318
/v' /S
CINDY'S FELLER: AN ADAPTATION OF CINDERELLA
THESIS
Presented to the Graduate Council of the North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF ARTS
By
Mary E. Starcher Denton, Texas
May, 1985 Starcher, Mary E., Cindy's Feller: An Adaptation of Cinderella. Master of Arts (Drama), May, 1985, 151 pp., 2 tables, 1 illustration, bibliography, 8 titles.
The problem with which this thesis is concerned is that of writing and directing an adaptation of the classic fairy tale, Cinderella. This study is a culmination of research on children's theatre, and the writing and producing of children's plays. The research led to the writing of the first draft of Cindy's Feller, an adaptation of Cinderella, beginning with a scenario which utilized a country-western theme. Upon completion of the first draft, the play was produced at North Texas State University during the summer of 1981. Stage directions of the play, a director's log of daily rehearsals, and an evaluation of the final productions were recorded to provide a stimulus for the writing of a final draft of Cindy's Feller and the preparation of this thesis. Copyright by Mary E. Starcher 1985 TABLE OF CONTENTS
Page LIST OF TABLES......
LIST OF -ILLUSTRATIONS...... Chapter
I. INTRODUCTION,...a.0...... i
Survey of Children's Theatre Producing a Children's Play Writing a Children's Play Purpose Definitions Methodology
II. ORIGINAL SCRIPT AND PRODUCTION NOTES OF CINDY'S FELLER..-.-...... -...... *. . .. 25 Scenario Cindy's Feller Costume List Prop List
III. DIRECTOR'S LOG AND EVALUATION...... 62 Script Staging and Blocking Scenery and Properties Lighting Costumes
IV. FINAL SCRIPT OF CINDY'S FELLER...... 0...... 93 V. CONCLUSION...... -...-...... 126
APPENDIX...... -.-.....-...-.....-.-.-...... 129 BIBLIOGRAPHY...... a...- ...-- ..-- ...... 151 LIST OF TABLES
Table Page I. Survey of Proposed Adaptation of Cinderella Classified According to Age Level...... 2
II. Sample of Survey Form for Children's Evaluation of Cindy's Feller ...... 92
i LIST OF ILLUSTRATIONS
Figure Page 1. Flow Chart of Cindy's Feller...... *....23
ii CHAPTER I
INTRODUCT ION
The challenge of writing a children's play has excited many people in the field of theatre. Those who choose to
write for children enter an exciting world of fun and fantasy
that may provide children with new but relevant discoveries
and experiences that enlarge their view of the world around
them. Often this child's view has rekindled the imagination
of a playwright who has become jaded by too-factual of an adult environment.
The opportunity for the author of this thesis to write a play for children occurred during the New Play Workshop at North Texas State University in the summer of 1981. Being a graduate student and having studied and directed children's
theatre, the author was asked to direct the play Cinderella
for the first production in the workshop. After reading
several adaptations of the fairy-tale, the author began to
consider the idea of a new version. The conception of adapting
Cinderella to a country-western theme developed from the author's study of children's theatre and her exploration of the new concept in her imagination. Having been an instructor of creative dramatics in the public schools, the author had a strong interest in the field of theatre for children, not
1 2 only from the standpoint of teaching a child to open his mind to the world of theatre and its value in his life but also that of stimulating the teacher's creativity.
Several country-western songs were chosen at the outset, and a scenario was prepared. After writing the scenario, the author surveyed eleven-through-fourteen-year-old students at
Bowman Middle School in Plano, Texas, to determine how many of the students felt the adaptation would be worthy of an audience of children. This age range was chosen because it included an appreciation of children's stories, and the ability to make a decision about a story's value. The students were given a brief oral description of the scenario and then were asked to give a negative or a positive response about their impressions of the revised theme of the fairy-tale.
The results supported the author's concept.
TABLE I
SURVEY OF PROPOSED ADAPTATION OF CINDERELLA
CLASSIFIED ACCORDING TO AGE LEVELS
AGE YES NO 11 97% 3%
12 98% 2% 13 97% 3% 14 100% 0% 3
Table I indicates that students were motivated toward children's theatre. The majority of the students who were surveyed attributed their positive answer to the fact that they would have liked to see the story, Cinderella, performed in the Texas style, or they just enjoyed attending plays. "The worker in children's theatre has been in a position to influence the young and to generate in them a love of theatre
and of the arts in general. Children's theatre has become an important field, and a worthy outlet for theatrical talent."1
After the survey was completed, the writer continued with further research on the subject of children's plays. This research was focused on children's theatre in general and the opinions of experts in the field in particular. "Expert" meant someone who had written or directed plays for children.
