all negative assembly. '33 The playwright who will be creating characters, should keep in mind the specifications set upon him by his special audience in the delineation of these characters: They must be real; capable of draw- ing sympathy and identification. They met be broad and obvious, with only easily detectable subtleties. The characters must be consistent but capable of growth that is in keeping with their own particular character. Dialogue is the last element that will be considered. It must do three things: Clarify the situation; tell the story; show the charac- ter. According to Miss Ward, even the most realistic modern plays should have dialogue that is characteristic and distinctive of people.“ Brief speechesare the ones enjoyed by child audiences. Miss Ward writes: “uric . mistake to write lengthy speeches. Short, natural conversation that gets to the point at once is the only kind of dialogue which is successful."35 m" Constance Macm is completely amenable to Ward's belief and adds: "Adults can be interested in dialogue, but a child audience is interested in what is done."36 Chorpenning 33 Pantaleoni, 92. 943., p. 1+. 3“ Iard, 9p, £13., p. 85. 35 me. ea. 35 Keeley, u. gi_t_., p. 102. ll strengthens this belief but cautions that “this does not mean it is necessary to use only kindergarten words. A child will understand words too big for him if they apply to the situation he sees."37 It my be concluded that the dialogue in a children's play Inust be short yet distinctive of the characters. Dialogue must tell the story, sake the situations clear and understandable, and reveal the character. Keeping the child audience foremost in mind, this chapter has dealt with the four essentials of drama: theme, plot, character, and dialogue, as they must be developed and utilized in the children's play. 37 Chorpenning, 91'. 9.1.3:. CHAPTER II THE ACTIHG SCRIPT OF "JUST FOR THE FUN OF IT." JUST FOR THE FUN OF IT CAST CF CHARACTERS: Wee Willie Winkie Mary Contrary King Cole Malwick Muf f at Tom—Tom Poppyseed Mollie Muffet Lolar the Scholar l Guard 2 Guard Brisket Butcher Ned Nimble 'Bob Baker, the Biscuit Maker. ACT I - The Village Square of Likemeland Early in the evening. ACT II Scene 1 - The Village Square Early the next morning. ACT II Scene 2 - King Cole's throne room A few minutes later. ACT III - The Village Square. Five minutes before noon. DR of well JUST FOR THE FUN CF IT AC‘I‘I some: IT IS EVENING IN THE VILLAGE SQUARE OF LIKEMMD. £33311};me A LIGHT CAN_BE SEEN IN THE HggsEs TEAT SURROUND THE SQUAgE, Tm WILLIE WI‘flIF, ENTEB§ ON TIlj’TOE. HE, 3483133 TO THE wnmow or THE FIRST HOUSE, PEEKS 13;, MP5 ON THE PINE. WILLIE: Time for bed! (SKIPS TO DOOR OF THE 2mm HOUSE mo 5.; Past your bedtime! 1w W. SW £112an- PEEKS IN. HE KNOCKS ON THE DOOR.) It's eiglt o'clock! (HE IS flog: TO cox-ITINUEMLEE SEES MARY comma? W COME OUT OF THE P . BIND TIE WELLS my: (SITTING ON BENCH) Star light, star bright, First star I've seen tonight, IwishImay, IwiehImight Get the wish I wish tonight. l~ -.-~.... an"... 1'! “WILLIE: ...and be happy! MARY: He tried so hard to get King Cole to laugh! WILLIE: (SALLY) But King Cole didn‘t laugh! 21mm ( mitii EEEDJLEIOYL- ) WILLIE: Poor King Cole! MARY: Why doesn't King Cole laugh! WILLIE: Oh, you know Why lary. (IXITATING COLE.) A good king has to be dignified! mu: (LAUGHIEG {lb-«Willie! WILLIE: Yes---very dignified! A good king doesn't mix with the people. EARY: (CATCHING-HIS SPIRIT) A good king doesn't have time to laugh. (THEY BOTH LAUGH) (Y__:r.;‘r._OOLE.-YELKs IN SLOT-FM. FOLLOW BY I—TIS PAGE, POPPYSEED. WI_LLIE__m;E m 1903112833 Em AT. men.) WILLIE: If TompTom were king he would laugh and laugh! VARY: Tothom.would be a happy king! WILLIE: He would sing and dance! , ..-..._‘ tum-.u-HM-“nnp-u .n...‘ "1‘- _ -‘ . Mssigtq,_99ls.,- stars from . {2.9.3.19 iQQMOlLSAQW1Y..3 (hirtsy ,W.,, POPPY: Watch out your majesty! ( YILLIE'E WEI-“ms memes TO THE Ems.) Mw‘fl-l. l ‘ ., J. I‘WILLIE: m---Oh---uh---11-h-he e e e POPPY: th--oh!! ,_ MARY: Oh--uh--—King Cole! (EYEIEEOYS) 18 COLE: Who 56 name were you mentioning? WILLIE: Why—«we were-“that is—-- ea._m._~....nat'.. . -—-—1\- v h.--e.,- e a. .. . .-u. M‘N‘h'.’u“m.d —a—-_-._: ifARY: We said--we—--I was. . . . COLE: Answer me! Curt sy mmmmwmw EIARY_:___ ( C'PTSIES AGAI 1') Good-— evening---your majesty. Freqaent boys IIWMW‘Y’ILEIEY Good evening-"YO“! r°Ya1--- ' your majesty-“your highness-uuh-u King COIBe COLE: Whom were you talking about? LIARY: Prince. . . WILLIE: . .Tom-Tom. COLE: I have forbidden anyone to mention his name! Iove towards Cole . {QR}: But—u-King Cole.... ..- ie‘wl. can-asu- COLE: That is a command! A step towards OOLQIMW...W-..WWIT.-. WILLIE: Your Majesty-«your royal high—-y0nr mgheeee COLE: Q1113 sputtering! What are you trying to say? MARY: King Cole--is---is Tom-Tom.-- The Prince-«ever coming back to Likemeland? COLE: Don't mention his name! WILLIE: Butu-Chancellor Muffet says he's dead. 31££¥LP§99E._§_§enl?9¥f_._m .QOLYL,ISIE§__EE_..SY;Yes. _ Y9. __.s IT. Dom Yes--yes. l. C“ .1—3. ~“‘ «W'- I' POPPY: Let me help you, your majesty. COLE: That't true. He will never come back. Jump .119 New, e .. .7. . Center .. _ a ‘Jfik a..-L Nun-m " I"‘--‘A .- ’0‘ ..COLE= ‘- — ._. --.-X .'-"'"‘i.ol ,y. ‘»«A ,,,,|_ .. “q, -A. 77_ .77.; _‘,_,, . » ,-« .» - 3.3.0! "-"u-Oaa— ._- .. .1 s - - Elsiem‘e shied. 33:99 9. . Rm ._ 9.1-3 .9: 001° -—-M”-—~*.fln.~muu ,- I , ‘ . . —~,a;h‘*|7> '.- .- _nARY:~.(coURTSIEs) ..EILLIE: 19 ‘0 v-n 'I" H . O ‘0 King Cole-o-are you sure that Chancellor Muffet is telling the truth? ,CO.L.E,;_-_IJTJC£PS UP) How dare you! Mary Contrary!--—You know that Chancellor Muffet always tells the truth! WILLIE: All-~always? COLE: mm: why: Chancellor Mui'fet never lies! filmmawioi‘ESTAGE) Your majesty! (Egg Oh--there you are! your majesty. COLE: Muffet? What's the matter, Chancellor XUFFET: Sit down, your majesty, sit down. (FUSSE§_QE§E HIM) There. There. You're tired, your majesty. . Yes, yes, Chancellor Muffet. I am tired. NUEFET: Mary Contrary! Winkie! You 'are not to bother the king! EARY: WE're not bothering King Cole. MUFFET: Be off! MARY: We were just asking.... NUFFET: lb one asks the King anything. WILLIE: We wanted to find out... MUFFET: Silence! Be off! Good night, your majesty. Good night, King Cole. (THEY START CUT THRQUGH EH3 EARK BUT 3193I§¥3§l¥9E33?lIQE§§lBACKIEQIQQLE-) MUFFET: majesty? Where are you going, your 20 COLE: Poppyseed and I were just going to walk through the park. HUFFET: You musn't tire yourself, your majesty. You are a sick man! COLE: Yes--I am a sick man! EU? ET: You must come back to the palace and rest, your majesty. We have much to do tomorrow. COLE: Tomorrow? Oh—--yes! The fair. MUFFET: The fair---and the proclama- tion your majesty! You are going to name me king at noon to-morrow. COLE: th—-yes. I had always thought that TompTom would be the next king. XUFFET: But he is dead, your majesty. COLE: Yes--—yes. I know. MUFFET: You.must remember King Cole, Prince Tom-Tom.left Likameland. COLE: That's right, Chancellor Muffet. HUFFET: The prince didn't want to be king of this greed land. COLE: Tom-Tom and I were so different. BUFFET: He didn't know that a good king must be dignified. COLE: TompTom was always happy and laughing. EUFFET: He didn't know that a good king doesn't mix with the people of the kingdom. COLE: No, he was so friendly with the people. MUFFET: Come, your royal majesty, you must rest. You are a very sick man. . R_andm;it tle behind Cole Start D helping Cole _.--.._y um— Front of well Peek out fr9H__Pshi_nd.,Tree _ 1- Exit DL fl...“ .. fl 'Vv-g 7-. ,-~m’F--w_-gvok-— ..u.'-:¢..\v.- V‘u:-—.~. .- L.“ g H‘ -. Exit DL following_Cole 131.13.11-30. flowersmlfl \¢‘-.-‘-'. ‘M~¢--. Wunmmfi‘ur—n. ~- 21 COLE: Yes--yes. I will be glad to give up my throne, Chancellor Muffet. RUPERT: For the good of the people of Likemeland, your majesty. COLE: Since TompTom left I have felt ill. HUEFET: Poppyseed! Help his royal majesty. POPPY: (PELPIT‘ COLE) Yes, Chancellor thfth o 1’U”EET: (xOI‘TT"” TO _THE LO'ZES) Just lookTat those flowers your maJBStyo _ COLE: They look.all right from here. —mwme.namuw. TL'-',‘!::1.»‘.’“,.‘.TTr-'a g I" IA: . u ‘ 1111‘? T: Full of weeds! Full'of weeds! ___1'A_HY: (PM? TO JUMP OUT OF HER HIDIH “PLACEJ COLE: I thought Mary Contrary liked her flowers. YUFPET: Oh, no, your majesty! She doesn't even take good care of them. COLE: (GOIIIG OUT) We must do some- thing about that! ”UE.EET: Come your majesty! Don't go too fast. ( THE mm 1.1.3313) VARY: (AS sooz-T AS THEY APE OUT or " SIGHT SHE H1123 :10 H a 11.63 1:13) Sit .011. postman T ot's a lie! I love my flowers! Willie, you know that I take good care of them! .1HILLIE: Oh, Muffet! Shmuffet! Don't . pay any attention to him! HARY: He lied to King Cole! .Ii‘:.h\r ..Vdf v.>..u, u. U 3». n» .ma. Lg ..WLV. HM“ Z 22 WILLIE: I know he did! fiery! We just have to stop Malwick Muffet from.being the next king! X L, sit on D pench TALL: What can we do? . .-.-s.p;mumhn \thau.\hv-~vr~. Mr ‘- .ssza-u-r‘toyO‘ baw- -- - X to well, sit WILLIE: I don't know. HARY: We just have until noon to- morrow! WILLIE: OH!---What can we do--~do ---do?? ( BOTH DEEP HT TTIQUHTT) “.4", --unn.--n .--.- - Tom-Tom: ( 392531.131-le 121$. ...EAEK, SEES THEM; PUlaé§LQHEMEIS 311910.213) Run L to 1m ”1.-..--“..-..11’ILLIE1___CJUUIEI..E§E§ HP) We could tell King Cole that .... Jumps upmtgwmeethiTlie_ 1 HARY: Yes? ..l.to..nelL__-__-..m__.,_.._1.w-.___.,_-,M.__EILLIE: Oh-h, no-no! That won't work. Run Emu”. H M533: Oh!---We could keep the.... ‘i - nan.- 31-4.T-L -..,. kuox.M'¢M1--e Run to meet flarymflmm,“ WILLIE: Yes? Yes? Yes? ’-~o-I.~—..~—A.L--.-.n—., _-______. lo: X._L+-$i t. ..—.:..-...- ..v.».,...,,,... 11...,“ 1,, ‘ ,_. .,. V EEA-RY: Oh.--n° o o o o . . ”INW’me‘W-IO‘IO'I‘p“ TOM-TOM: (WHISPERS TO HIS 111315133 RUEE) --~w1mhwmnflflflw_u 0:1 wen. _. . mum Listen! .4 ....- n—ofl.’ MARY: It's music! Feetmovingwmh WILLIE: 011’ 0111 Look Mary! My feet! They're Moving! They won't stay still. HP,.__.§1119196...M , . um: (mmmmcmrw) 0h. Uillie!! It‘s like magic! (THEY, Horns 1m: DANCING) x__n,_fi_p1gyupfi133 , , momma: (00:33 D,“STOPSJELAYINGAIID " ' 111211118) 1??! -93 19.1}-.- z.__to_._.T.9.T.—:.TQ_T.._. Dance S_i_t on well _ 23 (1111111 11.1.11 1111,1313 STOP DA’TCI :11 YRS? TEE... 1131011329138. -5111” S112; T014101! ) T035710”: Hi, 11am Hi, Willie! A .4 ‘— .99'.:'-5_1\-.H"-\.. ‘vhd'tc—.— .- o .- mm.4 3.,“ :s rL-J' M-I&'JDO'*A\£: 1 f 1"- nan; . .1~ n~~ and-up”... ‘ .'.-.~§"~§- -' DR of well L of well Hold out pipe Examine pipe Dance 111. _. ‘F- ‘“ ‘u'lbtbglot..~\'§1 1151:. ' 'fl'\.‘?"‘ ”I. (‘4‘ka ‘7WI.’~'\(r.;«‘}r1»‘.--‘,~__vl;4.or‘ '1 -. Dance DR _ ._ -—.mvninnifltw"Ffi-MM\“ IiARY: It---it' s Tom-Tom! WILLIE: curl my cap! Prince Tom-i ”om! (1.551.119.1311. 5T. .‘1'1’2 mm _§T.:ILT _ .A'I'. M11121) Tom—TOM: Hi!! What's the matter? sififlfARY: Oh~h. Are you real? TOM-TOM: (LAU ____I3’__IT:_G) I think so. WILLIE: He's back! He's back! "TON-TOM: Are you glad? I.-IARY: Ohm-yes! ! ' “11111.13; YE‘ 5: YES! YES! Vi..- 1‘" ‘Ml‘im ‘A’f -.-'\r-l" 6.! I». ‘.xl..‘--'~U~-‘..'-u~ 'a 'u-- . - Z’ARY: Did you play the music, Tom. Tom? TOM-T011: Yes! With my magic pipe! (SHOWS IT To 13:".) VAR : Your magic.... WILLIE: . . .pipe?? ,TOT’ TOI’: Yes! See? (GIVES _IT TO 113.1. 511.1; 31:13 WILLIE 111011111. 1T.) "1111.1.1111 upon" AT IT) What's magic about it, Tom-Tom? TOM-TOM: I'll show you. (TAKES PIPE} Pipe, pipe, play away, Mary and Willie dance today! (@115) IaiARY: Oh! My feet are dancing!! “$191547? Mine are, too!! Sit on bench__L _ :7. ”-4”. ~M'I‘R\Q ,M>‘uw in ._ I. g ...‘l. U ’ ' . s a. - 3 a\.w:~au.ncw". sn-afl :qu. QR "91}_,MJLLLULLLLUW,L;.H .{ggLEQLMary 2h TOM—TOM: (STOPS PLAYILQ) That's the magic! MARY: Oh—--You play.... WILLIE: ...and we have to dance!! TOM-TOE: Yes. BABY: TompTom, can everybody dance to it? mom-Tom: Well-—-everybody who isn't dishonest and mean. MARY: (Lauggxxs) Oh~--I bet Chancellor Muffet couldn‘t dance to it! WILLIE: Never! TOM—TOM: (ANXICUSLY) How's my father? VARY: Oh, TomnToml King Cole will be so happy to see you! WILLIE: Yes! He thought you were dead! TOM—TOM: What? MARY: Chancellor Muffet told us you were dead! TOM-TOM: Well--—I'm not!! (THEY ALL LAUGH) TOMeTOM: Did father miss me? WILLIE: th--YES! He missed you! MARY: And I missed you! WILLIE: Me, too!! MARY: And Lolar missed you. LToszQM: How is Lolar, my favorite scholar? Xiimi’gafiigslgglar . X DL ‘—‘" ”hi‘lu-“I‘l ‘r-nia.-~¢.-n§‘ : PointeL Run to TomeTom XIR maxom-Tombehiné W611 E33395-.._DL._.. 029993...- 0 UQMLLolaLW- - Gropemfgzglasses _- A 'I II!“ I.’ is. “Kw—J.—'—' AL“ 45—- .II—l. Mun-“.4. . - .1 'AA‘-—‘ . . ,1 .1 *Atj -. .‘Lnr- ~A.'h—I~\~AH1.Iv---fi"fld ‘ ' ’ ‘ "‘ HOLLIE: Does it hurt to laugh? Tex—TOM: Of course not. HOLLIE: Honestly? TOM-TOM: It's fun to laugh! Take a drink. . .E-IOLLIE: (STARTS; TQLIFT TELEMBQWL TLEEEEELIES) ' TOM-TOM: Go ahead! Don't you want to laugh? MOLLIE: Papa says laughing is—--is ---non--nonsense. TOM-TOM: He's Just teasing you. HOLLIE: Honestly? TOM-TOM: Um-huh. E--10LI.IE: All-«right. . . . ( WQ. TIP BO’IfI.) :mpm: (HAS. com. 0E...§:~.;Es.._EQLL1E) Mollie Muffetl! Put down that bowl! TOM-Tog: Oh-u-Chancellor Huffet! HUFFET: Uh--Mollie, dear, put the bowl down. .MQLLIE: (HAS-.SPILLED. ESQ-"ATE.“ mm,ImE-I...HE SHOUTED. 5mm: W'P.§...TFE.. _B (PET._PQ.‘IT{-A+:IP_JJRAII'S may FRI}?! HIZ; .) > - -—-—.—a.............._.. _. TOM—TOM: Chancellor Muffet, May I see father now? HUFFET: No---no, your highness. TOM-TOM: N0??? Why not? HUFFET: King Cole doesn't want to see you, your highness. Sit on well “On...- 39 TOM—TOM: Doesn't want to see me? What did he say? HUFFET: Oh, your highness, it is so hard for me to 1:311 you. TOM—TOM: Tell me, Chancellor Muffet, tell me. HUFFET: King Cole has ordered you to leave Likemeland forever! “TOMeToni- ISIT$_DOEn) I don't under- stand. Why? What hare I done? BUFFET: Your father, his royal madestyb--said you deserted him. You left Likemeland without a word to him. TOM-TOM: But you knew where I went,, Chancellor Muffet. BUFFET: Why, your highnessl You made me promise not to tell anyone where you went! TOM—TOM: But didn't you tell father? HUFEET: I must confess, your highness, I did. TOM-T M: Then what did he say? MUFFET: The same thing. You are to leave and never return. S.t.&£_t_-l{.lc..m-...__m.m---..---,....._..,........ CH-rTQI'iz..-.( STARTS,_QIIQ) I'm going to Slozlz-.X..R__.._.._.M- ”MIME. _- I... -..-‘;(r- '- see him. MUFEET: Wait, your highnessl You can't get into the palace. TOi-TOM: Why not? HUFFET: The guards have been commanded to watch for you. If you go near the palace, they will seize you. .WTOMgTQH; I guess I'll have to obey him.... Stars. -at_.__bowJ_.-- «x.» .w-.. . -~-m.4.a~.._u- EXI’GDL DR. .99....20 $.10. EDITED. - Point 3, Sit DR .,._- _A ._..... a, “A... __.--u...wo.or . ~\.j-c ~ .u—wM v- r"...- V. “grins. .nu". Mo BUFFET: Perhaps that would be the wisest thing to do! TOE-Ton: Well---I'd better go. MUFFET: I am sorry, your highness. Tom-TOT: Thank you for trying to help me, Chancellor Huffet. You can go and tell father that I'm leaving. MUFFET: Yes, your highness. Right now. Come, Mollie. TOM-TOM: Good-bye, Chancellor Muffet. Bye, Hollie. I-IOLLIE: (DQAS‘I'T II--.T0-.L=‘ vs THE “a: / ‘it-‘U 4 .u. 3.0.11.1» ) :UFERT: HOLLIE! (SH—73 L“"V“S BETTA- " LAST 1:9.0K AT..E§ATE> Goodpbye, Prince Tom—Tom. (THEY LEAVE) TOM— TOM: (WATCHES THE? GO. SUDDENLY HE JLD’PS UP_A1D__STARTS TQA'ARDS THE VA.“— . _...“ PALACE. HE Is ET 3.: Tr... .2...‘ Ia-ARDs. ) I wdll see him! 1 GUARD: Leave Likemeland, Prince Tom-Tom! 2 GUARD: Never return! TOM-TOM: Father has to see me! (HE HEADS .IITH $3.31; ..1‘0 _I._E._‘__T _Hm PA__§__s.7 l GUARD: We'll call Chancellor Huffet if you don't go. ”gfingHD: (POIHT§_B.) Leave! ‘5... _ur- -—- ~ (THEIHTLBNAIIQ IALHT ARDS I’ALACE ARTIHWTQH-fiozg HAS STAthED oUT R.) ____TO.‘.I'.TOIA: (TU'R:I,S SE. THAT THEY ARE DEAVIIIG, sITs _DQNJ .1 (DQLAR .4511“. may _COICE.‘ 17.1.3392; Tom.) I d to Tom—Tom LDATQAT 919:.1‘om X UL ‘5 w-;-- -.I...“ A U to flowers I ~.»- .9. o 594. $3 A xr-m no» “.i‘q Ann-Q—pd- I nuw ‘~w»“.wmp A - 4,-0- k. «‘1».-. h.~.& a. CC. W-‘ww‘lw-‘I'blr 7“ ‘I' .h—‘l 1+1 LQLAP: Tom-Tom? Tom-Tom? XARY: (QQIK§_TQ_HIE) What's the matter, Tom-Tom? TOM-TOM: Father won't see me. LOLAR: Shmat? Lat? What? TOW-TOM: He told me to leave Like— meland forever. LOLAR: How do you know he wants you to leave if you didn't see him? M-TOM: Chancellor Muffet talked to him. LOLAR: OH-h-h o TOM-TOM: Father said I deserted him. MARY: Chancellor Muffet said you left Likemeland because you didn't want to be King! TOM-TOM: That's a lie! LOLAR: Malwick Muffet is good at telling lies. MARX: Yes! He told King Cole that my flowers are full of weeds--and they‘re not!! TOM-TOM: But why would he lie? He knew where I went. LOLAR: TompTom, who should be the next king of Likemelandf TOM—TOM: I should be. LOLAR: I you left Likemeland and never came back, who would be the king? TOM-TOM: Whoever father named. 1&2 LOLAR: It noon tomorrow, Chancellor Muffet will be King. TOM-TOM: What? Why is father naming someone? LOLAR: Since you left, King Cole has become very depressed and sad. fiARY: Chancellor Muffet keeps tell- ing him that he's sick. LOLAR: muffet has convinced your father that he‘s not a strong king anymore. TOE-TOM: Oh-h-h.... LOLAR: You know that your father would give up his throne if he thought he was a weak king. TOM-TOM: Oh, yes. Father would think it wasn't fair to the people. HART: So--Chancellor Muffet will be the king! LOLAR: That's why Malwick Muffet lied to youp--and to King 0019! He wants to be king more than anything else in the world. TomgTou: Do you think he really talked to father, Lolar? LOLAR: No! I don't think.that he even saw your father. 110333349335 raga) Wat t till I catch you! Just wait till I catch you. WILLIE: Catch me if you can! Catch me if you can! EARY: It's Chancellor Muffet! TOM-TOM: He thinks I've gone. LB hiég,..hehia<1_££ae9w. . mm ‘ E11,? 6!; L. . Dancemflgi DR behind well. ----- SELLER X_Qlimof well Elitlnfl ...-—_... .__ ,, _ .__ fl, , _ >7", EML ~-Iu~ ~-fl*-A-’v-l i_..l un~~n...-‘. X... ..to was... I q s? ITO‘W‘AL‘V'“ ’- -- .w rmm... 14¢. -u- .HWILLIE: - __ ifU’FPm: I. «a. I' - . , .. . VILLIEE, L*3 LOLAR: You.had better hide, Tom» Tom. KAEY: Let's all hide. LOLAR: That's an excellent idea. We can hear what Malwick,Muffet has to say! JEELEIEE) ...J-"JLLIE: ( REL$5393-§_T:i£‘{~323911§93@9 Br waif; GK .z-sz‘FET . Almizomm.) Run faster Malwick.xuffet! Run faster! MUFFET: YOu!! You!! This is your last night in Likemeland! I'll baniSh you! Tomorrow Ha! Ha! I know a secret! I know a secret! (@9313? - 119"“) You! You! ",WILLIE; I heard you talking to the guards! King Cole doesn't know that Tom-Tom is back!! hUFFET: You silly creature! ::OLLIE: Silly? Silly Willy! Silly Willy! WILLIE: hunching Mollie Muffet: Munch! Munch! Munch! fifFPET: Wait till I get my hands on you! Good-bye Malwick Muffet! Good-bye Munching Mollie Muffet. (DASHE5 our) ...M TUE-mm: (£125....an L, HOLLIE: What does "munching" mean? Exit DL LLC erafisr Klemtaflnwersil LE9 Tom—Tom an“. ,--4 'm-MnliVnNd-WAI' ht-‘da-oouutn v “'c'ws'JVF‘ aw mar; «NI-r...- HUFFET: Eating! Hush up! MOLLIE: (sslgigmggugsi) Ch-h-h-h!! HUFFET: Oh!--—Come Mollie, dear, you musn't cry. Remember, tomorrow at noon I'll give you all of Mary Contrary's flowers. XOLLIE: All of them? HUFFET: Every one. HOLLIE: Mary won't like that. MUFFET: I don't care what that little snippet likes. EJOLLIE: I don't care either. MUFFET: Come, Mollie, dear. You must get plenty of sleep before noon tomorrow. LEOLLIE: Yes, papa. *UTFET (WWW) Ha! Ha! - Prince Tom-Tom is gone forever! I will be the next King of Likemeland! Tom-TOM: He was lying. He didn't ‘ tell’ father I was back! ....,Ir~{ARY: Mollie Muffet-m-you can' t have my flowers. LOLAR: Tom—Tom, Buffet doesn't want you to see your father. TOM.TOM: I will see him!! if??? You mean you! 11 stay, Tom-Tom? TOM-TOM: YES! I'll stay in Likeme- land forever. LOLAR: Shine! Line! Final! TOM-TOM: Malwick Muffet will never be king“ fiARY: Goody! Goody! WLQLAR: We must get Malwick Huffet away from the palace so you can see King Cole. Seated D? on post EARY: But-Chancellor Buffet is always at the palace. 30M—TOH: How can we get him away from there? LOLAR: I don't know---but we'll think of something. MARY: We will, Tom—Tom. TOM-TOE: I'll give father the bowl!!! MARY: And.he'll laugh!! TOM-TOM: Then he'll want to keep on being the king. Qfimrmdnmm__wvww w,. .flrh A”, ,7.” “LOLA“; We had better go and plan just what we are going to do. Lucwm,___m0-T0i Let' 3 Got! MARY: I'm so happy I could dance!! Takegutmipell TOM—TQM: MW) ALL right! We will! Pipe, pipe, play away, we all dance today. Danssmei a. -. LOLAR: (LWOOKIIIG i1-§£§.£i0.¥1§€9 HEM) Shmo! Flo! Oh! Shacious! Lacious! Gracious! Wl (T@.ALL3\”EOUTCAILY) KEELDRLXULWH BILLIE: (Rfllfiallmc THE max) Where is everybody? ( 333313;;ng some CE?) Wait for me! wait"?3r me!“ 1&6 ACT II Scene 1 X to front of booth R ..of booth. . 7 ygfiEkEEE of booth .L9a1}_.._9ut of. booth _--.Au-——~__-~.._—_..M. . .._.. EARL!__I_:£-..T.EE 30W PIG... 11.1235; ..VILLAGE SQfAFJJ . 11.1.1 5.. FAIRNDALAD THEMEEOQEHS ggmsalsiim aroma, BOB BAKER, mm 333 F153 E 33E SAILX;§EQQRATED- EHE_. Sfiiiisfigm 33:32:32.. BAKER. . AND NIHBLE POP. .UP P302.3313...isogz'zisa9;:;,_i;1 A.-.i‘.I.3-H m 5121.} our: TEIBJDLKEiLE 29,142.“: 393913.33- OJ} 1.31.0 193.3. - BRISKET: Chops! Ch0ps for sale! Chops! BAKER: Biscuits! Biscuits! Cakes and Cookies! NIKBLE: Candles short! Candles tall; for the table and the wall! ..BAICR:(EELKIEQTQ...213.3301??? QEEIS Bflea-1H,.A:misshisliiiii‘iimss5 Ah.-.- another fair day, Ned Nimble. HIHBLE: ‘The last fair day before Malwick Muffet is named king! BRISKET: Maybe the last fair day we'll ever have in Likemeland. BAKER: Ah-h-h. What happy fair days we used to have. BRISKET: Yes, Bob Baker. _WWKIMBLE: When young Prince Tom-Tom was here we sand and laughed and danced! BRISKET: Halwick Muffet hates laughter. _BAEER: I can hear him now. There isn't any place for it in a quiet, orderly kingdom. NIXBLE: At least King Cole let's us laugh even though he doesn't. WQQLMWWWMMMW I UQ. IO, Baker LAIBEEChI-zr .. .- autistislqck... .. . 'A'I‘ ~8 A . ' uni" 0| ‘3 ln'.‘-‘.- -u-u- . . u~ -1 “‘d »~~~..- 1...... w.;.-u.—e. 1+7 BAKEP: TompTom laughed enough for him and his father. BRISKET: Ah--—yes! IE'D: I wish noon would never come! BAKER: We can't stop the clock! BHIShLT: No! HEB: Ho.... (33:33 00313“ II _I CUT 3-3 IR 373333. s;I_ .eI .3 13:1 33333 33:: - 331m 333 IEAEII. 33:31: ALL 5 EOPL l wimpy.) BAKER: (IflngS) say—«w s our gay little Mary! ‘ HED: (HISTFULLY) She sounds so happy! BHISKBT: I hope that Chancellor Muffet doesn't hear her. NED: (11993122339333 IEE IALA E) Oh--—yes! ( MAE! _DAHQESIUL... .5 IN 3.17339. J}. .52. £931 THE FUN OF IT.__ SHE CA:*IWS A LARGE BOUQL: ET OE SILVER BLLLS AJD COCKLE SHELLS) VAPY' Happy fair day, Bob Baker, my biscuit maker. (S_':E_:}€I.,‘C§-_IZ.II_L_A 1.1.43.0 "3-) BAKER: Good morning, little sunshine. BRISKET: Not so happy! Not so happy! .YABI: Oh, it might be Brisket Butcher ---it might be! (51531113111143.3131! WRITER) ' N313: (POIIII‘IIICL TO” 31:3 CLOCK) nary dear, it will" soon be noon. 1!... 