Winter Play Also by the author

Can I Call This God? Developing a deeper sense of belief and a more holistic connection between faith and action.

E-mail [email protected] or [email protected] for more information. Winter lay Scripts to Inspire PSeasonal Celebrations

Brian G. Eslinger

Ames, Iowa Greenman Publishing Copyright © 2008, 2010 by Brian G. Eslinger. All rights reserved, except those permissions specifically granted on page 87. Published by Greenman Publishing, Ames, Iowa. [email protected]

ISBN 978-0-9800843-1-3

Printed in the United States.

Cover design by Joel Geske, Ph.D., Ames, Iowa. Medium: Watercolor on rice paper.

Special thanks to Marilyn Keller for her assistance in developing the text

and to the Unitarian Sunday School Society for a grant to assist with production and distribution. Contents

Introduction 1

Staging a Play 3

Building a Celebration 7

The Tailor of Gloucester 9 Adapted from the 1903 story by Beatrix Potter

Saint George and the Dragon 21 A retelling of the 11th-century British folktale

The Scottish Shepherd’s Story 31 An original tale inspired by a classic story

Good King Wenceslas 45 Adapted from the 19th-century carol by John Mason Neale

A Christmas Carol 57 Adapted from the 1843 story by Charles Dickens

La Befana 77 A retelling of the traditional Italian folktale

Permissions 87 vi Winter Play Introduction

Why We Celebrate Where I live in the Midwest part of the United States, winter is often a long, cold, dark time of year. It is also a time filled with the magic of snowfall, the joy of seasonal celebrations, and the warmth of special times with family and friends. For me, winter is a time of renewal and reflection. This desire for introspection is not an original sentiment; Christmas, Hanukkah, and the Winter Solstice all When we strengthen celebrate miracles of the season while inviting us our communal ties, to contemplate the parts we play in this universe we share. (Those sharing the Earth’s southern those bonds of family hemisphere and picnicking in the warm outdoors and friendship get us on New Year’s Day will note some different through dark times, both holidays marking their winter season.) figurative and literal. Part of this celebration and contemplation happens when we strengthen our communal ties, those bonds of family and friendship that get us through dark times, both figurative and literal. By gathering as a community, even for just one night, we create new bonds and strengthen old ties. I’ve learned that these events that call us together are not the only creators of community. Planning and rehearsing for such seasonal festivities also build relationships. When these joint adventures include people of all ages, important bridges are formed between generations, and bonds based on shared stories are forged. In the congregation where I led the ministry for 13 years, we were mindful of such goals when creating our winter celebrations. Whether they occured on the night of the Solstice, Christmas Eve, Boxing Day, the Feast of Saint Stephen’s, or New Year’s Day, these events on our calendar offered us an opportunity to gather and an excuse to celebrate. The plays in this book offer starting points for such events. The Tailor of Gloucester, Saint George and the Dragon, The Scottish

Winter Play 1 Shepherd’s Story, Good King Wenceslas, A Christmas Carol, and La Befana offer different ways to approach a winter celebration, each with a sense of humanity, heart, and humor. These six plays offer I wrote or adapted these six stories to be different ways to centerpieces of winter celebrations at the congregation I served in Ames. While we performed these plays approach a winter on Christmas Eve in our Fellowship Hall, they celebration, each with lend themselves equally well to other dates and a sense of humanity, other venues. Several are appropriate for schools or heart, and humor. community centers, as well as religious settings. My acting troupes consisted of young people ages 5 to 15. However, these plays easily accommodate multigenerational casts, providing a welcoming opportunity for children and adults to create together. At the core of these six stories are values we strive to embrace in our lives, values we are reminded of during the winter holidays.

2 Winter Play Staging a Play

Simplicity is the key. The first time we embarked on staging one of these plays, the details quickly became overwhelming. Props, costumes, lighting, set design, rehearsals, direction, and on and on. However, when we stepped back and remembered what we were trying to achieve — a production that our kids would be proud of and that we would have fun creating together — the details became easier to manage. Finding people who are interested in specific aspects of the production and letting them go is helpful. Know people who like to build things? Let them envision the sets and make them real. Know a sewing group open to new projects? Members can create hats, tunics, or animal ears.

Set design Keep the stage simple. Mind you, I say this after we built a two-level wooden tower. But that tower became a set piece for four of the six plays. Arrange the set so tables and benches can remain onstage, limiting the scene changes to small, handheld props such as bags, Keep it simple. baskets, or brooms that characters can carry on and Details become easier off as they participate in scenes. to manage when you Consider the entire room when arranging step back and recall the the space you have. At times, we have performed with all staging in a compact area; at other times, purpose of the event. our characters have traveled up and down aisles and throughout the audience. One year, we performed in the round. A raised platform can help audience members see the production, especially when young actors are involved.

Winter Play 3 Costumes Outfitting the cast is both fun and challenging. When staging A Christmas Carol, we rented a few key costumes from Iowa State University Theatre’s costume department for a reasonable fee. These few rentals allowed us to better use hats, shawls, and other items borrowed from congregation members. Allowing the kids to create their own costumes often results in some, shall we say, innovative interpretations of their roles. Yet even these costumes, with a few specific suggestions, often worked well. Reusing items is helpful. The coat created for the Tailor of Gloucester was the king’s coat in Saint George and the Dragon, a wise one’s costume in The Scottish Shepherd’s Story, Good King Wenceslas’ outerwear, and one of the items stolen from Ebenezer Scrooge’s bed chamber. One coat, five plays.

Lights and sound We were fortunate enough to have in our group a lighting expert who had at his disposal a follow spot — a type of spotlight that could move to follow the action. With his help, we created fairly simple lighting changes that shifted attention from one setting to another. While this opportunity was certainly appreciated, such lighting is not essential to staging these plays effectively. In fact, one year we went a bit overboard with the lighting, and it ended up detracting from the performance. Working with actors on voice projection and facing the audience is the most important sound work you can do. But we have found it helpful to place area microphones to pick up most of the dialogue, and we have sometimes pinned wireless microphones to key characters who move about the stage or room.

Rehearsals Rehearsing is another challenge. To accommodate the complex schedules of families, all these plays had to make the most of a minimal number of rehearsals. The broad range of abilities in our casts required broad ranges of

4 Winter Play parts. All actors had roles matched to their comfort and ability levels. We tried to create every opportunity for them to succeed and to give each one a special part, as well. All were expected to learn their lines We tried to create every outside of rehearsal time. We made the most opportunity for our actors of the time we did have together, frequently rehearsing in smaller groups. Toward the end to succeed and to give each of each rehearsal, we came together to work on one a special part, as well. blocking (how actors move during the play) and to run through the entire script. Each year as the production date neared and the loose strings seemed too many to tie up, prospects for pulling it all off looked as bleak as that winter sky. But every year, actors and volunteers rose to the occasion, and the young actors amazed me with their ability to learn their lines, follow direction, and put on a compelling play.

Winter Play 5 6 Winter Play Building a Celebration

Each of these plays can stand alone or anchor a larger program. Many include suggestions for singing carols or involving a choir (adult, children’s, or mixed). Use your imagination. What carols, poems, or readings would reinforce the message you’d like to send home from this event? What skills or talents does your community have that could be shared during such a festivity? One of these plays could be the Winter celebrations seed for a winter festival with artisans, musicians, can remind us of what and food. we human beings share Each of the six plays offers a different that brings hope and perspective on the winter season. Some, such as The Scottish Shepherd’s Story and Good King Wenceslas, joy into our lives. follow the familiar Christmas story — each with a twist. Others, such as Saint George and the Dragon, A Christmas Carol, The Tailor of Gloucester, and La Befana provide opportunities for us to investigate familiar tales or be introduced to new ones. All of them can enliven our winter experience, adding a bit of light into the dark season and reminding us of the qualities we human beings share that bring hope and joy into our lives.

Winter Play 7 8 Winter Play The Tailor of Gloucester

The Tailor of Gloucester is a winter holiday story of how kindness can bring about a change of heart. The time of the story is flexible, allowing for a medieval, Renaissance, or modern setting. Costumes and simple set pieces can reinforce the chosen time period. The cast includes three group parts, which introduces younger, less experienced people to acting and allows a wide span of ages to perform together. This play also includes suggestions for interspersing several well-known Christmas carols. These songs could be designed for audience participation, or they could be sung by a choir or the cast.

Characters

Narrator 1 Narrator 2 Tailor Simpkin, the Tailor’s cat Group of three or more Mice Group of Bats Mayor of Gloucester Townspeople of Gloucester

Settings & props

• Tailor’s shop: A table covered with cloth and threads. Possibly a dress form. • Tailor’s home: A small cot and a dresser. On the dresser are two teacups.

Script by Brian G. Eslinger The Tailor of Gloucester 9 • A teapot with a lid, a bag for Simpkin’s bundle, three coins for three pence, a spool of red thread, milk, and bread.

Scene One

Narrator 1: [To other narrator:] Did you know that Christmas Eve is a very magical time? Narrator 2: Really? How so? Narrator 1: Well, among other things, on Christmas Eve, all the animals can talk. Narrator 2: Now I know you’re pulling my leg. Animals talking? I don’t believe it. Narrator 1: Well, maybe you will after I tell you the story of how a group of talking animals spent their Christmas Eve long ago, in the village of Gloucester [pronounced GLAH-ster]. Come with me and see the villagers preparing for Christmas. Narrator 2: There they are! Look at that! Hanging the greens and singing — what’s that? It sounds like “Deck the Hall.” Can we sing, too? Narrator 1: Let’s all join them in singing “Deck the Hall.”

[Audience joins in singing “Deck the Hall” while townspeople hang greens on set and greet each other onstage carrying wrapped boxes and Christmas goodies. As the song ends, the Tailor appears at his shop table, stage right.]

Narrator 1: There lived in Gloucester a simple tailor. He worked very hard in his shop, snipping fine cloth to make fine clothes for the villagers. Narrator 2: It looks like he should make a set for himself! His shirt is little more than threads, and look at the patches on his breeches!

10 The Tailor of Gloucester Script by Brian G. Eslinger Narrator 1: He is a fine tailor, but very poor. So he doesn’t waste a bit of cloth. Tailor: Two pieces for naught! Just enough cloth left to make waistcoats and skirts for the mice. Yes, waistcoats and skirts for the mice. Narrator 1: On a bitterly cold day just a few days before Christmas, the tailor had a visitor, an important one at that!

[The Mayor enters the Tailor’s shop. The Tailor gives a short bow.]

Mayor: Good day, my fine tailor. Tailor: And to you, Mr. Mayor. To what do I owe this visit? Mayor: I hear that you are the finest tailor in Gloucester. Is that so? Tailor: Well, I do my best — make no waste and do my best. Mayor: Modest, too, I see. Well then, I would like you to make me a coat to wear to my daughter’s wedding. The wedding will be held on Christmas Day. Do you think you can do it? Tailor: Certainly, your excellency. I will do my best! Mayor: I don’t want this to be an ordinary coat, mind you. This will be a special day. Tailor: Yes, of course. Let me get some measurements.

[The Tailor measures the Mayor, who then exits stage right.]

Narrator 2: This would be an important coat for the tailor. Poor as he was, when everyone saw the beautiful coat, his business could thrive! Tailor: A special coat for a special day! Yes, yes, a fine coat I’ll make with a red silk lining and fur-trimmed collar!

Script by Brian G. Eslinger The Tailor of Gloucester 11 [The Tailor measures the cloth with his hands and sets to work cutting.]