The ideas and opinions which were examined during the research stimulated the author's imagination, and she began to develop the first draft of the play. Realizing from the research that action rather than words played an important role in holding the interest of a child audience, the author had to imagine how each scene would tell the story through gestures, movement, and facial expression, as well as through dialogue. From the beginning however, the author wanted a
. Oscar G. Brockett, Theatre and Introduction (Holt, Rinehart and Winston, Inc., 1974), p._626. 4
narrator who would tell the story to the young audience.
even though the use of a Willie Nelson character as a story teller contradicted the principle of "less dialogue-more
action". To play it safe, the author limited the narration
to short but colorful passages. The speeches and particularly
the character of the narrator had to be clearly defined
enough for the children to identify with him. Since the
play was an adaptation of a famous children's story, the other characters in the play had already been established in
the children's mind, and their dialogue flowed freely even
though the author utilized a Texas dialect. As the adaptation
was developed, the addition of a villainous character created
a new conflict within the original plot. Here the author
was taking a chance since children often have rebuked any
change in a familiar story. Yet the addition of the evil
character brought more action to the play and created even
more empathy for Cindy than the original story had had.
Survey of Children's Theatre
Children's theatre so-called has been in existence at least since the sixteenth century when Madame Stephanie de
Genlis was writing and producing moralistic plays with and
for children of the French aristocracy.2 Yet, children's theatre seems to have had continuity over the centuries until
2Ioses Goldberg, Children's Theatre, A Philosophy and a Method (Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1974), p. 62. 5
about fifty years ago when the Soviet Union, sensing an
advantage in producing theatre for their children in order to indoctrinate them, made theatre an important part of their education. The success of children's theatre in Russia led all the Socialist nations to develop children's theatre either of their own devising or under Soviet guidance.) Because of the influence and success of children's theatre in Russia and the other socialist nations, theatre for the young began to spread into the western world. Yet children's theatre met with little success in the United States. Children's theatre had been introduced to America in 1903 at the Children's Educational Theatre in New York and expanded into other settle ment houses. These programs failed because of lack of theatrical interest
This disinterest in children's theatre continued until the youth of America rebelled against "The Establishment". Adults in the United States had become increasingly concerned about the role of children and young people within the con ventional patterns of their country. Parents, educators, psychologists, and even politicians had focused their atten tion on their children. Experience of theatre could provide a kind of excitement which demanded a constant intellectual, physical, imaginative, and emotional growth, and the part of society which had recognized the advantages of theatre in the
3Goldberg, Children's Theatre, P. 73. 4 Goldberg, Children's Theatre, p. 74. 6
personal growth and aesthetic growth of all young people supported children's theatre to its highest potential.5
Parents and concerned members of the community supported
Junior League groups and brought into the community touring
companies of children's theatre. Summer programs of children's
theatre extended into the parks and the recreation curriculum,
and many community theatres supported theatre workshops for children.
The children's theatre is a theatre where no distinction is made on the basis of economic class, race, sex, religion, or national origin; it is attended by a complete cross section of the population. This theatre brings joy to its audience and also helps them to become better human beings. And it does all this with only a fraction of the critical notice, financial outlay, or community support commanded by the more famous American theatres. The children's theatre is a theatre with little prestige, few artists, and not much dramatic literature. Yet it has the potential of reaching 100 per cent of the population and becoming the6 foundation of a new American theatre tradition.
Educators demonstrated a positive concern for youth
when they recognized the benefits, not only of attending
plays performed by adults, but also by teaching creative dramatics within their own schools. Within the last few years, the State of Texas curriculum for the middle school came to include creative dramatics for every sixth grade student.
Creative drama has been seen to help children gain mastery
Richard C. Johnson, The Theatre Student, Producing Plays for Children (Richards Rosen Press, Inc., New York City, New York, 1971), pp. 21-25.
6 Goldberg, Children's Theatre, p. 3. 7
over their intellectual and linguistic powers. Dramatic
play can enable them to develop the ability to use words effectively and flexibly in ordinary conversation and simul taneously allow them to express and affirm their perception of reality and the world around them. 7 "Drama can aid a child's development by heping him use his mind; understand and control his feelings; build a sound body; work with others; acquire a sense of values."8 The teaching of creative dramatics in our public schools has opened the minds of children to the world of theatre and its value in their lives.
Not only has there been an increase in promoting theatre for the young in the public school system, but several uni versities have provided performances for elementary, middle, and high schools within their communities and also have had public performances. Such companies have been composed of Equity actors/teachers, of graduate students on acting fellow ships, or of advanced students paid to tour a specific play, or, perhaps, have produced a summer season.9
Children's theatre production/training is only aspect one of the new role which the university will playing, be but it is a sign of the field's new accept ance that many of the university professional programs do include theatrical activities for children, and
7Betty Lowndes, Movement and Creative Drama for Children (Plays, Inc., Boston, Massachusetts, 1971, p. 13. 8Maxine McSweeny, Creative Children's Theatre (A. Barnes and Co., S. Inc., Cranbury, New Jersey, 1974), p. 626. 9 Goldberg, Children's Theatre, p. 50. 8
nearly all offer special programs for youth of high school age. As an added benefit, the inclusion of children's theatre in these academic professional companies is helping to dispel the old image of children's theatre 1 a social welfare activity for amateur performers.
Through community efforts, educators' dedication, and
universities expertise and enthusiasm, children's theatre
in America has continued to grow and will eventually become acknowledged as professional theatre at its finest.
