By Flip Kobler and Cindy Marcus

All inquiries regarding IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. IN ANY MANNER IS STRICTLY © Copyright 2006, Pioneer Drama Service, Inc. 2006, © Copyright By Flip Kobler and Cindy Marcus By Flip Kobler COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK ALL OR ANY PART COPYING OR REPRODUCING Service, Inc., Englewood, Colorado” Englewood, Service, Inc., 1. The full name of the play 1. The full name of the playwright 2. special arrangement with Pioneer Drama The following notice: “Produced by 3. Professionals and amateurs are hereby warned that a royalty must be paid for that a royalty warned Professionals and amateurs are hereby every whether or not admission is charged. performance, PO Box 4267, rights should be addressed to Pioneer Drama Service, Inc., . 80155 CO Englewood, radio professional, but not limited to amateur, All rights to this play—including public reading and translation into foreign motion picture, television, broadcast, without whose Pioneer Drama Service, Inc., languages—are controlled by kind in whole or part reading or presentation of any permission no performance, be given. may of the United States laws These rights are fully protected under the copyright or the UniversalConvention Copyright by America and of all countries covered including Canada, relations, with which the United States has reciprocal copyright Australia and all nations of the United Kingdom. Mexico, printing and advertising, the following information must appear:On all programs,

THE BROTHERS GRIMM: OUT OF ORDER By FLIP KOBLER and CINDY MARCUS

CAST OF CHARACTERS (In Order of Speaking) # of lines PRODUCER ...... high-strung drama student 50 on the verge of a breakdown DIRECTOR...... hip, cool and totally clueless 25 about live theater CHARLIE ...... stage manager who 10 somehow always knows everyone’s needs before

they do

HOWARD……………………….....wears a duck costume 4

RAPUNZEL ...... diva with an ego the size of 30 large planetary moons PRINCE CHARMING ...... suave guy with Maﬁ a family 48 ties; a Goombah in training (aka Tony) HANSEL ...... method actor in love with 30 Gretel GRETEL ...... jealous girl who adores her 25 Hansel STAGE MOTHER ...... Josette and Marsha’s mother; 29 Cinderella’s evil stepmother JOSETTE ...... evil daughter of Stage Mother; 25 star wannabe who plays part of Cinderella but has absolutely no talent MARSHA ...... Josette’s sister; a brainiac 16 who knows everything about literature CINDERELLA ...... aka Cindy; sweet, innocent girl 33 who serves her stepfamily with utter devotion; understudy for the part of Cinderella; a klutz JORINGEL ...... sarcastic, bitter actor who 24 hates his part, the show, the business, etc.

iii For preview only JORINDA ...... giddy girl thrilled to be in 18 the show SINGING TELEGRAM ...... delivers a singing telegram 2 WILL GRIMM ...... pragmatic writer who likes happy 39 endings and ﬂ uffy bunnies JAKE GRIMM ...... Will’s brother; also a writer; 41 loves blood, guts and gore PRINCIPAL GUFFMAN ...... hard-edged principal who sees 5 no value in the arts

GUFFMAN’S ASSISTANT ...... Guffman’s obedient little helper 5

with dreams of her own

DIRECTOR’S ASSISTANT(S) ...... sycophant willing to serve the 2 director; as many as desired

SET DESIGN The play uses area staging to depict three locations—a forest, the gingerbread castle and Cinderella’s cottage. These sets can also be done with backdrops. The gingerbread castle can be represented by two short columns, a banner or backdrop with some indication of edible parts (such as lollipops stuck to them), UP RIGHT. Next to the castle is a platform with stairs to represent the tower. UP LEFT is the cottage, which can be represented with a couple of chairs and a table.

The forest is the open space DOWNSTAGE. This area is also where the action that is not part of the play-within-a-play takes place. There are two director’s chairs FAR DOWN RIGHT.

