Professional Documents
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BAKER'S PLAYS
100 CHAUNCY STREET
BOSTON, MASS. 02111
THE CROSSROADS
by
Brian Way
Edited with notes by Margaret
Faulkes
Way
1977 by Brian
All Rights
Reserved Made in
U.S.A.
THE CROSSROADS was first produced by Theatre Centre, Ltd.,
London, England, in 1960. It was written and directed by
the author for presentation to children in schools and was
toured throughout the British Isles.
CONDITIONS FOR PERFORMANCE: This play must be presented by
adults
(or young adults) and is intended for children of fourth,
fifth and sixth-grade age level. The audience may not
exceed a maximum of 200, and the play should be presented
in the round. ROYALTIES are due on all performances of
Brian Way plays, whether admission is charged or not.
Production fee on this title is as follows: $15.00
per performance for the first six performances, $10.00 for
each subsequent performance.
CAUTION: This play is fully protected by the laws of copyright
and may not be produced by amateurs or professionals for public
or private performance without first obtaining performance rights.
Please note that it is unlawful and dishonest to copy a play, or
any part
of a play, in any way--by hand, typewriter, photocopy or any
other method.
WHENEVER THE PIAY IS PRODUCED, the Author's name must be
carried in all publicity, advertising and programs. Also,
the following notice must appear on all printed programs:
PRODUCED BY SPECIA L ARRANGEMENT WITH BAKER'S PIAYS
BOST ON , MASS
PRINTED FORM : This large size play script is printedin
such manner for convenience in making rehearsal
notations.
BAKER 'S PIAYS
100 CHAUNCY
STREET
BOSTON, MA -02111
(617) 482-1280
Western States
Representative Samuel
French, Inc.
7623 Sunset Boulevard
Hollywood, CA 90046
Canadian
Representative Samuel
French, Ltd.
80 Richmond Street
East Toronto, MSC lPl
Canada
THE CROSSROADS
Running time:
1 hour
Characters:
4 men and 4
women: Tramp
The
Spirit
of
the
Signpost The Scientist
of the South The Queen
of the North
The Proud Bird of the East
The Mighty Monster of the West
Puck, a sprite
Robin, a sprite
PRODUCTION NOTES
The Queen was dressed in a close-fitting ice-blue satin tunic over a deep blue
satin skirt. The scientist wore a scarlet lab-type coat over orange shirt and
breeches.
The Bird had a yellow tunic and tights, with touches of purple and pink for
chiffon wings and feathers. The Monster was in shades of green: a long tunic and
cloak and
a close-fitting hood. Over his tunic he wore a triangular shaped tabard of
scales (made with vinyl). Spirit wore tunic and tights using all four colors.
The Tramp was dressed in an ill-fitting coat with pockets, over baggy
trousers, and a bowler hat - thus being easily identifiable with the Chaplin
type clown.
PARTICIPATION: This play was written at a time when it was usual to provide
theatre for the full age range of elementary children - i.e. 5 - 11 years.
(Catering for such a wide age range has never been satisfactory either in
subject matter or in
Participation, which is why it is now the practice to provide different plays
for different age groups within this range.)
In this play, the subject matter is one which can be appreciated by the older
age group, while the action and characters can be understood and enjoyed by
the younger children. The participation is more
particularly geared to the
younger children
(5 - 8 years) who are not yet 'conditioned' to adult theatre behavior; their
spontaneous response is triggered by emotional and physical reactions to the
people and happenings in the play. The genuine quality of such reaction is
directly related to the genuine quality of the acting. Caricatures, unbelievable
actions or phony emotions will be recognized for what they are. These
considerations are important also for the older children in the audience who,
for various reasons, are less spontaneous in participation and more critical of
the story and characters involved. Involvement for these children may well be at
a greater intellectual level than is commonly believed by adults.
The themes of this play are serious themes: world peace, the struggles of the
little man to survive against the forces that surround him, and the more usual
theme of the triumphing of good over evil. Strong direction and sincere acting will
produce genuine involvement (physical, emotional and intellectual) from the wide
age range of audience.