Producing a Children's Play
When a theatre group produces a children's play, it
acknowledges that "high standards" are required in children's
theatre, as well as, that of adult theatre. To be successful with a play for the young, respect for the young audience is an essential element. Stanislavski has been quoted as saying,
"It is necessary to act for children as well as for adults, 1 1 only better." These high standards demanded by a children's
audience have to be developed by a creative director, an imaginative technical director, and an educated cast.
The creative director applies his expertise by developing believable events. In directing the actors, the director
encourages each actor and actress to bring forth believability in the characters they have portrayed. When a child envelopes himself in the action and characters in a play, he models himself after one or more of the characters. The responsibility
1 0 Goldberg, Children's Theatre, p. 51. 11 Goldberg, Children's Theatre, p. 23. 9
of the director and actors lies in highlighting model char acters with which the children have been able to identify. Children cannot identify with what they have not even noticed. 1 2 An excellent example of a director and actors supplying model characters for a youthful audience was at the University of Texas in Austin, Texas, when Phantom of the Opera was per
formed for children. The characters in the play delineated humorous or sympathetic roles with which the children could easily identify. When the phantom revealed his gruesome face, screams, giggles, and gasps immediately arose from the audience. At the end of the play, when the police had shot the phantom, applause and cheers came from the children. The play was a success because the character development was believable to the young audience.
Along with believability of the characters, movements on stage, interpretation of lines, and decor have to be clearly defined for the youthful audience. Subtleties in movement and interpretation often have intrigued an adult audience, but have been totally lost by an audience of children. Unless the intent of the director has been for an action to be lost in order to de-emphasize the moment in the mind of the child, the actor's responsibility lies in portraying a true understanding of his character to his audience.
If both the actors and directors recognize that beneath the surface of exaggerated onstage
12 Goldberg, Children's Theatre, p. 94. 10
behaviors there must be a core of truth----no less valid then the truths that govern behavior of life itself, the result will be a viable and exciting experience for the performs and aud ience and for the director as well. Children coming to the theatre expect to absorb the majority of the play through visual excitment. The techni cal director creates this excitement through pictures which have thus created a sense of reality to the audience. The lively imaginations that have served children so well as they have read or listened to a storyteller will be even more stimulated in the theatre. Design has to be colorful and style consistent. 1 The designer cannot create too much realism on the set because the children need a strong element of suggestion to stimulate their imagination. Since a child has a limited attention span, colorful costumes, exaggerated properties, brightly colored screens, boxes, or blocks must be utilized in order to lend toward a greater response to the action of the play. In designing the set, the technical director needs to draw a perspective or a model in full color and with all props shown in place. It is difficult to visu alize a complete and painted setting from a floor plan.1 5 Children love special effects and magical transformations such as flying objects or characters, and equally important, sound effects and music provide a child with another interest
1 3 Johnson, The Theatre Student, p. 64. 14Johnson The Theatre Student, p. 66. 15 Johnson, The Theatre Student, p. 69. 11
for his limited attention span. Variety is the key word in all children's productions. If the suggestive set contains color, consistency, and imagination, and the lighting, music and action provide variety throughout the play, the production for a children's audience will be successful. A problem which has existed in children's theatre has been the actor's response to an audience of children. Some times it is difficult to understand an actor's shyness toward children. Partly this shyness may stem from a valid fear of the child's intensity and commitment. As one actor voiced ,16 it, "Children gobble up actors." Much of the fear within the actor maybe attributed to sheer ignorance of children, and a limited knowledge of children's plays. The actor in a children's play must understand his responsibilities toward his unique audience. He must learn that when an audience of children becomes displeased with a production, the play has been destroyed. Once the actor has lost his audience, he has lost it for the entire production, and the noise the actor hears from the audience is not a positive response. Children are not as patient as their elders and easily show their impatience through becoming restless and disruptive during a production where their full attention has not been held. It is absolutely essential for the actor to be able to convince the audience that he believes in the truth of what he is doing.1 7
1 6Goldberg, Children's Theatre, p. 155. 1 7 Goldberg, Children's Theatre, p. 156. 12
The most frequent criticism of the actor of children's
theatre has been that they have a tendency to "play down" to a youthful audience. Children easily recognize an actor who belittles them as an audience by over-simplifying his role. The actor should never assume his audience is ignorant just because they are children. Because children have an uncanny way of revealing the truth about an actor's performance, all actors should have respect for their audience's honesty. This honesty in children, on the other hand, is a real "plus" for the actor. When the actor is at his very best, and the play is enjoyed by all, the actor certainly recognizes his success. When the actor has educated himself to the ways of children and has made the character he has portrayed believable, he will find a most pleasant and rewarding experience in children's theatre.
Writing a Children's Play
The process for writing an adaptation of a children's play has many of the same elements as any other playwriting process, though the adaptation must remain faithful to the spirit and factual truth of the original plot.18 For young playwrights, the writing of an adaptation has been helpful in producing a first rate play, and for the experienced writer, it has led him to produce a carefully-wrought work.1 9 In the
18 Sam Smiley, Playwriting,_The Structure of Action (Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1971), p. 15. ig9Ibid. 13
writing of an adaptation of a children's story, the author has activated the children's imaginations through the plot, and characters within the plot with which the children have been able to identify clearly. She has been able to do so by adapting a familiar children's story into play form. If this play is entertaining, children will enter the theatre with one thought in mind---to have fun. Though not expecting to learn anything, through their identification with certain characters, they probably will. Children become more involved with plays that hold some relevance to them, and they appre ciate plays with familiar subject matter.