Sets can be entire set pieces if your budget will allow. Let your imagination soar, you can’t get too big. You also can’t get too small. The show works just as well on a simple black-box stage with no sets of any kind. As the play depicts a show that’s being thrown together, the set does not need to be anything elaborate. Part of the fun of this show is that it can be as simple or complex as your space, talent, time and budget allow—in terms of set, costuming, lighting, etc. The production has been successfully launched several times using alternative staging with platforms and periactoids. For details about this alternative set, see PRODUCTION NOTES.

iv PHOTOCOPYING THIS SCRIPT BREAKS FEDERAL COPYRIGHT LAWS For preview only THE BROTHERS GRIMM: OUT OF ORDER

1 A lone GHOST LIGHT GLOWS DIMLY ONSTAGE. JORINDA and JORINGEL are somewhere in the AUDIENCE. Suddenly, the back doors of the auditorium open. PRODUCER and DIRECTOR march through the AUDIENCE towards the STAGE. DIRECTOR is completely calm while 5 PRODUCER is trying to juggle a dozen jobs at once. She is on two cell phones and is covered in sticky notes. When they get to the stage, PRODUCER mimes turning on the stage lights, and LIGHTS COME UP FULL. PRODUCER: (Into the phone.) I don’t know. I’m just getting to rehearsal 10 now. I’m here with the director. DIRECTOR: Who’s that? Tell him I said hi. PRODUCER: (Into the phone.) That’s a prop question, ask Ro. (To DIRECTOR.) Where’s my script? (Into the other phone.) That’s a costume question, ask Mickey. (Pulls off sticky notes as she speaks.) 15 I’ve got mics on order, a call in about lights. I have no idea about sound effects. (To DIRECTOR.) And where’s my script? DIRECTOR: Will you chill about the script? Scripts are overrated.

PRODUCER: (Shocked.) Oh, my... (Into both phones.) I’ll call you back.

(Hangs up phones. To DIRECTOR.) Listen to me. I spent the entire

20 theater budget to get this show off the ground. We have the

principal coming to see this production, and if he doesn’t like it, he will close down the entire theater department. And I have yet to see a script. DIRECTOR: My dad directed two episodes of “Survivor” and half 25 a season of “Cops” (or other reality TV shows). Never used a script. PRODUCER: That’s reality television. This is live theater. DIRECTOR: There’s a difference? PRODUCER: Oh, no. I need Charlie. (CHARLIE ENTERS RIGHT before 30 his name is called. PRODUCER and DIRECTOR are now ONSTAGE.) Charlie! CHARLIE: (Commands as he EXITS RIGHT.) Company on stage! Let’s go people. Company on stage. PRODUCER: Oh, he’s good!

35 HOWARD: (ENTERS LEFT and moves UPSTAGE, dressed as a duck.) I’m

here.

PRODUCER: Wh-a-who-ah— Who are you?

HOWARD: I’m the duck. PRODUCER: Why are you here?

1 For preview only 1 HOWARD: I’m here for the taping. DIRECTOR: Who-hoooo! PRODUCER: (To DIRECTOR.) There is no taping. This is live theater. (Back to HOWARD.) I asked for duct tape. Not a duck for taping! 5 The vent is broken. It’s like 1,000 degrees in here. (To anyone who will listen.) Is anybody else hot? Oh, no, I’m going to pass out. That’s it—they’re going to ﬁ nd me dead. Sweating. With no show. My epitaph will be, “She produced nothing but sweat.” (To HOWARD.) Aren’t you hot in that duck suit? (HOWARD EXITS LEFT

10 as CHARLIE ENTERS RIGHT, carrying a battery-operated squirt bottle fan, which he hands to PRODUCER. RAPUNZEL and PRINCE CHARMING ENTER.) RAPUNZEL: Charlie! When am I going to get my hair? For goodness sake, I need my hair! Where’s the director? 15 DIRECTOR: I’m right here, precious. RAPUNZEL: Well, la-dee-dah. You’re here, but my hair isn’t. I need to work with my hair. (To PRINCE CHARMING.) Tony, what’s the line? PRINCE CHARMING: Yo. Rapunzel, Rapunzel, let down your hair. RAPUNZEL: Let down my hair. Where’s my hair? 20 PRODUCER: (Scribbles on sticky notes and sticks them to herself.) Hair, got it. I’ll get your hair, if someone will get me a script. HANSEL: (ENTERS LEFT with GRETEL, holding hands and snuggling. A cavity-inducing, love-struck couple.) I dreamed about you last night. GRETEL: I dreamed about you all night. 25 HANSEL: I dreamed about you all night and thought about you at breakfast. GRETEL: I dreamed about you all night, made pancakes in little you- shapes and— (Whispers something in his ear. HANSEL giggles. They Eskimo kiss.) 30 PRODUCER: Whoa. Okay, I need you guys to separate. This is just wrong. HANSEL/GRETEL: Why? PRODUCER: Because you’re Hansel and Gretel, okay? You’re brother and sister.