Tailor: There, now, everything is cut. And what pieces of scrap are left? Almost none at all — just enough for waistcoats and skirts for the mice! All I have left to do is come back tomorrow and sew it all together. [The Tailor looks around on his table.] But I need some more cherry-colored silk thread for the buttonholes. With two days to finish, I should have no trouble completing the mayor’s coat before the wedding. Oh, my! Look at the time — it’s already dark out! Oh, my! Look at the snow — it’s a blizzard out there! Narrator 1: The tailor walked through the darkness in the driving snow. Through the bustling street he trudged, the wind chilling him to the bone. He soon arrived at the room he rented in a large, old house.

Scene Two

[As the Tailor enters his house, several of the Mice appear in the shop. They pick up the pieces of cloth and begin sewing vests and skirts. At the end of Narrator 2’s line, they scamper back offstage with their treasures.]

Narrator 2: And look, the little mice have come out to make use of the scraps of cloth. They’re making waistcoats and skirts of their very own!

[Simpkin the cat appears from beside the dresser, carrying the teapot and setting it in its place next to the teacups. She sits on the bed.]

Narrator 1: Simpkin, the tailor’s much-loved cat, was awaiting him in their humble room. Simpkin: Meerrrow! Tailor: Simpkin, my dear friend, here you are! I am so cold, so very cold;

12 The Tailor of Gloucester Script by Brian G. Eslinger chilled to the bone I am! But I need to go out and get more cherry silk. [He lets out a deep cough.] Oh, no! Simpkin, how can I ever go out now? But without that cherry silk, I’ll never finish the mayor’s coat! Simpkin: Meerrrow, meow? Tailor: Could you? Could you really go and get it for me? All right then, here are my last three pence. Take them carefully! Use them only to buy some milk, some bread, and one pence of cherry silk thread. Remember that cherry silk! Without it, I can’t finish the mayor’s fine coat! Off you go now!

[Simpkin looks longingly back at the teapot and then exits with the three pence.]

Tailor: Oh, the mayor will look so grand! This could make our fortune, it could. But I am so very tired!

[As Simpkin exits, three Mice (unseen by the audience) hide behind the dresser. At the end of the Tailor’s line, they let out a squeak. The Tailor walks to the tea set.]

Tailor: What’s this? I do believe there is something in my teapot! Oh ho! Looks like Simpkin was saving a little morsel for his bedtime snack!

[The Tailor sets the teapot lid on the dresser. One of the Mice steps to center stage, bows to the Tailor, and scurries off.]

Tailor: Off you go now!

[Another squeak.]

Tailor: And under my teacup, as well!

Script by Brian G. Eslinger The Tailor of Gloucester 13 [Another mouse steps from behind the dresser to center stage, bows, and follows the first.]

Tailor: Home with you, my little friend!

[Another squeak.]

Tailor: And under the second cup, too!

[The third mouse steps from behind the dresser to center stage, bows, and follows the first two.]

Tailor: Home with you all! Oh, my, my! And a merry Christmas to you and yours! I’m afraid Simpkin will not be very happy with me. No indeed! I’ve let his feast escape. Oh, but my Simpkin does have a mean streak in her! But I am worn out!

[Simpkin, carrying a small bundle, enters just in time to chase the last mouse off the stage. The Tailor lies down on the bed and begins to snore. The mice come back and peek around the corner, silently watching what is going on. Simpkin sees the teacups on their sides and the lid off the teapot. She pounces to the dresser with an angry growl. She pulls the thread out of the package, hiding it behind her back, and sets the package on the bed with the Tailor.]

Tailor: Oh, Simpkin! You’re home! I am so very tired! [He opens the bundle and pulls out the milk and bread.] Did you get everything? Where is … ? Where’s … the silk? Simpkin, where’s the cherry-colored silk? Narrator 1: If Simpkin could have talked, she would have asked … Simpkin: Where’s my mouse?

14 The Tailor of Gloucester Script by Brian G. Eslinger [Simpkin pulls the red silk thread from behind her back and slyly puts it in the teapot.]

Narrator 1: Simpkin was very angry that the Tailor had let her feast go free. And Simpkin did have a bit of a mean streak in her, so she hid the silk thread in the teapot. Tailor: Simpkin, where’s the silk? The cherry-colored silk for the buttonholes in the mayor’s coat? Oh, without that thread, I’ll never be able to finish the coat on time! Oh, Simpkin! [The Tailor lets out a wheezing cough and a groan.] I am so tired; I’ll figure out what to do about the coat in the morning.

[The Tailor lies back on the bed with a sob. Simpkin slinks over to the corner of the cot and lies down, muttering. The Mice look at each other and race offstage.]

Narrator 1: You can see that the tailor did not sleep well at all. Narrator 2: He looks like he feels even worse this morning than last night! Tailor: [Coughing:] Oh, Simpkin, so much work to do on the mayor’s coat, so little time! How will I ever finish it by tomorrow? I can’t even move!

[The Tailor falls back to sleep.]

Narrator 1: Simpkin was still angry about losing her mice! Simpkin: Merrow!

Script by Brian G. Eslinger The Tailor of Gloucester 15 Scene Three

[The three Mice from the tea set appear at the Tailor’s shop. Other Mice come out from different areas of the stage and behind the audience, all gathering around the original three.]

Narrator 2: Look at all the little mice! Where did they come from? Narrator 1: The mice of Gloucester had secret back staircases and hidden entrances into all the houses of Gloucester. They would run from house to house, from shop to shop, throughout the town. The three freed by the tailor had overheard his distress and knew they had to help him, to repay his kindness. So they gathered all the mice at the tailor’s shop and set to work.

[The Mice begin stitching pieces of the mayor’s coat together.]

Narrator 2: So while the Tailor slept his feverish sleep, the mice worked on the mayor’s coat until it was Christmas Eve. Narrator 1: Yes, and you know what magical thing happens on Christmas Eve? Narrator 2: No, that’s why you’re telling me the story. Narrator 1: Well, legend has it that, on Christmas Eve, all the animals can talk. And so, as the little mice worked away in the tailor’s shop, the bats came down from the belfries to sing Christmas carols for them.

[The Bats enter and sing the first verse of “Here We Come A-Wassailing.”]

Narrator 2: Those bats sing so well, let’s all join in singing!

[All sing “Here We Come A-Wassailing.”]

16 The Tailor of Gloucester Script by Brian G. Eslinger Bats: [To mice:] Merry Christmas! Happy New Year! Mice: Many happy returns of the season to you! Narrator 1: Back at the tailor’s house, he was sleeping through the midnight festivities, but Simpkin heard the singing of the bats and the cheerful good wishes from the mice. Simpkin: Oh, ho! My Christmas Eve treats may not escape after all. Now to find them.

[Simpkin sneaks away from the Tailor’s house and sneaks up to the Tailor’s shop.]

Simpkin: There they are — nice and juicy! If I can just open this window … It won’t budge, not an inch!

[The Mice see Simpkin at the window and look up, laughing.]

Simpkin: Open the door, my little friends. I have a Christmas surprise for you. Mice: Tee-hee, a surprise! First Half of Mice: Three little mice sit down to spin. Second Half of Mice: Pussy cat passed, and she peeped in. First Half of Mice: “What are you making, my little mice?” Second Half of Mice: “Coats and skirts that look so nice.” First Half of Mice: “Shall I come in and cut your threads?”

Script by Brian G. Eslinger The Tailor of Gloucester 17 Second Half of Mice: “Oh no, Miss Pussy! You’d bite off our heads!”

[All the Mice point at Simpkin, laughing, and return to work.]

Narrator 2: Look, the mice are so caught up in the Christmas spirit, they’re calling the bats back in to sing with them. Let’s listen.

[Mice and Bats sing “The Twelve Days of Christmas.” Simpkin lurks nearby. As they finish the song, the bats fly away, and one of the Mice pulls the completed coat from its hiding place.]

Mouse: [Looking at buttonholes:] No more silk! More Mice: No more silk? All Mice: No more silk! Mouse: We can’t finish this last buttonhole without one last piece of cherry silk thread! Mice: Oh, no! No more silk! Simpkin: [To herself:] No more silk? Narrator 1: Simpkin wandered back home just as the sun was starting to rise on Christmas morning. He arrived to see that the tailor was up from his sickbed, getting dressed. Behind the tailor’s back, he pulled the silk thread from its hiding place. Simpkin: More silk! Just enough for those buttonholes!

18 The Tailor of Gloucester Script by Brian G. Eslinger Tailor: What is that, Simpkin? Oh, what a treasure, the rest of the cherry silk! But how will I ever finish the mayor’s coat on time? The wedding is in [looking at his pocket watch:] only three hours! I have barely enough time for a single buttonhole! I guess I’ll just have to see what I can do. Scene Four

[The Tailor and Simpkin walk back to the shop.]

Tailor: Simpkin, what’s this? The mayor’s coat? Finished? But here’s a note, on this last, unfinished buttonhole. What does it say? The printing is so small. “No more silk, no more silk.” Well, I have the silk and time to finish this last buttonhole! Narrator 1: The mayor arrived just as the tailor bit off the last piece of thread. Mayor: My good tailor, that is one splendid coat. The stitching is so fine. I will certainly be the talk of the wedding. Thank you so much. Tailor: Thank you, Mr. Mayor, thank you!

[The townspeople begin to line up in front of the Tailor’s shop, placing orders and bringing clothes to mend. They pantomime what they want to the Tailor.]

Narrator 1: And so the mayor’s beautiful coat was famous throughout the land. And people came from far and wide for the tailor’s services, for he was soon known as the best tailor in all of Gloucester. He was especially famous for his buttonholes. People marveled at the fine stitching, wondering how anyone’s fingers could possibly have created such stitches!

Script by Brian G. Eslinger The Tailor of Gloucester 19 20 The Tailor of Gloucester Script by Brian G. Eslinger Saint George and the Dragon

Here is a story full of action, drama, and even a bit of sword play. Based on the British folktale, Saint George and the Dragon was a play often performed during medieval and Renaissance winter revelries. This version is adapted from many different tellings of the famous tale, making it is suitable for all ages and providing both strong male and strong female characters. The set can be quite simple, with an area designated as the castle and another as the village. Railings, as well as a raised platform or wooden tower, can be useful in creating the feel of the castle.

Characters

Princess King Adviser 1 Adviser 2 Adviser 3 Knight 1 Knight 2 Dragon Townspeople, including various craftspeople and nobles Sir George Narrator, perhaps costumed as a bard or wizard

Setting & props

• A single set with a village, castle, and surrounding forest. The village includes a market.

Script by Brian G. Eslinger Saint George and the Dragon 21 • Stools and sales carts, sacks and market goods. • Swords.

Scene One

[Stage lights dim. Spotlight goes onto Narrator.]

Narrator: Long ago, darkness ruled the day, and none was safe to wander in the lands. But the light was redeemed by the bravery of one and by the faith and kindness of another. Let me set for you a stage on which you will behold the tale of Princess Una and Saint George. Once, in a town of old, it was market day. People bustled from shop to shop in search of any bauble to brighten their dreary days.

[Lights come up on the stage. Spot drops off the Narrator. Townspeople bring out carts and sale goods from center stage and side entrances. Craftspeople set up stools to make things. Others carry sacks and move among the carts, buying goods for sale. The King and Princess enter.]

Townspeople: Huzzah! Hurray for the king. Hurray for Princess Una.