The playwright should find a way to make all the devices necessary to the play's development self explanatory. This isn't as difficult as it seems, since children do not have to unlearn conflicting conceptions of theatrical conventionality, but it does mean that -the play must not rely on outside information---it must stand on 6s own and be relevant to the world of today.
In writing any play, the writer must have a compulsion to write. This compulsion has been defined as the artist's inner drive, his power of volition.21 Even though a writer may have had this inner drive, the selection of material for a children's play has challenged the best playwrights. The playwright first of all should write for himself---letting the material and treatment dictate the audience. The director then has the responsibility of interpreting the play and
2 0Goldberg, Children's Theatre, p. 131. 2 1 S Smiley, Pl~aywrii p. 18. 14
deciding whether the play is suitable for children.22 Such a play usually is based on a feeling rather than an idea. "This feeling has developed from creative compulsion."2 3 If a writer chooses to adapt a children's story, the compulsion to create new themes and language provides his inner drive to produce a successful play. "Adaptations have been a re warding experience so long as the dramatist has not felt fettered by the original."124 Knowing children and what they have enjoyed will help the playwright create exciting children's theatre. Children love seeing adult characters revert to childlike actions, and they take much pleasure in seeing the antagonist defeated; young lovers are exceptionally beautiful to them. Following a creative compulsion, the writer develops a germinal idea.2 5 With an adaptation, the germinal idea may be provided through creating a new theme or language for the original story. In the writing of Cindy's Feller the germi nal idea consisted of a country-western theme utilizing existing country-western songs, and the introduction of the air of melodrama within the original script. The germinal idea then developed into the collection. A typical collection includes such items as these: "a cast of potential characters with
22 Goldberg, Children's Theatre, p. 123. 23 Smiley, Playwriting, p. 21. 24 Ibid., p. 15.
25 Smiley, Pyri, p. 21. 15
qualifying traits, a description of place and time, a brief
sketch of relationships, a mass of miscellaneous notes, and a statement about the organizational form of the play.,,26
An adaptation of a story already contains some of the collection provided by the original script. In the case of Cindy's Feller, most of the characters and their qualifying traits had already been provided. By giving the story a country-western theme, the only change the author had to
make in their characters was to give them a Texas accent. Their basic personality traits remained the same. The addi tion of a jealous lover who had a conflict with the protagonist needed to be added to the collection. Updating the original
script provided a change in place and time, but the relation
ship of the characters remained the same with the exception of the jealous lover. The only notes which needed to be written were those of the change in place and time, language of the characters, and the addition of a new character within the original plot. The organizational form of an adapted play had been provided by the original story.
In writing an adaptation of a children's story, the next process was to develop a scenario. A scenario consisting of the following elements served as a guide for the author. 1. Title 2. Circumstances: A prose statement of time and place,
as these are to appear in the script.
Smiley, Playwritin, p. 25. 16
3. Characters: Descriptions of every major and minor character in as much detail as appropriate, using outline form to cover the six character traits for each. 4. Narrative: A prose narration of the play scene-by scene, concentrating on plot and story, brief yet admitting all necessities. 5. Working outline: A detailed outline of the play, beat-by-beat.27
In the writing of Cindy's Feller, the scenario was devel oped from the original story and because of the time element before the play had to go into production, the writer used the basic story for the detail. The more detail a writer has packed into the scenario--on paper--the more chance the play has of being good. It can save months of revisions.28 The writer of Cindy's Feller has found this to be true when she had to make several revisions after the two productions. The first draft of Cindy's Feller was commenced at the completion of the scenario. Using the scenario as a guide, the author was able to create the dialogue and the stage directions easily and to develop the play smoothly. The first draft of Cindy's Feller was utilized for the production at North Texas State University. Although revisions were made
27 Smiley, Playwriting, p. 26. 28Smiley Playwriting, p. 27. 17
in the script, the first draft, other than a lack of stage directions, worked well. "The first draft of a play becomes the most important draft. If the first draft has been poorly written, it means that the scenario was badly conceived or that the author failed to concentrate while drafting., 2 9 Because children's theatre requires more action than dialogue, the playwright has to limit the amount of dialogue and long wordy monologues within the play. Many playwrights have used a beat-by-beat scenario to produce the dialogue for a drama, comedy, or other genre of plays.30 However, a children's play has to be limited in dialogue, and the beats also have to be incorporated within the stage directions of the play as well as the dialogue. Rewriting occurred even during the first production, and many additions and changes were made as the play was rehearsed. Much of the change came in the addition of stage directions and technical clarification. Through research the writer, now the director, had gained an awareness of the importance of utilizing colorful scenery, properties, and costumes in a children's production. The first draft of the play contained a limited description of these aspects, and details were added as the production was developed. Line changes also were made, and some of the actors contributed to some of the dialogue
2 9 Smiley, Playwriting, p. 28.