5%ng “Shula nub. 13R SAAB; .J ..I. i‘ G139._E.Et_ghext.-.e.._£loxer. Get basket from__,under “booth ., - X.L; give flower to Nimble 36.33133493333.939andle_ _ ‘x... — “kr.'..v-or . ‘- - A]. .~- .~ 1&8 HARY: I know, Ned Nimble. But-- maybe something will happen before noon. BRISKET Ah-h! Do you believe in magi c? YARY: Oh, yes! I believe in magic! BRISKAI: H-mpm.--—Thank.you for the flower, Mary. VARY: How is Lollipop this morning? “3313333: (ERIIJI a LQLLIPO}, IN 333 BASKET, 3120113331315 [233 comma) fattest little pig in all of Likene-e land. LQLLXAAQQEEAES) BAKER: And the noisiest! BRISKET: Bob Baker! She squealing now because she's happy. The only time she cries is when I leave here alone. NED: You treat her like a baby! BRISKET: That’s what She is! I don't know what I'd do if anything happened to her. "ARI: Happy fair day to you Ned Eimbi'e! (GIIEEEIIAELQIEA) HIMBLE: Thank you, Mary. ”AEY: (LQQKS.AIAQHZHZUGZ CAIDLE HE FAS_1jLA.C I331 III, 3922.93-fiiifi’???” Oh! What a big candle! NED: The biggest one I've ever made! BAKER: Ned, do you remember how Mary used to try to jump over your candles? NED: That I do. She had a perfect record.... X R EEEESJfiégdle DC “‘ mar’a'm wtmgv-“ u 9 ha fl mvfm- h J~-A H -w- n-'..?|.L “9 BRISKET: ...until malWiCk Muffet stopped her. MARY: Oh_h! Ned Nimble! Please let me jump over this one. 1131): Oh, no, Mary! (LooKmG IQWARDS... IEE.RALACE) Chancellor Muffet will soon be coming! BAKER: To check up on us. BRISKET: It would Just mean more trouble if he caught you, Mary. MARY: I don't care. BAKER: 0h, little sunshine! You do care! MARY: NO. I don't. NED: Why if Chancellor Muffet caught youp—-he'ds--he'd.... BRISKET: Put you in the dungeon! MARY: He isn't the king! BRISKET: He soon will be! BAKER: Yes! At noon to-day! MARY: Maybe he won't be the king! NED: Oh, yes. King Cole has made up his mind. IQARI: Maybe he'll change his mind! BAKER: Mary Contrary! Do you kno' something youfire not telling us? NED: Yes, Mary.... BRISKET: Do you have a secret? RAR : 0-h-h. (@A§;1;IG)__,, I can't tell. XDL Jump. 1...? all. ED. ‘20. Muffet _ . ,. sunny Alt-Anal w...u~ "“14 \- 50 BAKER: Is it a good secret, Mary? MARY: Yes! Yes! BAKER: Won't Chancellor Muffet be the king? l “LEA—W: I don. t how. 0 o O NED: Mary tell us! ,MARY: Sh-h. I'm going to Jump. One--.. two--- three. . . . ( EJ933313! QUITE GET iQm-Im.mm. SHEAND 1143 . CANDLE BOTH FALL. Imam E5995) BAKER: You're out of practice, Mary. NED: Yes! BRISKET: Lollipop could Jump higher than that, Mary. MARY: I'll try again. NED: It's getting late, Mary. BRISKET: Chancellor Muffet will be coming. MARY: Just one more try? NED: Oh-h, all right. BAKER: Quickly, Mary. (SEEJBIES. AGAIHJALLS. THEY ARE. 3131193316....AND WAR—4112...? 33.3.3me . EQLLORED BY MOLLIE, HARARRERRRD.) MUFFE‘I‘: What is the meaning of this noise and confusion? ( amammm EAR) . BAKER: Chancellor Muffet. . . . BIfiIFFET: Silence! Mary Contrary! Why were you Jumping over a candle this time? 93.339991-.. Ibint to flowers ADI-NR" mdm\“- .- ..q .-u. ‘ mailigwsand; e b Harma‘LAn WW «I... ‘..m‘a n. o. 51 MARY: (SilIJI-QIL-.TR.EA:3.RQUND, IIIIgQIIIG LE 0A.- WAR) Why? NUFFET: Yes! WHY? MARY: Just for the fun of it. MUFFET: Just for the fun of it? NOLLIE: Just for the fun of it? MARY: Yes. MUFFET: I have told you before-- that is not a reason for doing any- thing. ::ARY: But it is. BAKER: Shéh, Mary. NUFFET: Mary Contrary! I've warned you for the last time to stop this-- this silly nonsense. (POIHI§_.TQ~ @333.) “I‘MUFPET: Silence! Mary Contrary! At noon to-day those flowers will no longer be yours. MOLLIE: (BEDRTS OUT) They'll be mine. 3...“-.. . BAKER: Chancellor Muffet, you can't do that! NED: It isn't fair! BRISKET: Mary was only.... MUFFET: SILENCE! As king of Likene- land I can do whatever I please. MARY: But you're not the king. InqujEI: I will be at noon! (megs AT CANDLE) Ned Nimble, get rid of that useless candle. u . . . ' w . . . . ‘ Q a - w _ . V . . Y ‘ A . O-us . » ‘ ’ n l . . o l . ( l v w ‘ l . ...- . . I . v ' ' b r l o "y ' MC: 0 a}: v... ‘t-. ‘Vd Manhooth..m- , ._ L of Muffet 3.39m - booth .. X .DB...t°._ booth .4»,- Mu..~....-——.-A.. we... v ..- 52 LED: Chancellor Nuffet, that‘s the biggest candle I've ever made. . - RUFFET1_ We don't need big candles! Small ones are good enough! When I am king you will no longer make them. (W) Dr these silly star ones, or these---or these. In : None of them? HUFFET: NO! You will make small, thin candles only. HARY: The people like.... MUFFET: Silence! I don't care about the people! You will all be punished for this silly nonsense. A.NQLLIE: Silly nonsense. 11133373: (MERLE) Hush up! (TQ_ BAKER) No more of these silly bis- cuits. At noon you start baking breadp-and only bread! BAKER: The people like my biscuits! MUFFET: People? Bah! I don't care about the people. MARY: King Cole cares about the people. (LQLLL SQUEAL S) MUFFET: He won't be king much longer! MOLLIE: Just till noon! (wimflam) ,m_“UFFET: Silence that pig! At noon to-day she'll be sausage. BRISKET: Sausage? Little Lollipop, sausage? DL of well Exit DL LDL..A9....13I11? char. —. vnl‘d Elirrsmnggsjaaasthan-.-.... .v." \w.‘ ‘ ”a." 5r new ...M‘. . n -r - .‘.-..-.‘q 1.....— .~ a-.. 53' NUFFET: Yes, sausage! She's Just a useless, squealing creature. BRISKET: She's my Lollipop. ‘HLNARY: We all love Lollipop. BRISKET: Lolly never hurt anyone. JPMUEFET: Silence! I am going back to the palace now~--but I will re- turn shortly. I expect to find an orderly, quiet Square! Come, Mollie, dear. (THEY LEAIp) BRISKET: Oh, Lollipop! My little Lollipop! MARY: Don't you worry, Brisket Butcher. Lolly will be all right. NED: Only small, thin candles. BAKER: No more biscuits. NIMBLE: No star candles. BAKER: No cakes! NED: No flower candles! 3315333: Oh, Lolly!! ( AILQONIEEPELY. “13313 CTED . AMY TRIES TO CONSOLE I333.) MARY: Don't worry. Don't worry. Malwick.Muffet won't be the king! BAKER: Mary, dear, I know it's hard to believe.... ( TOIHOM .. ms - .1231 .. 33015 _THE .PARK. SEESTHEII, TAKES OUT HIS PIPE.) NED: Not even magic can save us now. mu. 2 VA. "1 '4 5... o d 7‘. ans. Tn 5.1+ BRISKET: I don't believe in magic. It won't save my Lollipop! ELI..- ._. ..MARY Listen! Listen to the music! BAKER: It must be a stranger. X DR L I.,....... ICED: We must warn him. war: (We) BAKER: Mary! Stop dan---oh--oh!! (HIS FEET HAVE smuggmm.) L—uwug‘a‘fl It‘ s---it' 8 like magic. .."IMA A» _‘IHI .- v, kin-1.- A-“ .<‘A.-.-ua_,. ”r... n - .v.wx .. urn-u». -—r W.—— as..- NED: My feet-«they! re dancing! ..,, i...n~-—- .v-c—v "is -- --A-\*-n‘v‘4‘3 vu-‘A- an-.x...—.a _fl.‘-\' ._M + u- M‘I~"‘-I9~- - I-a ‘- ._ DC . BRISET: Stop feet! Stop! Stop! (Ids-Tom IS now _DS WATCHINQJHEM, mum. Io... .ELAXAII S. RAPE- AIR? ...LAUGHo HE ,DOE_SN!_T.-.HAVE . 1m CHSUC 0353. .991. N3 {3033, so HE-$ICI€§-RLA¥IRQ.-AIID LAUGKB . “BEILIHE 1?le -.STOPS, 1:33 magmas“ , mmmmnmmmmmhgfl LAUGH.) BAKER: That laugh! NED: It sounds like.... ( THE.'I'__A1B.E_.I_I QFHAQLNG. DIN. ) ML . , ‘ “BRISKET: Prince Tom-Tom. ".‘sxrr‘A-wivwmwmmw or .u- A: (THEY ALL GREET TOM-TOM. wmmr.) Kltogroupr a TOM-TON: Good morning, Bob Baker my favorite biscuit maker. WMTOIDETONI X- 3.-...-“ TOM-JON: Happy fair day, Ned Nimble. 7%» M‘J.‘A——ufll- - “ ~-----~ How are my favorite star candles? -_ .__".me Good morning, Tom-Tom. NED: The same as always, Tom-Tom. X 1.31.. . . TOM-.TOM: Ah-h, Brisket Butcher. How is Lollipop? \! -fli F. .. I: Site: DL 09491.1; 1. “T— A’JNtJewint-nuu u . I: 5'3 BRISKET: Fatter than ever, your highness. .. Em: Mary Contrary, did you know that Tom-Tom was back? NED: Was he your secret? EAR _: Yes! But I didn't want to tell you. I wanted him to surprise you. BAKER: Where have you been, Tom- Tom? BRISKET: Tell us! TOLL-TOM: To the Land of Laughter. NED: Why did you go there? DOM-TOM: (TAKING OUT THE B9311.) To get this. All who drill; from the bowl Are happy and gay. Their cares are taken any. EULRY: Now King Cole will laugh! NED: This will really be Likemeland. BRISKE‘I‘: Give it to him now Tom-Ton. TOM-TOM: I'm going to see him. MARY: But not as Prince Tom-Tom. BAKER: What? Not as Prince Tom-Tom? TOM-TOM: No. Chancellor Muffet won't let me see father. NED: Why not? MARY: 0h, Tom—Tom-m-you'd better go --I'll tell them about it. BAKER: How are you going to see King Cole? ill-‘. “I I} 56 Walgnznnpf, 17611,... _ TOM-TOM: Lolar had a wonderful Bow ..u-.-& .—--~-.~ I-th‘omm m- . -na..:.un- lointjqfilgck XJJL 4 idea. He gave me this (SHOWIRG THE-M PART 9E..HI§..D.I$,QQLSE)---and this. BRISKET: Who are you going to be? 19311393: (DliGIIISED) Your humble servant, BoMo the bowlmaker. (B91715) MARY: (MEI-{£1,139 Oh, Tom-Tom! You look so funny! TOM-TOM: Do I look like a bowl maker? BAKER: (QEEELNG) Yes, sir. BRISKET: Indeed you do! IJARY: Tom-lam, it's getting late! 1025:1011: I'm going! BAKER: But-«Chancellor Muffet's at the palace now. TOM-TOM: He won't be there for long ..--if you'll help me. BRISKE’I': What can we do? NED: Tell us. BAKER: We'll do anything. TOM-TOM: Make a lot of noise. l’ARY: Sing, dance, laugh! BRISKET: But Chancellor Muffet will come running. TOM-TOM: Yes! He'll come running to the Square and I'll be at the palace! BAKER: Oh! I understand, Tom-Tom. BRISKET: We'll make lots of noise. 57- NED: What if Chancellor Muffet doesn't hear us? TOM-TOM: He will. Poppyseed is go- ing to tell him about the noise and confusion in the square. BAKER: Good! That will make him come. mm: Go, Tom-Tom. TOM-TOM: I'm off. BAKER: Good morning, Bot-£0, the Bowlmaker. (BOWS) 132! d _ wimp; (me) Good day, kind sir. 301...... _.. ---“ - -__- --.w___-r_____BRISEEIP: (Bg’fi) Farewell. (mgfirASJngm’si. LEAVESLDI. 5- W4) h! ..MiiBAKER I'll be able to make biscuits! take big candle DC _‘LB_§9.‘_mmblswn,\ _H M X... D to Nimble _ ‘I‘JARYS _.NED3- I can make big candles. (WEI) m will you make big candles, Ned Nimble? XLto ’- *hm w.x~u--—e-,.-—-- “—-‘hvlli‘o-.“‘J.Q~-pc' p-u- -rvrnI-a‘at I- .‘ Reintatxumble. 4.: 3......— .u KM. ‘3.» car. .L'u‘I-N" \‘Fx ' v-v _- Eneeligg beggagapdle All. mintat Nimble \ ”Wm-Jv- _. -..—.- ’1. n-..__... - - BAKER; Big candles are useless. “BRIASKET: They're silly nonsense! MARY: WHY will you make them? ( MEIWACCUS me. F..II:IGER_-A1P.....NII€BLE) BRISKET: WHY? BAKER: WHY? NED: WHY? ALL: WE??? NED: Just for the fun of it! VI.“ ’1 h ‘11 ”m End-filo X. I. -—u—_~“.__- -- wfihwmmmnb-La ..- - --‘-. - n _‘ (II-Dub h'-‘¢.u oe .- ‘.-\I '5‘ 1 n-7,- r- .- —-..-~.._.._....,, _. ..- ACT II Scene 2 A FEW MINU'IESLATEEJN LING COL-E's THBONE ROOM._ KING COLE IS ASLEE? ON THE THRONE __HIS EAD BOBBING BACK ME. THE OUTER IDOOEIQPENS, AND ,NILLIE WINKIE..EEEKS_IN. HE TURNSDACEJ‘O Inn OPEN noon. . NILLIEI Brh-r-r. Those mean looking guards! I'm glad it's daytime and they can't see me! (HEQOESJNTQ 1m BQQN .ANDI..LEAVESMEEEHDQOR. MAP») 1. GUARD: (RUNS INTO ‘I'EE ROOM) Who opened that door? (Wm, QOMHEIELYWEUZZLED. ) H-m-m. No one here but King Cole. WILLIE: (mummnm mums A FACE.) I'm here! 1 GUARD: Chancellor Muffet will be angry if I let anyone in here. (Iggy. InoUNp IGIIN IND Igmskgosmqnm noon BEHIND MN.) .-.-MW -..,WILLIN: (STARTflO PEEK THROUGH In]: KEYHOLE) Let me see.... (THEW DOOR omqsmsflggnnnn _IND WILLIE FALLS BACK.) Curl w cap! I can't even peek in a keyhole'in the daytime!! ,_,-_.IMGIJARD: Nope! No one here! 2 GUARD: Are you sure you didn't open the door? 1 GUARD: Listen! I didn't open that door!! ' _2 GUARD: All riét. All right. (Imgggommmd 59 WILLIE: Ha! Ha! Ha! ([AWNW STRETCHES) I eon't know why Lolar wanted me to come here so early. Oh-h-h!! (YIWNING) (DANCESAOVEILTAO COLE) Good morning, King Cole! (LAUGHS) Why did you get up so early? Why, you didn't sleep much last night“ Oh—h. You look so sad! (TICKLES HIM..-NI_TH.-T}E,_TASSLE OF...HIS-NIGHI3IJ=.) Smile, King Cole, smile! Tom-Tom is coming!! com: (BRUSHES m..mmm¥, TH; NKJNCLIIMIAJLI. ) WILLIE: Oh, well! I might as well sleep, too. (BE CURLS U? ON THE 39219.12! .__STWEP, .) 311311113 - ..IM‘FET: (OPENING THE U noon) Good morning, your majesty. LU..tn...thrnne.. _ .. -..,“JILLIE Just as I was going to 3...!2..E2.-.!.11£9§°.-. .__._ ~—. .4 . mo:1-.n>..—_ sleep! Mumbling Malwick Muffet! And munching Mollie Muffet! Oh, well! Now the fun starts” (TQIMALM) Imm: (COIIINGIDQWNJQ..TH.EITHRONE WDQLQWMM .. - -- 13.3; Cole *- ‘—-e-._. ... Imogen“ her “I a "p. “‘“I‘m‘ .- EQLLQEEDW) Your mJesty-a- why---why, he‘s asleep! ".__..IIILLIE: Ha! Ha! Ha! Sound asleep! .MOLLIE: (BOIWQEQW) Look at his head! It goes up and down-«up and down. WILLIE: Just like your mouth! (INI- TIIESJER) Bite, bite, bite} MUFI‘ET: Take that candy our of your mouth! MOLLIE: ( QW Inm..m.InEs_.u_Hnn. M99145. mummmmm-ms I W) com: (SHORES._LQUDLY. mannms FORWARD. CRQNNEOPPLES OFF.) WET: IRRICHING FOR CROWN) Ah-hph. 11; crown. “4 III ‘IE V" ‘Ax. V .I‘ \. .. u‘ I bi . 60 WILLIE: (TRIPSMUEEELANDHEEELAQS CROWJE 1L3, A META SMGEIEINGE. ) Not ur crown,‘ Malwick Muffetll (SIGHS I guess you'd. better take up, mg cola. (T.E.CQE§_EIM.AG41N-) 001.3: (Human?) W—hmp....!!l mo_nm§iapq__.. ....MWWILLIE: Hi. King Cole! U R . ,_:_-_W~_,__ 1mm: Good morning, your majesty. COLE: Duh-“good morning, Chancellor erte MUFFET: Mollie, dear, say good morn.- ing to King Cole. W i, . . W..§\.MOLLIE: Good homing-«Kingu-Cole. COLE: Good morning, Mollie. MUFFET: I came early, your majesty. There are so many things to do before noon. COLE: Ohm-.yes, Chancellor Muffet. MUFFIN: I thought that perhaps we could start by drawing up the proc- inflation. COLE: Ohm-yes, yes. The proclamation. Enter-1m..-..._... w 4,....4“...“.-.--c...“.,.m-s.._..WIiQ1?.EIS.ELE.D: (A2,_£I:E,,_Q§'_I‘§§_ DOOR) Your majesty. . . . COLE: Yes, Poppyseed. 13-1.! step. a .A - W POPPY: Lolar the Scholar is here. COLE: Send him in, Poppyseed. Ell-illiigsfifi It to door ML _W _ 4 mun (mm IN) Good Morning, your majesty. Good morning. "4;.‘119 its 0 1% namingygsgefiflsr COLE: Good morning, Lolar. 61 reu._.mmM-‘,.A....--.,-.-..-....--...,“ LOLAB: Good morning. Chancellor Mfete MUFFET: Good morning, Lolar. You are late-nae usual. LOLAR: Oh, really? mm: Empll Perhaps we should continue, your majesty. COLE: Yee. Yes. Now that you and Lolar are both here. LOLAR: Who is going to make the proclamation? COLE: It I111 he read in the equate. MUFFET: At noon. LOLAR: Will you read it, King Cole? MUFFET: There isn't any need for that. It will only tire hie mjeety. WWW LOLAR: Your majesty, you must tell. the people why you are naming a new king. WITH: King Cole may do whatever he pleaeee. LOLAR: 192th tell them. COLE: I don‘t think that 1e neces- sary, Lolar. LOLAR: But it 1e! You owe it to the people to tell them youreelf. MUFFET: You are the king! You don't care what the people think! 1% ; lean towards mum COLE: manoellor Muffet! You not he upeet! You know that the people come first. I! *4 1 p. L. ‘ 3' If ‘e Wmmrstl .. WWW on W BILLIE: Poem“ (A! D0913) 62 MPH: Oh-«yes, your majesty. Yes, your majesty. I do believe that I am a little upset. Malwick Muffet' s upset! Malwick Muffet' s upset! COLE: I will go to the Square! LOLAR: Shine! Line! Fine! Your majesty-n- your mjesty!! COLE: What is it Poppyseed? POPPY: The square, your mjeety.... MFR: What about the Square? POPPY: It's filled with noise and confusion. WilliLLeushsLL 13.415. locum. up ' W “Will..- MUTFET: What! COLE: Ihat'e the trouble, Poppyeeed? POPPY: I don't know, your majesty. It's very noisy. MUFTET: Perhaps I had better check on this, your majesty. COLE: Yes, Chancellor Ruffet. Go and find out what the trouble is. POPPY: You'd better hurry, Chancel- lor Muffet. LOLAR: Muffet e I'll come with you, Chancellor H ‘0 .- 311! I‘M ..‘a 7-» Nye 63 D1 MIFFE‘I‘: I don't think that is neces- sary. COLE: It might be a good idea. You two hurry on. leLaehiL....Dle, , _7 .A . ”MUFFET: Very well, your majesty. I'll be back shortly. EINJL _HHLOLAB‘ And so will 1. your made-tr- POPPY : Oh-h! Hurry! Hurry, Chancel- lor Muffet! mums than out (mm 1ND LQLAR. FOE-W m?! PPTJ LDC WW s COLE: ( GETS. msmmmmomm WALK-iARQUND.) How shall I tell the people that I an no longer a strong King? Dannie... s:.1ook...nn.at...hin_...__-___.WILLIE: You won't have to tell them, King Cole. COLE: A sick king is a bad king. Yes—--yes, Malwick is right about that. 1:an .... mm (mmwmmos) Your MaJGStye e e e COLE: Yes, Poppyseed. POPPY: 30110 the 30er is here to see you. Passage..seeaéjmle9.5.933..._,._.“mm.mm: 1a.»... time you came. " “ Tom-Tom! COLE: BoMo? I don't believe that I hIO' hill. mm-,ewmm: on, yes you do! This is Tom-$0M! ‘ POPPY: He comes from a distant land, your majesty. [2115 In” 9“. if ‘4‘. ¢‘*. 6M COLE: I don't have time to see him' nO'e William .40.. mhLLole POPPY: He has come a long way, your majesty. mamans _, H-......-.--QQLE: Ask him to some back later...- , this afternoon. POPPY: He Just wants to see you for a few minutes, your majesty. COLE: Tell him to come back later. Imianniatmhmwed . POPPY: Yes...yes, your majesty. mam . W...---.~,._..._15Tmswoumemnmums) Your majesty.... COLE: Close the door, Poppyseed! m1..............-..._m.m, _V..m__....-...,_ “Manama _ousr) 32mg.“ _ _ _ _ 30.140: (mmmmsmmmos BEHIND HIM) Excuse me, your majesty. Massimo: Ion-Tom COLE: Come backlater. I don't have time to see you now. MEIR.._ts,_-9,9.le.:-1>1913,Swank..QPfisPa BOMO: King Cole, IV Journey from the Land of Laughter has been long and hard. COLE: The Land of Laughter? Why have you come here? BOMO: I have brougit you a gift, your majesty. COLE: A gift? BOMO: Yes. This lovely bowl. COLE: Why, it's covered with--with.... P‘ll: sac-v 192:: m: WWQQMJQQLT on; loomgquhhg. 5.9.9.311 or Willisidaesgeergpeslgoog my Tendon: stay PHELQM murmbof Cole 30350: With stardust, your majesty. COLE: What kind of a bowl is this? BOMO: It's a special bowl, King Cole. The hail of laughter. COLE: The bowl of laughter? BOMO: Yes. All who drink from the bowl are happy and gay. Their cares are taken any. COLE: Why-"why that's nonsense! DOMO: Don't you believe in the power of the bowl! COLE: Of course not. some: (FILLING m: sou.) Won't you try it? COLE: Eva-no! No! I don't need this bowl. BOMO: Is there laughter here-«in the palace? COLE: I am the king of Likemeland. A good king doesn't laugh. BOMO: Why your majesty.... COLE: A good king is dignified. BOMO: Won't you drink from the bowl? WILLIE: YES! Drink! Drink! Drink! COLE: No, I Iill not drink from this bO'Ie 66 BOMO: Are you afraid to drink from it? COLE: Afraid! Of course not! BOMO: Then take a sip. WILLIE: Just one little old sip! Take...bowl..__ I , ,. -I _ . -OOLE: Oh-«wery well. Give it to WILLIE: King Cole will laugh! A i? U) 6‘ ‘m V U) 3’ 'd D an ..s. p. o n ...: r\.--4L WILLIE: Coco—cool! Mslwick Muii’et is back! Mn“,,mmwmwfl“MMWFMHJOEEI: But Chancellor Muffet, King 0016 18 busy. BOMO: Quickly, your majesty. Just one sip! COLE: (Lpoggoumggd WILLIE: on: om Drink! Drink! Drink! (HE I§WDEADI TO PUSH cow's I49; INTQWTHE BOWL.) ' 130240: One sip, your majesty.... MUFFEL': Step aside! COLE: What is all tint confusion? Enterpl, , x _ ,7 _ MUFFET: Get out of w way! (COMES STOBAIEQJEEOLLOE‘D BY MOLLIE.) 5&3.“ ’ guppy???” “WWW“... "__MCQLE: What's the matter, Chancellor Muffet! MUFFET: I am sorry to disturb you, your majesty. Poppyseed sewed to be determined to keep me out of the room. (SEEflHE BOWL) That both"!!! COLE: Chancellor Muffet, this is BoMo, the Bowlmsker. d\,_,.. " Guards! Guards! Seize him! He's trying to poison the king!" wa~ 6? MUFFET: Why that's the bowl that Tom-Tom... COLE: Have you seen it before? MUFFEI‘: Your majesty, don't drink out of that bowl!! COLE: What, Chancellor Muffet? why not? MUFFEP: There is poison in it!! COLE: Poi son? Imms _ -. _, _ .MUFFET: Guards! Guards! Seize him! Seise him! He is trying to poison the king! Magnum—moummmflmnwzmmm) COLE: Is there poison in this bowl! HOMO: Nam-no. . . . MUFFET: Come, your majesty. You must leave. I will handle thisuthis bowl- maker. COLE: I should stay.... MUFFEI‘: Oh, no! Come your majesty. I don't want anything to happen to you. COLE: I don't understand-u-this bowl.... UUI‘FET: Poppyseed! Come, help King COloe wanna...” .. ., .. A . .. .- Icon: mmmsmmm) KO.C.enrc,,ez-....M,,J- ,. .. . I a _. I .mmmmmmm ma .mm) Where did you get this bowl? 130210: I found it, Chancellor Buffet. MUFFET: Found it? HaIYou probably stole it! 30310: No, Chancellor Muffet. I found it as I was coming throngs the Square. ‘Oee '1‘. ‘- h IL ..I.. , ngadogrl DL ._ . MMIM1Eom=_Tom_.- _. Illa: ...throns..... _ his; 131, . . .-....IBOMO: - -~._c.-‘u;: 'v . n- ---c—“——A~a MUFFET: , , . ...-q 68 MUFFEI‘: So you took the bowl and tried to poison the king! BOMO: You know that the bowl isn't poison, Chancellor Muffet. MUFFEI': Silence! Leave Likemeland and never return. Very well, Chancellor Muffet. I‘ll take the bowl with me. (STARTS TOWARDS THE BOWL.) MUFFE‘I': Oh, no you won't. I'll des- ' troy it. Leave! 30249: (anaemic) 1'11 be back. Chancellor Muffet! (TAKIHG,_QEE__E_IS 1215601333) 1 GUARD: It's Prince Tom-Tom! 2 GUARD: The Prince! MUFFET: Tom-Tom“ u-Seise him! Seize him! . - (ION-IQILBUIISLUIJQLIQWLD.. 3mm: ms) So--he didn't leave“ ..-.MOLLIE: Papa! Was the funny man Prince Tom-Tom? MUFFEI': Hush up! MOLLIE: Papa, is this bowl really posion? ‘ _,__MMUFFET: Of course not! Leave it a. may“... alone! (maniacal: on “1 83113) Don't touch it! MOLLIE: (WATCHIIIGMHIMHPU'I THE BOWL QB) Papa, will you still be the king? MUFFET: YES” Now hush up. W” _(.GUARP$__.¢9@_I_N) x~. 51g c x____U;_ sit on throne- X R, ot.-.1hmne ne-*" *“ D'A —. ‘0‘ Q .V it” 01;, thQ-RIB‘L Lg ._ a. ...-- Jeanine; “W 5141-“ I . -.....“ N-e .- ADD-- 69 MU’FFE‘I‘: Did you catch him? 1 GUARD: Neon-no, Chancellor Buffet. MUFFET: You blundering fools! 2 GUARD: We lost him someplace. l GUARD: The square's empty.... 2 GUARD: Everyone went home like you tOId .em tOe 1 (mm: (LEADER???) Ha! Ha! Brisket Butcher ran so fast he forgot that squealin' pig! 2 GUARD: She's squealing and squealing” MUFFET: Silence! Cole has nude up his mind to go to the Square to make the proclamation. * l GUARD: But-«the Prince will prob- ably show up! MUFFET: How very clever of you! OF COURSE HE'LL BE THERE” 2 GUARD: Ah-h-h. You won't be named the king, Chancellor Buffet. 1 GUARD: No. Now that the Prince is back! MUFFEI': Oh, yes I will!! WILLARD: What are you going to do? m: I don't know. We have to get rid of Tom-Tom. ,-.§_GIIABD: How? He'll never leave. ..- l GUARD: No one leaves Likemeland unless he's banished. MEET: Banished? -—-Banished? That's it! .5 I... .D‘ .Q R\,' A... { 0\ Sit L on steham”.: Sim euthanasia in.“ , Sit.£Ln<:nistst I - ...—9.37. -.“~;n *4 Ilia-on.- 1“. ~ s.~-(.py.:nv) I . 70 2 GUARD: Huh? HUFFET: King Cole will see his precious ”MERE he will see him as a thief: 1 GUARD: ‘A Thief? MUFFET: YES! Anyone who steals in Likemeland is banished! M2 GUARD: Oh---So, Tom-Tom will steal something and be banished! MUFFET: Yes. Yes. That's it!!! 1 GUARD: What's he going to steal? MUFFET: figDisn't going to steal any. thing. We'll steal something---and he will be blamed for it! 2 GUARD: That's a good idea, Chancel- lor Muffet! L MUFFET: Of course it is! But what can we steal? l GUARD: How about King Cole's crown? MUFFET: You dunderhead! How would we aver get the crown? .. .13” WARP: Che e e e 2 GUARD: Maybe we could take the town clock! MUFFET: Everybody watches the clock! 