[The King enters from the center-stage door with his daughter, the Princess, holding his hand. Three Advisers follow close behind. They talk and laugh with people as they look at goods.]

Adviser 1: The king and princess are still well-loved. Adviser 2: In spite of these dark times. Adviser 3: It’s not their fault that this wretched dragon keeps attacking our fair town!

22 Saint George and the Dragon Script by Brian G. Eslinger [The Dragon enters from stage right with a follow spot on him. He proceeds down the aisle, moving fiercely. The townspeople hide behind the carts.]

Townspeople: Help, help! Won’t somebody help us? King: Drat, that dragon! Royal advisers, what can we do to be rid of this dragon? Adviser 1: We could hide. Adviser 2: We could run. Adviser 3: We could lock ourselves in the castle. King: But then the dragon would destroy our town! My daughter, what are we to do? Princess: Don’t worry, Father, I will find us a champion who will rid our town of this evil dragon. Adviser 1: That would be too dangerous for you, Princess Una. Adviser 2: Far too dangerous. Adviser 3: Far, far too dangerous. Princess: Then will any of you go and find us a champion?

[The frightened Advisers look at each other.]

Adviser 1: On second thought … Adviser 2: You should go … Adviser 3: in search of a champion.

[The Dragon retreats offstage, and the Townspeople exit through center-stage door. The stage lights dim, and a spot follows the Princess as she roams through the audience.]

Script by Brian G. Eslinger Saint George and the Dragon 23 Narrator: And, so, the princess went in search of a champion. She traveled far over mountains, across plains, through the woods. [Music/fanfare.] Then she came upon a knight.

[The Knight enters center stage and goes to the front of the stage. The Princess makes her way back to the stage.]

Princess: Excuse me, sir, but are you a brave knight? Knight 1: Why, yes, I am. I’ve fought a hundred, no a thousand, battles and never lost one. You’ll not find a braver knight than I. Princess: Oh, how fortunate I am to have found you! Brave knight, my fair village is being destroyed by a dragon. Won’t you help us? Knight 1: A dr-, a dr-achoooo. I would, but, as you can see, dragons make me sneeze.

[Knight 1 runs offstage, and the Princess wanders to the edge of the stage, looking out into the audience. Knight 2 enters center stage. He is dressed in bright armor and admires himself. The Princess turns to see him.]

Princess: Oh, look! Another knight, in the most splendid armor! Oh, sir knight, your armor is fantastic. You must be a brave knight. Knight 2: Why, yes. I’m brave, so brave that I wear the finest armor in all the land. Princess: Then I’m sure you’ll help us! A dragon is destroying my village. We need a brave knight to help us. Knight 2: Dragon? I don’t fight dragons. I might soil my armor — I mean get it dirty.

[Knight 2 exits the stage, and the Princess goes back to searching onstage, looking out into the audience.]

24 Saint George and the Dragon Script by Brian G. Eslinger Narrator: The princess wasn’t disappointed yet. She continued searching until she saw a young knight. He looked no more than a squire.

[Sir George enters center stage as the Princess returns.]

Princess: There is another knight. But this one seems far too young and too small. I might as well ask him! Young sir, might you fight a dragon and rescue our village? Sir George: Yes, fine lady. If I can assist you, I will. Princess: You seem a fine and generous knight. Please travel with me back to our castle. Sir George: I am yours to command, my princess. Narrator: The two began their journey. Both had a lot on their minds, but they still talked from time to time.

[The Princess and Sir George wander on the stage, glancing at each other from time to time.]

Princess: How many battles have you fought? Sir George: This will make one. Princess: Oh, dear …

[The Princess and Sir George exit into the audience and wind around. They appear to talk and laugh from time to time.]

Narrator: As they walked, the princess found that Sir George was courteous and kind, and she grew to like him. And George admired the princess’ bravery and began to feel he’d found a friend. But back at the castle, times were growing worse.

Script by Brian G. Eslinger Saint George and the Dragon 25 Scene Two

[Townspeople enter center stage, with crates to hide behind. The King and his Advisers hide together center stage. The Dragon flies out stage right and flies in ontfr of the stage.]

King: I hope my daughter returns soon. I’m not sure how much longer we can hold out against this dragon! Adviser 1: My king, I think … Adviser 2: We should flee! Adviser 3: Follow me! King: No! We couldn’t leave our people. My daughter will return. Look! Here she comes! Townspeople: Huzzah! Hurray! Princess Una saves the day!

[The Dragon turns and sees Sir George and the Princess approaching.]

Princess: Dragon, this brave knight is Sir George. He is here to stop your evil ways. Dragon: That little pup! He’s not old enough to leave his mother. Sir George: Dragon, flee now or taste my sword! Dragon: Ha, ha, ha!

[Sir George and the Dragon circle each other as the Townspeople back away.]

Townspeople: Be brave, Sir George! Good Sir George! Be brave!

26 Saint George and the Dragon Script by Brian G. Eslinger [The Townspeople cheer and gasp while the two engage in mock combat. Fast-paced music plays as they fight.]

Sir George: You fight well, dragon, nobly and bravely, but you must not spend one more day destroying this village! Dragon: Never have I fought one as brave as you. But destroying is all I know!

[They fight on, with the advantage changing back and forth. The townspeople cheer and wail. More fast-paced music could be played here.]

Townspeople: Hurrah for George! Watch out for the claws! Watch out for the teeth. Princess: Father, he is such a brave knight, so kind and considerate. Please let him not be hurt! King: He is a brave knight, but the dragon is fierce! Sir George: Dragon, I do not wish to slay you, but you cannot defeat me.

[The fighting grows slower, until the Dragon and Sir George collapse on opposite sides of the stage. Princess Una moves to Sir George’s side with water and wipes his brow.]

Narrator: They both fought into the night, collapsing because they were so tired. The princess held Sir George’s hand and gave him water. But soon the dragon awoke to fight again.

[Sir George and the Dragon both get to their feet.]

Dragon: I thought you were done for, little knight.

Script by Brian G. Eslinger Saint George and the Dragon 27 Sir George: I told you, dragon, that I will fight you until all your evil is gone from this place.

[They fight on, and the Dragon tires.]

Townspeople: He grows weary. The dragon’s growing tired! Sir George will win! Hurray for George! Dragon: My flame is gone. My claws grow dull. Weariness, weariness.

[The Dragon lies down at Sir George’s feet. Sir George places the point of his sword against the dragon’s head. The Princess runs to his side.]

Sir George: Princess, you are the bravest person I know. If you will tie your scarf around the dragon’s neck, he will be peaceful forever more.

[The Princess ties her scarf around the Dragon’s neck.]

Townspeople: Hurray for Princess Una! Hurray for George! Hurray, Hurray, Hurray!

[The Townspeople gather behind the Dragon. The King steps up to Sir George and Princess Una.]

King: Sir knight, my daughter has told me of her feelings for you. You are brave indeed. Will you marry her? Sir George: Only if she wishes. Princess: It is my wish, Sir George. All: Huzzah! Hurray for Princess Una and Sir George! Hurray!

28 Saint George and the Dragon Script by Brian G. Eslinger Narrator: And so it was that Sir George and Princess Una united, and all the people rejoiced. And the dragon was the bearer of their rings of marriage. For his bravery and fearlessness, that good Sir George became Saint George, patron and protector of all England. That, my fair listeners, is the story of how two young people tamed the wildest of dragons and found love in their hearts.

[All join in a processional, with Sir George and Princess Una leading, followed by the King, the Townspeople, and lastly the Dragon. Music plays as they leave.]

Script by Brian G. Eslinger Saint George and the Dragon 29 30 Saint George and the Dragon Script by Brian G. Eslinger The Scottish Shepherd’s Story

This story could be called a reverse Christmas pageant. Instead of meeting the characters on their way to Bethlehem, we meet them on the way home. The story’s focus is the Scottish Shepherd’s journey to Bethlehem and back again. The Santa Claus figure, Father Christmas, serves as both the narrator and a character. When narrating, he can face the audience, standing to one side. The settings are fairly simple. Most of the play’s atmosphere can be conveyed using simple costumes, such as a white gown and halo for the Angel, ears for the animals, and hats denoting Wise Ones and Shepherds. The Scottish Shepherd’s kilt can be made from a large piece of tartan cloth, pleated around the waist, with additional material draped over the shoulder. Small props, such as a rustic broom for the Sweeper, crooks for the Judean Shepherds, and mugs for the Revelers will emphasize the scenes. Suggestions for Christmas carols are included. They could be left out, or additional carols could be sung, especially between acts. Father Christmas introduces the carols and can function as the song leader.

Characters

Father Christmas Scottish Sheep Scottish Shepherd Angel Wise One 1 Wise One 2 Wise One 3 Judean Shepherd 1 Judean Shepherd 2

Script by Brian G. Eslinger The Scottish Shepherd’s Story 31 Judean Shepherd 3 Judean Shepherd 4 Townspeople of Bethlehem Seller 1 Seller 2 Sweeper Cow, Donkey, Barn Sheep, and Goat Revelers in London Children’s choir

Settings & props

• A lonely hillside. • The road to Bethlehem. • Market day in Bethlehem; baskets and cloths for sale are helpful. • The manger in Bethlehem. • A street scene in London. Revelers may hold mugs; some will carry gifts and small trees, plus decorations for one of the trees. • Crooks for the Shepherds, a broom for the Sweeper, a toy bag for Father Christmas.

Scene One

[On a lonely hillside, the Scottish Shepherd is wrapped in the top part of his kilt, with a staff in one hand and a few Scottish Sheep around him.]

Father Christmas: This wintry season cries out for warmth, hope, and good cheer. Tonight we gather to find those three. When we celebrate the return of the sun to brighten our winter nights or mark the birth of a child who brings the hope of peace to humankind, stories and songs abound. So we offer you our

32 The Scottish Shepherd’s Story Script by Brian G. Eslinger story to provide a bit of warmth, hope, and good cheer for us all. Many stories tell of the sacred birth celebrated on this night. Being a humble people, we tell a humble story. Our play is a shepherd’s play, but this shepherd’s story never made it into any great books or Christmas carols. Our tale begins with but one Highland Shepherd and a flock he tends by night.

[The lights focus on the Scottish Shepherd. A spotlight comes up behind the Scottish Shepherd. An Angel appears. The Scottish Shepherd looks up, startled.]

Scottish Sheep: Baa, baa. Angel: Do not be afraid.

Scottish Shepherd: I’m not so much afraid for me as for you. Be careful up there. You might fall. Angel: But I bring you good tidings of great joy. A child is born this night who will be the messiah and bring peace and hope to all people. Scottish Shepherd: A child, you say? Angel: Yes, a messiah. A chosen one. Scottish Shepherd: An’ a wee babe is going to bring peace and joy to all people? Angel: Yes, to all people.

Scottish Shepherd: An’ you’ve come to tell me this? Me, nothing but a wee slip of a shepherd? Angel: That’s right, you’re specially chosen for this good news. You are to go and witness the birth of this holy child, who brings peace for all people. Scottish Shepherd: Well, isn’t that something! Where’s this child to be born?

Script by Brian G. Eslinger The Scottish Shepherd’s Story 33 Angel: In the city of David, in Bethlehem. You are to hurry there and look for the babe in a manger, wrapped in bands of cloth.

[The Angel holds up her hands and begins to sing.]