30 Smiley, ,lyriting, p. 27. 18
modifications. The most significant change in the script, however, was in the stage directions with the addition of pantomime during the narration and the songs. The pantomime supplied the necessary action which captivated the children's audience. The director was able to add the pantomime without indicating specific directions within the script because the writer and director were the same person. Yet the author realized that more specific directions were necessary to add to the final script, not only for another director, but for the actors as well. Throughout the rehearsals many of the actors were confused because of the lack of stage directions; they had to depend entirely on the director for directions which should have been clarified in the script. After the successful production of Cindy's Feller at North Texas State University, the writer continued to make necessary changes in the script, and the second draft of the script began to take form. After finishing the revision and having accepted a teaching position in theatre at the high school level, the writer produced Cindy's Feller at R. C. Clark High School in Plano, Texas. With the modifications in the script that resulted from the first production at North Texas State University, the rehearsals for the high school production ran smoothly; now the script gave the actors a foundation from which to work. Although the script provided more direction for both director and actors, the director again visualized 19
necessary changes from the second production and made note of the changes for the final copy of the script.
The experience of being able to direct one's own play
certainly had its advantages for the writer of Cindy's Feller.
Being able to create imaginatively through observing, directing,
and supplying needed dialogue, stage directions, and technical production as the rehearsals progressed allowed the writer to produce a more perfected final script of the adaptation.
Purpose
The purpose of this study was to write and then direct
an original dramatization of the Grimm's fairy-tale, Cinderella, in a contempory style utilizing a Texas country-western theme.
The play that resulted was produced in the 1981 summer program
at North Texas State University. Emphasis was placed on the
revisions of the play using the direction, set design, and
visual effects suitable for children's theatre as a tool to
establish a well-defined children's play for future performances.
Definitions
The term Children's Theatre, as used in this thesis, refers to adult actors performing children's plays for a young audience rather that the children themselves performing.
Creative drama utilizes the children in imaginative "theatre games" in order to stimulate their intellect and linguistic powers. Creative dramatics provides a background for the young, and helps them be an appreciative audience of children's 20
theatre. Many children's plays have provided a theme of good over evil; such works have been known since the sixteenth century as moralistic plays. In the writing of children's plays, the first step is the inner readiness of the playwright, a rising creative compulsion.31 The germinal idea then becomes the basic idea for writing a play. It has been conceived in the writer's mind, but it has been referred to as germinal because nothing in the idea has been developed, and yet it has the potential for a total 32 drama. The collection is then formalized from
the germinal idea; it becomes the development of the germinal idea. The scenario then becomes the stage of organizing the materials gathered from the collection in preparation of the first draft which includes the dialogue, what the actor says, and the stage directions, the actions of each character within the play. After the first draft, revisions are made. Revisions are the changes made in the dialogue and the stage directions of the first draft of a written play. The final draft is written after all the revisions have been made and the play has been produced. The production of a play is classified as the staging of the dramatic literature, including the technical aspects involving the lighting, scenery, properties, and costumes of the play. The lighting creates the mood of the play using
3 lSmiley, Playwriting, p. 21. 3 2 Ibid. 21
various lighting techniques, the scenery establishes the illusion of the setting, and the properties are the large and small items such as furniture, boxes and, also, small objects which the actor utilizes to create realism on stage. The costumes establish the time and theme of the play through dress and accessories in dress.
Methodology In the preparation of this thesis, the author first performed the necessary research into the history of children's theatre, and the writing and producing of children's plays. Then the play script was written. The first draft of the script was still being written as the first production was getting under way.
This production of the first draft took place at North Texas State University. First a flow chart of the production was established (see p. 23), and then a rehearsal schedule was prepared for the actors and technical crew. This schedule was distributed at the end of auditions.
REHEARSAL SCHEDULE FOR CINDY'S FELLER June 3 - 3:00 - 3:30-...... read through 3:30 - 5:00...... Block 1-4 - run 1-4 June 4 - 2:30 3:00...... Recording - session 3:00 - 5:00...... Block 4-9 - run 1-9
IJune 5 - 2:30 - 3:00...... Recording session
3:00 - 5:00-...... Polish 1-9 22
8 June 2:30 - 3:00------...... Recording session
3:00 - 5:00...... Block 9-13 - run 9-13
June 9 2:30 - 3:00------...... Recording session
3:00 - 5:00...... Run 9-13 - polish 1-13 June 10- 2:30 - 3:00...... Recording session 3:00 - 5:00...... Block 13-16 - run 13-16 June 11 2:30 - 5:00...... Block in songs June 12- 2:30 - 5:00...... Choreograph
Cotten-Eyed-Joe
June 15- 2:30 - 5:00-1 ..... Choreograph
Cherokee Fiddler June 16- 2:30 - 5:00...... Run through entire
show with props. June 17- 2:30 - 5:00...... Run through entire
show with props and lights.
June 18- 2:30 - 5:00...... Dress rehearsal
June 19- 2:30 - 5:00...... Dress rehearsal
Performances: June 20 - 10:00 A.M. and 2:00 P.M.
June 27 - 10:00 A.M. and 2:00 P.M.
July 11 - 10:00 A.M. and 2:00 P.M.