Milking participation to a hysteria level is highly undesirable; so also is the
uses o f t h e w o r d p r e t e n d " which is an adult concept of "make-believe". Very
young children believe and become: they do not make-believe or pretend. As the
child
grows older; he begins to understand intellectually what imagination is.
In dialogue terms, therefore: "Everybody do or be." becomes "Everybody
imagine that. . ."
The participation is fully integrated into the play: if the audience does not
help Spirit, Tramp cannot turn into a clown or become blind, and so he cannot
help to change the Scientist and the Queen. The participation is both organized
and controlled by Spirit.
Three kinds of participation are evident in this play:
DIRECT: in which Spirit speaks directly to the audience and requests that they
do something to help her.
STIMULATED: in which Spirit gives the idea and leaves the audience to put it into
operation at the appropriate moment.
SPONTANEOUS: in which the audience may volunteer ideas, suggestions without being
asked to do so. The play is, however, tightly structured and there is no
intention that such moments of spontaneous participation be developed.
Center staging, fluid action and participation relate directly to the kind
of creative drama encouraged with elementary age group children. Directors
are referred to the author's text on drama in education: DEVELOPMENT
THROUGH DRAMA by Brian Way (Longmans Green and Co., London 1967).
NOTES ON PARTICIPATION ARE GIVEN AT THE END OF THE PLAY.
SPIRIT
PUCK
SPIRIT
All right.
PUCK
SPIRIT
Yes!
ROBIN
SPIRIT
Yes!
they will)
now?
ROBIN
SPIRIT
Yes. Everybody make the sound of the wind when Puck claps
his hand - and stop when Robin claps twice. (Puck claps
hand once) Now! (They do so. Robin stops it with a double
hand-clap.)Now, everybody make the sounds of animals (Puck claps hand once) Now! (They do so. Robin stops it
with a double hand-clap.) (Puck & Robin discuss with one
half each of the audience the different kinds of animals
they were being.)
ROBIN
YES!
SPIRIT
PUCK
ROBIN
Now the birds are singing in the trees. Sing like birds!
(ROBIN claps her hands)
PUCK
SPIRIT
Very good!
ROBIN
PUCK
SHHHHHHH
SPIRIT
ROBIN
SPIRIT
PUCK
SPIRIT
You'll see.
THE CROSSROADS
2
TRAMP
(Cont.)
The icicle can get so long and so strong that you could
break it off and use it as a walking stick. No, no. No
more of that
for me. Fate--I defy you! I tell you, I will not go to the
North. (And he moves rapidly away in the opposite
Oh, no. Oh, the heat. D'you know that out there it's so hot
that you could cook meat that thick
on the pavement, even in the middle of the night. Huh--a
few days of that and I began to feel like cooked meat
myself. Oh no, not South either. Not this time. Where
then? (2) East?
East! Yes, all right, that's a good enough idea. East then.
idea. Not into that wind again. Oh, what a wind. Listen-I'd no soon got out
East than the wind started--and it got under my hat and
whoooo - whizzed it away, up, up into the sky until--well, on
a clear night you can see the man in the moon wearing it. And
he's got
a lot of spare ones too, 'cos everytime I bought a new hat
the same thing happened. No, no, not East. I'm going to
hang on to this new one. So--what's left? West? West!
What--in all that water--and with all that rain--and with
all those rivers and oceans and lakes and seas? Oh no. Not
again. Not in all that rain. It ran down my neck, and it
trickled down my back; it wriggled round my waist and then
oozed down my trouser legs- till I was dancing the
hebejebes. Oh, no, no, not into the
rain again--not the West. (Suddenly he stops dead
still)Listen!
ALL
MONSTER
SPIRIT
ALL
SPIRIT
Leave us alone or we
shall destroy the
Signpost.
QUEEN
SCIENTIST
BIRD
ALL
SPIRIT
me.