1 GUARD: I've got it! Ned Nimble's big candle! MUFFET: He! no! He can alwasy make another one! 2 WARD: I know! Bob Baker's biscuit“ 1 GUARD: No, you dunderhead! No! .-. "xv uncut-s SiLnnstenueutsnm--WW 111.155.143.991. MEET: (W) ‘- 71 IMFET: fled Nimble, Bob Baker. .. Brisket Butcher! That's it! 2 GUARD: Huh? 1 GUARD: Brisket Butcher? 2 WARD: Are we going to steal him? mum: Oh! Oh!--Brisket's Lollipop --that squealing pig is what we're going to take! 1 WARD: Lollipop? 2 WARD: Why didn't I think of her? WILLIE: You can't do that! You Gan' t! . Yes. We have to hurry! ...".MOIJIIE: Papa! Papa! MUFFET: Oh, Mollie! I'll be right back. Stay here. MOLLIE: with you. I'm afraid. I want to go MUFFET: STAY EREU MOLLIE: (STARTS TO CRY) 03.3.3... MUFFET: Don't you want me to be king? MOLLIE: Yes. . . MUFFEI: flowers? Don't you want Mary Contrary'a MOLLIE: Oh, yes. WET: Then stay here. MOLLIE: Chum-Papa. . . . MUFFET: Now what's the matter? MOLLm: I'm hungry. "why, it doesn't hurt to lauéi!’ IR Sit.-center.... -s _ - W - macs- Wound M01119 _. . .-‘Q‘Ia-h” ,..-..¢-. s. n‘wcv’ .~- can .__-u- 72 MUFFET: Don't you have any candy? MORE: NOe MUFFET: You stay here and I'll bring you some chocolate drops. MOLLIE: And some butterscotch --- and cherry.... WILLIE: And lemon and lime and pistachio.... MUFFET: Yes. Yes. (THEY LEAVE) WILLIE: Oh-h. Should I go with them? Lolar said to stay here.... , _MOLLIE: (SEESITMBOIIIO OH. Papa -..-Papa, you forgot the bowl. (5m CLIMBS UP TO GELIT.) ”WILLIE: Put that bowl down, Mollie Muffete ELLA]: It's such a pretty bowl. (SHEJ‘ONDLES IT) Oh, it still has water in it! Maybe I could take a drink. Oh-—-no--Papa told me to leave it alone. But Tom-Tom said that it wouldn't hurt me. (SNII‘FS) I'm glad it isn't poison. I wonder Why Papa told King Cole that it was. I'll just take a little drink. WILLIE: Why-«Mollie Muffet! Go ahead and drink! I want to see if you'll laugh! MOLLIE: One little sip won't hurt me. . WILLIE: Drink, Mollie manual-inn: H.“ . new“. __- MOLLIE: (mums. women) 01:41.th (LAUGHSIANILLAIJGJIS) lhy, it doesn't hurt! (DRINKRAGAIE) WILLIE: (Languages. 30%) M. ...-..in Wcmmfi ‘9‘. V.“ , 4 ,, .__. ”flu-“4 ca. —r_u.a_..p,., 7. I.- Point off R Patrianazsllmwu . .n , Ride behind booths Enter- m.” I . h figmspmbaeket .. , . p. lor-“A.“i H‘Ih - ..‘v-‘slw , >- ACT III THE DESEBTED VILLAGE SQUAREA m SAIN- .IITESLATER. THE..QIJLI SOUIIDJSQ LQLLI- POP'S WSQUEALING. MUFFET EDTERS FOLLOWED BY THE _T__W_O______ GUARDS. MUFFET: Where is that wquealing pig? 1 WARD: (PQIHTIHG) Behind the booth. mm: Watch the park! (IQMQEMBD) You!---over there! ”LEICKIDG UP THE BASE) Come here you squealing useless creature! I'm going to let Prince Tom-Tom have you. ml. I. GUARD: Do you think Prince Tom-Tom will really pick him up? MUFFLER Of course he will!--The young fool knows how much Brisket likes this squealing creature. ...,2 WARD. But (Puzzmm) how will King Cole know that Tom-Tom stole the pig? MUFFET: You dunderhead! For the last time! Lo; will say that you saw Tom- Tom steal the pig!! 2 GUARD: Ohr-h-hii LGUARD: Chancellor Muffet! Here he comes! ..-..MUFFH: (WM) Hide! When I give the word-«seize him! , (THEY ALLHIDE. IDLLIPQRAS, SQUEALb he.) . HITCH-TOM: (mmmssuxsgn) Where is everybody? (STARTJSmOUT) (LQLLAEQP..§QUEALS) , WIS. that you, Lollipop? Lollipop? (GQES...’1‘Q .333) Where' s Bri sket? Brisket Butcher! Brisket Butcher! He must have left in a hurry to leave you "I xx i“ 7n behind. There, there. Don't cry. Brisket will be back. Wi(,smms OUT) (.Lomrorewcoxmmms s UEALIDG) X L few steps Oh, Lollipop! I don't have time to take you home. I have to find Lolar. (LOLLY SQUEAL‘S) 0h, all right. 1'11 take you home to Brisket Butcher. 00 a “WWW“..H.-- __“MUFFET Seize him! Seize the thief! X~£i9fligmz¥omm_ (GUARDS SEIZElOM-TW} 13...... .... A ......n...-.......v---i_.._.TQMLTQM: 1'” not 8 “110“ Let '0 go! Letmego! MUFFET: Ha! Be! A thief! TOM-TOM: Chancellor Mnffet! I am Prince Tom-Tom! MUFFET: Prince Tom-Tom! Ha! You‘re Just a common thief! We saw you stealing Brisket Butcher‘s pig! TOM-TOM: I was Just going to take Lollipop home! MUFFET: The prince is a thief and a liar! Take him away till we need him! 3.3.115-__DR . . I I _ ..LQUABDS.MMIEEL§IEQQGMNQ.$QM&QM DUI) Centenwm..--_.d...”_-~_.w.._,,,,h,W ...MMUFTET- Ha! Ha! Prince Tom-Tom will be banished! ..1-»_. Entering ._ “Maw (QESEAGE) Listen Likemeland! Listen Likemeland! (gm) Oh---Chancellor Muffet! King Cole is calling for you. He's on his way to the square. MUFFET: Thank you, Poppyseed. Thank you. X.Wzit,__.-_--wwe..-“M...“mm“.-fl._...£OPPY: (IMGHESBIDIEAYE) Thank you? I've never heard him say “Thank you" before. Oh, well. Listen Like- meland! Listen Likemeland! By order of his Royal Majesty King Cole, all 75 of Likemeland is ordered to gather in the Village Square. Listen Like- meland! (POPEIS.§._PROCLM&AIIQE_1.§M VERIjleED) Legato; - -. can't imagine shore Tom-Tom is, Mary. MARY: I hope he's all rigzt. ...LOLAR: He was to meet us here. MARY; Do you think the guards caught him? Enter UL _-.._..-www-mmmimmmmzeameacorn-£5; 0N) XDC “in.“ r ‘V' ~mr1u-uw‘a ammtw J‘W‘t" ~ Enter III. EEss..-P§:.-ar- on. well Katerbooth: search ”fer-.. ., A 1.011131: $3.? PI! 9911* er do UH‘ l" BM: Where is Tom-Tom? BABY: We can't find him. NIMBLE: King Cole is coming. BRISKE‘I‘: And Malwick Muffet! MARY: 'I wish Tom-Tom would come. BAKER: It's almost noon. LOLAR: Tom-Tom has to get here be— fore noon! ..‘_,..........W._........_1=orrr: (mms..m) In. Royal Majesty, King Cole! The Honorable Chancellor Muffet. ,WILLIE: (FOLLOWINQJEEM IN) And his most royal, honorable Willie Winhe (DANCES OVER TOMMABY AND LOLAR) Hi, Mary! Hi, Lolar! Where‘s Tom—Tom? Oh-u—Ihere' s Tom-Tom: _ BR ISKET: ( GQFEMQEBMEEiD’QJIS 309m} POPPY: His Royal Majesty, King Cole '11]. speak. COLE: People of Likemeland. . . . (I 34 c1 ‘00 76 BRISKET: Lollipop! My little Lolli- pop! Where are you? EL ._W,L _Jn , ”h,“._vfl _‘ ‘ ,.. MUFFET: Silence! COLE: What's the trouble, Brisket Butcher? JE;D_tQ"GoleH_.W W . _r.swshflsuwm__BRISKET: King Cole---my Lollipop—~- my Lollipop isn't here! MUFFET: Silence! ERISKET: My little Lollipop is gone! She' e di sappeared! MUFFET: Come, come, Brisket Butcher! We don't have time for any nonsense. X,=U-r_ta...B.nisket!.s -_boothu.-..--,-_.m-._l.-_.MABY: Did you look all over, Brisket? BRISKET: Yes! Oh~.-yes! Does anyone see her? “Leena: (mm URQIJQIL_., ,________LQLAR: She isn't here, Brisket. UC._uihuu-_ .mwwmflm-wrh.“._hwmrMHMMBAKEB: Not here. UILMWV~ a, M,M-M...J ‘ NIMBLE: Or here. MARY: Maybe she ran away. BRISKET: Oh, fiery! Yen know Lolly wouldn't do that. MUEFET: Perhaps she Its stolen. 3E....}9_,_yu£1jot _ f, BRISKE‘I‘: Stolen! That's it! My *m...—._ .---~-n.- . Lollipop was stolen. COLE: Brisket Butcher! Who would steal your pig? BRISKET: Why no one would steal Lolly. MARY: We all loved her. COLE: Everyone? 4;) (Jul ExithDB.,u_w.,-rwmi-uie Enterwnnrmrm. . "Fh-I”.’~‘ 77 BRISKET: Yes, everyone. (LOOKS 1T MUH‘E‘I‘) Oh-h. There's one person who doesn't like Lolly. COLE: Who is that? BRISKET: Chan-- Chancellor Muffet. .._MUE‘FEI: What! Why!!--—come, come Brisket! I wouldn't steal your sweet little pig. ,___W1LL_1E: Oh, no! You wouldn't hurt - -—-e-4‘ Lollipop! m‘rm: Why, she was the sweetest, fattest, little pig in the whole kingdom. COLE: Brisket Butcher! Chancellor Muffet wouldn't steal! HUFFE‘I': We must find the thief and punish him! COLE: At once! Poppyseed! Summon the guards! POPPY: I didn't see them at the palace, your mJesty. COLE: Look for them! EQZE’Y: Yes, your majesty. MUFFE'I‘: Yes, we met find the thief and banish him. That's the law, isn't it, King Cole? COLE: Of course. Anyone who steals in Likemeland is banished. P0133: I found them, your majesty. They-u—they are coming,--with a prisoner. MUFFET: Perhaps they caught someone trying to steal the pig. 78 mar: (qucmsssgmgm oh.Lo1ars It's going to be twelve o'clock before Tom-Tom gets here. LOLAR: We can‘t stop the clock, Mary. LUtoglock ,. .--...JILIJE: 011. I“ '0 0“- (33.21.99.123. mespumnmgr) mm- .. .. . “Helms: (www.mkmsmlsmrom..- meufimmmw.) LOLAR: It's Tom-Tom! MARYr They have Tom-Tom. (REACTION BLWRCHANTSTO E‘OMJOM' s ENTRANCE.) Msrasks 1;, _. .. .....mm: (W) on, Lollipop! My little Lollipop! COLE: Why! It's the Bowlnhru Dim... .-."...mm-...-.-.-..m--_-.._ l GUARD: Your majesty” .. 2 GUARD: We found this stranger with Brisket Butcher's pig. 1 GUARD: He was trying to leave the kingdom. mom-Tom: I wasn' t. . . . MUFFET: Silence! mono who steals in Likemeland is banished. That's the law! COLE: Yes! Anyone who steals is banished. I banish you from Likeme- land. thLnleps-.------..“ . TOW: You can't banish me! 1‘! yonreeee MUFFET: Silence! COLE: Never return to this kingdom again! Us ..I 51.t=-..1.e_f.§_--.. x .R _. tarmac - .__ ..-.-y. on. w, -- n.- ....a-m. -.,.-. w.- “_._ 79 TOM-TOM: (TAKING OFF HIs DISGUISE) Are you going to banish me, father? COLE: (flAEESALHIM) Tom-Tom! Tom-Tom! Is it really you? prom-21014,: (AS THEY EMBRACE) Yes, father. COLE: My son! My son! You are alive--and well! MUFFET: Why, your majesty! Prince Tom-Rom is a thief! COLE: Tom-Tonnw son--a thief! ‘nl—"a ~<‘- “r” ..---.m TOM—TOM: What? But father.... MUFFET: You stole Brisket Butcher's pig! ‘ BRISKET: Prince Tom-Tom wouldn't steal Lollipop! COLE: My son, you know the laws of Likemeland—uanyone who steals is bani shed! TOM-TOM: But I didn't steal Lollipop. MUFFET: Guards! Did he have the pig in his possession when you caught him? 1 GUARD: Yes, Chancellor Muffet. MUFFET: Was he running away with the pig? 2 GUARD: Yes, Chancellor Muffet. He was running away from the Square. MUFFE‘I': King Cole! We have two witnesses who saw the Prince take this pig! TOM-TOM: I was Just going to take Lollipop home. ULLDL TWu-er -' 1' “...a- I D‘M‘van—f-r up- "s.e‘ ' 80 MUFFET: Your majesty-w-wo have the prOOfe TOM-TOM: Father! Let me explain! COLE: Silence! I have heard enough! I don't want to know that m son is a liar as well as a thief! LOLAR: You can't banish your own son! MARY: Tom-Tom didn't steal Lollipop! MUFFET: Silence! King Cole is speaking! COLE: 00!! Never return to Likene- land again! TOM-TOM: Are you going to believe them? COLE: Go, Tom-Tom! TOM-TOM: Father! I can find out who really stole Lolly. MUFFET: You have been commanded to leave, Prince Tom-Tom. LOLAR: Let him try, your majesty. If he fails he will leave. TOMJI'OM: Please, Father! COLE: Wellu-ell right. How are you going to do it? , . ....TOMJONBJTAEES OUR PIPE) Fathar. anyone can dance to my magic pipe. MUFFET: We don't have time for dancing. TOM-TOM: Anyone can dance to w pipe who isn't dishonest and greedy. COLE: Go on---go on. TOM-TOM: Pipe, pipe, play away, We all dance to-day. (PLAYS. an) All dance but Muffet Xinato_Cle 81 ( SLOWLLDNEBYfim Emmmmms pmcxpc. cow “moms THEM DANCE, LOOKS _lr HIS ow FEETAND soon -1115- 00VE%§-_THATMHELIOQLIiDAEQLEG.. ALONG WITH MOLLIELLAED THE GUARDS.) LOLAR: Shook! Block! Look! (POINTS TO‘ELUEPET) MARY: Chancellor Muffet isn't dancing! BAKER: Malwick Muffet isn't dancing. . BRISKET: Muffet stole nw Lolly! NIMBLE: Chancellor Muffet is the thief!! TOM-TOM: (SEQ‘PS PLAYING) Here is your thief, father. MUFFET: Your majesty. . . . COLE: SILENCE” I almost named Mal- wick Muffet king of Likaneland. LOLAR: Likemeland has a good king, your majesty. TOM-TOM: Father, where is the bowl I left at the palace? COLE: Malwick Muffet! Where is that bowl? MUFFET: I--I destroyed it. ,Jng_LLIE__: (SQ PRQQD) Oh, no. Here it 13e I kept its WILLIE: Hurrah for Mollie Muffet! TOM-TOM: Will you drink from the bowl, father? COLE: Yes! Give me the bowl! (TAKES IT ago DRINKS) TOM ATOM: Isn't unhappy fair day, father? 82 COLE: (LAQQHINQ) Yes! Yes! LOLAR: He shafed! flafed! laughed! WILLIE: He's laughing! laughing! laughing! MARY: Oh! King Cole's laughing! (RpgcrION BY ALL) TOM-TOM: Father, why are you laugh- ing? COLE: Why? Just for the fun of it. (cow‘srms. JUL...” FOR saw my. WMYAI-LJOIMN- ) CHAPTER III ANALYSIS OF DIRECTING PROBLEMS .mu ‘ In CHAPTER III ANALYSIS OF DIRECTING PROBLEMS In analyzing the play, the director must at all times keep in mind the nature of the audience. The theme of the play and how it will be conveyed to the audience must be determined. How to make the story line clear; where the climaxes are; and how to build them are further problems of the director. Knowing the characters and how they react to each other and situations and recognizing what response and identifi- cation must be gained, should also be made clear. The director cannot help the actors ”be" the characters unless there is a clear understand- ing of them. In this chapter, the author-directors analysis of the directing pro- cedure employed in {List For The Fun Q_f_ It will entail a discussion of the method used to study the play on the basis of theme, plot, and character. She will then discuss the try-outs, the first reading re- hearsal, and briefly note the specific problems encountered during the rehearsal period. The children's understanding of the theme of Just For The Fun 9_f_ I_t_, which is: Everyman must have laughter in his life, is in terms of the story. They may not be able to express this idea as a universal truth at the present time but they will be able to state that happiness came to everyone in Likemeland when King Cole laughed. The director pointed this theme out by showing what life was like without laughter and the change that took place in King Cole and Likemeland when it was 35 present; by emphasizing how a person's attitude toward laughter affects people and situations; and by keeping the concrete symbol of laughter the bowl, always visible. A specific example which illustrates how the director pointed out the theme was Melwick'Muffet‘s entrance in ACT II, Scene 2. This scene was directed in such a way that the fear he instilled in the merchants was clearly shown. Prior to his entrance, Mary Contrary's spirit of genuine fun was captured by the merchants who gave sincere, lively re- sponses to her gaiety. When Muffet entered this happy scene, the element of fear replaced laughter. This contrast between a state of happiness and one of despair emphasized the theme. A further illustration of how the director developed the theme can be shown by citing the scene in which the power of the bowl was tested. This scene was directed in such a way that the audience's desire to dis- cover the power of the bowl would be parallel to the genuine desire of the characters. The director felt that the smile that covered LolarFs face must be present on every child's face. She attempted to get a sin- cere response to Lolar's laugh. A third instance may be cited to show how the director developed the theme by building the feeling in a scene. TompTosz return in ACT II, scene 2, surprised the merchants; their a8- fection for the young prince was shown when they first recognized.him. To show that his return brought laughter back to the kingdom, the direc- tor worked for lively, spontaneous exclamations from the merchants and Tom-Tom. The change that took place in King Cole, after he had drunk from the bowl of laughter, presented the greatest opportunity to emphasize 86 the theme. This scene was directed in such a way that there would be no doubt in the mind of the audience that everyone, with the exception of Muffet, was fond of the king. To build a feeling of eager anticipa- tion as Cole reached for the bowl, everyone on stage watched him as he reached for it and drank from it. Cole was directed to start with a low laugh that built to a big, booming one, in the hope that a similar response would be given by the audience. Sincere, spontaneous laughter of the characters emphasized their joy that he had finally laughed. Cole's own laughter indicated how he had changed from a stately, dig- nified ruler to a happy king. The director worked for a feeling of com. plete spontaneity as everyone started to sing. She wanted the audience to feel that the people of the kingdom had to burst into song to ex... press their happiness. To keep the story line clear for the children, the director had to keep the story moving; never stopping for comedy or action that did not further the plot. Willie's character was such that the director was tempted to stop the story several times to insert clever bits of bus- iness that would provide comedy but she had to be careful not to give Willie too much business that would detract from the other players who were carrying the story line. Although change in locale from one scam to the next frequently offers a problem to the director in keeping the story line clear, this script provided clear transitions. The change in locale from the Village Square to King Cole's throne room did not break the story line because the audience had been prepared for it; it was easily accepted and understood. Tom-Tom had been shown struggling $7 to get into the palace; he had been shown putting on his disguise; and he had been heard telling the merchants he was on his way to the palace. The playwright had made similar preparations for the change from the throne room to the Village Square. Muffet and the Guards were seen as they plotted to steal Lollipop, who was in the square; and they were seen leaving for the square. Also the story line was kept clear because Tom-Tom, the character with whom the audience should identify most. strong- ly, was constantly kept on stage afterhis entrance. The characters were directed in such a way that their great affection for'the prince was evident before he arrived which should stimulate the audience's interest in him. 7 Building suspense was the most valuable device the director had '. for keeping the story line clear. To build suspense without prolonging it beyond the child audience's ability to endure it was her problem. The director realized that the children become so absorbed in the play that they need frequent relief to hep them from getting excited. Sus- pense began to build when Tom-Tom's name was first mentioned. This mention of the young prince should arouse questions in the mind of the -audiencs. With his entrance, the children should identify themselves with him and be anxious to know how he will see his father, how he will defeat Muffet, and how the bowl will effect Cole. The several moments of suspense in the play were built step by step to the final climax. For example in ACT II, Scene 2, suspense began to build when Tom-Tom, disguised as the Bowlmaker, entered. The tempo of the lines was increased when Muffet's voice was heard; the steady rhythm of their voices and Willie's quick movements built to a high point which was relieved by 88 Muffet's entrance. Suspense was relieved by laughter in ACT II, Scene 2 when Mollie was deciding whether or not to drink out of the bowl. Willie's desire to have Mollie drink was shown by an increasing of the tempo of the lines and movement. The relief from tension occurred when Mollie gave the first little laugh which built to higher and higher laughs. The director attempted to handle this scene and those in which Cole and Lolar drank from.the bowl in such a way that the laughter which followed them would provide the necessary relief for the audience. The main climax of the play, built by suspense, occurred in ACT III when Cole drank from.the bowl. This climax had been built step by step throughout the play. As Cole tack the bowl, everyone watched him eager to see what the outcome would be. As his laughter began.and increased, the entire cast was directed to join in the laughter. Since the major climax occurred so close to the end of the play, the director did not have to re—establish interest. To be certain that the audience would hear and.understand all of the plot lines in the play, the director pointed uthhose lines that were necessary for a clear understanding of the story. A case in point was when TompTom told Mary and Lolar, "My father won't see me.“ If this line were lost or not presented with emphasis, the children would not realize why Tom-Tom was so happy when Willie revealed that Muffet didn't talk to Cole. There was a pause before Tom-Tom.delivered this line which not only emphasized his dejection but also prepared for the line. Another instance where the plot line was pointed up occurred in ACT II, Scene 2, when Muffet and the guards were plotting to get rid of Tom—Tom. To make the rest of the story reasonable, Muffet's line, 89 "That squealing pig is what we'll steal”, had to be heard. The director employed effective pauses before and after each suggestion made by the guards so that Muffet's line was delivered during a pause, which broke the established rhythm. Certain lines that establish char- acter also had to be pointed up. For example, it had to be clear that Willie could not be seen in the daytime or the whole second act would confuse the audience. By making Mary's reactions and sympathy strong, in the opening scene of the play, the director attempted to establish Willie's invisibility in the daytime. Another illustration was Willie's line, "...A good king must be dignified.” Willie pointed this line up, which established Cole's character, by mimicking the king's tone of voice and his stately walk. The exposition, or action that had taken place before the opening of the play, was difficult to play because of its "talkiness". The director realized that the audience would begin to lose interest in the play if she did not prepare for these "talky" scenes. The technique that the director used in handling the long expository scene between Muffet and Cole in ACT I was to play the preceeding scenes in such a way to create interest in Tom-Tom and the future of Likemeland. Another technique employed in this same scene was to use as much motivated move- ment as possible. The author-director created a clear impression of each character so that she would be able to guide her actors to a clear understanding of the character they were portraying. This analysis of the Characters facilitated her handling of the first rehearsal at which she gave the 90 cast a complete picture of each character. The following character analyses are similar to those presented at that time. Wee Willie Winkle is based on the nursery rhyme character who travels through the town every night tote sure the children are in their beds. His nightly trip through Likemeland has been going on as long as there have been children in the kingdom. Willie isloved by all of the children in the kingdom, though Tom-Tom.is the only one who has ever seen him or played with him. The young prince used to sneak out of the palace at night, which is the only time Willie can be seen. His friendliness endears him to Mary; their common friendship with Tom. Tom allies them against Muffet. Despite his mimicry of Cole, it is evident that he has great sympathy and affection for the king. His reason for wanting TomeTom to return is not the selfish one of the re— turn of his only playmate, but the greater one of bringing laughter and happiness to Cole. The audience must know from.his first entrance that he is a pixie with a bubbling personality. When Willie imitates Cole, when he teases Lolar, and when.he taunts Malwick Muffet, the audience must join him in these childlike expressions; it is he who takes them by the hand and leads them throughout. the phay. His movements are light, quick, and rhythmic. Marngontragy is a happy, lovable little girl who, like the nursery rhyme character she is drawn from, tends the flowers in the village square. Ever since King Cole gave her the-flowers a few years ago, she has prided herself on the fadt that you can never find a weed in them. 91 Mary has grown up with Tom_Tom; she has shared his greatest wish that King Cole would someday laugh. Her own faith in wishes enables her to believe that someday TompTom will return. Mary has felt sorry for Mollie Muffet, Who doesn't have any playmates, and has attempted to befriend the lonely little girl, but after repeated rebuffs, she has stopped trying. Her attitude toward Muffet has been one of dislike because of his cruelty to Mollie. Mary has great affection for Lolar, who has been her teacher and adult confidant. Here warm, sympathetic spirit; her friendliness and sincerity; and her delightful, happy manner prove her worthy of the identification that is desired from the little girls in the audience. Eglag the Scholar, the greatest teacher in all of Likameland, has been Tom-Tom's adviser and counselor, as well as his teacher. It is he who has taught the young prince that laughter is imperative in life. There is a warm, friendly feeling between the scholar and prince. Lolar, often at the palace to draw up official documents, has become aware of the influence Muffet has over Cole. He distrusts Muffet's every action; questions his every statement. This studious, absent—minded scholar is beloved by all of the children in the kingdom; he always has time to help them solve their problems. Realizing Willie's desire for companion- ship, he makes a nightly trip through the square to talk.to him. Lolar's calmness disappears in moments of great excitement which cause him to confuse the consonants in.his speech. He must be respected by the audience as by the children. His confused speech and comic actions should provide great laughter. 