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Comedies, Dramas & Classic Adaptations for children, teens, adults, and seniors; Plays for Our Times; Original Scripts for Premieres
Macbeth for Youth is designed to be performed with a minimum of five actors or with a large a cast as you can imagine. It can be performed for kids of all ages by adults or teen drama groups. If a large cast is being used, actors may substitute for the puppet characters.
This play lasts approximately 45 to 50 minutes. It can utilize a cast of various sizes depending on the doubling up schemes, but is ideal for no more than five: two females and three males or one female and four males. If performed for middle or high school, the participatory elements may be eliminated.
This drama is designed to be performed for kids of all ages by adults or teen drama groups. It lasts approximately 45 to 50 minutes; can utilize a cast of various sizes depending on the doubling up schemes; but is also ideal for as few as five: two females and three males or one female and four males. If performed for middle or high school, the participatory elements can be eliminated.
THE TEMPEST is a wonderful story for children, with a wizard, young romantics, bad guys, magic, monsters, and, of course, Ariel the Fairy. The idea of the give and take between the actors and the characters is always kept front and center. The show is framed by pro and epi-logues, in which the actor playing Caliban is trying to get a date with the actress playing Miranda, so that the outside framework of the production mirrors, if ever so slightly, the impulses for romance found in the actual drama itself.
A MIDSUMMER NIGHT’S DREAM uses a framing device of a clown company, a la Commedia dell arte, whose cast members have deserted to take roles in KING LEAR at a nearby town. Those actors left over rise to the challenge and conceive of a way of presenting MIDSUMMER by using life size dummies; a rapid change of costume pieces; instant role changes; masks, and so forth to bolster the feeling of a wild romp at night in the forest, running here and there. One of Shakespeare’s theme is: reality vs. fantasy, with the characters, through an outpouring of fairy magic, becoming transformed by mischievous love potions into carrying out misguided romantic yearnings. The ending is even characterized by having the rude mechanicals perform a hilarious drama, using all sorts of stage conventions by becoming a lion, a wall, and the moon. Thus the idea of quick transformations and creating theatre out of the most rudimentary of resources, perfectly fits the energy of Shakespeare’s original drama.
ROMEO AND JULIET for Youth offers a story built around young love thwarted, between parent/child tension, with a good deal of exciting sword play thrown in. In other words, there exist substantial character and plot elements with which the youthful audience can identify and appreciate. There is marginal audience participation in this adaptation, and it plays probably fifty minutes or more in order to capture the intricacies of the plot. A NARRATOR is used to provide guidance through role and place and time transitions. The metaphor of the acting company is maintained throughout, and one of the characters does provide some comic interplay to a small degree. If the audience is all high school only it is recommended that the few participational elements be eliminated.
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Available November 1, 2015.
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