Be silent. You cannot destroy a Spirit. Nor can you even touch
QUEEN
MONSTER
No -
SCIENTIST
-
No
BIRD
-
No
ALL
SPIRIT
No, perhaps we cannot touch you. But- can you touch us.
Robin
ALL
SPIRIT
One day there shall be peace. One day you, Queen of the North,
one day you will weep. (The QUEEN laughs, a cruel, cold
laughter) Yes, you shall weep and on that day you will live
in peace. And you, Scientist of the South, one day you will
laugh.
(The
SCIENTIST sneers) Yes, you will. You will laugh, and even
as you do so, you will long for peace. (The MONSTER roars
at her) Oh, yes, Mighty Monster, roar your defiance. With
your great brute strength you think you can conquer the
world.
MONSTER
SPIRIT
No. No, you shall not conquer the world. For one day you
will lose your strength and you will be glad to be alive
and to live in peace.
BIRD
And me, Spirit? What can you say to me? Nothing. You can
say nothing to me, because I do live at peace. I ask
nothing of the
world but that it should do as I do -
SPIRIT
\.
BIRD
Why not? What better life could there be than one filled
with beauty and comfort? A pleasant, lazy life, without a
care in the world.
PUCK
BIRD
SPIRIT
MONSTER
ALL
ALL
TRAMP
ALL
A tramp! A tramp!
QUEEN
TRAMP
SCIENTIST
A useless tramp.
TRAMP
BIRD
TRAMP
fight.
No, I'm not wretched, not miserable. Except when I see you
Then I'm wretched; then I'm miserable. And then I'm afraid.
MONSTER
TRAMP
ROBIN
Why not?
TRAMP
BIRD
No, Tramp, join me. Come with me to the Kingdom of the East
where you can live the rest of your days in comfort. You
would never have to work -
TRAMP
PUCK
TRAMP
SCIENTIST
If you really want to work, you useless tramp, then join me.
Together we can harness the power of the sun the greatest
power in all the world. And when we've conquered that, then
we can use it--use it to rule the whole of mankind, to make
them slaves of
my kingdom. Think of the power you'd have. Every day
millions of people doing what you say they must do.
TRAMP
QUEEN
ROBIN
PUCK
ALL
QUEEH
Join me -
SCIENTIST
Join me -
MONSTER
Join me -
BIRD
Join me -
ALL
Join me and share the world. Join me and share the world.
TRAMP
SPIRIT
TRAMP
You?
SPIRIT
TRAMP
Then -
SPIRIT
TRAMP
SPIRIT
Didn't you?
TRAMP
Well, if it's going to be like this all the time, I'm not
sure I do want to.
SPIRIT
TRAMP
SPIRIT
TRAMP
And yet you could stop all those people from moving about
or talking.
SPIRIT
TRAMP
But SPIRIT claps her hands twice and the TRAMP can
neither move nor speak.
SPIRIT
See. You can't talk and you can't move. Try--catch me. Try
and count up to ten. Go on. (We can see by his face and the
straining of his body that he is trying to do both things)
See? You can't do either. (She releases him)
TRAMP
SPIRIT
TRAMP
SPIRIT
make them all moan and groan. Everybody, moan and groan and
make sad noises - NOW. (Same procedure with the
clapping) Or I can turn them into the wind - NOW (5); or
into noisy engines and
machines - NOW; or into fierce animals - NOW; or into very
gentle and happy animals - NOW.
TRAMP
Well, if you can do all this, why don't you turn all those
other people - The Queen and the Monster and the Bird and the
Scientist- turn all of them into something else, so that they
stop fighting.
SPIRIT
TRAMP
SPIRIT
TRAMP
SPIRIT
TRAMP
SPIRIT
TRAMP
SPIRIT
Never mind.
TRAMP
SPIRIT
Like to try?
TRAMP
Try what?