35 GRETEL: Not in real life.

PRODUCER: This is theater. There is no real life. And we are not the Hicksville Community Players. Split. HANSEL: (He and GRETEL move apart slowly, still reaching for each other.) I’ll miss you. 40 GRETEL: I miss you already.

2 For preview only 1 HANSEL: Missing you more. STAGE MOTHER: (ENTERS RIGHT with JOSETTE, MARSHA and CINDY, who carries an umbrella and a bunch of grooming products [hand mirror, hairspray, makeup, etc.] for her step-sister, JOSETTE.) Excuse 5 me. Is that the biggest dressing room you’ve got? I mean, since my daughter is playing the lead, she should have the biggest dressing room. RAPUNZEL: The lead? Hello? Rapunzel. STAGE MOTHER: She’s Cinderella. That’s the lead. 10 RAPUNZEL: Did she do a touring company of Annie? Was she in a Jell- O commercial? Did she come this close to getting Hairspray but wasn’t fat enough? Rapunzel is the lead. Where’s the script? PRODUCER: This is what I’m saying. DIRECTOR: Take it easy. 15 STAGE MOTHER: And I think Cinderella should have a song. Sing for them, sweetheart.

JOSETTE: (Sings badly.) My Bonnie lies over the ocean. My Bonnie lies

over the sea—ea-eaaaaaaaaaa.

STAGE MOTHER: (Applauds.) Beautiful. She’s a star.

20 MARSHA: Excuse me, Mother, but in traditional folklore, there were no stars. The heroines were merely vehicles for the theme and could be interchanged from one story to another— STAGE MOTHER/JOSETTE: Shut up, Marsha. STAGE MOTHER: (To CINDY.) Cindy. Take my umbrella back to the car. 25 And then get her some lunch. Something low-carb. CINDY: Yes, Stage Mother.

STAGE MOTHER: And don’t call me that. My name is Doris for Pete’s sake. Stupid kid. (As CINDY hurriedly crosses RIGHT, she trips and falls into PRINCE CHARMING, who is standing RIGHT. Everything she 30 carries falls to the ﬂ oor.) CINDY: Oooh. Sorry. PRINCE CHARMING: (Looks at her. There’s a moment of connection.) Hey. How you doin’?

CINDY: Fine. Really ﬁ ne. Much better now.

35 STAGE MOTHER: Cindy!

CINDY: Sorry. (Bends down to pick up the fallen stuff just as PRINCE CHARMING does the same. They bonk heads. SOUND EFFECT:

COCONUTS BANG TOGETHER.) Oops. That was me. Sorry, I was—

(Turns, and the umbrella under her arm smacks PRINCE CHARMING

40 in the face.)

3 For preview only 1 PRINCE CHARMING: Ow. CINDY: Sorry. I didn’t mean. I wanted— (Tries to demonstrate and opens the umbrella in his face.) PRINCE CHARMING: Oof.

5 CINDY: My bad. (Tries to close the umbrella but is just fumbling madly with it.)

PRINCE CHARMING: Yo. Let me.

CINDY: No, it’s okay. I got it. (For a moment, she and PRINCE CHARMING wrestle with it, both trying to close it, until she closes it on his 10 fi ngers.) PRINCE CHARMING: Yow! CINDY: Sorry. I do everything wrong. It’s my karma. Let me see. (Inspects PRINCE CHARMING’S hand. They fi nd themselves very close and holding hands.) 15 PRINCE CHARMING: It’s okay. Hi. I’m Tony. (Gives CINDY a business card.) CINDY: (Reads card.) “Charming Imports Exports”? PRINCE CHARMING: Hey, that’s a legitimate business. Really. You’d be amazed how many products fall off of trucks dese days! 20 CINDY: Hi. I’m— STAGE MOTHER: Cindy! CINDY: Sorry. (Scuttles OFF RIGHT. PRODUCER snaps her fi ngers. CHARLIE is already next to her handing her the cast roster.) DIRECTOR: (Vaguely.) Okay, my lovelies. I think that’s everyone. Now 25 that I’ve got my entire cast on stage— JORINGEL: (From seat in the AUDIENCE.) Hmph. (CHARLIE starts doing a head count. JORINGEL and JORINDA ENTER from their seats in the AUDIENCE and move onto STAGE.) Entire cast? We’re not up there. But did you even notice? Did you even care? 30 DIRECTOR: (Whispers to CHARLIE.) Oh, dear. They sound hurt. Who are they? JORINGEL: That’s it, I’m out of here. I quit. PRODUCER: (All business.) No, you can’t leave. We need you. JORINGEL: (Bitter.) Oh, please, we’re a just a tiny little sub story. We 35 have, like, four lines. PRODUCER: No, no. You’re integral to the show. There is no show without you. JORINGEL: You don’t even know our characters’ names. PRODUCER: Jou—ouuuu—rrrrrrr—oooou Jury and Journalism. Or 40 something.