92 Through.the years, Eigg_gglg has been a wise, just ruler; thought- ful and considerate of his people. It is this regard for his people that has made him.accept Muffet's statement that Likemeland wants a dig— nified ruler. In spite of his own lack of laughter, Oole has permitted his son, whom.he loves very much, to become a happy lad. The audience must feel complete sympathy for Cole; they must want him to change to a happy, laughing king; they must be overjoyed when.he does. Malwick guffgt_has been scheming for many years to become the ruler of Likemeland. As Chancellor to the King, he is in.a position to tell Cole what the people are dissatisfied with. His continual lies have made a great impression on the ruler who has accepted them as truths. When he is with Cole, Muffet is greatly concerned about the kingdom and its problems; but when he is with the people, it is obvious he doesn't care about them. He has tried to prevent Cole from seeing Lolar or anyone else who may tell the king how the people really feel. Muffet's treatment of Mollie, his lies, and his disregard for anyone but himself, will make him disliked b3.the audience. 29.3??22 is the happy, fun loving young prince who has been in.— strumental in.making this kingdom "Likemeland." Ever since Tom—Tom can remember, his father has been a dignified ruler, who never laughed. Cole has let TompTom develop into a gay, happy lad in spite of his personal beliefs. All of his life TompTom.has wished that his father would laugh, so he eagerly accepts Malwick's tale about the bowl of laughter. Without telling anyone, not even his trusted friend and ad- visor, Lolar, he leaves Likemeland, thinking he will return in a few 93 days. Tom-Tom's love of laughter and his warm friendly spirit have endeared him to the townspeople. The young prince is the character with whom the children in the audience must identify themselves. His qualities of warmth, friendliness, determination, courage, and loyalty make his identification desirable. Mollie Muffet, the chubby little daughter of Malwick, is completely dominated by her father, afraid of her own shadow, and easily brought to tears. Mollie has never played with other children; never known laughter and happiness. Her childhood has been spent following Muffet around. Because she suffers from her father's cruel words and has never known laughter, the children in the audience must have a feeling of sympathy toward her. They must not only want her to drink out of the bowl but accept her when who does and be delighted with her laugh- ter. Brisket Butcher, Ned Nimble and B_9_b Bilge; have spent all of their lives in Likemeland. These merchants are loved by the children of the kingdom who often receive samples. They like King Cole; are afraid of Muffet; and hold great affection for Tom-Tom. Bob Baker and Ned Nimble take great pride in displaying their wares on fair days; their .* voices can usually be heard throughout the kingdom as they call out, "Candles."I and “Biscuits!" Brisket Butcher is not as interested in his wares as in his pride and Joy, Lollipop. His great love and af- fection for the little pig have given the other merchants a great op- portunity to tease him. The audience will realize that this teasing is all done in fun for it is obvious that all of the people in the kingdom 91; love Lollipop almost as much as Brisket. These three merchants have not been thoroughly characterized by the playwright so their develop- ment may depend a great deal on the children playing the roles. The Tvm Guards are Muffet's cohorts only because of the great fear they have of him. They have been always liked and supported Cole but Muffet's threat that they will lose their Jobs when he becomes king, nukes them aid him. The king' s page, Poppyseed, has grown up with Tom-Tom and Mary Contrary; has spent many hours playing with them. Devoted to King Cole, Poppyseed follows him wherever he goes. The young page objects to the constant commands and duties that Muffet gives him. After the director had studied all of the component parts of her play, she was ready to cast the show. Creative try-outs were held for lust [93; the Eli-P. if. it: After the director told the story and something about the characters, the children, using their own words, enacted the specified scenes. This creative method enables the children to show their imagination, originality, and grasp of character. The value of this method was more fully realized at the first rehearsal which was devoted to reading the entire play. Many of the children were peer readers who had to struggle through a written script. A specific example was the boy assigned the part of Malwick Muffet. When confronted with the written script he was unable to read such words as "return" and "command." It is the belief of this director that this boy, who dis- played imagination in the creative try-outs, never would have been cast if only reading try-outs had been conducted. 95 The first rehearsal was devoted to reading and.studying the enthe play. The director began a discussion of.the play, explaining its theme, its characters: and its situations. The children were encouraged to think.out the interpretation of their own characters. The creative try-outs had stimulated their thinking and this delineation of character was relatively easy for the children. If a child read a line as if he didn't understand it, the director helped to guide him, through ques— tions, to a clear interpretation. The children responded favorably to the play as a whole and were delighted.with the characters.. They felt that the theme was one they believed in and would enjoy conveying. At the first blocking rehearsal, the director indicated the stage positions and movement. (The blocking, which must be done prior to this rehearsal, had been facilitated for this author-director because she visualized movement as she wrote dialogue. A complete outline of the blocking can be found in the prompt book which has been included in the appendix. Characterization was not emphasized in this rehearsal for the children were occupied learning their stage positions. Specific problems of movement, characters, and concentration de- veloped during the subseduent rehearsals which were devoted to complet- ing the blocking, mastering the line, and developing characterization. (A daily rehearsal schedule has been included in the appendix.) The problem of movement developed in the long expository scene between Cole and Muffet in ACT I. Though many of the lines had been cut the action was still static. The director found it necessary to change the blocking for this particular scene several times but because of the nature of the necessary exposition, she never felt that this scene had enough movement. 96 Tom-Tom's return in ACT II, scene 1, presented a problem in char- acterization. The children were unable to display’the natural enthus- iasm and joy needed. The scene was reworked many times before the di— rector was able to gain, and sustain, the gaiety. This obstacle was over— come by adding new lines of welcome and by discussing the feelings, on the part of the merchants and TompTom, that his return would ellicit. This same lack of spontaneity and enthusiasm was prevalent in ACT III when King Cole drinks from.the bowl. Discussion of reactions and an increase in the tempo of the lines helped to create some of the enthusiasm. After the children were thoroughly familiar with their lines, the director often took the part of a townsperson and played i in the scene with them. By ad libbing general lines that would not confuse the children, she was able to increase the spirit and tempo of the scene. The director feels that this method of playing with the children is an effective way to handle crowd scenes. The major problem during the rehearsal period was one of concen- tration. Though the children appeared to have a thorough grasp of their characters, it was difficult for them to sustain their character- ization and concentration. The director reiterated the mood that a certain scene was to create, fully discussed the reactions of every character in the difficult scenes, and re-emphasized the need for staya ing in character every minute of the time. It is conjectured that this re-emphasis, plus constant repetition, helped to develop the concentra- tion that was evidenced in performance. An analysis of the productions of Just For The Fun g£.;t.will be included in the next chapter. CHAPTER IV AN ANALYSIS OF THE WRITING PROBLEMS WITH THE REVISED SCRIPT CHAPTER IV ‘3 ANALYSIS OF THE WRITING PROBLEMS WITH THE REVISED SCRIPT Satisfying an audience of children is the main concern of children's drama. A critical observation of this sincere, uninhibited.audience can aid the playwright in discovering the weaknesses in any script. By ob- serving attention or lack of attention; by noting restlessness, which is a clear indication of uninterest; an author will be able to tell where the play has succeeded and failed in satisfying this special aud— ience. The author of Just For The Fun g§_I£.presented her play to two audiences of children in the hOpe that their reactions would guide her in the rewriting of the play. To show how the audience response and a critical observation of the performances influenced her revisions, an analysis of the two productions, performed by a cast of children and adults, will be given. This will be succeeded by the author's personal observation of the audience's reactions. The last part of this chapter will include the revised script with the reasons for the revisions. OBSERVATION OF PERFORMANCES AND AUDIENCE REACTION {BEE For The Fun Q£_It_was presented twice in the Studio Theatre of Fairchild Auditorhwm. The afternoon performance was attended by approx- imately seventy-five children with the remainder of the full house comp posed of adults. The ratio of children and adults in the one hundred and twenty-five seat theatre was opposite in the evening performance. 99 The unrealistic set which had been done in vivid, primary colors established the desired fairy tale atmosphere. Willie‘s gay skipping into the square and his light, rhythmic movemhnts in the ensuing panto- mime, established the mood of gaiety; his nightshirt and lantern identi— fied him as a familiar character. This combination of set, costumes, and character, conveyed the spirit of Likemeland to the audience. Willie's personal disgust at not being seen in the daytime and Mary's sympathetic response made it clear that he could only be seen when.the stars were shining. Mary and Willie's affection for TompTom.was evident in this opening scene; their sincere wishes that he would return to Likemeland developed the necessary interest to prepare for his entrance. The long expository scene between Cole and Muffet had been prepared forty creating an interest in the young prince, but the scene was static and uninteresting. Muffet's movements away from Cole seemed.unmotivated and unpnatural since the lines called for the characters to play closer together. In the evening performance this difficult scene played better because of increased tempo. The author realized a definite need for rewriting this scene. vMary and Willie's surprise at hearing the music, which announced Tom.Tomfis entrance, was played.with a sincerity and delight that caused the audience to lean forward and listen. The bybplay’between Mary and Tom-Tom, as Willie was working his magic on Lolar, was played broad enough to be evident to the audience. This scene and the ensuing one in which Tom-Tom "has a secret“, were experiences within the realm of childhood; they were played with the teasing manner often used by 100 children when they ”have a secret.’I As TompTom revealed why he had gone to the Land of Laughter and the power of the bowl, it was evident to the author that too much of the antecedent action was being given through conversation instead of dramatic action. Though Tom-Tom's lines of explanation about the two wicked sisters were clearly delivered, perhaps many of the children in the audience were echoing Willie's question, "Why don't they drink out of it?”' This hurried explanation of Tom—Tom's, confirmed the author's belief that the action preceding the opening of the play was too detailed. The theme was well emphasized when Lolar drank out of the bowl. Willie, Mary, and Tom-Tom slowly moved away from Lolar as he raised the bowl to his lips; they seemed to be holding their breath as he drank from it. Their spontaneous laughter chimed in with his as they realized the power of the bowl. I Muffet's entrance, which gave the children on stage another op- portunity to play their game of, "Let's surprise him," could.have been more effective if the suspense had been sustained longer; if he had re- sponded more strongly to Mollie's, "Look, Papa!” If the author had given more lines to Mollie, her reaction to seeing Tom—Tom.behind the well could have been a stronger step in building the suspense which culminated with TompTom's, "I'm not dead!". This same mistake of not providing enough lines to build sufficient suspense was also shown when Tom-Tom was urging Mollie to drink from the bowl of laughter. After building the scene up to the point where Mollie almost drank, it was quickly dropped with Muffet's, "Put down that bowl." If the playwright had provided for‘Muffet to repeat this command, Mollie's fear would have 101 been more obvious. This addition of lines would also have given more opportunity for broad pantomime; the scene could.have been pointed.up more; and there would.have been better preparation for Mollie's drinkh ing out of the bowl in ACT II, Scene 2. Tom—Tom’s questioning of Muffet was played with earnestness but in spite of his desire to see Cole, the scene was static. The exposition was again revealed.through talk and not action. The ensuing scene in which Lolar and Mary return to find Tom.Tom.hurt and dejected, was a further example of "talky" exposition. The scene played well in spite of this because of the great concern Lolar and Mary showed for the dejected young prince but indicated a need for rewriting. The last part of ACT I in which Muffet chases Willie across the Village Square, and reveals that Muffet has not told Cole of Tom—Tom's return, was skipped in the afternoon performance. This omission of necessary exposition did not appear to confuse the story for the audience; they evidently accepted Lolar's supposition that Muffet didn‘t talk to Cole without hearing Willie's confirmation. The chase, in the evening performance, provided a release from thetension that had built up. The author observed that this chase could have been an exercise scene if she had directed Willie to elude huffet just as the Chancellor was about to catch hime It was obvious when Willie entered that Muffet wouldn't catch him; the opportunity to build suspense and provide an exercise scene had not been taken. The theme was emphasized in ACT II, Scene 2 when "gay little Mary" came skipping into the square. The merchants set the mood of somberness 102 by calling out their wares in dull, monotonous tones; their despair over Muffet's being named king was heard in their voices. With each flower that Mary gave away, the mood became gayer and livelier. As Mary Jumped over the candle, the merchants spontaneous laughter prepared for Muffet's entrance and another contrast of a kingdom with laughter and one without. The fluctuating rhythm of despair and gaiety was further emphasized with Tom-Tom's entrance. The merchants individualistic responses to the young prince's pipe provided a release, througi laughter, from the tension which had been built with Muffet's entrance. As Tom-Tom put on his dis- guise, the laughter of the merchants showed their delight at seeing the young prince as a bowlmaker. Their affection for Tom-Tom was evident as they eagerly entered into his game of, "Good evening, 30210, the Bowl- maker.” Due to an unavoidable, emotional upset, Willie's light, rhythmic movement lacked spirit in the afternoon performance. This problem was solved by evening when he responded to every action and word; skipped, Jumped, climbed and perched on every available piece of stage furniture. Then urging Cole to drink from the bowl, Willie's constant flitting from the king to the door helped to build suspense. In the scene where Lhiffet questioned the bowlmaker, the author r ealized that she had not supplied enough complications in the play. Muffet would not have let the "old man" leave so easily. Tom-Tom's slow, deliberate cross to the outer door, his sudden tearing off of his disguise, and his clear delivery of, "I'll be back, Chancellor Muffet," displayed the young prince's great determination. 103 The character of the not too intelligent guards was shown in the scene with Muffet where they are planning how to get rid of TombTom. The guards' lines were delivered with rhythmic regularity. An unex- pected audience response of delight to the guards in this scene, sug- gested to the author that they warranted further development in the re- vised script. Mutfet's exclamation, "That squealing pig is what we'll steali', was well emphasized because it was delivered with great projec- tion during one of the pauses when the guards were thinking. In ACT III the opening pantomime was rushed. Muffet and the Guards were no sooner on stage before Tom—Tom entered. Tom-Tom's affection for the little pig was not strong enough; it was not clear that he was honestly in a dilemna--trying to decide whether to take the pig home to Brisket Butcher or to continue searching for Lolar. The shock”. and surprise felt by the people, as the Guards brought TompTom in, could have been more obvious if the playwright had supplied more lines of re- action. TompTom's entrance also could have been more effective if the director had planned on having the prince brought in from.upstage center instead of stage right which was so conJested. The movement on stage when TompTom.made every one dance was delightful but it was difficult to see that Muffet was the only one not dancing because of the small, crowded stage. The author felt that a change should be made in the script to clearly point out, at first glance, that Muffet is the thief. All of the people of Likemeland responded to King Cole's drinking out of the bowl with great laughter and gaiety. His first, short laugh ‘built into a great booming one that echoed throughout the theatre. It seemed perfectly natural for Cole to start singing, Just For the Fun 9;: 10h It_in reply to Tom—Tom's question,"Father, why are you laughing?" The author—director's personal observations of the two performances of her play confirmed.her belief that too much of the play was being conveyed through words instead of action. In spite of the "talkiness" of the play, the audience was attentive at both performances. To ana- lyse their reactions, the author will discuss the participation, atten— tion, and identification that she witnessed in the members of the audience.. Throughout the play the audience listened to the characters tell the story. The only scene in which restlessness was evidenced was the expository scene between Malwick.Muffet and King Cole in ACT I. There was a general response of turning around, shifting in seats, and.talka ing, as the scene was being played. Participation, an overt indication that the audience is ”in" the play was shown by the vocal and emotional responses of the audience. In ACT II, Scene 2, the audience urged Mollie to drink.out of the bowl of laughter, When she asked, "Should I drink out of it?", they answered, "60 on and drink”; "Drinki". A,few of the children stood up and leaned forward as if they wanted to help Willie raise the bowl to Mollie's lips. A release from the tension that had been built before she drank out of the bowl, was given in the emotional response of laughter. The children in the audience laughed gith Mollie. This response of laughter was also given when Mary Contrary Jumped over the candle in ACT II, Scene 1. Then she failed to get over the candle the children laughed with her and wanted her to try again. 