SPIRIT
TRAMP
SPIRIT
(To us) Now, what can we turn him into so that he could
make people laugh? (7) (From the suggestions that are
made) A clown? All right, the very thing--a clown. All of
you help me then.
Everybody--make funny faces and make funny noises--NOW.
Puck claps his hands and we all make funny faces and
noises; very slowly Puck & Robin change Tramp into a
clown. (8)
SPIRIT
TRAMP
SPIRIT
Keep out of the way, man, keep out of the way. (He sets up
the machine on the opposite side of the signpost from his
own kingdom) Now, let me see. Let me see. No, no, not there.
That's not quite
the right spot. (Again he moves the machine round to his
own side
of the signpost and carefully gauges the funnels along
each of the other main roads) That's better--much better.
(Clown is still following him around, very interested but
rather bewildered)
Yes, yes, I know it's very interesting, but will you please
get out of the way? Now, be a good chap and sit down over
here, will you? That's it. That's very nice, just there. (He
calls to the other powers) Now, you feeble and miserable
powers, listen to me, the great Scientist of the South.
(Silence) Do you hear?
Pause.
10
QUEEN
MONSTER
BIRD
And I mine.
SCIENTIST
QUEEN
MONSTER
BIRD
SCIENTIST
Yes. End the world. The choice rests with you. Submit to
me, hand over your kingdoms and make me king of the whole
world- or else I shall destroy you. Attempt to stop me,
and I shall destroy the world.
11
ignores him)
SPIRIT
12
SPIRIT
SCIENTIST
SPIRIT
off. SCIENTIST
SPIRIT
SCIENTIST
SPIRIT
SPIRIT
SCIENTIST
last. SCIENTIST
Done what?
SPIRIT
SCIENTIST
13
SPIRIT
Then do it again.
SCIENTIST
Again?
SPIRIT
Yes, go on.
South. SCIENTIST
Am I?
SPIRIT
SCIENTIST
SPIRIT
SCIENTIST
SPIRIT
SCIENTIST
SPIRIT
SCIENTIST
SPIRIT
All right! Thank you. Now - you take your machine back into
your own kingdom while I look after clown.
SCIENTIST
Now, everyone, we must turn the clown back into the little
tramp again. So, everyone move your fingers and thumbs and
pull funny faces to help him - now.
TRAMP
SPIRIT
first.
14
TRAMP
SPIRIT
TRAMP
SCIENTIST
TRAMP
SCIENTIST
SPIRIT
SCIENTIST
TRAMP
SPIRIT
TRAMP
SPIRIT
it? TRAMP
Yes?
SPIRIT
SCIENTIST
eyes. TRAMP
SPIRIT
TRAMP
15
SPIRIT
TRAMP
SPIRIT
TRAMP
SPIRIT
Come here and stand quite still. (He does so) Now,
everybody make sad sounds so that he slowly loses his sight.
TRAMP
(11)
TRAMP
SPIRIT
SCIENTIS
T SPIRIT
SCIENTIST
SPIRIT
SCIENTIST
SPIRIT
SCIENTIS
All right.
Yes, I will.
T SPIRIT
Thank you. And you, little Tramp, must pretend that she's
hypnotized
you so that she thinks both of you are in her power. Now,
Scientist, stand over here with the blind man. (Then she turns
to all of us)
16
SPIRIT
SCIENTIST
Peace, Queen.
QUEEN
SCIENTIST
QUEEN
TRAMP
QUEEN
TRAMP
QUEEN
TRAMP
QUEEN
TRAMP
SCIENTIST
Careful -
QUEEN
TRAMP
crown. QUEEN
closely.
Try to count the stars of light in it. Try to count them.
There are too many, aren't there? But never mind, keep
trying. Keep trying. Try to count them. Count them. Now,
you're beginning to feel sleepy. Feel sleepy. Sit down. And
breathe deeply. Deeper and deeper, deeper and deeper. That's
right.
17
SCIENTIST
Yes.
QUEEN
Why?
SCIENTIST
suppose. QUEEN
change?
SCIENTIST
A clown.