Angel: “Glory to God in the High …”

Scottish Shepherd: [Interrupting:] Excuse me, I don’t mean to be rude, but where exactly is Bethlehem? Angel: [Looks around:] Oh, why, it’s … Oh, no. This isn’t Judea, is it? Scottish Shepherd: No, it’s the Highlands of Scotland. Angel: Oops. Well, in that case, nevermind. Sorry, wrong shepherd. Gotta fly.

[The lights go out on the Angel, who exits.]

Scottish Shepherd: Well, sheep, this sounds like some babe to be born. Even if I’m not the right shepherd, I’m as good as the next one. So I think I’d best try to find this stable in Bethlehem. Where do you think it is? Scottish Sheep: Baaa, baaa? Scottish Shepherd: I don’t know, either. But Bethlehem must be south, ’cause there’s only ice to the north. So we’ll head south.

[The Scottish Shepherd and Scottish Sheep exit the stage, heading south.]

Father Christmas: And, so, the shepherd sets off from the Highlands to search for the babe the angel foretold. Let’s help him on his way with a song, “Angels We Have Heard on High.”

34 The Scottish Shepherd’s Story Script by Brian G. Eslinger [All sing “Angels We Have Heard on High.”]

Scene Two

[Along the road to Bethlehem. The Scottish Shepherd enters, two Scottish Sheep still with him. They move to center stage.]

Scottish Shepherd: Well, sheep, we’ve traveled a long spell, across bogs and fields, by boat and cart and foot. I do hope we’re getting close to Bethlehem. Scottish Sheep: [One after the other:] Baa, Baa. Scottish Shepherd: Look, here comes a rather splendid-looking sight!

[The three Wise Ones enter.]

Scottish Shepherd: Hello. Hey there! You’re wise-looking ones. Wise One 1: I say! Whoa, whoa there. Look colleagues, a boy. Wise One 2: Rather peculiar-looking lad, what! Wise One 3: Yes, rather! Scottish Shepherd: Excuse me, your excellencies, but could you tell me if this is the road to Bethlehem? Wise One 1: Why, yes, for a fact, we could tell you that. Certainly could. Wise One 2: Yes, rather, we could. Wise One 3: Yes, yes, rather!

[The Wise Ones all nod to each other and prepare to move on.]

Script by Brian G. Eslinger The Scottish Shepherd’s Story 35 Scottish Shepherd: Excuse me again! Ummm, is this, then, the road to Bethlehem? Wise One 1: Oh, why yes, yes it is. Wise One 2: Yes, most certainly, yes. Wise One 3: Oh, yes, yes. Scottish Shepherd: Oh, thank you. [To the Scottish Sheep:] Well, we’re on the right road at least! Excuse me, kind ones, but is it much farther?

[The Wise Ones begin looking at the stars through their instruments, talking among themselves.]

Wise One 1: Oh, let’s see, adjusting for the curvature of the earth … Wise One 2: And correcting for the optical refraction … Wise One 3: And considering we left there a few months ago …

Scottish Shepherd: You were there? All Wise Ones: [In confusion:] What, what? Oh, yes. Yes, we were. Weren’t we? Wise One 3: We followed the star from Persia, far, far from here. Wise One 1: Delivered gifts, we did. Wise One 2: Gold, for the prince of peace. Wise One 3: Frankincense, symbol of the chosen one, who could bring all people together. Wise One 1: And myrrh, for the healer of the earth’s sorrows.

Scottish Shepherd: Wow, those gifts must have been for kings and emperors! All Wise Ones: No. Oh, no. No. Wise One 1: Just a babe of humble circumstances. He was born of his mother, Mary, and father, Joseph. We’ve followed a star from the East to pay him homage.

36 The Scottish Shepherd’s Story Script by Brian G. Eslinger Wise One 3: For he gives us the greatest gift, hope that we can live together in peace. Wise One 2: But now we must be off. Drat, I’ve lost that star again. Wise One 3: Off we go.

[The Wise Ones exit, all pointing in different directions.]

Scottish Shepherd: A babe who brings peace! Come on, sheep, we’re on the right path!

Scene Three

[Farther along the road to Bethlehem. The Judean Shepherds enter, talking excitedly, move to center stage. The Scottish Shepherd enters close behind.]

Scottish Shepherd: Hello, fellow shepherds. How are ye?

[The Judean Shepherds all stop and stare.]

Judean Shepherd 1: Papa, what’s that? Judean Shepherd 2: I don’t know. Just don’t touch it. Scottish Shepherd: I’m a shepherd, just as you. Judean Shepherd 3: But what’s that you’re all wrapped up in? Judean Shepherd 4: Yeah, you don’t look like a shepherd! Scottish Shepherd: Why, it’s me kilt, warm in the cold Scottish winter, cool in the hot summer. I might ask what it is you’ve wrapped around your heads.

Script by Brian G. Eslinger The Scottish Shepherd’s Story 37 Judean Shepherd 4: These keep the sun off our necks and the sand out of our eyes. Judean Shepherd 3: We may look different, but look at those fine woolly sheep he has with him. Judean Shepherd 1: Nice sheep, and he smells just like us. Judean Shepherd 2: You’re right, lad. Well, I guess he is a shepherd.

[The Scottish and Judean Shepherds greet each other and shake hands.]

Judean Shepherd 2: Well, young shepherd, what brings you so far south? Scottish Shepherd: You won’t believe it, but an angel accidentally told me that a miraculous birth was about to take place. I had to come see it for meself.

[The Judean Shepherds all look at each other in amazement, then talk quickly.]

Judean Shepherd 1: Brown hair? Judean Shepherd 2: A bit muddled? Judean Shepherd 3: Wings? Judean Shepherd 4: Singing and all that? Scottish Shepherd: That’s the one! So you met her, too? Judean Shepherd 4: Yes, we did. She told us to go to Bethlehem. We’re on our way back to our fields. Scottish Shepherd: So you saw the child?

38 The Scottish Shepherd’s Story Script by Brian G. Eslinger Judean Shepherd 2: Yes, we did. We, the lowliest of shepherds, not trusted by anyone, not even by each other! We were called to see this child born. We saw him, lying there in the manger. Strange times are these, when shepherds are invited by angels to see babies born in stables! Scottish Shepherd: ’Tis truly amazing! This child even remembers the shepherds, when the angel could have invited the greatest of lords! I’m hoping to see this child meself. Judean Shepherd 2: Well, you’d best hurry. Times are tough for those who like shepherds as much as nobles. It’s not without great risk that one befriends the poor. Just follow this road, and you’ll be there shortly. [Turning to other Judean Shepherds:] Now it’s back to the fields with you lot. We’ve sheep need tending to. Judean Shepherd 1: Bye, shepherd. Godspeed to you!

[The Judean Shepherds say goodbye and exit.]

Scottish Shepherd: Well, sheep, we must be close now! Let’s go!

[The Scottish Shepherd and the Scottish Sheep exit.]

Scene Four

[It’s market day on the streets of Bethlehem. A crowd of Townspeople enter, carrying baskets and cloth. The Sweeper enters with them. The Scottish Shepherd enters with the Scottish Sheep.]

Scottish Shepherd: Aye, sheep, this must be Bethlehem. Look at all the people!

Script by Brian G. Eslinger The Scottish Shepherd’s Story 39 [The Townspeople all try to sell goods to the Scottish Shepherd.]

Townspeople: [Mix of voices:] I take one of those. How much? For that, you must be crazy! Ten shekels, ten shekels.

Scottish Shepherd: Now, if we could only find the barn where the babe is.

[The Scottish Shepherd turns to one of the sellers.]

Scottish Shepherd: Excuse me, but would you know of the stable where the babe was born? Seller 1: Ah, there are many stables in Bethlehem. It’s been a busy time with the census and all. No, sorry. [To another seller:] Hey, have you heard about a baby born in a stable? Seller 2: Oh, yes. That’s the one off down the street. Turn right and then another right, then two to the left, and you’ll find it. Scottish Shepherd: Thank you! Thank you!

[The Sellers and Townspeople exit, leaving the Sweeper center stage, sweeping the barn. The Cow, Donkey, Barn Sheep, and Goat move into the barn behind the Sweeper. The Scottish Shepherd and the Scottish Sheep walk according to the directions they were given, ending up center stage.]

Scottish Shepherd: Excuse me, but is this the stable where the babe is? Sweeper: Baby? Oh, you mean all the hullabaloo from a couple of months ago? Them visitors from the East with their fancy robes and the shepherds and all? Well, yeah, this was the place. Scottish Shepherd: I’ve traveled a great distance to see the babe who’s to bring peace to all the world. Might I step in and have a look?

40 The Scottish Shepherd’s Story Script by Brian G. Eslinger Sweeper: Well, you can certainly come in and look all you like, but you’ll not see anything more than straw and a bit of a mess from those shepherds. Scottish Shepherd: The babe and his mother and father, they’ve left? Sweeper: Aye, right after the blessed event, they did. I seem to remember hearing something about Egypt. Sorry. [Returns to sweeping.]

Scottish Shepherd: Well, sheep, we’ve come all this way for naught. Might as well go home.

[The Scottish Shepherd exits, followed by the Sweeper.]

Donkey: What was that young shepherd askin’ about? Cow: I think it was about the babe born in that manger there a while back. Goat: What? In my manger right here in my hay? Yuck! [Pretends to spit hay back into manger.]

Barn Sheep: Oh, come on now. You remember them, don’t you? Nice young couple. Goat: Naw, I think I was out back eating garbage that night. Cow: I remember it well. There was no room, and so they came in here. Donkey: Too bad the shepherd didn’t come in and ask us. Goat: What could we have told him?

[The Children’s Choir joins the animals onstage. All sing “Friendly Beasts.” All exit as the Scottish Shepherd reappears with the Scottish Sheep.]

Script by Brian G. Eslinger The Scottish Shepherd’s Story 41 Scottish Shepherd: C’mon, sheep. We’re getting closer to home. Look there! It’s London town!

[A crowd of Revelers enters, singing, laughing, and talking. They carry gifts and small trees. The Revelers decorate the stage, and one carries a tree that they set up and decorate while humming softly.]

Scottish Shepherd: Look at this, sheep — all these people celebrating. What could it be? Father Christmas: So, young shepherd, you have returned after your long journey. Scottish Shepherd: Aye, but it was all for naught. I did not see the babe in the manger. Father Christmas: Nor did any of the revelers you see before you, yet they are celebrating this day as the birthday of that child. Scottish Shepherd: What? Why, when they never saw him? What do they celebrate? Father Christmas: They celebrate what the birth of that child can mean for each of us, the chance for all people to live in peace, just as the wise ones told you. And the hope that all people of the world will be united in the cause of justice for every person, just as the shepherds learned. They celebrate the light that the birth of this child, and of every child, brings to each one of our hearts — the flame of hope rekindled for all humanity. You may not have seen the child born in the stable, but you know what it means for spring to come at the end of winter, for hope to return after all seems dark.

Scottish Shepherd: So each year we celebrate spring’s return and our hope for the peace we are reminded of with every child’s birth?

42 The Scottish Shepherd’s Story Script by Brian G. Eslinger Father Christmas: Yes. Just as we retell the stories of Jesus’ birth, we surround ourselves with evergreens, reminding us of the return of spring’s green. We sing songs of hope and joy, uniting our voices this one time of the year, in hopes that we someday will unite them all year round. Scottish Shepherd: The birth of a child brings us light, just as the returning sun does. Father Christmas: That’s right, young shepherd. I hope you’ll join the revelries before you head back to join the rest of your sheep. I have some presents to drop off. This day reminds us all that every child is deserving of a chance to be the bringer of peace, the one who unites all people, and the healer of the world. So I give them each a gift to remind them that they are all special. Happy Christmas, shepherd. Scottish Shepherd: Thank you, Father Christmas. Godspeed to you!