July 18 - 10:00 A.M. and 2:00 P.M. Added rehearsals may be necessary and will be announced later. During the rehearsals, the author recorded discussion sessions of the cast and crew, and made notes of individual conferences which would be included within the thesis as 23 coa 00 CHEaCC H(1) prd a)+'-c w ! 0 ::5o coJo
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H -P l 0 Ca) co0 rd rd 0 Z 4 -H P- o 24 revisions in the script or the evaluation of the script and the production of Cindy's Feller. Chapter II will present the original script and the notes from the first production; Chapter III, the director's log and evaluation of the production. Chapter IV will be the final script of the play, and Chapter V will be the conclusion of the thesis. CHAPTER II
ORIGINAL SCRIPT AND PRODUCTION NOTES OF CINDY'S FELLER
The original adaptation of the classic fairy-tale of Cinderella into a country-western theme developed from a review of other adaptations of the story. The author of Cindy's Feller carefully studied the other adaptations, and the study clearly projected in the author's mind a new refreshing approach to the text. The following has been written as the original script of the new adaptation with production notes, stage directions, and modifications of the script which was produced at North Texas Stage University.
SCENARIO Characters:
NARRATOR: (Willie Nelson image) CINDY: (Cinderella image) LINDY LOU: (Step-sister)
SASSY SUE: (Step-sister)
STEP-MOTHER: (Step-mother) COWGAL GODMOTHER: (Minni Pearl image) DUKE: (Good guy)
BO: (Duke's Sidekick)
BART: (Bad guy) DANCERS: (May vary in number) 25 26
Scene I - Outside ranch house. Cindy lives with her two step-sisters and step-mother on a big ranch outside a little town in Texas. Duke, the richest feller in the county, is throwing a big barndance at his ranch. Cindy wants to go and meet Duke who is ready to hitch up with the purdiest gal in the county. Cindy is unable to go because she has to help her step-sisters and step-mother prepare for the dance. They leave for the dance, and Cindy sits on the porch crying. She hears a big "Howdy!", and her Cowgal Godmother enters. The Godmother asks Cindy why she is so unhappy, and Cindy tells her. The Godmother sends Cindy out for an armadillo and tries to change it into a white horse, but has so much trouble, she finally whistles toward offstage. A white horse (actors dressed in costume) enters. Godmother pulls Cindy's clothes for the dance out of a suitcase and sends her into the house to get ready for the dance.
Scene II - Barndance Dancers are doing the "Cotten-Eyed-Joe". Cindy enters and Duke spots her and asks her to dance to a slow country song. Bart cuts in and steps on Cindy's foot. Duke grabs Bart and fights while Cindy takes off her boot and rubs her foot. Duke wins the fight and pushes Bart out the door. A caller gets up and announces it is almost midnight and for everyone to get ready for the last dance. Cindy runs out leaving her boot behind. 27
Scene III - Outside ranch house - Same as Scene I Step-sisters are outside the ranch house. Duke comes in shooting his guns and asks for the gal who fits the boot. Step-sisters try on the boot, but it does not fit. Cindy enters and tries on the boot. The neighbors have gathered around. Everyone rejoices because Duke has found his gal. The play ends with another dance of celebration.
Narration and dialogue are written in a Texas accent. Appropriate country-western songs will be sung by Cindy, Duke, and dancers throughout the play.
CINDY'S FELLER
or
"Cinderella Goes Country"
Cinderella dramatized by Liz Starcher
Characters:
NARRATOR: (Willie Nelson image) CINDY: (Cinderella image)
LINDY LOU: (Step-sister)
SASSY SUE: (Step-sister)
STEP-MOTHER (Step-mother) COWGAL GODMOTHER: (Minni Pearl image) DUKE: (Good guy)
BO: (Duke's Sidekick)
BART: (Bad guy)
DANCERS: (May vary in number) 28
Suggested Pre-show music: Peartree (Doc Watson Memories) (2:15) Double File and Salt Creek (Doc Watson Memories) (1:38) Texas Women (Hank Williams Jr. Rowdy) (2:36) Cotten-Eyed Joe (Danny Davis and the Nashville Brass) (2:36) MamaDon't Allow No Music (Doc Watson Memories) (4:10) Orange.Blossom Special (The Charlie Daniels Band) (3:09) Thoughts of Never (Doc Watson Memories) (2:10) (Lights dim beginning of Orange Blossom Special for audience cue. NARRATOR enters during Thoughts of Never. Music fades as NARRATOR begins dialogue.) NARRATOR: Once upon a time outside a li'l town in 1 Texas there lived this darlin' li'l gal 2 named Cindy. Now Cindy was the purdies~t 3 gal in all those parts, but never showed 4 her purdy li'l smile, 'cause she was 5 down right unhappy-----even though she 6 lived on the biggest ranch in the entire 7 state. Now I know yor askin' how come she 8 was so down in the mouth when all li'l 9 gals dream of livin' on a big ranch and 10 havin' their very own pony. Well, ya' 11 see, Cindy's mama met up with a real 12
Line 3 - Cindy enters from house - cue "named Cindy". Cindy sweeps porch.