QUEEN
TRAMP
QUEEN
Be silent, Tramp.
SCIENTIST
QUEEN
You, Scientist, come here. Since you cannot lie to me when you
are in my power what you say must be true. Then - how did this
clown make you change?
SCIENTIST
He made me laugh.
QUEEN
SCIENTIST
- QUEEN
Prove it.
SCIENTIST
QUEEN
SCIENTIST
QUEEN
SCIENTIST
machine. QUEEN
SCIENTIST
QUEEN
18
SCIENTIST
QUEEN
SCIENTIST
TRAMP
That's right. The clown has it. And he isn't here now, so
you can't have it, can you?
QUEEN
TRAMP
Queen
steel? TRAMP
Yes.
QUEEN
TRAMP
I - I have it still.
QUEEN
Where?
TRAMP
QUEEN
TRAMP
QUEEN
way. TRAMP
QUEEN
Don't trifle with me or you shall pay for it with your life.
You can see perfectly well where I am standing.
SCIENTIST
blind. QUEEN
Blind!
SCIENTIST
Yes. The Spirit of the Signpost made him blind to trick you.
There is a pause.
(
QUEEN
is
So! You are blind, are you? Well - the Spirit of the Signpost
not quite as clever as she thinks. Scientist - I command you
to take hold of his arms from behind. Do as I say.
19
QUEEN
Bring him
Be still.
QUEEN
Who is it?
SPIRIT
Only me, cold Queen. The Spirit who is not as clever as she
thinks she is.
QUEEN
SPIRIT
Frozen you so solidly that not one part of you can move
unless I say so. No ice in your kingdom is half as solid no power that you have half so great. Let's see, shall we.
Sit. (With each direction she gives she adds a simple
SPIRIT
Be silent.
QUEEN
You see - I mean what I say. Now - tell the Scientist to come
and stand in front of you. (She flicks to release the
QUEEN'S speech)
QUEEN
SPIRIT
But only you have power over him. I thought you liked such
power. QUEEN
I won't do it.
SPIRIT
QUEEN
moves away)
20
SPIRIT
QUEEN
SPIRIT
Tell him.
QUEEN
SPIRIT
QUEEN
SPIRIT
QUEEN
SPIRIT
Now tell him to place the crown down on the ground in front of
him. QUEEN
No -- no, please.
SPIRIT
Tell him.
QUEEN
Carefully.
QUEEN
He does so.
SPIRIT
Now, cold Queen, watch the blind man. (As she says this
she flicks so that the QUEEN'S head is free to turn -but only her head.) Little tramp - find the crown.
TRAMP
SPIRIT
TRAMP
QUEEN
21
SPIRIT
TRAMP
With this wand of steel I remove the cold diamond of the North.
SPIRIT
SCIENTIST
SPIRIT
QUEEN
I'm here.
TRAMP
Where?
QUEEN
Over here.
The TRAMP arrives before her and holds the crown over
her head . NOTE: Once again, this is a moment of
seriousness and dignity for both TRAMP and QUEEN.
TRAMP
QUEEN
SPIRIT
Very well.
I can't bear to see him like that. Can you take away his
blindness? SPIRIT
22
QUEEN
SPIRIT
Anything.
Then, while we all hum, gently touch his eyes with the tips
of your fingers. Everybody hum - now. (15)
TRAMP
SPIRIT
QUEEN
TRAMP
SCIENTIST
QUEEN
SCIENTIST
Yes - and the Mighty Monster. If they find out we are living
in peace -
TRAMP
SCIENTIST
QUEEN
SPIRIT
QUEEN
SCIENTIST
QUEEN)
Maybe we
should try
23
SPIRIT
SCIENTIS
Persuade her?
Yes. If we tell her that the Queen of the North and I have
made peace, she'll be so afraid of our power that perhaps we
could persuade her to join us.