[Father Christmas exits with toy bag.]

Scottish Shepherd: Well, sheep, our journey’s at its end, so many years since it began. Here we are back home. Happy Christmas to you, sheep. Peace on earth and good will to all.

[Father Christmas reenters.]

Father Christmas: Thus ends our story. Mayhap we can join in the hopes of the shepherd and all the revelers as we join them in singing “Joy to the World.”

[All join Revelers in singing “Joy to the World.”]

Script by Brian G. Eslinger The Scottish Shepherd’s Story 43 44 Good King Wenceslas Script by Brian G. Eslinger Good King Wenceslas

This well-known Christmas carol makes an excellent winter play. The story is meaningful and accessible to all ages. Staging can be elaborate or kept simple. The palace dining room and the table at the wood gatherer’s hut are the only sets needed. These two settings heighten the contrast between the wealthy and the poor. At the King’s palace, the table can be ornately set with a tablecloth, many serving platters, and dishes. At the hut, a bare table with wooden bowls and a loaf of bread is enough. These two sets can be placed at opposite ends of the stage, allowing the King and Squire’s journey to unfold between them. Rather than using a narrator, this play enlists many voices in the style of a Chorus. Chorus members can deliver their lines as one group, divide them into thirds, or mix some of both approaches. The Chorus members also play the parts of the Villagers, acknowledging the king and his court. Members of the Chorus can be seated on the floor, either directly in front of the stage or toward the back of the middle section of the stage. While the Chorus is a good place for younger actors to gain experience with lines, experienced players should participate in this group, as well. Chorus lines are key to the action in the play.

Characters

At the Castle: King Wenceslas Queen Marta The Prince The Princess The King’s brother, Boleslav, the Duke A lord, Sir Archibald

Script by Brian G. Eslinger Good King Wenceslas 45 A lord, Sir Baldwin Lady Erwin Lady Beatrice The Page

At the Hut: Father Mother Gladys Randolph Mary The Chorus: Members serve as narrators for the play and act as the villagers. Two people lead the Chorus, working to ensure that all know and deliver their lines.

Settings & props

• The medieval castle of King Wenceslas, well-lit, with a well-laden table, perhaps using a tablecloth, serving platters, dishes, and goblets. • The hut, located on the far side of the room from the castle, dimly lit, with a bare table, a crust of bread, and a bowl of porridge.

Scene One

Chorus: Come with us to Bohemia, hundreds and hundreds of years ago, where there lived a good king, named Wenceslas.

[Lights come up on castle scene. The Prince and Princess enter, followed by the Duke, then the Lords (Sirs) and Ladies, then the King and Queen.]

Chorus: It’s Christmas at the castle; it’s Christmas at the castle!

46 Good King Wenceslas Script by Brian G. Eslinger Princess: Well, brother, here’s another fine Christmas feast. Prince: Yes! Look at all the wonderful foods. Can we start? Duke: No! We must wait for your parents, the king and queen! Prince: Oh, all right! Ladies and Lords: Here come the king and queen! Chorus: Huzzah! Huzzah! God save the king! God save the queen! King: Thank you, my good people. Thank you for your kind greeting. Queen: We are so lucky to have such wonderful friends and family with us on this holiday. Ladies and Lords: Yes, yes. Prince: Now, can we eat? King: By all means!

[The lights go down on the castle and up at the villager’s hut.]

Chorus: Meanwhile, out in the village … Mother: Father, we are nearly out of food. I’ve put together what we have left so we can have some Christmas dinner. Father: I know, my dear wife. It’s been a hard winter. There hasn’t been work for months! What will we do? Mother: And look! Now our poor fire is burning out. Randolph: Sisters, look. There is some bread on the table! Mary: And look at that porridge! Gladys: Yes. That must be our feast tonight. Mary: Can we eat it now? Gladys: Father, could we toast our bread on the fire tonight?

Script by Brian G. Eslinger Good King Wenceslas 47 Father: Our fire’s almost out. Mother: We might as well get some wood to toast our bread. After all, if we don’t have more wood, we’ll surely freeze on this cold night, holiday or not. Father: You’re right. I’ll go and find some wood. Gladys: But, father, there is no wood left near here. Randolph: The only place that has any wood is the king’s forest. Father: Well, I have no choice. That’s where I’ll have to go. We can’t freeze. Gladys: I’ll go with you, Father. Together we can carry more! Father: Gladys, it’s so cold out there … Mother: Let her go with you. You know you can’t talk her out of anything — teenagers these days! Chorus: Huzzah!

[Father and Gladys bundle up and walk away from the hut into the darkness. The lights go up back at the castle.]

Sir Archibald: What a feast! Sir Baldwin: I feel as if I’m about to burst! Lady Erwin: You look as if you’re about to burst! What didn’t you eat? Sir Baldwin: There’s a bit of cake right there. Oh, I’m too full to reach it. Sir Archibald: Such a wonderful season, Christmas. Lady Beatrice: Yes, full stomachs all around! Lady Erwin: And we’re nice and warm. Lady Beatrice: Not out in that frightful snow.

48 Good King Wenceslas Script by Brian G. Eslinger Duke: Speaking of the snow, what’s got the king’s attention there at the window? King: My good wife, can you see a figure there wandering at the edge of the woods? Queen: Barely. There do appear to be a couple of people there. Princess: I see a man. Prince: And a girl, gathering wood, it seems. Duke: ’Tis nothing, good brother. Come back to the feast. Your guests grow restless. Lady Erwin: Quick, we must distract the king from that pitiful sight. Sir Archibald: Players, players, let us have a song for the king’s entertainment. Princess: Oh, Father, come listen to the musicians!

[A song could be chosen to use here — performed by the chorus, by a separate musician or musical group, or with audience participation.]

Scene Two

Chorus: Try as they might, they couldn’t distract the good king. King: I would ask my guests to please be still but for a moment. You there, page! Page: Yes, sire? King: Come, stand by me. Do you see that man over there? Page: Yes, my king. Queen: Do you know him? Where he lives?

Script by Brian G. Eslinger Good King Wenceslas 49 Page: Yes, my lady. He lives a good league away, under the mountain, against the forest fence. King: By Saint Agnes’ fountain? Page: Yes, sire. Duke: He is stealing wood from your forest! Page, call the guard and have him arrested! Queen: Stop! The least we can do is spare some of our wood! Lady Beatrice: Here, take some of this food out to them. Lady Erwin: And this jug of cider. Princess: It is Christmas, after all. Prince: The least we can do is share what we have! Queen: You are right. Here. [Hands bags to the page.] This is too much for you. Will someone go with the page? Sir Archibald: I’d love to, but it’s snowing out there, and I have this nasty cold … Aachoo! Sir Baldwin: I’ll go. Oh, no! [Holds his stomach.] I can’t even stand up! King: Hand me those bags. I’ll gladly go. Duke: My king, surely you’re not going out on such a night to take food to some commoner? King: On this night, when we celebrate the birth of the common babe, Jesus, who taught us to love one another and live in peace, I’m honored to be of help to commoners. Chorus: Huzzah! God save the king!

[The lights go down at the castle and up on Father and Gladys in the woods.]

Father: Are you all right, lass? Gladys: Yes, Father. I just heard a commotion coming from the castle.

50 Good King Wenceslas Script by Brian G. Eslinger Father: Well, we are trespassing. We’d best be off. Gladys: Oh, listen, Father. Can you hear them singing in the town?

Scene Three

[The lights go up, as the King and Page move to center stage, walking together.]

Chorus: The king and his page walk through the cold, but listen to the wind howl, hoooooowwwwllllll! King: Page, can you see where they’ve gone? Page: No, sire. But they live over that way. King: All right, lead on. Page: Sire, I am cold to the bone! I don’t know if I can take another step! It’s so very dark that I can’t see where I’m stepping. Chorus: Hoooowwwwllllll. King: You’ve been a very brave lad. The wind is blowing fiercely! Here, follow behind me. Mark my steps well, and step within them. You’ll find the winter’s rage freezes thy blood less coldly.

[The lights go down on the king and page and up on the castle.]

Princess: It’s getting colder! And look at the wind blowing the snow. Duke: Foolish king, following after some peasant. Sir Baldwin: How could he leave this snug company? Is there another piece of cake there? Sir Archibald: What difference could it make to help just one person?

Script by Brian G. Eslinger Good King Wenceslas 51 Princess: I would think it would make a lot of difference to that person. Prince: [To the queen:] Look, Mother, it’s starting to snow. Chorus: Whishhh, whishhh! Queen: Oh, dear. I hope the king and his young page are safe out there! Lady Beatrice: I can’t help but think of all the people who are in need of shelter and warmth. Sir Baldwin: And something good to eat. Lady Beatrice: Yes, and something to eat on this special night. What can we do? Lady Erwin: Look, Queen Marta, here come the mummers to collect coins for the poor! Let’s hear their song and find a coin to pay them with. Their collection will go to help find shelter for the people in need here in our very town.

[The Chorus or a separate choir sings onstage, while others gather a special collection from the audience for a local agency that helps those in need.]

Scene Four

[The lights go up on the family in their hut.]

Mother: I’m glad you made it home safely. Randolph: As cold as it was in here, it must have been even colder out there! Mary: Did any one see you, Father?

52 Good King Wenceslas Script by Brian G. Eslinger Father: I think so, but I don’t know how they could have followed us in this snow. Chorus: Knock, knock, knock. Mother: Who could that be on such a night! Mary: Someone who can see through the snow. Father: Answer the door and let them in. Friend or foe, we don’t want them to freeze.

[The King and Page enter.]

Mary: Oh, my! It’s the king!

[Father, Mother, Gladys, Randolph, and Mary bow to the ground.]

Chorus: God save the king! King: Oh, please do stand. We saw you looking for wood. Father: I can explain that. You see, my daughter and I were … um … Gladys: … chasing our dog. Page: [Looking around the room.] Dog? Randolph: Ruff, ruff. King: You needn’t explain. We’ve brought you a bit of Christmas dinner and some wood from the castle. Mother: Thank you, good king. Why, there is enough here for the whole neighborhood. Would it be all right if we shared? King: By all means! Chorus: Meanwhile, back at the castle, the queen worries on … Princess: Mother, where is Father?

Script by Brian G. Eslinger Good King Wenceslas 53 Duke: Probably frozen out there somewhere. Prince: I think the snow is stopping. Queen: Let’s go see if we can find them. Duke: Out there? In the cold? Prince: You know we’d do the same for you. Duke: You all would, wouldn’t you? Chorus: Yes, we would! Duke: All right. Let’s go find them! Lady Erwin: I’ll take some blankets. Sir Archibald: I’ll take the lantern. Lady Beatrice: I’ll take some hot cider. Sir Baldwin: I’ve got the food!

[All leave the castle and head to the house. The Queen knocks on the door.]

Chorus: Knock, knock, knock. Mother: Now, who else could be out on a night such as this? Mary: I’ll answer it, Mother. [Opening door:] Yes? Oh, my. Randolph: It’s the queen and royal court! Queen: Excuse me, but have you seen — oh, there you are, Chorus: God save the king. Huzzah! Queen: You’re safe and warm! King: Enjoying a fine Christmas feast. Father: Please, all of you come in and make yourselves at home. We still have a bit left. Sir Baldwin: And we’ve plenty more!