4 PHOTOCOPYING THIS SCRIPT BREAKS FEDERAL COPYRIGHT LAWS For preview only 1 JORINGEL: Jorinda and Joringel. See, I knew it, man. We’re stuck doin’ some lame-o Grimm characters that nobody’s even heard of. We’re not Snow White or the chick with the locks. RAPUNZEL: Rapunzel. And I’m sans locks. My point. Hello? 5 JORINGEL: We play nobodies. MARSHA: Perhaps you’re the token obscure reference to show the playwright’s literary prowess. Or you may be a slam to the educational system and the failing publisher market pandering only to the bottom dollar— 10 STAGE MOTHER/JOSETTE: Shut up, Marsha. JORINGEL: We’re just gloriﬁ ed extras. (Looks to JORINDA, who smiles and giggles happily.) What? JORINDA: I’m just stoked about being in the show. JORINGEL: (Deadpan. To JORINDA.) Totally quashed the moment. You 15 know that, right? (CAST MEMBERS talk amongst themselves.) PRODUCER: Can I have your attention? I have some important news. Please listen. Attention. This is really important. Hey. (Yells.) Listen. (ALL keep talking.) CHARLIE: (Quietly.) Shh. (ALL immediately stop talking.) 20 PRODUCER: (Does an aggravated double take.) Someone very important is coming. They should be here any moment. SINGING TELEGRAM: (Rushes IN LEFT wearing a singing telegram outﬁ t.) Sorry I’m late. Okay, here we go. (Sings.) Happy, happy retirement. 25 Too bad you have to leave us. We’d say that we were sorry, But doubt you would believe us. Hope you’ll survive on half your pay.

Cinch your belt another notch.

30 Have some cruddy chocolate cake

And a golden Timex watch. Doooo-waaaah!

PRODUCER: Who are you, and what are you doing here?

SINGING TELEGRAM: Happy Time Telegrams. Isn’t this the Anderson

retirement party?

35 PRODUCER: No. There’s been some mistake. Go. Shoo. Talk to the

duck.

HOWARD: (ENTERS LEFT.) Did you call me? PRODUCER: No, it’s a mix up. (CAST begins talking again, mumbling and grumbling. HOWARD and SINGING TELEGRAM EXIT LEFT.) 40 PRODUCER: (Tries to quiet CAST.) Can I have your attention? Quiet. Please. It’s important. (Nobody listens.)

5 For preview only 1 CHARLIE: Shhh. (Silence falls like an ax.) PRODUCER: (Does another aggravated double take.) Thank you. Now, as you know, our principal is coming to see the show. If he likes it, we’ll have our opening night in our brand new auditorium. (The 5 CAST cheers.) And if he doesn’t, he’ll close the department, I’ll get an F and end up drinking Woolite in the gutter. (Starts to have an anxiety attack. CHARLIE hands her a brown paper bag. She breathes into it. Calms a little.) DIRECTOR: No, no, no. No need to panic. We still have two and a half 10 weeks. He’s coming the thirty-ﬁ rst. PRODUCER: The thirteenth. DIRECTOR: No. (Looks to CHARLIE, who hands her a piece of paper.) The memo says the thirty-ﬁ rst. PRODUCER: The memo is wrong. It was written by the D.A.M. 15 organization. PRINCE CHARMING: Dam? CHARLIE: D-A-M. Mothers Against Dyslexia. ENTIRE CAST: Oooooooohhhhhhh. DIRECTOR: But the thirteenth is today! 20 PRODUCER: I know! He will be here in a half hour to see a full run- through of the show! (Dead silence.) DIRECTOR: Okay, feel free to panic. (And the CAST does. Total pandemonium.) Script. I need a script.

CHARLIE: Grimms on stage! We need the writers on stage now. (EXITS

25 RIGHT as the GRIMM BROTHERS rush ON LEFT, each carrying a huge sheaf of papers.)

WILL: No, no, no. You can’t do that.