QUEEN
SPIRIT
TRAMP
SPIRIT
BIRD
TRAMP
BIRD
TRAMP
BIRD
BIRD
QUEEN
Haven't you heard? The Queen of the North and Scientist of the
South have made peace.
24
SCIENTIST
BIRD
SPIRIT
BIRD
Oh, you're in this are you, Spirit . Well, I don't know what
you've done to them, but you won't succeed with me. I'll I'll go back to my kingdom and - and send messengers to the
Mighty Monster. He and I can -
SPIRIT
You know that the Monster will plot to overthrow you - just
as you think the others will. Now listen - you can help us.
You don't really want war, do you? Do you?
BIRD
QUEEN
SCIENTIST
You must believe us, Proud Bird. You must help us.
All right. I'll have to trust you. What do you want me to do?
Call my armies?
SPIRIT
SCIENTIST
QUEEN
BIRD
TRAMP
SPIRIT
BIRD
We'll never get it. You know how strong he is. Why he's
stronger than all of us together.
SCIENTIST
TRAMP
BIRD
25
TRAMP
Call him here, Spirit. After all - you can deal with him anyway.
You can just freeze him.
SPIRIT
BIRD
TRAMP
I know! Let the Proud Bird call for help. If he hears her
he'll think that she's been trapped in a net or something
and he'll come to capture her for himself!
,
Yes - and then when he comes you can tell him, Proud Bird
that we all want to live in peace.
SCIENTIST
all. BIRD
TRAMP
BIRD
SPIRIT
BIRD
SPIRIT
Proud Bird - oh, there you are. I thought perhaps you had been
trapped. Haven't you anything better to do than sit there
crying? And all alone? No one to protect you? (He looks
suspiciously round)
BIRD
MONSTER
about?
BIRD
and so do I.
MONSTER
BIRD
26
MONSTER
SCIENTIST
Monster. QUEEN
MONSTER
(Not letting her go) Well, well, well. So here are the
peaceful ones. Whats happened to your diamond, your
majesty? And you,
Scientist, where is your wand of steel? These things were the
marks of your powers. With them, at this moment, I should be
at your mercy. But without them there is nothing you can do.
SCIENTIST
That is true. But one day you'll meet your match and then it
will be a different story.
MONSTER
Maybe. But that day is not yet, my friend. Now - you will
both stay here. Make no attempt to follow me or I shall
destroy you both without a shred of mercy.
TRAMP
MONSTER
TRAMP
Oh, that's it. You have to call your armies. You couldn't do
it alone, could you? And I'll tell you why you couldn't because you're a coward.
MONSTER
What!
TRAMP
MONSTER
Nothing. TRAMP
27
MONSTER
You!
TRAMP
MONSTER
either. TRAMP
MONSTER
TRAMP
Help! Help!
MONSTER
There's not one human being in the whole world who can help
you now. (21)
28
SPIRIT
No, Mighty Monster. Not one human being. But I can and I
shall.
MONSTER
No, no. Not you, Spirit, not you. All my life I've avoided
you. I built my armor of scales because I knew that you
could never touch me -
SPIRIT
But you forgot that I knew the secret of your power. (To
TRAMP)
Little tramp -
MONSTER
SPIRIT
can. MONSTER
SPIRIT
MONSTER
No - no -
SPIRIT
TRAMP
SPIRIT
MONSTER
SPIRIT
Pull it away.
TRAMP
MONSTER
Spare me.
TRAMP
Spare me.
Mercy! Mercy!
Mercy?
MONSTER
Spare me, and I'll do anything you ask. I'll never threaten
the world again. And you can keep the scale so that I have
less power. (22)
29
SPIRIT
him
Mercy?
TRAMP
MONSTER
I promise.
SPIRIT
West. MONSTER
SPIRIT
I think they will. You have lost only the cruel part of
your power . You are still their King.
MONSTER
Yes. Yes, that's true. Then I shall return. And I shall tell
the people of my kingdom to celebrate peace with a great
banquet and we shall invite people from all four corners of
the world.
BIRD
So too shall I
TRAMP
Proud Bird!