54 Good King Wenceslas Script by Brian G. Eslinger Duke: [To the prince:] What a miracle this is — all these people so very different, yet joined in this holiday spirit. Truly a miracle. Prince: One that we should try to encourage every day of the year! Duke: But in the years to come, how will people remember such a tale? Prince: Oh, I think they’ll find a way.

[The Chorus, cast and audience join in singing “Good King Wenceslas.”]

Script by Brian G. Eslinger Good King Wenceslas 55 56 Good King Wenceslas Script by Brian G. Eslinger A Christmas Carol

In his story A Christmas Carol, Charles Dickens wrote one of the most enduring tales of the holiday season. This version remains true to the original, adapted to a length that young actors can easily handle. The large number of set changes can be accomplished relatively easily by using a few props for each location: desks and stools for Scrooge and Marley’s office; a bed, nightstand, and coat tree for Scrooge’s apartment; tables and appropriate settings for the Nephew’s house and the Cratchit house; a bench or small desk for Scrooge’s boyhood school. The characters can move most of the pieces as they enter and exit. Rehearsals should include these movements as early in the schedule as possible so the actors will become used to their tasks. Mr. Dickens is the narrator, with the Lamplighter serving as his assistant. The Lamplighter introduces some of the action and keeps Mr. Dickens company onstage.

Characters

Charles Dickens, narrator Lamplighter Ebenezer Scrooge Nephew Fred Bob Cratchit Fundraiser 1 Fundraiser 2 Ghost of Jacob Marley Ghost of Christmas Past Ghost of Christmas Present Ghost of Christmas Future

Script by Brian G. Eslinger A Christmas Carol 57 Scrooge’s sister, Fan Child Ebenezer Young Ebenezer Fezziwig, under whom Scrooge was an apprentice Dick, who once worked with Scrooge Revelers (could double as Buyers and Sellers or other parts) Belle, Scrooge’s former clerk Mother Cratchit Martha Cratchit Peter Cratchit Cratchit Twins Tiny Tim Fred’s Wife Buyers and Sellers Seller 1 Seller 2 Want Ignorance Friends of Fred Boy Carolers (optional)

Settings & props

• Walls of any kind are optional. Most settings can be suggested by the props and furniture pieces. • Scrooge’s office: two desks with stools and a coal bucket. • Scrooge’s apartment: a four-poster bed, hung with curtains, a night stand, and a coat rack. • Nephew’s home: a table set to convey wealth. • Cratchits’ home: a table set to reflect their poverty. • A bench or crates for Dickens and the Lamplighter to sit on.

58 A Christmas Carol Script by Brian G. Eslinger Scene One

[The Lamplighter enters. As he reaches up to light a lamp, Dickens runs into him.]

Lamplighter: ’Ello there, sir. Watcher step! Dickens: So sorry! I’m afraid I’m a bit preoccupied. Lamplighter: I know what you mean, sir, this being the holiday season. On your way to a party, are you? Dickens: No. Actually, I had in mind the tale of a man who didn’t like Christmas. To be honest, he rather loathed it. I was recalling his office might be in such a neighborhood as this, with a sign that still read “Scrooge and Marley,” despite the fact that Marley was dead. Lamplighter: Dead, was he? Dickens: Make no doubt about it, Jacob Marley was dead. If you are to understand anything that happens from here on, you must know that Jacob Marley was dead — dead these seven years, dead as a doornail, even though his partner, Scrooge, had not removed his name from the sign.

[Dickens and the Lamplighter move to stage left and sit on packing crates or a park bench. The stage is set for Scrooge’s office, with Cratchit in his chair, talking to Scrooge’s Nephew, Fred. Scrooge enters from stage left.]

Scrooge: [Nodding to the sign as he walks into the countinghouse:] Bah! Humbug! Dickens: Scrooge was the sole partner of his countinghouse, with one employee — an ill-used employee at that — Bob Cratchit. He also had one nephew, Fred, who was as kind and lively as Scrooge’s sister, Fan, had been. Cratchit: Good morning, Mr. Scrooge.

Script by Brian G. Eslinger A Christmas Carol 59 Scrooge: What could be good on what I pay you? Oh, not that Christmas humbug! Nephew: [From behind Scrooge’s desk:] Christmas a humbug! Say it isn’t so, uncle. Scrooge: And a lot you have to make merry about! You’re poor enough! You keep Christmas in your way, and let me keep it in mine. Nephew: But that’s just it, uncle — you don’t keep it at all! And you’re rich enough. Scrooge: What good has ever come of your keeping Christmas? Nephew: If this is the one day on the calendar when people open their hearts to others freely, then I think it has done me good. And I say, “God bless it!”

[Cratchit claps.]

Scrooge: [To Cratchit:] You keep that up, and you’ll keep Christmas by losing your situation! Nephew: Now, uncle, don’t be cross. Please come dine with us. Scrooge: Nay. And, now, good afternoon. Nephew: But, Uncle Scrooge, why? Please let us be friends. Scrooge: I say, good afternoon! Nephew: I am sorry you will not accept, but we will set a place for you, and I wish you a merry Christmas! Scrooge: Good afternoon! Nephew: And a happy new year! [Nephew exits.] Scrooge: Humbug!

[Fundraisers 1 and 2 enter, carrying a ledger book.]

60 A Christmas Carol Script by Brian G. Eslinger Fundraiser 1: Do I have the pleasure of addressing Mr. Marley or Mr. Scrooge? Scrooge: I doubt you’ll have any pleasure addressing either. Fundraiser 2: Pardon, sir. We saw the names on the sign and thought … Scrooge: I doubt Mr. Marley would listen, so you might as well address Mr. Scrooge. Fundraiser 1: Oh, yes, very good then. We are collecting for the poor, this being the Christmas season and a time for generosity. Scrooge: Are the prisons, the workhouses, still in operation? Fundraiser 1: Oh, yes. Sadly, all too busy. Scrooge: I’m glad to hear of it. Fundraiser 2: But they provide no Christmas cheer. What can we put you down for? Scrooge: Nothing. Fundraiser 2: You wish to be anonymous? Scrooge: I wish to be left alone! If people cannot fend for themselves, best they go to the places I mentioned, which I already help support. Fundraiser 1: Many would rather die than go there. Scrooge: Then they should die and reduce the surplus population! Now good day!

[Scrooge seizes a ruler and waves it threateningly as Fundraisers 1 and 2 exit. He returns to his work.]

Scrooge: I suppose you’ll want all of tomorrow off? Cratchit: If it’s convenient. Scrooge: Well, it’s not. Just an excuse to pick a man’s pocket. Christmas! Well, see that you’re here all the earlier the next day.

Script by Brian G. Eslinger A Christmas Carol 61 [Cratchit exits happily, saying “Merry Christmas” to people passing by.]

Lamplighter: So it was in a rather dark mood that Scrooge dined. Dickens: Yes, at his usual pub, and darker still as he approached his rather- bleak apartment. As he walked, he heard carolers in the streets. Lamplighter: Look at that! Scrooge gave those nice singers a “humbug,” he did! Dickens: Then he reached his home, formerly the residence of his now- deceased partner, Jacob Marley. He looked into the knob he’d seen a thousand times before. Only this time … Scrooge: Marley, is that you? Jacob? Bah! Must be indigestion!

[Scrooge hangs up his coat and jacket, slips on a nightshirt, and climbs into bed.]

Marley: Scroooooooge! Scroooooge! Scrooge: What? Who is it! Marley: It is I, your former partner, Jacob Marley. I’ve come to warn you. See the chain I drag as I walk among the living? It’s a shadow of my past. Your chain is much longer than this, but there is hope for you! Scrooge: I don’t believe it. You are a result of a bad bit of beef. You’ve more of gravy than the grave about you. Marley: Do you not believe in me? Woe is me! Woe is me! Scrooge: Spirit, why do you haunt me? Marley: Then you believe in me? Scrooge: Yes, yes! But why do you haunt me, Jacob? Marley: It is required of all that we walk among our fellow humans. If we do not do so in life, we do so after it. I am doomed to wander through the world to see the happiness that I might have shared in!

62 A Christmas Carol Script by Brian G. Eslinger Scrooge: But, Jacob, you were a good man of business. Marley: Humankind should have been my business! Now I am here to tell you that it is not too late for you. You will be haunted by three spirits. Scrooge: Is that part of what might save me? Marley: Yes. Scrooge: Well, then, I’d rather not. Marley: Expect the first spirit when the clock strikes one, the next tomorrow night, and the third the following night at the same time. Look for me no more, but remember what has passed between us. Dickens: Marley’s ghost vanished into the night, and Scrooge witnessed the passing of many apparitions and heard their low, pitiful moans. Some of them Scrooge had known in their lifetimes, and all of them were chained. Whether exhausted from his visitation and view of the spirit world or because of the lateness of the hour, Scrooge fell into bed and went immediately to sleep.

[Scrooge climbs into bed, pulls the bed curtains, pokes his head out and says “humbug,” then pulls his head back in as the lights dim.]

Scene Two

[The lights come up as the clock chimes one o’clock. Scrooge pokes his head between the bed curtains as the clock sounds.]

Scrooge: It is the hour, and nothing else!

[Ghost of Christmas Past, in pure white, a wreath of holly about its head, appears.]

Scrooge: Are you the spirit I was told of?

Script by Brian G. Eslinger A Christmas Carol 63 Past: I am the Ghost of Christmas Past, your past. Scrooge: For what purpose do you haunt me, specter? Past: Your welfare, your reclamation. Rise and hold my arm. Scrooge: But I am a mortal and will fall! Past: Bear the touch of my hand here [touching Scrooge’s heart], and you will be lifted up in more than body. Scrooge: What is this country we pass through, spirit? These fields and trees? Oh, look. Here is where I was a boy! Dickens: Children preparing for the Christmas holidays joined in singing as they joyfully left school.

[The setting appears of a boy, Child Ebenezer, at a desk, other children running out. The boy stares out the window, alone.]

Dickens: All of the children were met by their families — all except one. Past: Poor little Ebenezer, poor boy! He spent many Christmases alone here.

[Child Ebenezer is replaced at the desk by Young Ebenezer. His sister, Fan, enters.]

Fan: Ebenezer, it is time to come home for Christmas. Father is so much kinder than he used to be! Look at you! You’ve grown into a young man! Young Ebenezer: And you, Fan! You’re quite a young woman!

[They laugh, lock arms, and exit.]

64 A Christmas Carol Script by Brian G. Eslinger Past: A delicate woman, with a great heart! She had but one child before her death — your nephew, I think? Scrooge: Yes, spirit. Dickens: Scrooge reflected on how much like his dear sister was her son, his nephew, Fred. He and the spirit sailed on through the night and time. They looked down upon a warehouse where there was a festive mood.

[Young Ebenezer and Dick enter, place their stools in center stage, and look at a ledger book.]

Past: Do you know this place? Scrooge: Know it? Why it’s old Fezziwig’s! I was apprenticed here! Fezziwig: Yo, Ebenezer! Dick! Stop that working. It’s Christmas Eve!

[Christmas Revelers enter. There is dancing, with Fezziwig at the center. Great applause follows, and all lift their glasses.]

Dickens: Let’s join in the festivities as we sing to Mr. Fezziwig, “Master’s in the Hall.”

[Carolers can lead the audience in singing “Master’s in the Hall,” or the Revelers at Fezziwig’s can sing.]