105 Though the audience participated in the play with vocal and emotion- al responses, there was not a great physical response in any part of the play. This may have been due partly to the large number of adults in the audience; but also to the lack of opportunity in the play itself for any "exercise" scenes. The desired identification with Tom-Tom, the main character, was not as great as the author thought it would be. Though the children listened to his story, they did not respond in anyway which indicated their identification. Tom-Tom was not placed in dramatic situations that gave the audience an opportunity to feel strongly about their suc- cess. In the scene in which Mollie drank out of the bowl, the audience identified with her as shown by their desire to have her drink out of the bowl. They wanted to laugh, as Mollie, so they urged her to drink. This unexpected identification came as a surprise to the author and in- dicated that further development of Mollie' s character would be satisfy- ing to an audience. Perhaps the strongest identification was with Wee Willie Winkie. The children were delighted with his movements and re- sponded to his impishness. They seemed to "be" Willie, especially in the throne room scene where his playful teasing and taunting were most evident. The children expressed a definite dislike to Malwick Muffet, which was carried over after the performance when some of the audience ran when they saw him in the hall. That the children understood Muffet's character is shown by the little seven years old girl who was asked, several weeks after the performance, "What did the play teach you?" She answered, "That something bad will happen to you if you lie." 106 The end of the play was satisfying to the audience. As soon as King Cole started to laugh many of the children pushed back their seats and started to leave. This indicated.that they knew the story was over; the important event that they had been waiting for had occurred and they were satisfied. This may be illustrated with the specific example of the little boy who turned to his mother at the end of the first and second acts and said, I'There's more, isn't there, mommy?" When King Cole laughed he stood up and turned to his mother, ready to leave. The great attention displayed by the children throughout the play -indicated that they liked the story; they were eager to hear and see all of it. Despite the complicated story line the children appeared to un— derstand the story; they knew when it was over. Perhaps the children cannot express the theme in terms of a universal truth but they can tell what the most important event was. The author questioned an eight year old boy, shortly after the play, what he wanted most to happen.atnthe play. His answer was, "I wanted King Cole to get some of that stutf-- that bowl of laughter." The lack of physical response pointed out to the author the need for exercise scenes which would provide a more overt response; which would allow for a greater release of tension. THE REWRITTEN SCRIPT The author of Just For The Fun Q£_lt_recognized.many of the weaknesses in her play during flhe rehearsal period, but a critical observation of the actual performances made these weaknesses more evident and pointed out new ones that had not shown themselves during the rehearsals. 107 The most outstanding fault in the script was the great amount of action, that preceded the opening of the play, which had to be conveyed to the audience for a clear understanding of the story. In an attempt to solve this problem, the author has shortened the antecedent action. This change can be more clearly illustrated by comparing the exposition in the two scripts. In the original play the audience needed to know: Chancellor Malwick Muffet, who had been scheming for many years to become the king of Likemeland, had told Tom-Tom of a magic bowl which would make the dignified King Cole laugh. Realizing that the young prince would go to the Land of Laughter in search of the bowl, Muffet had plotted with the two wicked sisters who guard it, to have Tom-Tom killed. Tom-Tom left Likemeland without telling 22122.9. where he was going. In his absence, Muffet, who believed the young prince had been killed, told Cole that a stranger had brought news of Tom-Tom's death; and convinced the dignified, unhappy king that he was not well enough to continue ruling. Cole had decided to name Muffet the new king at noon the next day. In the rewritten script the audience needs to know that the young prince had gone to the Land of Laughter to get the mgic bowl which would make the sick king laugh and recover. The specific changesmade in the play as a result of this change will be indicated in the rewritten script in the exact places they have been made. The lack of dramatic actions and complication were other major weak.— nesses in the script. The author had the characters 1.3;]; the story in- stead of show it in dramatic situations tbtt develop with complications. 108 In the original play, TompTom returned to Likemeland and told where he had been, why he went, and the difficulty he had obtaining the bowl. The rewritten script will indicate how the author showed the story by dramatic situations; how she introduced conflict into the action. To facilitate the discussion of the changes made in the play, the author has placed the rewritten script on the right column of the page with the reasons for revision in the left column. REVISED SCRIPT JUST FOP. THE FUN OF IT JUST FOR THE FUN OF IT CAST 0F CHARACTERS Wee Willie Winkie Mary Contrary MalwiCk Muffet Mollie Muffet Stranger Poppyseed l Guard 2 Guard King Cole Tom-Tom Lolar the scholar Brisket Butcher Ned Nimble Bob Baker, the Biscuit Maker ACT I - The Village Square of Likemeland Early in the evening. ACT II Scene 1 - The Village Square Early the next morning. ACT II Scene 2 - The ante chamber to King Cole's throne room. A few minutes later. ACT III - The Village Square Five minutes before noon. JUST FOR THE FUN OF IT ACT I The opening was not changed. IT IS EVENING IN THE VILLAGE SQUARE The author felt that Willie's 0F LIKEiEIAND. HERE AND THERE A LIGHT entrance, with the aid of an CAN BE SEEN IN THE HOUSES THAT SUR- unrealistic set established the ROUND THE SQUARE. WEE WILLIE WINKIE the desired fairy tale quality ENTERS 0N TIPTOE. HE DASEES TO THE which tells the children that WINDOW OF THE FIRST HOUSE, PEEKS IN, the story takes place a long RAPS ON THE PANE. time ago. Willie's nightshirt and his lantern identify him as WILLIE: Time for bed! (SKIPS T0 a familiar character, and his THE DOOR OF THE NEXT HOUSE AND KNOCKS.) light, rhythmic movement set Past your bedtime! (DANCES TO THE the mood of gaiety. The panto- NEXT HOUSE, STOOPS DOWN TO THE KEYHOLE mime gives the audience an AND ALMOST-—-ALMOST BUT NOT QUITE-m- opportunity to get a complete PEEKS IN. HE KNOCKS ON THE DOOR.) look at the setting It's eight o'clock! (HE IS ABOUT TO CONTINUE WHEN HE sass MARY CONTRARY COME OUT OF TH] PARK. HE HIDES BEHIND THE WELL.) MARY: (SITTING 0N BENCH) Star light, star briglt First star I've seen tonigit, I wish I may, I wish I might, Get the wish I wish tonight. (SHE LOOKS AROUND CAUTIOUSLY) I wish-«I wish that Tom-Tom would come back to Likemeland! WILLIE: (HAS COME FROM BEHIND THE WELL AND IS Now STARING AT HER.) MARY: (SEES HIM) 011! Who are you? WILLIE: (LOOKS AROUND, THEN POINTS TO SELF.) Who? Me? MARY: Yes! You! Mary and Willie are inledi- ately identified; Mary's love WILLIE: Willie Winkie. for her flowers, which play a major part in the development MARY: Egg Willie Winkie? of her character, is shown. WILLIE: Why, yes! Wee Willie Winkie! Who are you? The character with whom most of the children will identify, is brought into focus. Tom-Tom remains on stage through-out the act. Willie's invisibility is established; Mary's sympathetic nature is shown. 112 MARY: Mary Contrary. WILLIE: Mary Contrary! 0h---you take care of the flowers! (POINI'ING TO THE FLOWERS THAT SURROUND THE WELL.) MARY: Yes! See? Silver bells-«— Cockle shells.... WILLIE: And daisies all in a row. MARY: Aren't they pretty? WILLIE: Uh—---huh. Not a single weed! MARY: Not a one! WILLIE: You take good care of them! MARY: I love my flowers! ---0h! How did you know they're mine? WILLIE: Tom-Tom told me. NARY: Do you mean Tom-Tom, King Cole's son? WILLIE: Yes! --Prince ToMom. MARY: When did m see him? WILLIE: He used to sneak out of the palace at night. MARY: Why? WILLIE: To play with me. MARY: Why didn't you play in the daytime? WILLIE: (OH SO DISGUSTED) No one can see me or hear me in the daytime! (PLOPS DOWN ON THE GROUND) MARY: No one at all? WILLIE: No one! Unecessary exposition about Tom-Tom and King Cole has been omitted, to be shown in dramatic action when they enter. Because the antecedent action hes been shortened, this neces- sary exposition swiftly reveals that Tom-Tom has gone to the Land of Laughter to get the bowl which will make his sick father laugh and get well 113 MARY: Oh..--I'm sorry, Willie! WILLIE: You can only see me when the stars are shining. MARY: I'm glad I came out to wish on the very first star---0H!!-- Did you hear nw wish? WILLIE: We---ell--yes! MARY: Then it won't come true! WILLIE: I won't tell anyone, Mary Contrary! MARY: Honor bright? WILLIE: Honor bright! MARY: Oh, it doesn't matter, Willie. WILLIE: Why not? MARY: I don'tthink it will come true. WILLIE: Then why did you wish on the very first star? MARY: 0h--it was Just a wish. WILLIE: Oh-h! Mary Contrary! If you wish on the very first star you have to believe that your wish might come true! MARY: Oh, I hope that it will. WILLIE: Me, too. MARY: Willie, how far away is the Land of Laughter? WILLIE: Sixteen—mar 39--—or 58-«oh, about-~-Well, it's not very far. MARY: Then why has Tom-Tom been gone so long? b‘i.§|t‘\daln The natural conversation between Willis and Mary has told the audience who Tom-Tom is, where he has gone, and why; that he has been gone a long time. Their interest aroused in Tom-Tom, the audience will also want to know if he will return. Their questions will be answered as soon as possible through dramtic action and not exposition Muff et's entrance reveals that everyone in Likemeland knows where Tom—Tom has gone. This common knowledge makes it unnecessary to reveal the same information to many char- acters, as in the case of the original script 11h WILLIE: (DISGUSTED) Mary Contrary! Tom—Tom went there to get the bowl of laughter.... MARY: I know that. WILLIE: Please don't interrupt! You don't ask a king for his famous bowl of laughter and then leave right away. MARY: What d_9_ you do? WILLIE: You have to tell why you want the bowl. MARY: It wouldn't take Tom—Tom very long to say that his father is sick because he can't laugh. WILLIE: No-Tom-Tom would come right back if he had the bowl. MARY: He loves his father and wants him to feel better. WILLIE: Do you think something has Happened to Tom-Tom? MARY: (SILENT) WILLIE: Do you? MARY: Well, Chancellor Muffet says that he 1.0eeee WILLIE: 0h, Muffet, shmuffet! Don't pay any attention to him. MUFFET: (OFFSTAGE RIGHT) No more candy! I've told you for the last time-...no more candy! MARY: Here comes Chancellor Muffet. MOLLIE: Papa, I'm hungry. WILLIE: And munching Mollie Muffet. (MIEFET, MOLLIE ENTER FROM RIGHT) Muffet's character is immedi— ately established on this first entrance. The audience will dislike him because he is com. mending the two characters they have come to like. The relationship between Muffet and Mollie is established. 115 MARY: Good evening, Chancellor Muffet. WILLIE: Muffet. Good evening, Chancellor MUFFET: What are you two doing in the square at this thme of night? MARY: Chancellor Muffet, do you think that something has happened to Prince TompTomI MUFFET: Why are you asking mg} MARY: timee He's been gone for such a long MUFFET: I'm.sure that I don't know. WILLIE: No one would hurt him in the Land of Laughter. MUFFET: You never can tell. you'd better finish your work; Winkie, WILLIE: I don't feel like it. MUFFET: Finish your work! Both of you may leave the square at once. WILLIE: We can stay in the square if we want to. MUFFET: Silence! Leaye at once. MARY: Come on, Willie. (STARTS OUT) WILLIE: (SKIPPING‘UP'TO MUFFET AND BOWING GRANDLY, HE SAYS VERY LIGHTLY) Good night, Chancellor Muffet. (TO MOLLIE) Good night, Munching Mollie Muffet. (THEY LEAVE RIGHT.) MOLLIE: Papa, what does munching mean? MUFFET: Eating! Now hush up! MOLLIE: Oh, papa! (Stems CRYING) I'm.hungry! The addition of The Stranger permits the author to swiftly reveal the results of TompTom's Journey to the Land of Laughter This dramatic situation answers the audience's question; Will Tom-Tom come back? By showing some concrete evi- dence of Tom-Tom, his hat, the audience's interest in the prince is heightened. Cole's Vacceptance of TompTom's death is more plausible. The hat has been introduced to build dramatic situation. Through natural conversation the author keeps the story line clear, giving only the necessary exposition 116 MUFFET: palac3e (THEY START OFF LEFT) Rush up! We must get to the MOLLIE: (CRIBS) (CALLING FROM UPSTAGE RIGHT) Chancellor Muffet! STRANGER: Chancellor Muffet! MUFFEI‘: (TURNS) Who' 9 calling me? Ohmit.‘ £92!!! STRANGER: Good evening, Chancellor Malwick Muffet. MUFFET: It‘s about time you were get- ting back. (ANXIOUSLY) Well---have taken care of the young prince? STRANGER: (GIVING MUFFE‘I‘ Tomrou's HAT) Do you recognize this? MUFFET: It's Tom-Tom's hat! STRANGER: Ah, yes, Chancellor Muffet.- I seized him as he was leaving the palace in the Land of Laughter. MUFFET: Good! Did he get the bowl? STRANGER: I didn't see it. There wasn't time to search him thoroughly. MUFFET: It doesn‘t matter. be able to use it. He won't Where is he? STRANGER: Prince Tom—Tom is a prisoner in the highest tower in the Land of Laughter. MUFFE": Who's guarding him? STRANGER: Two simple minded peasants who would do anything for a few pennies. Fine! Fine! STRANGER: How are things in Likemeland? MUFFET: Cole is getting weaker every day. Poppyseed's entrance, in search of lluffet, helps to move the action of the story forward. In the original script, Poppy and Cole furthered the story through exposition that was necessary because of the great amount of antecedent action. By showing Poppy ;e_e_ the hat and go for Cole, the author has motivated Cole's entrance (in the original script he Just happened to be walking through the square): has eliminated the long exposi- tory scene on pages 19, and 20 has shown through dremtic action, Muffet's plan to deceive 001.e ' WM: 117 STRANGER: You'll soon be the king of Likemeland, Malwick. MUTFET: It won't be long now. The doctors say Cole can't live much long- er without laughter. Ha! Ha! They keep hoping that Tom-Tom will bring the bowl. STRANGER: How long do you want to keep Tom-Tom in the tower? MUTFET: Until I am named king of Likemeland. STRANGER: You are very clever, Mal- “Ck “fete EUFFET: Yes, I an clever. I'm glad the young fool decided to go after the bowl. It fitted in very nicely with my plans to get rid of him. POPPYSEED: Muff et! (OFFSTAGE) mancellor Chancellor Muffet! (TO STRANGER) Don't say a word! It's Cole's page. POPPY: (ON) cm, Chancellor luffet. King Cole is calling for you. (SEES TE STRANGER AND TOM-TOM'S HAT IN HIS mum.) Ihy, that hat—that's Prince Tom-Tom's hat! MIIFFET: Why-«yes. This stranger has Just come from the Land of Mter. POPPY: (LOOKING AT THE HAT) Oh, I must tell King Cole. (STARTS OUT) King Cole, King Cole!!! STRANGER: I'd better go.... MUFFET: Cole will probably come totter- ing to the square when he hears about this. (TWO GUIBDS COME RUNNING IN.) The relationship of the guards and Muffet is clearly seen. The audience will know that they are on luffet's side. Kuffet prepares for Cole's reaction to the hat. He knows that Cole will accept this as proof of Tom-Tom's "death.“ 1].! l GUARD: Anything wrong, mancellor Muffet? 2 GUARD: Poppyseed went running into the palace! BUFFET: Everything's fine! fine! Stay near by in case I need you. 1 GUARD: Yes, Chancellor Muffet 2 GUARD: All right, Chancellor “fete (GUARDS GO OUT LEFT) STRANGER: I'm leaving, Ilalwick. MUFFET: Oh, no you don't! STRANGER: How can I explain the hat? MUFFET: Cole will believe that you have seen Tom-Tom when he sees this hat.--You will tell him that Tom-Tom is dead! STRANGER: What? MUFFLT: Tell him that Tom-Tom is dead and 'will never return to Lit-Island. STRANGER: He won't believe that. MUFFET: Oh, yes he will. Here, (HANDS HI]! THE HAT) Keep the ht until he comes. ' (WILLIE mo mm m FROM RIGHT, SEARCHING FOR wmms LANTERN.) um: I don't see it anyplace, lillie. MUPFET: (TO STRANGER) Be quiet! IILLIE: I know I left it in the square,llary. HART: (SEARCHING IN THE RBI) Are you sure, Willie? lillie's lost lantern motivates his and Mary's entrance and per- mits them to be on stage to hear the story of Tom-Tom's "death." Previously the author had to get thu off-stage to allow time for Huffet's scene with the stranger; and has employed the lost lan- tern as a natural device for their return. This pertion of the scene had been completely altered because of the change in the antecedent action. Cole's motivated entrance, his questioning of the stranger, and his acceptance of Tom-Tom's ”death,“ is shown instead of told through exposition. To simplify the story, the author has changed Cole from a digni-r fied king, who becomes ill after his son's absence, to a sick king who can be cured only by laugiter. This change also places greater aphasis on the “me 119 WILLIE: Yes...(SEES MUFFET AND m STRANGER) ...Oh.... MUFFET: Winkie! finish your work. I told you to WILLIE: I can't finish nor work with- out aw lanter-“and I've lost it. Do you see my lanter anyplace? MUITET: No I don't! Now leave. WILLIE: Maybe it's behind the well. (LOOKS MERE) Oh, here it is, Mary! POPPY: (COMING ON IITH COLE) Not so fast, your majesty. Not so fast. COLE: There is that stranger? (SEES HIM) Oh, there you are! (ALL 301! WHEN com mm) MUPFET: Good evening, your majesty. COLE: (T0 STRANGER) (TAKES HAT) This is Tu-Tom's hat! Where did you get it? Tell me, where did you find this? MUFFET: Please, your maesty. You msn't get so excited! COLE: Have you seen Tom-Tom? MU'ETET: Tell his mJesty.--go on.... STRANGER: Your mJesty. . . . COLE: When is he coming back? MUFFET: Sit down your maJesty. Prince Tom-Tom is not coming back to Likeme- land. COLE: IHAT?" My not? What's keeping him away. mm: 18 dead. King Cole. Prince Tom-Tom Cole's great love for his son is seen. Through dramatic action, Cole decides to give up his throne and name Muffet king. These decis- ions, in the orginal script, had been mde prior to the open- ingof the playandhadto be revealed through exposition. 120 COLE: Ihat? WILLIE: Dead? MARY: Tom-Tom dead? COLE: Tom-Tom can't be dead. He can't be. Is this true? Is my sob-«dead? STRANGER: Yes, your majesty. Prince Tom-Tom will never return. COLE: What happened to him? STRANGE: H. “8...“!8t 1'eeeh. started to... MUFFINS: Prince Tom-Tom was engaged in a duel---and defeated. COLE : Tom. That doesn't sound like Tom- Re wouldn't fight with anyone. STRINGER: I know it's hard to be- lieve-«but it's true. COLE: (PONDLING THE HAT) Tom-Tom gone forever..... WET: Your asJesty...King Cole... COLE: Yes, Chancellor Muffet, it is 'his majesty King Cole" today but not tomorrow. MUFFET: (HGERLY) What-«what did . you say? COLE: I am no _longer a good king-.- 1”: . '1“ 01d we WILLIE: You are a good king. mm: The people love you. COLE: Thank you, children, thank you. But I have decided to give up w throne. (morn-I AND THE STRANGER EXCHANGE more) MARY: You can't do that! Tho theme is unphasised by hearing Cole say that all his hopes to laugh and be well are shattered with Tom-Tom's death. Dy showing all of these ‘dnlmtio decisions, the play- wright has kept the story moving, has eliminated the long expository scene between Cole and Muffet, and has created dramtic situations instead of “talky' scenes. his scene was kept intact because the author felt that it prepared for Tom-Tom' s entrance In rehearsal, the author-direc-' tor discovered that the lines had to be lengthened when Mary 121 WILLIE: You have to keep on being king! COLE: No. While Tom-Tom was alive I had hope that I ought get better, but now---- MUFFET: Are you going to name a new king, your majesty. COLE: Yes. I will name you king of Likemeland, mancellor Muffet. MUEFET: When your majesty? COLE: Tomorrow is fair day, Tomorrow at noon you will be the king. WILLIE: Oh, no! MUI'FET: Thank you, your mjesty.... MARY: But, King Cole.... COLE: (TO STRANGER) Thank you for ...for bringing me Tom—Tom' s hat. STRANGER: to have it. I thought you would like COLE: It was very kind of you. Ion't you come to the palace and rest for a while before you start home? STRANGER: Thank you, King Cole. COLE: Good-night, Mary and Willie. (THEY Bow) MARY: Good night, King Cole. WILLE: Good night, your majesty. (ALL EXIT LET BUT WILLIE AND MARY) WILLIE: Tom-Tom can't be dead! MARY: Oh, Willie, Malwick Muffet just can't be the king. WILLIE: What can we do, do, do? and Willie were trying to think of a way to prevent Muffet from being the king. The children playing the parts were unable. to convey the feeling of the short, unfinished lines. Ilary and Willie's reaction to Ton-Tom's entrance wan built up; the great surprise they show than they see him, Just after hearing of his death, was not great enough so the author added lore lines of surprise. ' WILLIE: 122 MARY: I don't know-«but we have to think of smoothing. (BOTH SIT DOWN) WILLIE: Think--think—-think. MARY: (J'UMPS U?) Maybe we could tell King Cole that the people.... WILLIE: Yes, yes??? (JUEPS DOVE FROM THEWANDRUNS ommm) MARY: Oh, no----that wouldn't do. (PER- ON I'LL) We could have Malwick Huffet put in the..... MARY: Yes! , WILLIE: No, that wouldn't work. (THEY ARE BOTH DEEP IN THOUGHT HHEN MUSIC IS HEARD OFFSTAGE. WE CATCH A GLIMPSE OF TOILTOM, BEHIND A TREE IN THE PARK, PLAYING A PIPE. MARY: Li stenl WILLIE: It's music! (WILLII'S FEET HAVE STARTED TO MOVE) MARY: This isn't any time to dance, Wee Willie Winkie! WILLIE: I--I can't help it, Mary-..- w feet won't stay still. (HE IS DANCING) MARY: (LOOKING AT HER FEET) Look; Mine are moving too. Wyn-why“- it's mgicl It's mgic, Tillie! (THEY won FOR A m MINUTES. rm: WSIC CEASES AND we HEAR A LAUGH.) (MARY AND WILLIE FREEZE IN TEIR POSITIONS. THEY TURN SLOWLY TO THE RIGHT AND SEE TOM—TOM.) Their disbelief is more clearly evidenced by delaying their acceptance of him. Ton-Tom's entrance creates more questions in the mind of the audience. How did he escape from the tower? Did he get the bowl? hose questions are quickly answered. '12} TOM-TOM: (LAUGHING AT THEIR mzr... MENT) Hi, Mary. Hi, wnno. (NEITHER or THEM sus A wont. THEY STAND AND STARE!) TOM-JOE: What's the matter? WILLIE: (SPUTTERING) Thy, it-—-it' s ‘-ub-1ubv e e e MARY: It looks lib—(MY)--- Prince Tom—Tom. TOM-TOM: It looks like Prince Tom- Ton? ’ WILLIE: It---it sounds like Ton-Tom... TOM-TOM: It is Tom-Tom! (COMPLETELY BEWILDERED BY THEIR REACTIONS) WILLIE: It can't be. (TURNS AIAY, BLINKS HIS EYES, TURNS BACK AGAIN) It is Tom-Tom!!! TOM-TOM: What's the matter with you two? MARY: (GOING UP AND TOUCHING TOM-TOM) Are you real? - TOM-TON: Lthink so. (LAUGHING) NILLIE: He's not dead! He's back! He's back! (HE AND MARY DANCE) TOM—TOM: ‘lhy are you so surprised to see me? MARY: A stranger from the Land of Land“ er told us that you were dead. TOM-TOM: 1).... 