Line 6 - Cindy sighs - sad look on face - leans on broom. 29
NARRATOR: bad accident and had to go up ta' heaven 13 when Cindy was jist a babe, and a few 14 years later her daddy married up with this 15 mean wider woman down the road who had 16 herself two li'l gals of her own named 17 Lindy Lou and Sassy Sue. As all three 18
of them gals grew up, Cindy's step-sisses 19
and step-ma became fist-fightin' jealous 20 'cause Cindy was sure enough the most 21
beautiful gal in the county. They jist 22 treated her awful--pickin' at her all 23 the time and makin' her do all their 24 dirty work. Well, as the story goes 25 one evenin' Cindy was particularly low 26 and powerful lonely 'cause there was a 27
Line 13 - Cindy looks toward heaven - looks sad and drawn.
Line 16 - Step-mother enters - back of audience - S.L. Line 17 - Step-sisters enter - back of audience - S.L. Cue: "Lindy Lou and Sassy Sue: Sassy needs to walk with short steps and fast. Lindy sticks out rear. Be sure every action is mimed - no vocal.
Line 18 - LL - SS to C.
Line 20 - LL - SS mime fighting.
Line 25 - SS on line - Too bad you cain't go - slow sown All exit into house - Cue: "dirty work". N X DC N needs to tell the story.
Line 26 - Cindy enters from house - leans on fence - looks even sadder than before - Cindy's too pretty needs to look more drawn. The audience needs to feel sorry for her. 30
big barndance that night given' by the 28
most handsomest, richest feller this 29
side of the Pecos. All the folks in 30
Yokum County was attendin' except----- 31 you guessed it-----Cindy. Cindy was 32
outside the big ranchhouse leanin' on 33 the fence after a long exhaustin' day 34
of slavin' for all them other low down 35
mean...... s. .- .-- 36 (Lights fade down from NARRATOR and up on CINDY SR in front of the ranchhouse. CINDY is leaning
on the fence dressed in dirty over-alls and a too large shirt - no shoes.) CINDY: (Sadly) I jist feel all closed in and long 37 to git away from this horrible ranch and 38
those mean ol' step-sisters and step-mama. 39 I work and slave for them all day long 40
everyday, and they treat me like I was 41
dirt under their feet. I'm so tired, 42 so terribly tired, and yet, I dream 43 of goin' to the big barndance tonight 44
and meetin' up with Duke and he kin take 45
me away from all this and we kin jist 46 keep on goin' forever and ever. 47
Line 37 - Cindy X DC - say lines to children. Talk to them.
Line 43 - Cindy look DR. 31
(CINDY sings Don't Fence Me In. )
(LINDY LOU and SASSY SUE come out of house.) LINDY LOU: Cindy! Cindy! What are you doin' out here 48
jist a'loafin'? Don't you know we have 49 tons to do before the dance, and you have 50 ta' he'p us git ready? 51 SASSY SUE: Cindy, you git in here, and he'p me git 52 my clothes ready for tonight! I have 53 ta' look espec'lly allurin' tonight. Oh, 54 by the way, too bad you cain't go, but 55 jist look at you. But, of course, with 56 all you have ta' do for us, you could 57 never git ready in time. 58 (Both step-sisters giggle) LINDY LOU: (Sarcastically) Jist think, Cindy, yor 59 gonna' miss the biggest shindig of the 60
entire century. I hear Duke wants to git 61
Line 49 - LL on porch - LL needs to be meaner. Line 50 - LL X to Cindy
Line 53 - SS hollers from porch.
Line 54 - Cindy X toward ranchhouse.
Line 55 - SS X R of Cindy LL X L of Cindy
Line 59 - Girls giggle much louder. Line 61 - Girls giggle even louder after "entire century". Both LL and SS need to be far more sarcastic. Build up the giggles on each line. 32
LINDY LOU: hitched up with some gal and he's throwin' 62
this hoe down to se-lect the purdiest 63 gal there. Of course, there is no doubt 64
who he will choose, ME, of course! 65 SASSY SUE: Don't be so sure, darlin'. Have you 66
looked in the mirror lately? 67
LINDY LOU: Sassy, yor about to git a fat lip to go 68
along with those big ears of yors! 69
SASSY SUE: What do you mean my big ears. Why yor 70
feet are so big, we had to special order 71 yor boots for the dance. 72
LINDY LOU: That's a down right lie, Sassy, and 73 you better take it back! 74
(LINDY and SASSY begin fighting---pulling hair,
etc. CINDY intervenes.)