Dickens: Scrooge couldn’t help but notice the joy his old master shared with all who surrounded him, as Mr. Fezziwig heartily bade all good night. Fezziwig: Merry Christmas, and a happy new year! Revelers: To one and all!

Script by Brian G. Eslinger A Christmas Carol 65 Past: Is something wrong? Scrooge: No, I just wish I could have a word with my clerk.

[The revelers disappear. Belle enters, and she and Young Ebenezer move to center stage.]

Scrooge: What is this spirit? Some years later, and that’s — that is Belle! Belle: Ebenezer? Both Scrooge and Young Ebenezer: Yes?

[The spirit places a hand on Scrooge’s arm and a finger to his own lips.]

Belle: I must release you; I fear another has replaced me in your heart. Ebenezer: What could have replaced you? Belle: Gold. Even though you have never sought release from our contract, your altered spirit tells me what is of value. I wish it were otherwise. And, so, for the love of who you once were, I release you. May you be happy in the life you have chosen!

[Belle exits quickly; Ebenezer follows slowly.]

Scrooge: Quickly, follow her. You fool! Don’t let her get away. . . . Spirit, please take me home. Haunt me no more! Past: I show only what has been and am not to blame. Scrooge: Leave me! Leave me!

66 A Christmas Carol Script by Brian G. Eslinger [The Ghost of Christmas Past disappears into the shadows. Scrooge falls exhausted onto the bed.]

Scene Three

[The clock bell chimes one o’clock. The lights come up on a splendid Ghost of Christmas Present.]

Dickens: Scrooge awoke with the clock tower’s bell, satisfied that no spirit had come to haunt him this night, when he saw a light glowing from his sitting room. Present: Come out of there, man, so that you might know me better! You have never seen the likes of me! Scrooge: No, I haven’t. Present: No, indeed. You’ve not chosen to walk with the younger members of my family. Scrooge: Spirit, conduct me where you will. I went forth last night and learned a lesson that is working now. I am ready to learn what you will teach. Present: Touch my robe. Dickens: The spirit conveyed Scrooge through the town and countryside. At a lonely lighthouse, the spirit shook a sprinkle from his torch, and the Christmas gaiety arose. With a dusting from his hand, the spirit lifted smiles on sailors at seas. Soon they found themselves in a poor neighborhood, but one not poor in Christmas cheer.

[They arrive at the Cratchit house. Mother, Martha, and the Twins are setting the table, and Peter is mashing potatoes.]

Script by Brian G. Eslinger A Christmas Carol 67 Scrooge: What poor house is this? Present: You do not know it? It is poor, but they have no need of sprinkles from my torch, for they keep Christmas’ spirit alive and well. Mother: What is keeping your father? And Tiny Tim? How could they be late for Christmas? Martha: They’ll be here soon. You know how Father loves to carry little Tim. Peter: He seems to walk even faster with Tim on his shoulder.

[Father enters, carrying Tiny Tim, who holds a crutch.]

Twins: Father, Father! Cratchit: Oh, look! Here’s my precious family, and even our Martha home from working in the city! Martha: My employer gave me the day so I could be home with you, mother and the family for Christmas! Cratchit: Our whole family together! We are blessed, aren’t we, Tim? Tiny Tim: Yes, Father, we are! Mother: Gather round before it’s cold! Scrooge: Spirit, tell me, will Tiny Tim live? Present: I see a vacant seat, if these shadows remain unaltered. What of it? If he’s likely to die, hadn’t he better do it and reduce the surplus population? [Scrooge hangs his head.] If you are not truly so wicked as your words, find who the surplus are and where they live. For it may be, in the sight of heaven, that you are less fit than a poor child. Cratchit: What a feast! I raise my glass to its provider, Mr. Scrooge! Mother: If he were here, I’d give him a piece of my mind to feast on! Cratchit: Dear, it’s Christmas! The children!

68 A Christmas Carol Script by Brian G. Eslinger Mother: All right. For your sake, and the day’s, I’ll drink his health. All Cratchits: Hear, hear. To Father, to Mother, to Martha! Cratchit: God bless us all! Tiny Tim: Everyone! All Cratchits: Hear, hear! Dickens: The two ghostly travelers took again to their road, and the spirit shook his torch on some carolers, bringing great cheer to their voices. Let’s join them in singing “God Rest Ye, Merry Gentlemen.”

[Carolers lead the audience in singing. At the end of the song, Fred, Fred’s Wife, and their Friend(s) are onstage with Scrooge and Christmas Present nearby.]

Dickens: Scrooge and the ghost came upon the scene of a pleasant party, at the home of his nephew, Fred, and Fred’s wife — of whom Scrooge had never approved because Fred had married her for love. The evening’s festivities lighted the room. Scrooge: A game! Oh, how I used to love to play games. Friend: That’s a wonderful one, Fred! Now I have one for you. Guess who I am now. [The Friend pantomimes Scrooge’s character.] Fred’s Wife: It’s a spider? Friend(s): A tiger? No, a ghost? A miser? Ohhhh, it’s Uncle Scrooge! Fred’s Wife: Well, I don’t have much time for him. Fred: I do! He’s given us plenty of merriment here tonight. And, by not coming, he’s the one who’s suffered the loss. And so I wish him a happy Christmas, wherever he is. Fred, Wife, and Friend(s): Happy Christmas, Uncle Scrooge!

Script by Brian G. Eslinger A Christmas Carol 69 [Fred, Fred’s Wife, and their Friend(s) exit merrily. Ignorance and Want appear with Christmas Present, somewhat hidden in the ghost’s skirts.]

Present: My time on the globe is brief. It is nearly midnight. Scrooge: Why, it is. Pardon me, spirit, but do I see a claw under your skirts? Present: Look. Here, where angels might have sat, are the children of humanity, Ignorance and Want. Beware them! Scrooge: Have they no home, no one to care for them? Present: Are there no workhouses?

[The clock bell chimes midnight. The Ghost of Christmas Present fades away as the Ghost of Christmas Future floats into view.]

Scrooge: Am I in the presence of the ghost of Christmas yet to come? [Christmas Future nods.] You are about to show me things that may happen? [Christmas Future nods.] Ghost of the future, I fear you more than any of the others. But I know you are here to do me good, so I will follow you. Will you not speak to me? [Pause.] Lead on, spirit.

[Buyers, Sellers, and Seller 1 enter the stage. Christmas Future points to Buyers and Sellers, who hold Scrooge’s clothes and belongings.]

Buyer: I don’t know. I just know he’s dead. Seller 1: What’s he done with his money? Buyer: Left it to his company, I suppose. It’ll be a cheap funeral, with nobody to go to it.

[Seller 2 enters with bed curtains.]

70 A Christmas Carol Scripts by Brian G. Eslinger Buyer: What have we here? His bed curtains? Did you take them down with him still lying there? Seller 2: Well, he won’t miss them. Besides, we need to look out for ourselves. He always did! Seller 1: Truer words were never spoken. That’ll be his judgment. Now, how much for this jacket?

[Christmas Future and Scrooge wander away. The scene changes to the Cratchits’ house.]

Scrooge: Spirit, tell me, who was this unfortunate to die unmourned?

[Christmas Future points toward the Cratchits’ house, where Martha and Mother Cratchit sit sewing and the Twins play quietly at their feet. Peter sits at the table, reading.]

Peter: “And he took a child and set him in the midst of them.” Martha: What is it, Mother? Mother: It’s just that the colors hurt my eyes. Shouldn’t your father be home? Peter: He walks much slower now. Mother: I have known him to walk very fast with Tiny Tim on his shoulder. Peter, Martha, Twins: And I. Martha: But he was very light to carry, and father did love him so. Oh, look. Here he is! Hello, Father.

[The Twins get up and hug Cratchit.]

Scripts by Brian G. Eslinger A Christmas Carol 71 Mother: You went today, Robert? Cratchit: Yes, dear. I wish you’d have come. It would have done you good to see how green it is there. But you’ll see it. I promised we would walk there on Sundays to see him. I saw Mr. Scrooge’s nephew today. He told me he was heartily sorry about our Tim. Mother: He’s a good soul. Cratchit: So was our Tim. And that’s how we’ll remember him, how kind he was. By not quarreling with each other, we’ll remember Tim and honor his memory.

[All Cratchits gather in a group hug.]

All: No, Father, we won’t argue! Cratchit: I am very happy, indeed!

[The Cratchits’ exit. Christmas Future points to a tombstone.]

Scrooge: What is this last vision you have for me? Is this the poor soul who died unloved? Before I draw nearer, tell me — are these things you’ve shown me what will be or what may be?

[Christmas Future points to the tombstone.]

72 A Christmas Carol Script by Brian G. Eslinger Scrooge: Spirit, I will change! I will honor Christmas in my heart and try to keep it throughout the year. I will not forget the lessons you have taught me! [Christmas Future disappears, and Scrooge hugs his bedpost.] All three spirits shall live within me, Jacob. Oh, my. My bed curtains — they aren’t torn down. The shadows of what might be will all be changed! I don’t know what to do; I’m as light as a feather! I don’t know what day it is!

[Scrooge goes to a window, where the Boy is passing by.]

Scrooge: Boy, what day is it? Boy: What day is it? It’s Christmas Day! Scrooge: Then I haven’t missed it. The spirits did it all in one night! Why not? They can do what they like. Boy, do you know the big turkey that’s for sale? Boy: The one as big as me? Scrooge: Go and buy it. Here. [Scrooge tosses coins.] Have it delivered to Bob Cratchit’s!

[Scrooge sees Fundraisers 1 and 2 pass below.]

Scrooge: Excuse me, gentlemen. I’m afraid I was a bit short with you the other day. I have a little something for you. [Scrooge hands Fundraisers 1 and 2 a bag of coins.] And that’s just for starters! Please come see me in my office tomorrow.

Fundraisers: Thank you, Mr. Scrooge! Merry Christmas. Scrooge: Merry Christmas to you!

[Scrooge disappears, and the scene changes to his Nephew’s party. All are laughing and talking at a table as Scrooge enters.]

Scripts by Brian G. Eslinger A Christmas Carol 73 Dickens: Scrooge returned home and dressed with a new gaiety in his step. Then he returned to the neighborhood he had visited the night before. A knock on the door brought a dumbfounded Fred to see who had come to call. Scrooge: Fred? Fred: Why, bless my soul! Who’s that? Scrooge: It is your uncle. I’ve come to dinner if you’ll let me.

[Scrooge is shown to the head of the table, and all make a Christmas toast. The scene changes to Scrooge’s countinghouse.]

Dickens: Scrooge enjoyed the wonderful party, wonderful games, wonderful unanimity, and wonderful happiness. But the next morning, he was at the office all the earlier, hoping he could catch Bob Cratchit arriving late!

[The clock chimes nine o’clock. Cratchit enters quickly and jumps on his stool.]

Scrooge: [Angrily:] What do you mean coming in here this time of day? Cratchit: Sorry, sir. I am a bit late. Scrooge: You are. Come this way, if you please. Cratchit: It’s only once a year, sir. I was making rather merry yesterday. Scrooge: I’ll not stand for this sort of thing any longer. Therefore, I’m going to raise your salary! And do what I can to help your family. A merry Christmas, Bob, my good fellow, and many more to come! Make up the fires, Bob, and buy another scuttle of coal!

[All the characters return to the stage — the ghosts by the bed.]