11.11, I'm not. (THEY ALL LAUGH) MARY: Oh, Tom-Ton. King Cole will be so happy to see you! TOM-TOM: (ANXIOUSLY) How is llw father? Thetauthor changed the magic power of the pipe. W the persona Ton-Tom names will dance to it. This change was made to more clearly point out Muffet as the thief in ACT III. (Further discussion of thil particular scene will be given in ACT III) 12h MARY: Not too well, Tom-Tom. TOM-TOM: Oh-h-h. .....I know that he'll feel better when I see him. MARY: Oh, yes!! WILLIE: me you get the bowl? TOM-TOM: YES! MARY: Oh, Tom-Ton! King Cole will laugh! WILLIE: He'll laugh and laugh! MARY: May we see the bowl, Tom-Ton?! TOM-TOM: Yes. (MAKES A GREAT THING 0F HANDING THE PIPE TO WILLIE) Fill you hold this for me, please, Willie? [ILLIE: What is it Tom—Ton? MT“: lb magic pipe. MARY: Your nagic.... NILLIE: . . .pipe? TOBLTOM: Yes! WILLIE: What's magic about it, Tom- Tom? TOM TOM: I’ll show you. (HE TAKES THE PIPE FROM WILLIE AND HOLDS IT mu FROM HIM) Pipe. pipe. play new. The flower girl will dance today. (TOM-TOM PLAYS THE PIPE) (MARY STARTS DANCING, THEY ALL LANG!) MANY: I---I have to dance-«I can't (TOM-TOM STOPS PLAYING AND THEN sus) , Ofiginelly no explanation had been made by Tom-Tom to tell how he got the pipe. The author felt the audience must know why Tom-Tom returned from the Land of Laughter with the bowl a_n_d a pipe. 125 TOM-TOM: Pipe, pipe, play away. (PLAYS AND WILLIE DANCES. THEY ALI. LAUGH. STOPS PLAYING) NILLIE: Oh, Tom—Tom, can you make everyone dance to your pipe? TOM TOM: Yes, Everyone has to dance if I commnd it. MARY: You can make King Cole dance? TON—TON: (SHARES HIS HEAD) Yes! WILLIE: ...and Lolar the Scholar? TOM-TOM: That would be funny! (THEY ALL LAUGH) How is Lolar? MARY: The same as eter, Tom-Ton. TOM-TOMxDo you still see him every night, Willie? ‘ WILLIE: Yes. He still comes through the square with his nose almost shut in the covers of a book. MARY: (EXAMINING THE PIPE) There did you get this pipe, Tom-Tom? TOM-TOM: The King of the Land of Laughter gave it to me. WILLIE: And he gave you the bowl, too? TOM-TOM: Yes. WILLIE: Show it to us, Tom-Tom. (LOLAR m SCHOLAR HAS GONE ON Tu sum m3 HIS NOSE ALMOST SHUT IN THE COVERS OT A BOOK.) TOM-TOM: Sh-h-h. Here comes Lolar, the Scholar. WILLIE: Let's surprise him. Lolar's character has been fur- ther «aphasized by at tempting to make his dialogue more like that of a scholar. The author felt that it was necssary to eliminate some of the repeti- tions because they had been interpreted as stuttering. 126 MARY: Let's do. Hide Tom—Tom. TOM-TOM: Behind the well? ‘ MARY: Yes. WILLIE: Hurry! Hurry! (WILLIE PUSHES TOM-TOM BEHIND THE WELL, TURNS AROUND AND BUMPS INTO LOLAR THE SCHOLAR. THEY BOTH TALL. LOLAR'S GLASSES AND BOOK nr HELTER SKELTER. THE CHILDREN ARE LAUGHING.) LOLAR: A furricane! A hurricane! Nhat did]: collide with? Where are aw spectacles? (@OPES FOR HIS GLASSES, MARY)PICKS TEEN UP AND HANDS THEM TO HIM. MARY: Good evening Lolar. Here are your glasses. LOLAR: (PUTS THEM ON AND STAKES UP AT HER) Good evening, Mary Contrary. Thank you an dear child, thank you. WILLIE: Hi, Lolar. LOLAR: Nee Nillie Winkie! NILLIE: Isn't it a bright, starry night? LOLAR: lhy--why the sun has descended! Willie, you're late! (MARY HELPS HIM UP WILLIE: Yes. I'm late—late-late. IOLAR: You'd better smash can-dash on. You'll get a black mark on your record. WILLIE: I don't care! LOLAR: My dear lad, did I hear you correctly? WILLIE: YES. (ADVANCING TOWARDS LOLAR WHO IS NOW ON HIS FEE) Are you Lolar the most famous scholar in all of Like- Island? 12? LOLAR: I don't have time for rid- dles, Master Winkle. You know m we as well as I do. WILLIE: Would you like to have Prince Tom-Tom return to Likemeland? LOLAR: (LOOKS FROM MARY T0 WILLIE) My dear childrenn-haven' t you heard that e e e 0 T WILLIE: Would E11! LOLAR: Willie, I must tell you that Tom-Tom 1'eeee WILLIE: Answer yes or no! LOLAR: (COMPLETELY EEWILDERED AND AMA- AT WILLIE'S STRANGE BEHAVIOR) Why-«yes! WILLIE: Now, Lolar the Scholar I Just my be able to help you. LOLAR: Willie. . . . . . WILLIE: Watch closely, av magic is at work. (DANCING AROUND Tn WELL.) Pom-pom Lom-lom Tom-Tom The king's son! Goo may loo may Rn stay In stay Come! (HE POINTS DRAMATICALLY TO THE WELL.) (TOM-TOM IS ALSO PLAYING GAMES. E3 DOESN'T COME! WILLIE LOOKS AT MARY GONTEARY Wm IS LAUMING EEAEEILY.) LOLAR: Did you say magic, Willie? Lolar's happiness at Tom-Tom's return, his delight in seeing the prince alive, are adequate reasons to handle Tom-Tom's ex.- planation of his return quickly. This eliminates the further repetitious exposition which was given in the first script Thecpository scenes on pages 28, 29 and 30 of the original script are omitted because Lolar knows there Tom-Tom has been. This is another example that shows how the story moves faster by abbreviating the antecedent action. 128 WILLIE: (WITH ADDED VIGOR) Blinkie Shminkie Klinkie Winkie Lom-lom Tom-Tom Kum-Kum!!! (THIS TIME TOM-TOM DOES APPEAR) TOM-TOM: Good evening, Lolar, nnr favorite scholar. LOLAR: (STARING AT TOM-TOM) Ludness! Goodness! WILLIE: (PERCEED ON THE WELL) Willie, the whiz of a wizard! TOM-TOM: (GOES OVER To LOLAR. THEY EMBRACE) LOLAR: Is this possible? Oh, Tom-Tom, m boy, I am completely overjoyed to see you! TOM-TOM: How are you Lolar? LOLAR: Where have you been Tom-Tom? TOM-TOM: It took me Longer to leave the Land of Laughter than I thought it muld. LOLAR: What transpired aw lad? TOM—TOM: Three men seized me as I was leaving the palace. WILLIE: Why, Tom-Tom? TOM-TOM: I don't know. Then gathey locked me up in a tower. LOLAR: But how did you lungs to escape? {OM-TOM: (LOOKS AT MARY AND NILLIE, SMILES; SHOWS THEM HIS PIPE so LOLAR CAN'T SEE IT. THEY ALL LAUGH) My magic was at work! (THEY ALL WM) Ten-Tom's delay in showing the bowl builds the suspense of the audience and the characters to see it. This ,scene was left intact because it is necessary to show the power of the bowl so that the desire tohave Cole drink out of it will be strengthened; to prove to the characters that this magic bowl will make Cole laugh and get well. 129 LOLAR: Oease’this nonsense, Tom- Tom. It is of little consequence as long as you are safe. (THE! ALL LAUGH) Did you get the bowl? WILLIE: It's about time you showed it to us, Tom-Tom. TOM-TOM: Lolar, did you know that it's covered with stardust. KARI: Oh, stardust! TOM-TOM: And it's this big.‘ (IEDI- CATES SIZE) WILLIE: This big Tom-Tom? TOM-Tom: (GOING OVER TO WILLIE) lot quite-dike this. (PUTS HIS HANDS CLOSER TOGETIER) LOLAR: Is it heavy Ton-Tom? TOM-TOM: (TAKING BOWL OUT OF BAG, HE BANDS IT TO Lam) Do you think so? . MARI: It is covered with stardust! WILLIE: It is this big! MARY: Oh, how it shines! LOLAR: I. it possible that an. bowl will really make ling Cole laugh? TOM-TOM: All who drink from the bowl are happyand gay, their cares are taken away. WILLIE: Let's try it! LOLAR: That's a most “sellout idea. TOM-TOM: 3111 it up, Willie. WILLIE: (FILLING THE BOWL) Iho's going to drink out of it? he expository scene on pages 31 and 32 has been eliminated because Ldlar knows where Tom-Tom hag been. The story continues to have quickly with Muffet' s Outrance. 130 TOM-TOM: Who wants to? HARY: I do! LOLAR: That would be exceedingly un- fair Mary Contrary. You laugh at the slightest proflcation. TOM-TOM: It can't be Willie. MARY: Or ION-TOEe WILLIE: It has to be (THEY ALL TURN TO LOLAR) . . . . . . .‘Lolar! ' LOLAR: You are all extremely consid- erate but I am not the least bit thirsty-«not the least bit. WILLIE: come on, Lolar. mar: Oh, yes, Lam. TOM-TOM: We have to test the bowl. LOLAR: This is highly irregular. (WILLIE HAS THE BOWL UP TO LOLAR'S LIPS. HH TIPS IT AND LOLAR DRINKS!) (THE! ILL uTcH Hm WAITING FOR SOME REACTION.) LOLAR: (AS HE BRINGS THE 30‘“. DOWN THERE IS A SMILE ON HIS FACE. HE STARTS LAUGHING—..SLOWLY, AND BRINGS IT TO A GREAT BOOMING LAUGH. THE! ALL JOIN IN.) TOM-TOM: It works! WILLIE: (muons WITH MAE!) It works! It works! LOLAR: Tom-Tom, you must take this wonderful bowl to your father at once! _ MARI: Yes! . WILLIE: He'll laugh. He won't be sick anymore. Mollie's reaction to Toerom was lengthened. The audience had so strongly identified with Mollie, the author felt that her character could be built up more; she presented more poten- tialities than the author had realized. Her reactions'were also built up to build the suspense to a higher point. 131 MUFFET: (OFFSTME) Hurry up! Hurry up! Don't be so slow. MARY: It's Chancellor Muffet. LOLAR: Malwick Muffet will be ex- ceedingly surprised to see you! TOM-TOM: Let's really surprise him. (STARTS TOWARDS THE WELL) WILLIE: Back behind the well, Tom-Tom. (TOM-TOM HIDES BEHIND THE WELL. THEY ARE EAGERLY WAIT INC FOR MUFFET TO COME IE.) (MEET AND STRANGER COME ONSTAGE FOLLOWED BY MOLLIE.) mm: It won’t be long until to- morrow noon....(fl SEES LOLAR, MARY AND WILLIE.) Uh-hm...what are you doing in the Square? Winkie! have you finished your work? WILLIE: Mflfete (LIGHTLY) Oh, no, Chancellor LOLAR: Good evening, Chancellor Nuffet. Tell me, do you think Prince Tom-Tom will ever return to our fair kingdom? MUFFEI': Lolar the Scholar, you were at the palace when this m was talk.- ing to King Cole. LOLAR: (To STHANOEH) Where 1. Prince Tom-Tom, kind sir? MOLLIE: (SEES TOM-TOM PEEKING U’P OVER THE HILL AND STARING AT THE 8mm) Papa! 0h, Papa! (SHE POINTS TO THE WELL.) MUN'ETL' Hush up! MOLLIE: But Papa...! MUFFET: Hush-up! LOLAR: (WITH A SMILE ON HIS FACE) What were you about to say, kind sir? The audience is more prepared to accept the guards reluctance to obey Tom-Tom because they have already been identified as Muffet's cohorts. 132 STRANGER: Why- you were at the mace. O O C C MOLLIE: Oh papa. Look (POINTING AT THE WELL L’UFFEI: What' s the matter with you? (LOOKS AT MOLLIE, THEN AT THE WELL. TOM-TOM DUCKS JUST IN TIME.) Will you stop interrupting? LOLAR: Go on, kind sir. STRANGER: Prince Tom—Tom is dead. TOM-TOM: No I'm not! (STRANGER AND MUFFET STARE IN DISBE- LIED AT TON-TON) TOE-TOM: Lolar, what is this sun do- ing in Likemeland? LOLAR: He is a stranger from the Land of Laughter. TOLLTOM: (LOOKING AT STRANGER) You‘ re the nun who put me in the tower! MUFFEI‘: Why Prince Tom-Tom... .. LOLAR: Are you sure, Tom—Tom? TOM-TOM: Yes. He's the one. (GOES LEFT) Guards, Guards! MUFFET: You are mistaken, Prince Tom-Tom. TOM-TOM: No I'm not! (GUARD on) Seize him! Seise him! (GUARDS LOOK AT NUEFET FOR CONFIRMATION or THIS COMMAND) TOM TOM: (To GUARDS) I comand you to seize him! (THEY DON'T MOVE) What's the matter with you? The struggle between Tom-Tom and Muffet comes out in the open instead of being talked about. This open conflict shows the audience that there will be a definite struggle. They will want Tom-Tom to get the bowl to his father right away. 133 MUFFET: The guards will only obey fl command, Prince Tom-Tom! TOM-TOM: Then comand them to seize this stranger. HUFFET: No. Prince Tom-Tom. TOM-TOM: No??? Why not? ' MIH‘FET: He is a friend of mine. TOM-TOM: A friend? LOLAR: Just one moment, Tom-Tom. (To THE STRANGER) Who ordered.you to have Tom-Tom imprisoned? STRANGER: (LOOKS AT HUErET FOR WORDS TO ANSWER LOLAR'S QUESTION) LOLAR: 'as it Malwick Muffet? STRANGER: (STILL SILENT. DOESN'T KNOW HOW To ANSWER) MUFFET: Go on---nw friend, tell him. STEANGER: Chancellor Malwick Muffet. TOM-TOM: (COMPLETmY BEWILDERED) But ---Chancellor Muffet, why didn't you want me to come back to Likemeland? HUFFET: Prince Tom-Tom, you are a silly young fool! I have schemed for many years to become the king of Likemeland. lithcyou out of the way my path would be clear. TOM-TOM: My father is king of Like- meland. LOLAR: King Cole is naming lluffet the new king at noon tomorrow, Tom- Tom. TOM-TOM: Flat? LOLAR: King Cole believes that you are dead. The seisure of Lolar, and Muf- fet's threat to put Willie and Mary in the dungeon motivates th their exit. Originally Mary, Lolar and Willie left the square and Tom-Tom, only because Tom- Tom insisted they do. The expository scene, between Muffet and Tom-Tom on pages 31 and 32 of the original script, has been done away with because the open conflict has been shown 1314 TOM—TOM: Father will change his mind when he sees me. MU'PT‘ET: Your father will never see you again! LOLAR: You cannot prevent Prince Tom-Tom from seeing his father. HUNTER: Oh yes I can. (TO GUARDS) Seize him. (THEY DO) TOM-TON: Let me go. to let me go. I comand you LOLAR: Unhand him. WILLIE: tone e e you» e e ! MARY: You can't do this... MUFIET: I am doing it, young lady! Go home and don't try to get near the palace-~or you will end up in the dungeon with Prince Tom-Ton. LOLAR: I refuse to leave. MARY: lie too. WILLIE: Me three. NUFFET: Seize Lolar the Scholar. He will keep Prince Tom-Tom company in in the dungeon. (TO MARY AND WILLIE) Woul you like to Join them? TOM-TOM: - please. Go home. Willie and Mary WILLIE: NO, Tom-Tom. MARY: We'll stay with you. LOLAR: Children, you will be entirely useless to us in the dungeon. TOM-TOM: Please gen-We'll be alright. MARY: Oh, all right, come on Willie. Muffet's exit is feasible be- cause he is leaving to secure the palace. The tension which has built up to a high degree in the pre- ceeding scene is relieved slow- ly by the comic characters of the guards but suspense builds to a climax as Tom-Tom tries to convince the guards to free him. Complete release, through laugh- ter, will come when Tom-Tom plays the pipe and he and Lolar escape . 135 WILLIE: Good bye Lolar. Good bye Tom-Tom. (GO OUT RIGHT SLOWLY) STRANGER: I'm leaving now. Good bye, King Muffet. MUFFET: Good-bye, nw friend, You have been very helpful. (STRANGER GOES UP RIGHT) I am going to see that the palace is surrounded so no one will bother King Cole. Put them in the dungeon. (MUI’FET AND MOLLIE EXIT LEFT.) 1 GUARD: Come on, Prince Tom-Tom. 2 GUARD: Let's go, Lolar! TOM—TOM: If you let me go q father will reward you. 2 GUARD: Nah, Prince Tom-Tom. Chan- cellor Muffet said we had to take you to the dungeon. ' TOM-TOM: Don't you like my father? 2 GUARD: Sure. But he won't be king after tomorrow. TON-TOM: If you let me go he will be. 1 GUARD: Come on. Let's get going. TOM—TOM: Would you like to see what I brought back from the Land of Laughter? 2 GUARD: (EAGERLY) You mean the bowl? TOM-TOM: No, something else. 1 GUARD: Nah. 2 GUARD: What is it? TOM-TOM: Its mgio. 2 GUARD: Magic??? The anticipation and suspense is high in this scene because the audience knows why Tom-Ion wants the pipe. This fore- knowledge keeps them straining forward to see if he will be successful in his attempt; to see how the guards will react to the pipe. 136 l WARD: Don't believe him. There isn't anything that's mgic! TOM-TOM: Yes, there is. 2 WARD: Let's see it. TOM-TOM: You'll have to let go of Ev arm. 1 WARD: No you don't. You want him to get away? 2 WARD: No... Are you sure its magic? TOM-TOM; Look. Just reach in TV pocket and land me the stick that's there. 2 GUARD! (GETS TEE STICK AND Lows AT IT) it has holes in it! (DISG-USTED l WARD: (LAUGHING) You and your magic, Ha! LOLAR: What is this, Tom-Tom? 2 GUARD: Don't you know, Lolar? LOLAR: Why no, I've never seen this bafore. , .. : TOM-TOM: Let'me play it and I'll Show you the magic. 1 WARD: Oh throw it away and let's go. TOM-TOM: Just let me play it once. 2 GUARD: (HOLDS ON TO TOM-TOM'S ARM AS HE PUTS Tim PIPE To HIS LIPS) There now don't you try to get away. TOM-TOM: Watch Closely, nw magic is at work. (THE GUARDS BOTH STARE AT THE STICK) The suspense, built step by step since Muffet's second entrance, has reached a climax at the end of the act. It is relieved by laughter that should be an ”exercise" scene because of the intense participation and anticipation of the audience The audience has strongly identified with Tom-Tom and is in sympathy with him. They are anxious for the next act to start to see how Tom-Tom will get the bowl to his father, and how he will outwit Muffet. The story line has been kept clear and moves quickly through dramtic action instead of long expository scenes. 137 TOM-TOM: Pipe, Pipe, play away, The men who guard us dance tOda-ye 2 WARD: Oh, it Just plays music! 1 WARD: Magic! Ha! (SLOWLY THE GUARDS START To DANCE. 2. GUARD LOOKS DOWN AT HIE FEET: l GUARD TRIES TO HOLD HIS DOWN WITH HIS TREE HAND. THE PIPE PLAYS EASTER AND EASTER, THE GUARDS DANCE FASTER AND FASTER. SOON THEY HAVE TO LET CO 01‘ TOM-TOM AND LOLAR. ) TOM-TOM: (STANDS, HOLDING THE PIPE AND LAUGHS AT THEM.) Now do you be- lieve in mgic? (LOLAR AND HE LAUGH. THEY START OUT UP STAGE LEFT.) Good Bye! I'll see you at the palace!!! ACT II Scene I IT Is EARLY THE NEXT MORNING. THE FAIR BOOTHS HAVE BEEN PLACED IN THE SQUARE AND APE GAILY DECORATED. NO ONE CAN BE SEEN. (ONE AT A TIME THE MERCHANTS POP UP FROM BEHIND THEIR BOOTHS AND CALL OUT THEIR WARES IN DULL, NONCTONOUS VOICES.) BRISKET: Chops! Chops for sale! Chops! m: Biscuits! Cakes and Cookies! Biscuits! NIMBLE: Candles short! Candles tall! For the table and the wall! BRISKET: (SIGHS) Another fair day, Bob Baker. BAKER: Brisket Butcher, it Just won't seem like fair day without young Prince Tom—Tom! NIMBLE: I know that there won't be any singing and dancing. BRISKET: Oh, no! Nalwick Muffet says you don't need them in a quiet, orderly kingdom. NIMBLE: I wish that noon would never come! BRISKET: We can't stop the clock! BAKER: No. It keeps going on and on. (NARI CONTRARI IS HEARD SINGING) NIMBIE: Listen! BAKER: It's our gay little Mary! Mary's entrance has introduced the song more clearly. By greet- ing the merchants with a song, much of the dialogue is eliminated This scene was kept intact to show the change that comes over the merchants when Muffet is present; to reveal Tom-Tom's return to the merchants; to show the disguise that Tom-Tom will assume to see Cole. It also emplnsises the theme by showing the contrast between a kingdom with laughter and one without it. 139 (MARY CONTRARI COMES DANCING IN. SHE CARRIES A BASKEI‘ FILLED WITH SILVER BELLS AND DAISIES.) MARY: ...Start every morning bright (SMILES AT THE MEN) And greet the sun each day (GIVES FLOWER TO BAKER) And Just for the fun of it (GIVES FLOWER TO HIMBLE) Your cares will melt away. (FLOWER TO BRISKET) (THEY ALI. JOIN IN THE LAUGH‘I‘ER HITH WHICH SHE FINISHES HER SONG. THEY LPPLAUD HER.) MARY: (BRI GHTLY) Happy fair day! BAKER: Good morning, little sunshine. NIMBLE: A happy fair day to you, has BRISKET: Not so happy, not so happy. MARY: It will be happy, Brisket Butcher. I know it will be. BRISKEI': Any day that Chancellor Muffet is named king will not be a happy day! MARY: (TEASINGLY) He might not be named the king. BAKER: What makes you say that, Mary? NIMBLE: Do you have a secret? MARY: Maybe. BRISKET: Tell us. BAKER: What is your secret, Mary? (LOLLIPOP SQUEALS) NIIBLE: Please tell us. HO MARY: I}; I had a secret, it wouldn't be a secret if I told you. (LOLLIPOP SQUEALS) BRISIGB‘I‘: That' s right. MARY: How is Lollipop this morning, Brisket Butcher? BRISH‘ET: (PROUDLY REACHING DOHN BE. HIND HIS BOOTH AND GETTING THE BASKET WHICH IS LOLLIPOP'S HOME.) The rat- test little pig in all of Likemeland, (LOLLIPOP SQUEILS) BAKER: And the noisiest! (THEY ALL LAUGH) BRISKET: (DEPENDING HIS LOLLIPOP) Bob Baker, Lollipop is happy, That's why she's squealing now. (THEY ALL LAUGH) NIMBLE: You treat her like a baby, Brisket. BRISEI’: That's what she is. I don't know what IE'd do if anything happened to here MARY: lothing will happen to her. (GOES OVER TO BOB'S STAND) How are your biscuits this morning, Bob Baker, aw favorite biscuit maker? BAKER: (HANDING HER ONE) The fresh. est in the land. MARY: Thank you. (GOES To NIMBLE) ( SEES THE BIG CANDLE IN ERONT OP NED” BOOTH) Why, Ned Nimble, what a big candle! NIMBLE: (PROUDLY) The biggest one I've ever made. (MARY EXAMINES THE CANDLE) BAKER: Ned, do you remember how Mary used to Jump over your candles? Mary's Jumping over the candle emphasized the theme and prepares for the sharp contrast that takes place when Muffet enters This scene shows that the king- dam will be like when Muffet be- comes king. It points out why the merchants are eager to pre- vent this, and points up Muffet's selfishness. 1141 NIMBLE: She had a perfect record.... BRISKET: Until Chancellor Muffet stopped her. MARY: Could I Jump over this one, Ned! ' NIMBLE: I don't think you'd better, Mary. BAKER: Chancellor Muffet will soon be coming to the square. BRISKET: He checks up on us every day-«fair day or not. MARY: Please, Ned Nilhle. NIMBLB: Well, if you hurry. MARI: I 1:111. (MOVES BACK TO JUMP) One.-two---three. (SHE DOESN'T QUITE MAE IT. SEE AND THE CANDLE TOPPLE OVER. THEY ALL MUCH) BAKER: You're out of practice, Mary. BRISKET: Lollipop could Jump higher than that! MARY: I'll try again. (GETS UP AND GOES BACK TO TRY AGAIN.) NIHBLI: Chancellor Muffet will be coming. MARY: Just one more try? NINBIE: Oh—h, all right. BAKER: Quickly, Mary, dear. (SHE: TRIES AGAIN, FALLS. THEY ARE LAUGHING LOUDLY, AS THE U'NNOTICED MUEPET, FOLLOWED BY NOLLIE, ENTERS.) MUFFET: What is the meaning of this noise? 1A2 (THE MERCHANTS MOVE BACK TO THEIR BOOTHS IN FEAR) BARR: Good morning, Chancellor Muffet. We were watching... MUFFET: Silence! Mary Contrary, why were you dumping over a candle this time? MARY: (STILL ON THE GROUND, EUGGING THE CANDLE.) Why? MUFFET: Yes! WHY??? MARY: Just for the fun of it. MUFFET: Just for the fun of it? mm Just for the fun of it! MARY: Yes. MUFFE'I': That is not a reason for doing anything. MARY: But it is. BARR: Sh-h—h, Mary. MUFFEI': Nary Contrary, I've warned you for the last time to stop this-- this silly nonsense. (POINTS TO CANDLE) NIMBLE: It wasn't Mary's fault, Chancellor Muffet...... BUFFET: Silence! At noon today those flowers will no longer be yours! MOLLIE: (BLURTS OUT) They‘ll be mine! BARR: Chancellor Muffet, you can't do that. NIMBLE: It isn‘t fair! MUFFET: As king of Likemeland I may do whatever I please. 11+} MARY: You're not the king! MUFFET: I soon will be. 11:; one can stop me. (POINTS TO CANDITET Nimble, get rid of that useless candl°e NIMBLE: That---that's the biggest candle I've ever made! MUFFET: We don't need big candles in Likemeland. When I am king you will no longer make them-.-(PICKING UP CANDLES ON THE BOOTH)--or these silly star ones, or these. NIMBLE: (WEARY) None of them MUFFET: NONE OF THEM! (MOVES TO BARR'S BOOTH) Bob Baker, no more of these silly biscuits. At noon you start baking bread and only breed! (SQUEAL) BARR: The people like my biscuits. (SQUEAL) . MIIFFET: I don't care about the people. (SQUEAL) (GOES TO BRISRT BUTCHER) Silence that squealing pig. At noon today she'll be sausage. BRISRT: San-«sausage? MUFFEI': Yes! She's Just a squealing, useless, creature. BRISRI': She's my Lollipop. MARY: We all love Lollipop. MUFFET: (STARES AT MARY AND MERCHANTS. THEY ALL BECOME SILENT) I am going back to the palace now. ....I expect to find an orderly, quiet square when I return..at noon. (LAUGHS) Come, Mollie dear. (THEY LEAVE LEFT) Inn BRIsm: (BETTING LOLLIPOP) Oh, Lol- lipop! My little Lolly! MARY: (GOING TO HIM) Don't you worry, Brisket! Lolly will be all riate NIMBLE: No more big candles! BARR: No more biscuits! MARY: Oh! Please don't worry. BRISKET: Lollipop-«sausage! HARY: Brisket Butcher, I do have n secret! I'll tell you. Chancellor Muffet. . . . . (MUSIC STARTS OFFSTAGE) OH, OH, Listen! Listen to the meic! BAKER: It met be a stranger. NIMBLI: We must earn him that (man- cellor Muffet forbids music. (STARTS OFF BAKER: (SEES MARY DANCING) Mary! Stop dancing-«oh! oh! (HIS MT HAVE STARTED TO MOVE) Itmit'l like magic! NIMBLE: My feet-”they're dancing! BRISET: (TRYING TO HOLD HIS FEET DOWN) Stop feet, stOp! (THEY AND ALL DANCING, {11mm THAT TON-TON 13 DS RIGHT, PLAYING HIS PIPE AND WATCHING THEM. m DISCOVERS THAT HE CAN'T PLAY AND LAUGH-«SO m: STOPS PLAYING AND LAUGHS!) TH] MERCHANTS FREEZE AS THEY m HIS wanna won. THEY TURN SLOWLY IN THE DIRECTION OF THE LAUGH.) BAKER: That laugh! NIMBLE: It sounds like Prince Tom- Tom. (THEY ARE NOW FACING TOM-TOM) It was necessary to add lines of astonishment and welcome for the merchants. The feeling that they were sincerily glad to have the prince back was not great enough with the few lines pre- viously provided for them. By changing the antecedent action so that everyone in Likneland knew why Ton-Tom left, the author was able to eliminate the repetitious explanation of his absence and the power of th. M'le m5 BRISICET: It is Tom-Tom! (ND RUNS TO THE PRINCE. THEY ALL m- emos Hm, SHAKE HANDS, TALK AT ONCE.) BAKER: You' re alive! NIMBLI: Welcome home, Tom—Ton. BRISIET: Tom-Tom. It's so good to see you BAKER: Row happy I am to know that you're well. NIMBLE: Prince Ton-Ton is back. BAKER: Mary Contrary! your secret? 