JAKE: Why not? It’s real. It’s gutsy. It’s cutting edge.

WILL: It’s gross. You can’t have the bodies of other princes dead and

30 decaying, impaled on thorns in the forest. It’s disgusting.

JAKE: It’s Quentin Tarantino. It’s cool.

WILL: You need help. You know that? I think mom dropped you on your

head too many times. JAKE: Oh, sure. Bring that up. Mom liked you best. (Mimicks WILL.) I’m

35 Will, and I never got dropped on my head. My mom loved me.

WILL: (Mimicks JAKE.) I’m Jake, and I’m lost and confused and

somebody needs to knock some sense into me.

JAKE: Wait. Are you being me or being you?

WILL: You. You’re me.

6 For preview only 1 JAKE: I’m you? Oh that’s good. We could use that. A story about these two guys— WILL: Who do that one thing— JAKE: —in that place— 5 WILL: —and say that stuff. WILL/JAKE: Cool. (They each start making notes.) DIRECTOR: We need a script. JAKE: I’ve got it right here. PRODUCER: Thank goodness.

10 WILL: It’s full of blood and guts.

PRODUCER: Oh, goodness.

WILL: You’ll want to read my draft.

PRODUCER: Thank goodness.

JAKE: It’s got ﬂ uffy bunnies.

15 PRODUCER: Oh, goodness.

WILL: I like happy endings.

PRODUCER: So do I, and this won’t be one if we don’t get moving. DIRECTOR: Don’t worry. We’ll ﬁ x any mistakes in editing. PRODUCER: There is no editing. This is live theater. 20 DIRECTOR: Not following. PRODUCER: Listen to me! We’ve got exactly 27 minutes to do a run- through before the principal gets here. DIRECTOR: And here’s where the music video comes in! (NOTE: In the original production, DANCERS and/or SINGERS ENTERED and 25 performed a horriﬁ cally obnoxious live music video here. Completely optional.)

PRODUCER: What music video? There is no music video! DIRECTOR: It’ll be something cutting edge. Something independent. That’s where the real ﬁ lms are being made. We open in black and 30 white. First person. POV. Camera pans— PRODUCER: (In a weak voice.) Charlie? CHARLIE: (ENTERS RIGHT with a tray. There’s Bayer, Tums, Maalox—it’s a bar of medicinal comforts. PRODUCER takes one of everything. If live musical number is used, CHARLIE yells, “Cut the video!” and 35 DANCERS EXIT.) All right, people. Let’s go. (CAST scrambles around. The GRIMM BROTHERS run into each other. Pages go ﬂ ying, scattering everywhere. They scramble to pick them up, getting everything mixed up. GRIMMS and CHARLIE frantically pass pages out to the CAST, then CHARLIE EXITS RIGHT. GRIMMS run to the edge of the stage

7 For preview only 1 and take up places as narrators. The tone is frantic and rushed. The CAST is reading the play for the ﬁ rst time, trying to make it all seem normal. DIRECTOR and PRODUCER sit in director’s chairs FAR DOWN RIGHT to watch the show.) 5 DIRECTOR: We’re rolling. Marker. And… action. WILL: (Reads.) Once upon a time— JAKE: Once upon a time? That’s the best you can do? WILL: Something works for me, I stick with it. (Reads.) Once upon a time, there lived the most beautiful maiden in the kingdom. (JOSETTE, 10 GRETEL, JORINDA and RAPUNZEL all rush to pose CENTER STAGE.) RAPUNZEL: (To other MAIDENS, offended.) Excuse me. I think this is my story. STAGE MOTHER: Oh, please. He said the most beautiful. RAPUNZEL: And here I am. Hello?

15 STAGE MOTHER: (To JOSETTE.) Show them your teeth, honey. (JOSETTE puts on a huge smile.) Look at those caps. Worth every penny. She’s gorgeous. RAPUNZEL: Excuse me. This is completely unfair. GRETEL: Of everyone here, I think I’m the fairest of them all. 20 HANSEL: You tell them, baby. GRETEL: Love you! STAGE MOTHER: (Looks at JORINDA, who is grins like a fool.) What is it with you? JORINDA: I’m just stoked about being in the show. I mean… (Mumbles 25 unintelligibly.) STAGE MOTHER: (To OTHERS.) What? What did she say? (To JORINDA.) You need to learn to project, dear. (To JOSETTE.) Josette, show her how to project. JOSETTE: (Yells, an ear-bursting bellow.) AHHHHHHHHHHHHHH! 30 STAGE MOTHER: You see. Now that’s a professional. PRODUCER: Twenty-two minutes. Go, go, go. WILL: Once upon a time, there lived the most beautiful maiden in all the kingdom. Umm… (JAKE offers him pages like a magician’s card trick. WILL pulls one and reads.) Cinderella.