BIRD
BIRD
Quite sure.
Do as she asks.
TRAMP
SPIRIT
MONSTER
30
BIRD
fortune.
BIRD
QUEEN
SCIENTIST
MONSTER
- BIRD
kingdom.
The four powers quickly exit now calling "See you soon"
or some such to each other, and "Thank you" to TRAMP
and SPIRIT. There is a pause for a momen t.
PUCK
ROBIN
The wand of steel, the diamond, the scale and the golden
feather.
SPIRIT
A long time ago you said you were bored. Are you still bored?
TRAMP
Oh, I've been too busy to be bored. And think of the people
I've been. A clown - a blind man - and - and -
SPIRIT
And you.
31
TRAMP
SPIRIT
You didn't need to. And thank you for helping to save the
sign post.
TRAMP
SPIRIT
Finish what?
TRAMP
SPIRIT
Then -
TRAMP
SPIRIT
Yes, I know. But I'm not going to tell you. You think it out
for yourself. All of you think it out for youselves (23).
Listen! (Music) They're starting to celebrate peace. Let's
join them.
TRAMP
END.
NOTES ON PARTICIPATION
1. Tramp begins here to talk directly to the audience, but collectively not
as individuals (which may be off-putting for some children). He may pause
briefly for answers to his questions, although it doesn't matter if, at
first, they
are slow to respond. This is an introduction to the whole play and his
approach thus sets the tone for further participation. The Tramp should
concentrate on a warm, friendly character and avoid 'talking down' at any
time. The members of the audience are his friends and equals.
2. Usually the answer is "East" because that is the order in which Tramp has
al ready placed them; but if 'West' is suggested, then Tramp should
reverse the dialogue and the rest of the cast, sound effects, etc. be
ready for a cue change.
3. Spirit takes over audience participation from now on; it is very important
that she and Tramp establish a friendly relationship in the early part of
this scene and that Tramp should in no way indicate fear about the magic.
Rather, he should be intrigued and delighted by it in order that a positive
response to Spirit and to subsequent participation be achieved. If Spirit has
approached all her moments of magic with strength and seriousness and does
the same now, response should be immediate.
Note: Actresses without previous experience in audience participation are
cautioned not to allow any personal disbelief that participation will occur
to creep into the voice; if Spirit communicates such disbelief or any
anxiety, the audience will sense this and may react negatively.
4.
If the audience is a very small one or too young and unused to live theatre,
there may be some reluctance to laugh. In this case, Spirit should assume
she has heard it, or. Interpret smiles as laughter and say: "That's right happy laughter from everybody". Usually, if Spirit is dynamic and confident,
laughter will immediately come, but if it doesn't she should not worry but
go on to the next item. The response of one or two children, if encouraged
in general terms, will encourage the others. At no time should this
participation be led by anyone planted in the audience. It should be noted
that this sequence merely prepares the way for later important participation
integral to the plot .
9. Clown can, of course, indicate to the audience his urgent need for help.
10. By this time there will be little need for the hand clap, either to begin
or end the activity.
11. It should be noted that this is a serious moment for Tramp and for the
audience. This participation and the subsequent scene should not be
conceived as comedy.
12. This is intended to be just one loud sound - not a continuing noise.
Spirit, therefore, should not try to extend or over-develop the sound
which could lead to over-excitement. Hysteria in participation is highly
undesirable.
13. The audience 'moans and groans' will probably come straight away. If
not, the Queen's next line will certainly act as a reminder .
14. Spirit has made clear that Tramp must find the crown by himself. However,
empathy may be such that individual members of the audience may well try to
help him. He can respond by following any instructions they may give, but
should not enter
into dialogue which will only encourage vociferousness and spoil the
intense quiet and seriousness of the moment. This is an occasion where
participation is not needed, since it is a dramatic experience of personal
trial for both Tramp and the Queen, and an example of serious theatre for
young children.