'ae Tom-Ton MARY: Oh, yes! In: I wanted 1:13;; to surprise you! NIMBLI: You did surprise us, Tom-Tom. BAKER: hat a happy surprise! BRISET: Did you get the bowl, Ton-Toni BAKER: Did you, Tom-Ton? ‘ NIMBLD: Do you have it? TOM-TOM: Yes. I'm going to take it to father right now. BAKER: You must hurry, Tom-Ton. It will soon be noon. MARY: He's going right now. TOM-TOM: But not as Prince Tom-Tom. NDEBIE: Why not, Tom-Tom? TOM-TOM: Chancellor Muffet won't let me see father. BRISET: Is that why the palace is surrounded with guards? Tom-Ton' s plan to get into the palace, disguised as BoMo, was kept intact. me children mst ”Shin put on the disguise, not Just hear about it, to prevent any confusion when "BoMo" ar- rives at theplace. By letting the children in on the scheme their anticipation for the next act will be heightened and they will be anxious to see if Tom-Tom can fool Muffet. One of the weaknesses still inherent in the script is Tom- Ton's casual placing of the pipe on the well. Many of the child- ren may miss this important event, that should have been built up, and may not under- stand what happened to the pipe when Tom.Tom searches for in in Scene 2.’ If they miss his line, "I left it on the well,“ they may be confused. The author realises that the pipe plays such an important part in the story that this scene should have been more thoroughly re-worked. Ins MARY: Yes. NIMBLE: How will you get into the palace Tom-Tom? TOMgTOM: (CROSSES TO THE NELL,‘EE STARTS T0 FUR ON HIS DISGUISI; DIS- COVERS HE CAN'T HANDLE PIPE AND DIS- GUISE, SETS PIPE DS ON WELL ) Lolar had a wonderful idea. He gave me this, (PUTS ON PART OF DISGUISE) and this—«and this. BRISKET: Who are you supposed to be? TOM TOM: (BOWS) 1 Your humble servant, BOMO the BOIIMkOl‘. MARY: (LAUGHING) You look so rum: (THE! ALL LAUGH) TOM-TOM: Do I look liloe a bowlmaker? BAKER: Indeed you do! NIMBLE: Oh, yes! Mm: Tom-Ton, it's getting late. (POINTS TO CLOCK) TOM-TOM: I' m going. BAKER: But Chancellor Muffet's at the palace now. TOM-TOM: He won't be for long. If you'll help me. BRISKET: What can we do? NIMBLE: We'll do anything! BAKER: Tell us! TOM-TOM: Make a lot of noise. BRISKET: But Chancellor Muffet will come running to the square. TOM-TOM: That's right. He'll cone to the square ----and I'll be at the pal‘cae Likewise, the author considers this scene the weakest one in the play; the action is not fur- thered as rapidly as it should be. The opening scene might almost be considered a second opening to the entire play. (The author had considered chant- ing the opening of this act, but, after seeing how well it played, felt that the action moved fast mm to warrant its inclusion She also felt that this scene was necessary to emphasize the effect Muffet had on the people of the kingdom.) ' The scene ends satisfactorily on a tone of gaiety as the mar- chants, Mary and the audience have an opportunity to "mks fun” of Muffet's attitude toward laughter. Expectancy carries over to the next scene, the audience wants to know if Tom-Tom will get into the palace: if Muffet will come to the square. 11:7 BAKER: Ohm-I understand, Tom-Ton. NIMBLE: What if Chancellor Muffet doesn't hear us? TOM—TOM: He will! Poppyseed is go- ing to tell him about the noise in the squares BRISKET: (LAUGHING) That will mks him come. MARY: You'd better go, Tom-Tom. TOM-TOM: (BOWS) Farewell. BAKER: (BOWS) Good day, BoMo the BO'mere NIMBLE: Good day, kind sir. BRISKET: (BOW) Farewell. (ALL LAUGH AS TOM—TOM LEAVES IN HIS DISGUISE. MERCHANTS RETURN TO THEIR BOOTHS, HAPPILY REARRANGING THEIR NARES.) BRISKE'I': Lollipop won't be sausage! NIMBLE: candles! Ds CENTER) I'll be able to make big (TAKES HIS BIG CANDLE MARY: ( IMITATING MUFFET) WHY will you make big candles, Ned Nimble! BAKER: Big candles are useless. BRISKET: They're silly nonsense. MARY: Why will you mks them? NIMBLE: N? (HE STAKES UP AS THEY ALL POINT AN ACCUSING FINGER AT HIM) MARY: (AND ALL MERCHANTS TOGETHER) van" NIMELE: (A BIG SMILE COVERS HIS PACE) Just for the fun of it. ACT II Scene 2 he locale has been changed to enable Tom—Tom's struggle to get to Cole to be more evident, and to present more complications in the story that could not take place in the throne room. The audience has been prepared for the next scene to take place at the palace, the empty stage en- ables them to become familiar with the ante-chamber before Willie's explanation that he cannot be seen in the daytime; his business with the guards, mphasizes his invisibility which must be clear to the mdience before the scene moves any further. THE ANTE CHAMBER TO KING COLE'S THRONE ROOM. A FEW MINUTES LATER. THE LARGE ROOM IS VACANT EXCEPT FOR THE CHAIRS AND EENCHES WHICH FURNISH IT. A LARGE DOOR, US CENTER, LEADS TO THE THRONE ROOM. A DOOR, DS LEFT, LEADS TO THE HALLWAY. A DOOR, RIGHT CENTER, LEADS To THE REST OF THE PALACE. NEE WILLIE WINKIE PEEKS IN THE DOOR, DL, HE COMES INAFEW STEPS THEN TURNS BACK To THE OPEN DOOR. WILLIE: Br-r-r! Those mean looking guards! I'm glad that it's daytime and they can't see me! (HE CHOSSES DS., LOOKING AROUND.) . l GUARD: (RUNS INTO THE ROOM) who opened that door? (LOOKS AROUND THE EMPTY ROON, COMPLETELY PUZZLED.) WILLIE: (LAUGHINGLY) I did! (WILLIE DANCES UP To HIN, TRIPS HIM.) (THE GUARD SPRAIILS ON THE FLOOR. GETS UP QUICKLY, LOOKS AROUND AND Is PUZZLED NOT TO SEE ANYONG.) l GUARD: Hm-hm-n. (SCRAT‘ HIS. HEAD) No one here. (WALKS AROUND LOOKING BEHIND BENCHES AND mm NILLIE: (EOLLONS HIM AROUND, MAKES A PACE AT HIM PROM ONE ON THE BENCHES.) I'm here! I'm here! 1 GUARD: Chancellor Muffet will be angry if I let anyone in here. (GOES OUR, CLOSING THE DOOR.) WILLIE: (DANCBS TO THE DOOR STARTS To an THROUGH THE KEYHOLB.) Let me see.... (THE DOOR OPENS SUDDENLY AND WILLIE FALLS BACKWARDS.) Curl my cap! I can't even peek through a key- hole in the daytime! The guards concern over the open door tells the audience that Muffet is being very careful not to let anyone see 601's Ton-Toa's entrance at the beaming of the scene presents more of an opportunity for complications and eliminates the 'talky" scenes between Muffet, Cole, and Lolar. we (FIRST GUARD COMES BLUSTERING IN FOLLOWED BY 2 GUARD.) l GUARD: Nope! No one here! 2 WARD: Are you sure you didn't open that door? WILLIE: (TEASINGLY) Did m? l WARD: Listen! I didn't open it! 2 WARD: All new. All right. (THEY LOOK AROUND AND LEAVE.) WILLIE: (FOLLOWS THEM TO DOOR.) Ha' Ha! (YAWNS AND STRETCHES.) OH-h-h... I don't know why Lolar wanted me to come so early! (DANCES RIGHT AND IS ABOUT TO CURL UP ON A CHAIR.) I might as well go to sleep! NOISE IS HEARD, OFFSTAGE LEFT. “You can't see King Cole!": 'I only want to see him for a moment."; ”No one is allowed in there.“ (WILLIE LISTENS FOR A MINUTE, GETS UP AND GOES LEFT.) WILLIE: (ON HIS WAY TO THE DOOR.) Oh! Maybe it's Tom-Tom! (OPENS THE DOOR, LOOKS OUT) OthH (LAUGHs) You look so fumw in that disguise, TonnTom! TOM-TOM: (STEPS INTO THE ROOM NITH Tm GUARDS RIGHT BEHIND HIM) HE IS DISWISED AS AT THE END or ACT II SCENE 1. HIS VOICE IS NO LONGER TOM-TOM'S BUT THAT OF AN OLD MAN) BoMo: King Cole must be receiving callers. The door is open. WILLIE: (BOWS) Come in, BoMo, the Bowlmaker! l GUARD: (STARES FROM OPEN DOOR TO 2 GUARD) (To 2 GUARD) Did you open it! The two guards have been given more important parts in this re- 150 2 WARD: (AS PUZZLED) No-o. vision because the author realized 1 WARD: You have to leave, old man. the need for cohorts for Muffet throughout the play. In the performnoes the author saw the opportunity of developing them into more comic characters be- cause they were so well received by the audience. This business was inserted to once again point out Iillie's invisibility. No one is supposed to see the king. HOMO: lhy not? Just tell him tint BoMo, the Bowlmaker is here. 2 GUARD: Look, Chancellor Muffet would put us in the dung.... 1‘ WARD: You fool! De quiet}! You'd better go now! he king isn't seeing anyone. WILLIE: He'll see Prince Ton-Ton! DUO: My Journey has been long and hard. If I could Just see him for a few minutes. - WILLIE: Just a few minutes? 1 GUARD: You can't see him for a few minutes or a lot of minutes. 30110: (SITS UPSTAGE LEFT OF CENTER DOOR.) I'll Just wait here. WILLIE: (SITS BEDIDE HIM) I'll suit with you. 1 GUARD: (GRA'BBING HOMO BY THE ARM) Old mu, I don't want to hurt yam... WILLIE: (UP ON MS) 1 WARD: done on, let's go.... WILLIE: (STANDS UP ON RENCR AND PUSHES 1 GUARD NRC FALLS RACRNARDS. NILLII STANDS Tmm LAUGHING AT GUARD. TON. TON LOOKS AROUND AS IN RE KNEW THAT WILLIE us NEAR BY. 2 GUARD LOOKS AT BOMO THEN l GUARD IN RENILDERNENT.) 1 GUARD: (STILL ON PLOOR) 1'11 teach you. (STARTS To GET UP AS THE DOWN RIGHT DOOR OPENS.) NILLIE: (SEES mm mm. PLOPS DONE) Mumbling Malwick Muffet! Suspense is heightened with Muffet's entrance. The audi- ence will be anxious to see if Muffet recognizes Tom-Tom. At this point when it does not seas as if Ton-Ton will get to see Cole, Poppyseed enters to tell of the confusion in the square. 151 NUPPET: (ENTERS FROM DR. SEES WARD ON FLOOR.) Uhat are you doing down there? (CROSSES To HIM, SEES DONO.) (TO GUARDs) I told you that no one was to get in here! (1 WARD UP QUICKLY, BOTH STAND AT ATTENTION.) 2 GUARD: The door was Open.... 1 WARD: He quiet! I'm sorry, Chan- cellor Huffet. This old man came in before we could stop him. WILLIE: Ha! Ha! Ha! WET: Who are you? DONG: (Rows) Eouo. the Bowlmaker, at your service kind dir. lILLIE: (NUS) lillie linkie, at your service, kind (1) sir. W: What do you want? HOMO: I have come to see King Cole. MUFFET: King Cole isn't seeing anyone. WILLIE: luffet! Shmffet! 30m: If I could Just see him for a ‘0' ”mt03eeee' HUFFLT: King Cole is too sick to see anyone! IILLIE: He sees you! HOMO: I have traveled a long way. If I eeuld see him for a few.... MUFFEI‘: HO! No one is seeing the king to-day! POPPrsm: (COMES RUNNING IN IRON DL) Chancellor Muffet! Chancellor Muffet! WILLIE: (RUNS TO THE Dom) It's about time you came, Poppyseed! A complication occurs when Muffet refuses to go to the square. This is not an in— consistency in his character: it is evident that the most important event in his life will occur at noon; he must stay at the palace to assure himself that Tom-Tom will not get in to see Cole. Poppyseed has been more comple- tely characterised in this re- vision. The author realised that Ton-Tom needed aoneeae in the palace to help him and has de- veloped Poppyseed as a helpful, sympathetic ally. (These qual- ities were evident in Poppy in the original script but not fully developed. 152 POPPY: (SEES HOMO) Oh, excuse me, Chancellor Muffet. MIIE‘FET: hat is it, Poppyseed? POPPY: Chancellor Huffet, the square is filled with noise and confusion. MUFFET: What? POPE: You'd better come right away, Chancellor Muffet. WILLIE: (LAUWS) Right away! 1 WARD: We'll go, Chancellor Muffet. MIME}: _I_ give the orders! lhat's the trouble, Poppyseed! POPPY: I don't know, Chancellor Muffet. But I think you'd better come. NILLIE: Go! Go! Go! MEET: I can't be bothered now. WILLIE: IHAT‘H? POPPY: But, Chancellor Muffet.... BUFFET: (TO GUARDS) Go to the square and silence the people! Order them to return to their homes until they are summoned-«at noun. 1 WARD: Yes, Chancellor Muffet. (THEY LEAVE) WILLIE: You have to go!! POPPY: Chancellor Muffet, I think you better go. MUFFET: I don't care what you think, Poppyseed. Show this-«this bower out of the palace. (STARTS US) I must see how his mJesty is feeling. WILLIE: (PLOPS DOWN CENTER) Oh, fudge! Tole-Tom's declaration that Cole's drinking from the bowl is of prime importance, keeps the story line clear. In the original script, the author felt that Tom-Tom's desire to prevent Iluffet from becoming king was stronger than his desire to get Cole to drink from the bowl. Hy not confusing the main issue, it becomes clear that Tom-Tom's greatest desire is to get Cole to drink out of the bowl so he will laugh and get well. 153 POPPI: (SITS DOWN) Oh, I thought that he would go right to the square. HOMO: Me, too. WILLIE: He, three. HOMO: If I Just had w pipe.... WILLIE: I'm sorry you gave it to Mary, Tom-Tom. HOMO: I could have mde Chancellor Muffet dance! WILLIE: (LAUGHS) That would have been funny! POPPY: You'll never see your father, Tom-Tom. HOMO: I don't care if I don't £99. him rtght away. (816118) If I could Just get him to drink out of the bowl so he'd get well. POPE}. I don't know how you can give it to him, Tom-Tom. WILLIE: And 1 don't know! HOMO: I can't get near him. WILLIE: (SIGHS) Oh.h-h.... HOMO: Poppyseed! (.TUMPS UP) POPPY: What, Tenn”? HOMO: Why can't 10; give it to him? POPPY: When? HOMO: Don't you ever see him alone? POPPY} No. Even when I take his medicine in, Chancellor Huffet.... HOMO: His medicinal That's it!! WILLIE: That's it! (JUMPS UP) Q- The audience will see Tom-Tom and Poppy plan how to get the bowl to Cole. Just as Tom-Tom closes the door behind Poppy presents further complication. To be certain that Poppy will get the bowl to Cole, Tom-Tom tears off his disguise and re- veals himself to Nuffet. Com~ Daring the action prior to Tom- 1'ozn's exit with the same scene on page 68 in the original, the author realized that Muffet . never would have let the Howl- linker leave but would undoubt- Odly have thrown him in the eon. Muffet' s entrance, ' WILLIE: 151+ POPPY: (PUZZLED) His medicine” HOMO: Why, it's so easy! You could put his medicine in the bowl--and Just hand it to him! Why didn't I think of that? POPPY: Yes, Tom-Tom! Chancellor Nuffet wouldn't even notice it! TOM-TOM: Where is the medicine! POPPY: (SUDDENLY REMEMBERING) Oh-h! It's way past time for it! TOM-TOM: (GIVES HIM THE HOWL) Here, Poppy. Hurry and get it. (RUSIES HIM OUT RIGHT.) WILLIE: (DANCES AROUND) King Cole will laugh and laugh!! (TOM-TON JUST CLOSES THE DOOR BEHIND POPPY WHEN THE US OMEN DOOR OPENS AND MUFFET COMES ITORMING IN) NUFFET: Poppyseed! WILLIE: You, again? (TOM-TON HURRIES FROM THE DOOR AND SITS ON BENCH RIGHT) Poppysee d! RUPERT: Poppyseed! you still here? (SEES HOMO) Are HOMO: I thoudut that King Cole migit have a free minute.. .. MUPFET: I command you to leave at once! HOMO: (GETS UP AND STARTS WT) Very well, Chancellor Muffet. (AT THE DOOR, LEFT, HE TURNS SUDDENLY, TEARS OFF HIS DISGUISE) 1'11 be back, Nalwick Muffet! (HE RUNS OUT) NUTPET: Ton-Tom: Guards! (RUNS LEFT) Guards! NILLIE: (HEATS HIM TO THE DOOR AND SLAMS IT IN HIS FACE) Oh, guards, guards. Huffet's chase after Tom-Tom is motivated and clears the stage for Cole's entrance; offers release from the tension Cole's entrance, in search of his medicine, is motivated and starts to build another dramatic litmtione In this scene, Poppy has re- Placed Tom-Tom but the same “Spouse is evident and builds ‘0 a high peak with Muffet's ending entrance. 155 MUFFET: (OPENS THE DOOR) Guards! Guards! (THEY COME RUNNING IN) AWET: Did you catch him? 1 WARD: Who, Chancellor Muffet! MUFFET: Didn't you see Tom-Tom? 2 WARD: Prince Tom-Tom? Oh, no, Chancellor Muffet. No one has come out of here but that old bowlmaker. MUFFET: That was Tom-Tom! He can't escape this time. THEY ALL RUN OUT LEFT. GUARDS ASSURE RUPERT THEY'LL CATCH Hm. (We'll get him this time, Chancellor Muffet; Don't worry, we'll catch him.) WILLIE: (DANCES RACE AND FORTH) Oh, should I follow them? Or should I stay here? Lolar told me not to leave. (CROSSES RIGHT) I guess I'd better Staye COLE: (ENTERS FROM THRONE ROOM) Chancellor Nuffet! Poppyseed! Where is everybody! POPPI: (ENTERS FROM DR WITH THE TRAY THAT HOLDS THE WONDERFUL BOWL OE LAUGHTER AND BOTTLES) I'm coming, King Cole. I'm coming. COLE: (SITS LEFT 0! US DOOR) Where have you been, Poppyseed? Where did Chancellor Huffet go! POPPY: I don't know, your majesty. (CROSSES UP TO COLE) COLE: It's past time for my medicine, Poppyseed. POPPY: I'm sorry, your maJesty, I'm sorry. (SETS THE TRAY DOWN, PICKS UP THE BOWL) 156 WILLIE: Oh! The wonderful bowl of laughter! POPPY: (EAGERLY) Here you are, your majesty. WILLIE: Pretty, pretty bowl! (AT COLE'S LEFT) COLE: (TAKING THE BOWL) What's this, Poppyseed? A new bowl? POPPY: (FEIGNS SURPRISE) Why, so it is, your majesty! WILLIE: Oh, Poppyseed! POPPY: Isn't it beautiful? COLE: (MINING THE BOWL) Very beautiful. Where did it come from, Poppyseed? E POPPY: I don't know, your majesty. It was sitting on your tray. COLE: I wonder who put it there? WILLIE: Oh-h. Now what do you say, Poppy? POPPY: Maybe—who the royal doctors thought you should have s new bowl. COLE: That's probably it! (EXAMIN- ING THE BOWL) POPPY: Aren't you going to take your medicine, King Cole! COLE: (SETS THE BOWL DOWN) (SICEIS) Yes. I'm suddenly so tired of taking pills and medicine---med.icine and pills. WILLIE: You can't get tired gal! POPPY: (EXCITED) You have to take this, your majesty. WILLIE: Oh, yes! Poppy's devotion and affection for Cole are evidenced in this scene. The author believes that the audience will identify with Poppy when he tries desperately to get Cole to drink from the bowl, when he is dejected after failing in his attempt. 157 COLE: Don't get upset, Poppyseed, I will. POPPY: I know that this will make you feel better. COLE: That's what you always say. POPPY: But this will really males you better. COLE: (TAKING BOWL) Why are you so sure, Poppyseed? Is this a new kind of medicine? POPPY:"‘ Why, no your majesty, it's... COLE: (Ins mEJrED AT THE CONTENTS) It's the same kind. Do you think the new bowl will make the medicine better? POPPY: Oh, yes. Yes, I know it will. WILLIE: Drink, drink, drink! mPPY: Take a sip, your majesty. WILLIE: Just one little old sip. COLE: (RAISES THE BOWL TO HIS LIPS WITH WILLIE'S ELF AND IS ABOUT TO DRINK) MUFTET: (ms FROM LEFT) (FOLIOWED BY MOLLIE) (TURNS TO HER) No more candy! WILLIE: Malwick Muffet' s back! POPPY: Oh; drink, King Cole! WILLIE: DRINK” MUFFET: (SEES COLE) Oh, your majesty. COLE: (PUTS THE BOWL DOWN. POPPY'S FACE SEEMS TO FILL WITH THE BOWL) MIIE‘FET: Why, you shouldn't be out here, your majesty. 0010' s showing Muffet the bowl is more plausible than Muffet' s motivating the bowl as on page 66 of the first script. Suspense, which has been temporarily relieved, is built to a high peak when Cole starts to drink from the bowl as Muffet questions Poppy. Muffet's questioning of Poppy allows Mfet sufficient time to come to the conclusion that Tom- Tom left the bowl. 158 COLE: I' had to come for my medicine. Have you seen my new bowl, Chancellor Muffet? COLE: (HOLDS OUT THE BOWL FOR MUFFET TO SEE. MOLLIE IS I'REDIATELY IASCIN; ATED WITH IT AND STARES AT IT THROUGH THE ENTIRE SCENE.) MUFFET: New bowl? (LOOKS AT BOWL, THEN POPPYSEED) COLE: Isn't it beautiful? Poppyseed is certain that if I drink my medicine out of this bowl I'llLIeel better. MUFFET: What makes you so sure, Poppyseed? POPPY: .Ihy-m-why-“it' s such a lovely bowl.. .. COLE: v.11, I .111 try 1:. (STARTS To PUT THE BOWL TO HIS LIPS) WILLIE: Oh, Yes! Don't diddle daddle anymore! MUFFET: Poppyseed, did you tau to Bole, the bowlmaker? WILLIE: Oh-nh...Don'tthink anymore, Malwick Muffet. Drink King Cole! POPPY: Wham-who, Chancellor Muffet? MUFFET: (TURNS TO COLE WHO HAS Tm BOWL TO HIS LIPS AND IS BOUT TO DRINK) Stop! Don't drink out of that bowl, King Cole. WILLIE: OH, NO!!! COLE: What's the matter withyou, Chancellor Muffet? MUFFET: That bowl is poisoned! You mustn't drink from it. WILLIE: That's a lie! This exit of Cole's unlike his exit on page 67 of the original script, is more reas- onably motivated. A very sick king would feel the need to rest instead of being hurried out of the room. Huffet has again prevented Cole from drinking from the bowl. The audience will now want to know if Tom-Tom has escaped the guards. 159 COLE: Poisoned? How do you know? MUFFE'T: (TO POPPY) Wasn't that bowl left here by an "old man"? POPPY: WHY---why, no Chancellor Muffet. ‘ MUPFET: Didn't you talk to the bowlmaker? POPPY: NO e NO e COLE: Stop this nonsense. Are you sure this bowl is poisoned, Chancellor Huffet? WET: Yes, your majesty. Doesn't it seen strange to you that rignt after a wicked looking old bowlmaker leaves the palace a strange bowl appears on your medicine tray? COLE: What? Who is the bowlmaksr you're talking about? POPPY: It was really your so.... MUFFET: Silence! I will explain everything to you, your mjesty. But first you must rest. COLE: Very well, Malwick. you. I trust MUFFET: Poppyseed! Help King Cole to his room. (HE IS ON THE ONE SIDE OF COLE, POPPY ON THE OTHER. THEY START USC) I will bring you some unpoisoned medicine, your majesty. There, There. You must rest. WILLIE: (FOLLOWING THEM US) Don't feel so bad, Poppy. It's not your fault. MUFFE’T: Yes, you must rest, your majesty. It will soon be noon. (POPPY AND COLE EXIT USC. MUFFET mMES DS. MOLLIE IS EXAMINING THE BOWL.) Their question is answered immediately as the guards enter. At this point in the story it appears that Tom-Tom will be able to see his father at the square. The audience is relaxed and looking forward to Tom-Tom and Cole meeting at the square. L60 MOLLIE: Papa, is this pretty bowl really poisoned? MUFFET: Of course not! Leave it alone! (TAKES THE BOWL FROM HER) I believe that this is the bowl of laughter. Ha! Ha! Ha! (PUTS THE BOWL ON A HIGH SHEIP) MOLLIE: Papa, does it really hurt to laugh? MUFFET: Yes! Don't you dare to touch that bowl! (GUARDS COME RUNNING IN PROM LEFT) MUFFET: Did you catch him? 1 WARD: Non-no, Chancellor Nuffet. WILLIE: (LAUGHS) Clumsy creatures! MUFFET: You blundering fools! 2 GUARD: We lost him some place. 1 GUARD: The square's empty. 2 WARD: Everyone went home like you ordered 'em to. 1 GUARD: (LAUGHING) Brisket Butcher ran so fast he forgot that squealing Pig! 2 WARD: She's squealing and squealing! MURFET: Silence! Cole will soon be going to the square. I GUARD: But the prince will probably 8110' up. MUFFET: How very clever of you. 0? COURSE HE'LL BE THERE. 2 WARD: Ah. You won't be named the king, Chancellor Muffet. BUFFET: Oh, yes I will! fluffet realizes that he can no longer prevent Tom-Tom and Cole from meeting, so a further com- plication met be introduced. This scene, as in the original, moves quickly as Muffet and the guards plan to steal Lollipop. 161 l WARD: What are you going to do? MUFFET: (FACING UP AND DOWN) I don't know. We have to get rid of Tom-Tom. 2 WARD: How? He'lllnever leave. 