35 JOSETTE: Ha! (OTHER MAIDENS go slinking away. RAPUNZEL EXITS LEFT in a huff. JOSETTE poses CENTER STAGE. Moves to cottage.)

DIRECTOR’S ASSISTANT: (ENTERS, hands JOSETTE a broom.) Here, have a broom. (EXITS.)

WILL: Cinderella lived in a modest cottage in the country, with ﬂ uffy 40 bunnies and butterﬂ ies… (Runs out of script, so JAKE hands him

8 PHOTOCOPYING THIS SCRIPT BREAKS FEDERAL COPYRIGHT LAWS For preview only 1 a page. During the following dialogue, JAKE hands script pages to WILL. Reads.) And her evil stepmother, who was part vampire and ate stray dogs. (To JAKE.) There’s something wrong with you. JAKE: Every good story needs an evil stepmother. (SOUND EFFECT: 5 OMINOUS MUSIC STING.) PRODUCER: (No one enters, so PRODUCER stands, panicky.) Evil Stepmother? (SOUND EFFECT: OMINOUS MUSIC STING.) Where’s the evil stepmother?! (SOUND EFFECT: MUSIC STARTS TO STING

but PRODUCER jams a warning ﬁ nger at the pianist. [NOTE: If you 10 don’t have a pianist, PRODUCER should address an unseen sound effects person.] SOUND EFFECT STOPS MID-STING.) Where is she? DIRECTOR: (Steps up.) We don’t have one. We thought we could do her with computer graphics. Make “The Matrix” passé. Everyone is so done with that. (While PRODUCER just stares at DIRECTOR, CHARLIE 15 ENTERS RIGHT with a large container of ice cream and a spoon. PRODUCER grabs the container and rubs it against her cheek. She eats it compulsively throughout the scene. CHARLIE shoves a script

into STAGE MOTHER’S hand.) STAGE MOTHER: What are you doing? I’m not an actress. And I am

20 certainly not evil!

PRODUCER: Twenty-one minutes.

JOSETTE: Mother, please, you’re embarrassing me.

STAGE MOTHER: I’m sorry, sweetie.

WILL: (Reads.) Cinderella also lived with her stepsisters. (Takes a new 25 page from JAKE and reads.) Gretel and Jorinda.

JORINDA: Woo-hoo!

JORINGEL: What? No way. How come she gets to be part of the A story? That’s it. I quit. PRODUCER: You can’t quit. You’re pivotal. We need you. Here, have 30 some chocolate. (CHARLIE hands JORINGEL a candy bar.) JORINGEL: I’m not a child. I can’t be bribed. JORINDA: You can be a stepsister. JORINGEL: (Sarcastic.) Really? JORINDA: I’m just jazzed about being in the show. I mean— (Mumbles 35 incomprehensibly.)

STAGE MOTHER: What? What did she say? Can anybody understand

her?

JORINGEL: (Sarcastic.) Sweet. I’m an evil stepsister.

GRETEL: Hansel!

40 HANSEL: Love you!

End of Script Sample 9 PRODUCTION NOTES PROPERTIES ONSTAGE: Two short columns (or a backdrop or banner) to represent the gingerbread castle, two chairs and a table, platform with stairs to represent tower, two director’s chairs. Optional ﬂ ag toward end of play.

BROUGHT ON: Two cell phones, sticky notes, pen [perhaps stuck in her hair], (PRODUCER) Battery-operated squirt bottle fan [a normal mini-fan works, too], two pieces of paper [cast roster and memo], brown paper bag, tray of medicines [ie, Bayer, Tums, Maalox, etc.], large container of ice cream, spoon, candy bar, ice pack, small ﬂ ags, horse-clopping sound maker [two coconut halves], two lengths of heavy rope, hat with bird on it, two bird puppets, pumpkin, small cage, dress on a hanger, huge clock, crash box, Cindy’s shoe on a pillow, confetti, noisemaker (CHARLIE) Umbrella, grooming products [hand mirror, hairspray, makeup, etc.], fast food bag, rag, tin of car wax (CINDY)