15. Spirit should sustain the quiet atmosphere and the hum will begin and end
without the need for a clap - unless very slight.
16. If the pause is too long, suggestions may come from the audience. This is not
an intended moment of participation so it should not be deliberately sought.
However, if any suggestion is made which seems practicable there is no reason
why it shouldn't be used, although Spirit must control the situation by using
her line which focusses attention on the Proud Bird who must be in a position
of being
able to hear if any plan other than that scripted is to be used.
17. Spirit can be ready to stop the sounds with a clap if they do not cease
with Birds entrance.
18. As in note (16) above, it is possible that some suggestions may be made by
individuals in the audience and there is no reason why, if practicable, one
shouldn't be accepted. It is important that Proud Bird should be involved so
that the scene can continue as scripted; also that the Monster is ready for
any alternate plan.
19. It is possible that Bird's screams may induce cries for "help" in which
case, cut the rest of the speech and have Scientist and Queen come forward
immediately.
20. At any time during the fight, cries for "help" may begin. They can be ignored
for
a while, but if they become too insistent, Spirit must enter and freeze the
Monster
21. The cries for help may well drown this line; Spirit should take the cries
rather than her cue.
22. If there should be any insistent participation recommending either killing or
mercy, Tramp should not enter into dialogue with the audience. He should
concentrate (on thinking it out for himself. Spirit can control through her
line, spoken
clearly and strongly or, of course, by a single hand clap.
23. Some individuals may make suggestions here, but there is no intention
that discussion should occur. It is a 'thinking' moment and anything else
would prolong the natural and desirable ending of the play. It is
possible, however, that suggestions here can provide a basis for
discussion following the play, as can ideas suggested at other moments
(see notes (16) and (18) above provide
a starting point for creative drama activities with the children as a
follow-up.
AUDIENCE PARTICIPATION
Theatre for Young People
by Brian Way
An in-depth text, compelling and authoritative, detailing discoveries the author has made in
over 30 years of writing, acting, directing and designing. Contains practical approaches to
audience participation in the open stage and proscenium theatres, breakdown of <.ge groups
and size of audience, economics and participatory theatre, integration with other arts and
media, acting for children's theatre, open stage and teen-age production, technical theatre for
the young audience production, mirror excercises and tips on vocal training. "His commit
ment to children's theatre and his innovative methods have made Brian Way one of the most
important leaders in the field today. Audience Participation is rich in detail . . . the text
we've been waiting for and it doesn't disappoint us."-Nellie McCaslin, Past President CTA,
author of Creative Dramatics in the Classroom.
Here is Brian Way on such subjects as:
Audience Participation: ". . . the basis of the phenomenon of audience participation as a
natural vocal and physical expression is of the heart, the mind and the spirit."
Performance Space: "Where does the action take place? The answer is--everywhere. The
stage and the auditorium need to be thought of as one, not as comprising one place
for the actors and another for viewers. A space in which anything can happen."
Performance: "Magic of the kind Iam thinking of in Children's Theatre, with or without
active participation of the audience, has little to do with the mind, but is a thing of
the heart and the feelings and the spirit. Perhaps it is a syntheses of all man's
different capabilities."
Random Thoughts: "The fascinating factor of theatre is that it can include so much 'stretch
ing of experience,' so many fascinating things to think about at the time and ponder
later and so many pictures to stimulate 'wonder' rather than diagram to solidify
'knowledge.' "
"Expression is a vital balance in a world that is more and more filled with
impression."
"Only school and erroneous moments of correction in the home cause the birth
of fear of failure."
Brian Way is referred to by many as "the most innovative children's theatre playwright in the
English speaking language." He has written over 50 plays-32 published by Baker's, was cofounder of Theatre Centre, London and its director for 25 years, author of the most popular
text in the field today, Development Through Drama, professional director and instructor in
acting at professional drama schools. He is now devoting his time exclusively to teaching,
directing and conducting hi highly praised workshops.
Illustrated. $7.95
Baker's Plays
Boston, MA 02111