1 WARD: No one leaves Likemeland unless he's banished. MUFFET: Banished??-——That's it! 2 GUARD: Huh? MEET: Cole will see his pecious son-«Eu; he'll see him as a thief! 1 GUARD: A thief? MEET: Yes. Anyone who steals in Likemeland is banished. WILLIE: Oh, no he won't. MUFFET: Yes, Yes. That's it!! 2 GUARD: What's he going to steal? MUI‘FET: §_e_ isn't going to steal any. thing. WeSll steal something.--and he will be blamed for it! 2 GUARD: That's a good idea, Chancel- lor Muffet! MUFFET: Of course it is!! But what can we steal? l WARD: How about King Cole's crown? MLIFEET: You dunderhead! How would we ever get the crown? l GUARD: Oh.... 2 GUARD: Maybe we could take the town clock. mm: Everybody watches the clock! 162 1 WARD: I've got it! Ned Nimble's big candle! MUFFET: No! No! He canalways make another one! 2 GMD: I know! Bob Baker's biscuits! 1 WARD: No, you dunderhead! No! mm: Ned Nimble: Bob Baker...Brisht Butcher! That's it! 2 WARD: Huh? 1 WARD: Brisket Butcher? 2 WARD: Are we going to steal him? MUFFET: 0h! Oh!--Brisket's Lollipop ---that squealing pig is what we're going to take! 1 WARD: Lollipop? 2 GUARD: Why didn't I think of her? WILLIE: You can't do that! You can't! MUFFET: Yes. We have to hurry! (THEY START OUT) MOLLIE: Papa! Papa! MUFFET: Mollie , stay here! I'll be right baCke MOLLIE: I'm afraid. I want to go with you. MUFFET: STAY HERE“ MOLLIE: (sums TO CRY) Oh-h-h... MUFFEI': Don't you want me to be king? MOLLIE: Yes... MUFFET: Don't you want Mary Contrary's flower? MOLLIE: Oh, yes. MUFFET: Then stay here. Realease from tension is given when Mollie drinks from the bowl. Mollie's fascination for the bowl, which has been shown throughout this scene, makes her drinking out of the bowl plausible. This satisfactory ending providesNILLIE: a release from tension and empha- sizes the theme; the audience sees the change that takes place in Mollie. 1163 MOLLIE: Oh..—-Papa. . . . MUFFET: Now what's the matter? MOLLIE: I'm hungry. Don't you have any candy? No. BUFFET : MOLL IE : MUFFET: You stay here and I'll bring you some chocolate drops. MOLLIE: And some butterscotch-~— and cherry.. WILLIE: And lemon and lime and pistachio. HUEFET: Yes. Yes. (THEY LEAVE) WILLIE: Oh-h. Should I go with them? Lolar said to stay here.... MOLLIE: (SEES THE BOWL) OH, Papa ---Papa, you forgot the bowl. (sm CLIMBS UP TO GET IT) WILLIE: Mllffete’ Put that bowl down, Mollie MOLLIE: It's such a pretty bowl. (SHE FONDLES IT) Oh, it still has something in it! Maybe I could take a drink. Oh-—-no--Papa told me to leave it alone. (SNIFFS) I'm glad it isn't poison. I wonder why Papa told King Cole that it was I'll Just take a little drink. Why-m-Mollie Muffet! Go ahead and drink! I want to see if you'll laugh! MOLLIE: me. One little sip won't hurt WILLIE: Drink, Mollie Muffet.-drink!! 161+ NOLLIE: (DRINKS FROM THE BOWL) thh—h!!! (LAUGHS AND LAUGHS) Why, it doesn't hurt! (DRINKS AGAIN) WILLIE: (LAUGHS AND DANCES AROUND) ACT III This scene, opening on the deserted village square, gives the audience an opportunity to adjust to the change in locale which they have been prepared for. TompTom would have run through the square if he had not been stopped by the squealing Lolly. He falls into Muffet's plot and is overcome by the guards. THE DESERTED VILLAGE SQUARE A FEW MINUTES LATER. THE ONLY SOUND IS LOLLIPOP' S SQUEALING. MUFFET ENTERS FOLLOWED BY THE TWO GUARDS. BUFFET: Where is that squealing pig? 1 GUARD! (POIUTING) Behind the bOOthe -MUFFET: Watch the park (TO 2 GUARD) You! ----over there! MUFFET: (PICKING UP THE BASKET) Come here you squealing useless creature! I'm going to let Prince Tom—Tom have you. 1 GUARD: Do you think Prince Tom- Tom will really pick him up? MUFFET: Of course he will!---The young fool knows how much Brisket likes this squealing creature. 2 WARD: But (PUZZLED) How will King Cole know that TompTom stole the pig? MUFFET: You dunderhead! For the last time! You will say that you saw Tom—Tom steal the pig!! 2 GUARD: thh-h!! l GUARD: Chancellor MUffet! Here he comes! MUFFET: (SETS THE PIG DOWN) Hide! When I give the word---seize him! (THEY ALL HIDE. LOLLIPOP IS SQUEALING) TOM-TOM: (RUNS IN STILL DISGUISED) Where is everybody? (STARTS OUT) (LOLLIPOP SQUEALS) Is that you, Lollipop? Lollipop? (GOES TO HER) Where's Brisket? Rehearsals of this scene showed that it was necessary to add lines for Tom_Tom's exit. The author had not con- sidered the time it would take to get the struggling Tom-Tom off stage. 166 TOM-TOM (Cont.): Brisket Butcher! Brisket Butcher! He must have left in a hurry to leave you behind. There, there. Don't cry. Brisket will be back (STARTS OUT) (LOLLIPOP CINTINUES SQUEALING) Oh, Lollipop! I don't have time to take you.home to Brisket. I have to find Lolar. (LOLLY SQUEALS) Oh, all right. I'll take you home to Brisket Butcher. BUFFET: Seize him! ,Seize the thief! (GUARDS SEIZE TOM-TOM) TOM-TOM: I'm not a thief! Let me go! Let me go! MUFFET: Ha! Ha! A thief! TOM—TOM: Chancellor MUffet! I am Prince TompTom! MUFFET: Ha! Ha! Prince TompTom is dead! YOu're Just a common thief! We saw you stealing Brisket Butcher's pig! TOM-TOM: I was Just going to take Lollipop home! MUFFET: Take him away till we need hhm! TOM-TOM: I'm not a thief! l GUARD: Come on. TOM-TOM: Let me go! Let me go! (GUARDS TAKE THE STRUGGLING TOM— TON OUT) MJI‘FET: Ha! Ha! Prince Tom—Tom will be banished! POPPY: (OBBSTAGE) Listen Likemeland! Listen Likemeland! (ON) Oh---Chancellor Muffet! King Cole is calling for you. He's on his way to the square. 167 BUFFET: Thank you, Poppyseed. Thank you. POPPY: Listen Likemeland! Listen Likemeland! By order of his Royal Majesty King Cole, all of Likemeland is ordered to gather in the Village Square. Listen Likemeland! (POPPI'S PROOLAHATION ISN'T VERY SPIRITED. HE LEAVES GOING TOWARDS THE TOWN.) LOLAR: (COMING IN WITH MARY) I can't imagine where TompTom is, Mary. MARY: I hope he's all right. LOLAR: He was to meet us here. MARY: Do you think the guards caught him? (BRISKET, NIHBLE, BAKER CONE ON) BAKER: Where is Tommem? A MARY: We can't find him. NIMBLE: King Cole is coming. BRISKET: and Malwick Muffet! MARY: I wish Tom-Tom would come. BAKER: It's almost noon. LOLAR: Tom—Tom.has to get here before noon! POPPY: (BLONS BUGLE) His Royal Majesty, King Cole! The Honorable Chancellor Muffet. WILLIE: (FOLLOWING THEM IN) And his most royal, honorable Willie Winkie. (DANOES OVER TO MARY AND LOLAR) Hi, Mary! H1, Lolar! Where's Tom. Tom? Oh--.where's Tom-Tom? BRISHET: (GOES OVER BEHIND HIS BOOTH) (SEARCHES FOR LOLLIPOP) 1.65 POPPY: His Royal Majesty, King Cole, will speak. COLE: People of Likemeland.... BRISHET: (CALLS LOLLIPOP TRON BEHIND HIS BOOTH) Lollipop! My little Lollipop! Where are you? COLE: What's the trouble, Brisket Butcher? BRISKET: King Cole---my Lollipop-- my Lollipop isn't here! MUFFET: Silence! BRISKET: My little Lollipop is gone! She's disappeared! - BUFFET: Come, come, Brisket Butcher! We don't have time for any nonsense. MARY: Did.you look all over, Brisket? BRISKET: Yes! Oh---yes! Does anyone see her? (ALL SEARCH) LOLAR: She ien't here, Brisket. BAKER: Not here. NIMBLE: Or here. MARY: Maybe she ran away. BRISKET: Oh, Mary! You know Lolly 'Ouldn‘ t do that. MUFFBT: Perhaps she was stolen. HRISKET: Stolen! That's it! My Lollipop was stolen. COLE: DRiSket Butcher! Who would steal your pig? ~ BRISKET: Why no one would steal Lolly. 169 MARY: We all loved her. COLE: Everyone? BRISKET: Yes, everyone. (LOOKS AT MUFFET) Oh—h. There's one person who doesn't like Lolly. COLE: Who is that? BRISKET: Chan---Chancellor Muffet. MUFFET: What! Why!!-—-come, come Brisket! I wouldn't steal your sweet little pig. WILLIE: Oh, no! YOu wouldn't hurt Lollipop. MUFFET: Why, she was the sweetest, fattest, little pig in the whole kingdom. COLE: Brisket Butcher! Chancellor Muffet wouldn't steal! MUFFET: We must find the thief and punish him! COLE: AAt ones! Poppyseed! Summon my guards! ‘ POPPY: They're not at the palace, your majesty. COLE: Lock for them! POPPY: Yes, your majesty. (GOES OUT RIGHT) MUFFET: Yes, we must find the thief and banish him. That's the law isn't it, King Cole? COLE: Of course. Anyone who steals in Likemeland is banished. POPPY: I found them, your majesty. They-—-they are comingb---wuth a prisoner. MUHET: Perhaps they caught someone trying to steal the pig. 17o GUARDS: (ENTER WITH DISGUISED TOI-I— TOM BETWEEN THEN.) LOLAR: It's Tom—Tom! MARY: They have Tom—Tom. (REACTION BY MERCHANTS TO TOIrI-TOH'S ENTRANCE) BRISKET: (SEES LOLLIPOP) Oh, Lolli- pop! My little Lollipop! l WARD: Your majesty.... 2 WARD: We found this stranger with Brisket Butcher's pig. 1 WARD: He was trying to leave the kingdom. TOM-TOM: I wasn' t. . . . I-MFFET: You must banish the thief you majesty! TON-TOM: You can't banish me! I'm your Own-Dee MUFFET: Silence! TOM—TOM: (TAKING OFF HIS DISWISE) Are you going to banish me, father? COLE: (STARES AT HIM) Tom—Tom! Tom- Tom! Is it really you? TOE-"TOM: (As THEY EHBRACE) Yes, father. COLE: My son! My son! You are alive ---and well! Oh, Tom-Tom, I never thought I'd see you again. HUFFET: Why, your majesty! Prince Tom—Tom is a thief! COLE: Tom-Tom, m son-«a thief? MUFFET: He stole Brisket Butcher's pig! To avoid the confusion on “tags that is caused by everyone dancing, the author changed the Power of the pipe. It is much Clearer to the audience to see Muffet struggling to keep from dancing, and then dancing, than t"0 have general movement. 171 BRISKET: Prince Tom-Tom wouldn't steal Lollipop! COLE: My son, did you steal Brisket Butcher's pig? TOM—TOM: No , father. MUFFET: Guards! Did he have the pig in his possession when you caught him? 1 WARD: Yes, Chancellor Muffet. IMFET: Was he running away with the pig? 2 WARD: Yes, Chancellor Muffet. He was runninguay from the Square. MUFFET: King Cole! We have two witnesses who saw the Prince take this pig! TOM-TOM: I was just going to take Lollipqhome. MUFFET: You majesty.—-we have the proof. TOM-TOM: Father! I can find out who really stole Lolly. LOLAR: Let him try, your majesty, If he fails he will be banished ac- cording to law. TOM-TOM: Please father! COLE: Fella-8.11 right, go on Tom- Tom. TOM-TOM: Do you have an! pipe, Mary? MARY: Here it is Tom-Tom. TOM-TOM: Pipe, Pipe play away, The thief who stole Lolly Dances today. 172 - (EVERYONE LOOKS AROUND ANXIOUSLY TO SEE WHOSE FEET ARE MOVING. AT- TENTION FOCUSES ON MALWICK MIFFET WHO IS TRYING TO HOLD HIS FEET DOWN) LOLAR: Blook! Look! (POINTS TO MUFFET) MARY: Chancellor Muffet's dancing! BAKER: Malwick Muffet's dancing! BRISKET: Muffet stole my Lolly! HIMBLE: Chancellor Muffet is the thief!! TOM-TOM: (STOPS PLAYING) Here is your thief, father. MUEFET: Your majesty.... COLE: SILENCE!! To think I almost named Malwick.Muffet king of Like- mel and. LOLAR: Likemeland has a good king, your majesty. TOM—TOM: Father, where is the bowl I left at the palace? COLE: Malwick.Muffet! Where is that bowl? NUEEET I—--I destroyed it. Q. MOLLIE: (so PROUD) Oh, no. Here it is. I kept it. WILLIE: Hurrah for Mollie Muffet! TOE-TOM: Will you drink from the bowl of laughter, father? COLE: The bowl of Laughter? TOM-TOM: Yes. From her observations of the audience and the performance. The author felt that the ending, immediately after the climax, 'was satisfying. 173 COLE: Give me that bowl! (TAKES IT AND DRINKs) TOM-TOM: Do you feel better, Father? COLE: (LKUGHING) Yes! Yes! LOLAR: He shafed! Laughed! WILLIE: He's laughing! Laughing! Laughing: MARY: Oh! King Cole's laughing! (REACTION BY ALI.) TOM-TOM: Father, why are you laughing? COLE: Why? Just for the fun of it. (COLE STARTS JUST FOR Ty: EUR 93; E AND THEY ALI. JOIN I—NT (BOB BAKER PASSES OUT BISCUITS. NED PUTS HIS CANDLE DS CENTER; WILLIE JUMPS OVER IT AS THE CURTAIN CLOSES) CHAPTER V CONCLUSIONS CHAPTER V CONCLUSIONS Though the reasons for the revisions in the script have been indicated in the previous chapter, this author feels that her experinnces through- out the writing, production, and rewriting have been of such great value to here that perhaps a brief summary of her own personal conclusions, drawn after this study was completed, may prove of value to other play- wrights. As this author watched her play in performance she realized that the plot was too complicated. The story line was kept clear by emphasiz— ing plot lines, but too much background information was being given. If the plot had beenciear and simple, the author could have avoided the troublesome expository scenes that caused restlessness in the audience. Also by minimizing the action preceding the play, the author would.have been able to start the play with action from.the Very beginning instead of spending an entire act telling it. Repetition in revealing past ac- tion and decisions could have been avoided if all the people in Likeme- land knew where TompTom had gone. Then this news could have been told Just once---to the audience. The main character, the one with whom the author wishes the children to identify themselves most strongly must be placed in dramatic situations that reveal his character and permit this identification. This author was disappointed when she discovered that the children were not identify- ing with TompTom as completely as she had hoped they would. Viewing the 176 performances, she realized that he had not been placed in situations that gave him an opportunity to show his character,to any great degree. In ACT I he was friendly, gay, sad, and dejected. -The audience heard him make decisions but never saw him in an open struggle with Malwick Buffet. He didn't dg_things that clearly pointed out that the ensuing conflict would be between him.and huffet. The "surprise" scenes in which TompTom.showed the bowl and the children surprised Lolar and Muffet were well received by the audience. These scenes, and the one in which Tom—Tom "had a secret", were within the realm.of the children's experience; they responded with delight to these familiar happenings and entered into the fun. The characters must be drawn in sudh a way that they will not be misinterpreted by the children portraying them. This author created Lolar as an absent minded scholar whose speech became confused in moments of excitement. As previously stated, the child playing the role inter- preted this confusion of initial consonants as stuttering. A.children's audience often fools an author by reacting in unexpected ways to the characters. The great identification with Mollie Muffet at the end of ACT II, Scene 2, came as a surprise to the author. This same unexpected identification was also given to the two guards. These favorable re- sponses indicated that these characters had potentialities that the author had not realized. By observing the audience participation and reaction, the author realized.that she could be guided in her revisions of the script. These unexpected reactions indicated that these characters warranted further development. The uninhibited reactions of the Child 177 audience toward certain Characters can often guide the playwright in the further development of specific characters and serve as a guide in the creation of new characters. The need to write in all exit lines was realized when the children portraying Tom—Tom and the guards had difficulty ad libbing long enough to get Tom—Tom offstage in ACT III. Also the need for definite lines of recognition was shown in ACT II, Scene I, when the merchants greeted Tom-Tom. The merchants response to his return could have been more ef- fective if they had been given more definite lines. Often a group of exceptional children, trained in creative dramatics, will be able to improvize lines but the author should provide specific lines of spon- taneous response in preparation for those children, and directors, who have not had experience in the creative dramatic method. A sufficient number of lines must be written to adequately build suspense. This author discovered that she had passed.up several oppor— tunities to build suspense because she didn't carry a scene through, step by step, to the climax. If Mollie's exclamations of surprise at seeing Tom~Tom.behind the well had been increased; if Euffet's insistence that she "huSh up" had been greater, the audience would have been more pleased and excited when TompTom revealed himself. The lack of great physical response by the audience indicated.that the author had not provided "exercise" scenes that would produce this response. These scenes whiCh give the Children an opportunity for overt reactions must be included in a children's play to relieve the suspense that has been built up. 178 The participation of the audience when Mollie drank out of the bowl in ACT II, Scene 2, showed the author that the relief from tension had been satisfactory. By placing the climaxes at the end of the acts, and the major climax at the end of the play, the author did not have to re-create interest. The audience was anzious to know what would happen next when Tom—Tom left at the end of ACT 1; they were eager to know how he would get into the palace. This expectancy must be carried over from act to act. Although all of the above factors should be included in a Children's play to make it satisfying to the particular audience of children, the most important pre-requisite for any author of Children's plays is to know and understand Children. A knowledge of the kind of material that appeals to certain age groups will guide the author in selecting and creating suitable stories. An author must discover what Children think is funny, exciting, and attention holding. By realizing that the atten— tion span of a child is short, that they will participate and respond overtly, and that they are eager to identify themselves strongly with the worthwhile characters, the author will have made a start in reaching his younger audience. By observing their reactions to plays an author will learn what the Children like and dislike, of what they approve and dis- approve. The children will make no pretence not to show their feelings and reactions clearly and openly when they are lost in the realm of the theater's world of make-believe. CHAPTER VI THE REHEARSAL SCHEDULE ‘14 ‘1 ' [JUST FOR THE FUN OF IT { BY BETTY CIBULA TECHNICAL womue SHEET omeneot omreo~ men oscmme ! SCALE 'A" EQUALS 1' PRODUCT|ON DATE JUNE 2.,qu3 Ll,_i_fl_,_,__r, _ “an“. I f [Wu beams 7" scant 3: Ac? ‘NL IVA. K {SC/C i HS \7 ‘ j [fix/i |i¢_ ! -H/A | l | Va; J: 74': 5607117139.;an7' fr.— 1 » e .7 «a L; SE “'4 bk pflleflLJ—bl—J IN a TOLK 153E / V ~ _ ,.., _‘Hcr’v IN #va l’r;/\ 1 (_3’——)£~q' \QHAIA 1M slatppK \1’- I _ $3 _.9 ,' ' ,9 Twang/{00M FLATS 1N 5mm ' ‘ '5‘ war. ‘ ”/J 0 TH] GE CORNER LASH’NG ”’1’ , ... / FR N N S E +"____) {’05 l .5 13/3457" "7?; 1" " 1 AIM“; I‘HKCL; I; v I"/{‘0fiu_= / ’3. ". 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A . . p . 0 . a a I A I a . a n A D 4 9 . . ” v vi: in" TECHNICAL WORKING DRAWII‘TGS ILLUSTRATIONS OF THE MODEL SEE 185 ACT I ACT III ACT II Scene 1 187 2 ACT II Scene LI GET PLOT 189 m LIGHT PLOT JXCT I Beams: 6 - 150 watt Pars 3 - Stage Right with #62 gelatines 3 - Stage Left with #72 gelatines Cross-spotted on the Downstage Acting Area Bridge: 150 watt Bars 2 - Stage Right with #62 gelatines 2 - Stage Left with #17 gelatines Cross-spotted on Central Acting Areas Backstage: 150 watt Pars 2 - Stage Right with #62 gelatines 2 - Stage Left with #17 gelatines Cross.spotted on upstage area ACT II Scene 1 Up full on all circuits ACT II Scene 2 Beams: 150 watt Pars 3 - Stage Right with #62 gelatines 3 - Stage Left with #17 gelatines Cross-spotted on the down-stage acting area 2 - 500 watt Fresnels with 2 #17 gelatines Focused on the throne area «ACHE III Same as ACT I but up full on all circuits a *3 .4 LIST A CT I PERSOTTAL 1 . Willie - lantern 2. Tom—Tom - pipe, bowl ACT II Scene 1 PERSOHAL 1 . Tom-Tom - pipe, bowl 2- liary - flowers ACT II Scene 2 IESOIIAL 1 . Tom-Tom - bowl AQC'I' III PERSOT-ZAL :’ Tom-Tom - pipe 3' Mellie - bowl IZoppyseed - bugle 191 PROPERTY L IST “Cum?” 0 Bench (USL) Bench (DSL) Bench (LC) Sausages on booth (R) Biscuits on booth (C) Candles on booth (L) Basket behind booth (R) Big candle in front of booth (L) Bench (DSL) Basket on well Sausages on booth (R) Biscuits on booth (C) Candles on booth (L) Big candle behind booth (I) MUSIC AND LYRICS "JUST FOR THE FUN OF IT" 193 JUST P‘Crc '11:) 5“” Ct" IT 1'? , I uOldS and wait by ?ran: ‘:rre53ell~ rust fur the fur (F it we, lsurh and dance and slur. Uh" U} i J. C? all day and never smile, it doesn't do a thing. Start eve- ry mor-ming right and greet the sun each dav, and Just For The Fun Of It your cares will melt a- way. lm-UP PLOT 195 CHARACTER DESCRIPTION MAKESUP (Max Factor) Willie Impish # 2 Always youthful Light rouge Brown liner Hary Junenile 10 years old # 2 Sweet and pretty Light rouge Brown liner TomrTom Juvenile 12 years old # 2 Smiling and happy Brown liner Blonde wig Light rouge Lolar Serious and frowning # M 1/2 and 6A About 50 Brown liner Black wig Buffet Cruel and Scheming # M 1/2 and 6A About 50 Brown and grey liner Black wig Hollie Juvenile 10 years old # 2 Round face, rosy cheeks Light rouge Hair in pigtails Brown liner Cole Sad eyes # 1; 1/2 and 7 Pale from illness Brown and grey liner Grey wig Poppyseed Juvenile 9 years old # 2 Blonde wig Brown liner Light rouge Brisket Butcher Sad faced # 2 and M 1/2 About NO Brown liner Brown wig Ned Nimble About #0 # 2 and 1; l/2 Straight Brown liner Red wig 196 CHARACTER DESCRIPTION MAKE-UP Bob Baker About MO # 2 and N 1/2 Round face Brown liner Smiling, happy Brown wig l Guard Straight # 2 and M 1/2 Black wig Brown and grey liner 2 Guard Straight # 2 and M 1/2 Mustache Brown and grey liner Accent eyes Red wig 005mm 3mm: WEE WILLIE WINKIE 198 MOLLIE MUFFET MALWICK MUFFET 199 KING COLE POPPYSEED 200 201 202 5. c; ‘ U U ‘ BRISKET BUTCHER EB BAKER NED NIMBLE 20% ,0 Theatre qusho to, 19.55 27 4:00 a 7:50 PM June 201$ 431., +.& e... 201} THE FRO 31AM BIBLIOGRAHIY 206 BIBLIOGRAPHY BOOKS Arbuthnot, Bay Hill, Time for Poetry, Chicago: Scott, Foresman and Company, 1952 Baker, George Pierce, Dramatic Technique, Boston: Roughton Mifflin Company, 1919. Bentley, Eric Russell, The Playwrigh__as Thinker, New York: Reynal and Hitchcock, 1936. Galloway, Marian, Constructing a_Pl§y, New York: Prentice-Hall, 1950. Heffner, Hubert 0., Selden, Samuel, and Sellman, Hunton D., Modern Theatre Practice, New York: F. S. Crofts & 00., 19M7. Lawson, John Howard, Theory and Technique g£.Playwriting, New York: G. Putnam's Sons MacGowan, Kenneth, A_Primer g§_Pl§yggiting, New York: Random House, 1951. Mackay, Constance D'Arcy, Children's Theatres and Plays. New York: D. Appleton and Company, 1927. Howe, Kenneth Thorpe, Write that? lay, New York: Funk & Wagnalls CompanY. 1939- Selden, Samuel, An Introduction to Plgygriting, New York: F..A. Crofts & Co., Inc.,—1336. Ward, Winifred, Theatre for Children, Kentucky: Children's Theatre Press, 1950. ARTICLES Chorpenning, Charlotte, "Six Rules for Drama," New_York Times, September 1, 19149. Pantaleoni, Helenka AdamoWSki, "How to Read a Play," The Junior Leagge Magazine, October, l9u6. cu 25 '5 ‘ 4 ROOM USE ONLY. zui ”58' r W 22 ‘5 be” '5 Feb 3’53 ‘ . WW