74 A Christmas Carol Script by Brian G. Eslinger Dickens: Scrooge was better than his word. He did it all, and more. To Tiny Tim, he was a second father. A better friend Bob Cratchit never knew, nor did the town know a kinder soul. Some laughed to see the change in him, and his own heart laughed with them. He saw no more spirits, and it was always said of him that he knew how to keep Christmas as well as any who possessed the knowledge. May it truly be said of us all! And as Tiny Tim observed: Tiny Tim: God bless us, everyone! All: God bless us, Every One!

Scripts by Brian G. Eslinger A Christmas Carol 75 76 A Christmas Carol Script by Brian G. Eslinger La Befana

Based on an Italian folktale, this play introduces the audience to a character who functions in Italy much like Santa Claus. This play has parts for all ages, and many crowd scenes allow for a number of players. The staging can be kept simple, with costumes adding a great deal of glitter to the show. The parade near the end of the play can be an opportunity for the choir to sing and for players to show off their musical talents.

Characters

Narrators (adapt names to genders of narrators): Sue Beth Befana Befana’s Husband Befana’s Children Neighbor Village Children (adapt names to the actors chosen for the roles): Julia Rosa Anna Michael Lena Three Wise Ones: Balthazar Melchior Caspar Villagers (including Village Children and other voices)

Scripts by Brian G. Eslinger La Befana 77 Settings & props

• A room with a Christmas tree featuring a Befana ornament. • Befana’s cottage, including a large rug, benches, and a small table. Homey props, such as mixing bowls, brooms, and a rocking chair can create a lived-in look.

[Beth and Sue sit by the Christmas tree.]

Beth: Hey, why is there a witch on the Christmas tree? Sue: It’s not really a witch. Beth: Well, it sure looks like one. Sue: You should know that things aren’t always as they seem — especially at Christmas time. Beth: OK, enough with the hints. If she’s not a witch, then who is she? Sue: She’s the Santa Claus of Italy. Beth: Now I know you’re pulling my leg. Sue: Come here and sit down, and I’ll tell you her story. Long ago, there lived a woman named Befana. She lived with her children.

[Befana’s Children enter the cottage, where Befana waits.]

Befana’s Children: Mama, mama! Befana: Hello, children. I have baked some fresh cookies for you. Here, sit and eat.

[Befana’s Husband enters the cottage.]

78 La Befana Script by Brian G. Eslinger Beth: Is that her husband? Husband: Hello, Befana. Can I help you with the sweeping? Befana: No, no, you sit down and have a cookie with the children. Tell them a story, and I will listen. Sue: Together, Befana and her family had a very happy home. She kept busy all day playing with the children and their friends, cooking and cleaning and working in her garden. Then, one day, her children were all grown up. Befana’s Children: Goodbye, Mama; goodbye, Papa! [Befana’s Children leave.] Befana: Oh, they grow up so fast! Husband: Yes, they certainly do! Beth: Even with her children gone, Befana kept cooking and cleaning and working in her garden. It helped her to keep busy. Many years went by, and then one day her husband died. [Husband leaves.] Befana missed him very much, so she covered her sadness by cooking and cleaning all the more. She never went anywhere.

[Neighbor and Village Children enter.]

Neighbor: Befana, please come to our house for dinner tonight. Befana: I can’t. I am far too busy. Look at all this mess! Neighbor: What mess? You have the cleanest house in the entire village. Befana: No. No. Thank you, but I have too much to do. Anna: Befana, please can you come out and play? My friends and I have a new game we’d like to show you. Befana: No, no. I am far too busy — so much to do.

Scripts by Brian G. Eslinger La Befana 79 [The Neighbor and the Village Children walk away.]

Village children: Awwww! Sue: After years passed, people forgot how kindly and friendly Befana was and began to be frightened of the old woman who lived by herself.

[The Neighbor speaks to Julia and Lena while walking past Befana’s house.]

Neighbor: If you’re not good, I’ll leave you here with La Befana! Julia: Not that! Lena: Anything but that! Beth: That wasn’t very nice! Sue: No. The children stopped asking her to play, and instead …

[Michael, Anna, and Rosa walk near Befana’s house.]

Michael: I dare you to go knock on the door of the old witch. Anna: Oh, yeah? Well, I double-dare you. Rosa: Yeah? Well, I double-dog-dare you! Befana: What are you children doing there? Michael, Anna, Rosa: AAAAAA! Run away! Befana: Why do they bother me when I have so much work to do?

[Three Wise Ones come wandering by.]

80 La Befana Script by Brian G. Eslinger Balthazar: Are you sure the star pointed to the right at Damascus? Melchior: Let me see that star chart! Caspar: Well, it won’t help much during the daylight, since the comet we’ve been following isn’t on the charts! Balthazar: Let’s ask this kindly-looking woman if she saw the star we’ve been following. Melchior & Caspar: Good idea! Balthazar: Excuse me, kind woman, but did you happen to see a very bright star in the sky last night with a long golden tail behind it? Befana: What, you mean the comet? Wise Ones: Yes! Yes, that’s the one! Befana: No, can’t say as I did. I’ve been terribly busy, what with the cleaning and the cooking. Wise Ones: [Crestfallen:] Darn! Befana: But, if you’d like to stay here until after nightfall, my little house is far enough from the village that I have an excellent view of the night sky. Of course, you’re very welcome to have supper with me before your stargazing. Melchior: Why, that sounds splendid! Balthazar: Yes, we’ve been eating over a campfire long enough. Caspar: A hot meal certainly sounds inviting! Befana: My name is Befana, and you are … ? Balthazar: Balthazar. Melchior: Melchior. Caspar: Caspar.

Scripts by Brian G. Eslinger La Befana 81 [A crowd forms around the Wise Ones, including Julia, Lena, Rosa, the Neighbor, Anna, and Michael.]

Julia: Where are you from? Balthazar: We are magi from Persia. Julia: Magi? What’s a magi? Caspar: We are priests in our home in Persia. Lena: So, why were you following a star? Melchior: We also watch the sky for signs of important events. Caspar: And our eyes fell upon this majestic sight, a comet that heralds the coming of a king. So I bring him a gift of gold as a symbol of his royalty. Rosa: A king? But we’ve seen plenty of kings. Neighbor: And a lot of good they’ve ever done us! Balthazar: But this babe is not just a king. He is also a peacemaker, so I bring him frankincense, in hope that he will be strong enough to realize such peace. Anna: Peace would be wonderful! Imagine living without war for a change! Michael: Yes, but so many have been hurt. Can a peacemaker help them? Melchior: His love has the possibility of healing the world, so I bring him myrrh, a healing ointment. Rosa: How could one person do all this? One little baby, you say? Balthazar: Things aren’t always as they seem. He comes to show the way for all people to live, with love and kindness toward one another. He can’t do it alone. Melchior: That’s why we go as witness to his birth. All people must also want to bring peace to the world, or his miracle cannot be completed.

82 La Befana Script by Brian G. Eslinger Anna: Can we go with you? Neighbor: I’d like to see this miracle, too. Rosa: Me, too! Michael: So would I. Julia: Please? Can we please go, too? Caspar: I don’t see why not. Meet us here in the morning, and we’ll form a grand parade to follow the star!

[Crowd cheers and wanders off to change into their finery.]

Befana: We’d better get that supper eaten before it gets too dark.

[The Wise Ones and Befana go into her house and come back out. Lights dim, and one light shines in the east.]

Balthazar: There is our star. Melchior: Yes, there — heading to the southeast. Caspar: I told you we should have turned left at Damascus! Balthazar: Yes, yes. Well, we’ll be able to find our way tomorrow. Shall we set up camp? Befana: Please, be my guests for the evening. Balthazar: We couldn’t impose further on your kindness! Caspar: Certainly not! You’ve already done so much for us, three strangers who landed on your door. Befana: I have done nothing more than should be expected of any person. The kindness we show strangers is nothing more that we’d expect were we in the same position.

Scripts by Brian G. Eslinger La Befana 83 Melchior: Thank you, Befana. I would love to sleep under a roof for a change.

[The Wise Ones and Befana go inside. The lights come up, and the Wise Ones come onto the stage ready to travel. Befana is behind them, sweeping.]

Melchior: Befana, are you sure you won’t reconsider and join us? Befana: Oh, I couldn’t. So much to do! All this cleaning. Balthazar: But, Befana, you of all people should have a chance to see this miracle. Befana: No, no. Oh, look! Here come the villagers to travel with you.

[Villagers enter in party-colored clothes, singing joyously. They can also play musical instruments and move as if they are in a parade.]

Wise Ones: Are you sure, Befana? Please come. Villagers: Come on, Befana. Please come! Befana: No. Now go on with you before you lose your way again!

[All except Befana exit.]

Befana: All this fuss over a baby. One little child to do all that — that would be a miracle! Something to see, certainly. But, no, I’ve got to … . Well, why not? I could go along, and the dust will still be here for me to sweep when I come back. [Yelling after the Wise Ones:] Wait, wait. I’ll be right with you! First I have to bake some cookies, and at least finish sweeping the stoop, and maybe a cake or two. Oh, wait. I’ll be there in a minute! [To herself:] I don’t think they can hear me. I’d better get to work.

84 La Befana Script by Brian G. Eslinger Sue: Befana baked and baked, always thinking she needed just a dozen more cookies or a chocolate cake to go with the angel-food one. She baked for days, then loaded it all up. Befana: Just a last sweep of the walk and — oh, I’d better hurry! Wait, wait! Beth: Befana chased after the kings for days but couldn’t catch them. She ran so fast, dragging her broom behind her, that she began to fly through the air. Unable to find the kings, she wanted to make sure she didn’t miss the special child.

[While Befana is helped to ”fly,“ two children move onto the stage, lying down with pillows and blankets.]

Sue: So Befana would stop at every house and leave a gift for the children there, just in case. Befana: Each one of these little ones is precious. Here’s your cookie, little one! Sleep well. Sue: To this day, Befana continues to leave a gift for every child. Beth: So those apples and oranges we get in our stockings each Christmas are really a reminder that we’re all special? Sue: Yes. Beth: Even me? Sue: Yes, even you. Like I said, things aren’t always as they seem, especially at Christmas!

Scripts by Brian G. Eslinger La Befana 85 86 La Befana Script by Brian G. Eslinger Permissions

The author grants permission for a single nonprofit entity to make 20 copies of each script, or enough for that organization to stage each play. Commercial use is prohibited. The author grants permission to make minor alterations to the scripts to suit the cast. Such alterations are limited to changing the gender of characters; changing the number of narrators or the number of characters in group roles; and redistributing lines to accommodate the number of characters or their abilities. For more substantial changes, please contact the publisher. For ease of printing and making minor script alterations, electronic copies of the scripts are available for download at www.uufames.org/winterplay. For ease of photocopying, this print edition is delivered binder-ready for storage in three-ring binders. In printed or electronic playbills, orders of service, programs, posters, or other publicity, please credit the author by noting that the play was “adapted by Brian G. Eslinger”

or, in the case of The Scottish Shepherd’s Story, “written by Brian G. Eslinger.”

Songs and other elements It is your responsibility to obtain permissions and comply with all copyright laws for any songs, poems, readings, or other elements you include in your events. Many carols have passed into the public domain, and suggestions in these scripts include many songs with versions for which copyright protection appears to have expired. Some suggested songs carry active copyright protection. Greenman Publishing and the author make no claim, express or implied, about what permissions might be required for a given program element.

Winter Play 87 Notes

88 Winter Play