Business card (PRINCE CHARMING)

Huge sheaf of papers, pen (JAKE, WILL)

Fairy wings (RAPUNZEL) Gown (MARSHA) Broom, stuffed pogo pony, scroll (DIRECTOR’S ASSISTANT) Crutch (JOSETTE) Prison bars (HANSEL, GRETEL)

THE CAST This show is designed for teens, with teens, about teens. No more do students have to put on a shawl or powder their hair to play Uncle Bert or Aunt Priscilla. Teens can ﬁ nally act like teens. In this show there are two adult roles—STAGE MOTHER and PRINCIPAL GUFFMAN—which have been played by teens and adults in different productions. The STAGE MOTHER was actually played by the mother of one of the students, and PRINCIPAL GUFFMAN by a real school principal. In the original production, there were four performances, each featuring a different real life principal to play the role. All were brought in on a single rehearsal and were easily worked into the show. This was a great way to publicize the show for a packed house.

For a smaller cast, HOWARD can play GUFFMAN, and SINGING TELEGRAM can play GUFFMAN’S ASSISTANT.

24 PHOTOCOPYING THIS SCRIPT BREAKS FEDERAL COPYRIGHT LAWS For preview only SOUND EFFECTS Two coconuts bonking together; ominous music sting; scary music; thunder; a few bars of “Chariots of Fire”; fanfare; magical music; crash; (optional) patriotic music; triumphant music for ﬁ nale.

COSTUMES Costumes can range from full-on fairy-tale costumes to simple street clothes. After all, the show takes place during a rehearsal. What has worked well for this show in the past is a combination of the two—bits and pieces of fairy-tale costumes worn over street clothes, fabulous

dresses worn with sneakers, great period coats over jeans. As with the

sets, blending the “real” world with the fairy-tale world seems to work best.

STAGE MOTHER, JORINGEL and GRETEL change into ballroom gowns. JORINGEL wears a wig half-way into the show. MARSHA will need a fairy godmother costume. GUFFMAN and his ASSISTANT wear watches. PRINCE CHARMING might wear knee-pads under his costume.

LIGHTING

Lighting is also very ﬂ exible. However, we feel the best lighting works by

isolating the different locations—the forest, Cinderella’s cottage, etc. If

the lights move as the actors move, it gives the show more of a feeling

of being a true performance.

One fun technique is to have full-on lighting with gels and specials when the actors are “performing” the show, and go to simple “work lights” whenever character is broken and we’re back into rehearsal.

25 For preview only THE ORIGINAL PRODUCTION The Brothers Grimm: Out of Order was ﬁ rst presented at the Francis Wilson Playhouse in Clearwater, Florida, on July 16, 2004 with the following cast: PRODUCER ...... Olga Malykhin DIRECTOR...... Veronica Martinez CHARLIE ...... Matt Lent RAPUNZEL ...... Robin Medicus PRINCE CHARMING ...... Rohry O’Mally HANSEL ...... Alex Menna GRETEL ...... Kirsten Morgan JOSETTE ...... Marissa Settle

STAGE MOTHER ...... Andrya Piplica

MARSHA ...... Julia Namm

CINDERELLA ...... Heather Burghorn

JORINGEL ...... Matt Pyatt JORINDA ...... Soﬁ Gil WILL GRIMM ...... Joe Southall JAKE GRIMM ...... Johnny Sallustio PRINCIPAL GUFFMAN ...... Kelly Tanner GUFFMAN’S ASSISTANT ...... Jessica Burch DIRECTOR’S ASSISTANTS...... Erika Voigts, Fernanda Contreras Lexi Hamlin, Kelsey Eady and Stephanie Scholz Set design by the students of the Showdown Theater Academy, costumes by Mickey Bronson, lighting design and direction by James Grenelle and original music by Dennis Poore.

ALTERNATIVE SET The set used in the original production works well for a medium-sized stage. There are a few platforms of different heights (9 inches, 18 inches and 24 inches) and four periactoids scattered across the stage as shown in set design on the following page. Periactoids are three- sided permanent columns on casters, each side painted to represent the three different sets. CHARLIE turns them throughout the show as the locations change. The tower scenes take place on the highest platform.

26 For preview only Brothers Grimm:OutofOrder-SetDesign Brothers

27 For preview only Original productionsetdesign:

28 For preview only We hope you’ve enjoyed this script sample.

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