CINDY: (Pleadingly) Oh, Lindy and Sassy, please 75 quit yor fightin'. I do wish I could 76
attend the barndance tonight. You know, 77 if you would he'p yorselves and let me 78
borrow some of yor fancy duds, I jist 79 know I could manage to git all spruced 80
up and go with ya'll. 81
(LINDY and SASSY have stopped fussing---stand
amazed at Cindy's request.),
Line 67 - SS X to R of LL
Line 76 - Cindy X to LL - SS. Gets in between the two. 33
SASSY SUE: Why, Cindy, you know mama would jist throw 82 a hissy fit if she knew you have even 83 suggested sech a thang! If you showed yor 84
face at that dance, you would be a disgrace 85 to her good name. The very idea! Besides, 86 you have to stay here and slop the hogs! 87 CINDY: (Sadly) I reckin' yor right, Sassy. 88 LINDY LOU: Of course, she's right! (turns to Sassy) 89
Come along, Sassy. We need to git goin' 90
I jist cain't wait to git to the dance. 91 (LINDY and SASSY start into the house---
CINDY lingers behind.) SASSY SUE: I think I'll wear the green shirt. 92 LINDY LOU: Sassy, you know I bought that shirt jist for 93 tonight. 94 SASSY SUE: I saw that shirt furst and you jist grabbed 95 it up from right under my nose! 96 (LINDY and SASSY notice CINDY is not coming in) SASSY SUE: Cindy, are you coming ? You know mama is 97 gonna' tan yor hide, ifin' you don't git 98
Line 90 - LL still needs to be meaner.
Line 91 - SS - LL X to house CINDY X to CS Line 92 - Change color of shirt to what LL will be wearing. Line 96 - SS and LL continue to argue with "Did not, Did, too - until they notice Cindy is not coming. 34
SASSY SUE: in here and he'p us this minute. 99 CINDY: (Sighs) I'm coming' (Looks out toward 100
Long Neck Ranch.) Oh, if only there was 101 a way! 102 (Lights fade as she goes into the house and come up on NARRATOR SR.) NARRATOR: Well, folks, I reckon you kin see now jist 103 why that li'l gal was so unhappy--havin' 104 to put up with sech as that. Why, she 105 jist didn't have a chance in the world of 106 gittin' to go to that dance and meetin' 107 up with the most handsomest, richest 108
feller in Yokum County. Why, she's in 109
thar right now he'pin' her step-ma and 110
Lindy Lou and Sassy Sue git ready for 111
that big dance while they all fuss and 112
Line 99 - SS - LL exit into house.
Line 100 - Cindy will be more distraught.
Line 101 - Cindy exits into house. Assign someone to help with costume change. Line 103 - N X CS. N needs to talk to children. Lean down to talk to them - Use stage.
Line 105 - Commotion inside the house. Cue: "sech as that"
Line 112 - Commotion inside the house. Cue: "fuss and fight" Clothes fly out of the house. Commotion needs to be louder. 35
NARRATOR: fight about what they're gonna' wear. 113 Typical women, if I ever did see 'em 114
But Cindy, bein' sech a nice gal, jist 115 is in thar puttin' up with all their 116
feudin' and fussin' and has fixed them 117 all up to be---well---almost purdy. 118
(Lights fade off NARRATOR and onto ranchhouse.
All four come out of house. Step-sisters are
dressed in fancy western shirts and blue-jeans,
boots, and western hats. Step-mother is in a
western dress.)
STEP-MOTHER: Now Cindy, you see to it that all that 119
mess we left in the house is cleaned 120
up by the time we git back and don't 121
forgit to slop the hogs! 122
CINDY: Yes, M'am. 123
SASSY SUE: (Sarcastically) Cindy, now you be 124 sure to have fun while we're gone. 125 (giggles)
LINDY LOU: (Sarcastically) We are gonna miss ya' 126
Line 118 LL and SS will wear western dresses.
Line 119 SM enters from house followed by CINDY, SS and LL. - SM work on more mature voice.
Line 120 SM X to CINDY
Line 124 SS X to CINDY
Line 126 - LL X to CINDY. More sarcasm needed from both LL and SS. Step-mother needs to be meaner. 36
LINDY LOU: at the dance. 127 SASSY SUE: (Sarcastically) I'll be sure to dance 128
an extra dance with Duke jist for you. 129
(All wave and say "Bye" as they exit SL.)
CINDY: Oh, it jist ain't fair! I only wish 130
there was some magic way I could git 131 everthang done I need to do, so I 132
could go to that dance----or better 133 still, I wish Duke would come ridin' 134
up this minute and take me away from 135
here. I guess I can dream...... 136
(CINDY sings Mr. Sandman - (suggested) (CINDY stops in middle of song.)
CINDY: Oh, this is so foolish. I can dream all 137 I want, but nothin' is gonna change. 138
(CINDY begins to cry. She goes to the porch
and sits down. She is still crying.)
(GODMOTHER appears--could be flown or could walk
Line 129 - All exit DR out back of audience. Make sure all turn and say "Bye" together and wave together.
Line 130 - CINDY X DR - CINDY stomps foot after "fair" Walks to CS before next line, contemplating the situation.
Line 131 - CINDY X CS.
Line 132 - CINDY X to porch (sits)
Line 138 - CINDY must cry softly at first, but then goes into a deep sobbing. She will not notice the Godmother's entrance. 37
in with suitcase in her hand. She is a Minni Pearl image.)
GODMOTHER: How------Dee! (CINDY looks up but continues 139 to cry) Now, youngin', what's all those 140 tears? 141
CINDY: (Through her tears) Oh, my step-sisters 142
jist left for the big barndance to meet 143 up with the best guy in the county, and 144
I cain't go 'cause I don't have anything 145 to wear, and my hair's all a'mess, and 146
I have to clean up their ol' mess, and 147 slop the hogs and .... (cries harder) 148
GODMOTHER: Now, now, honey. You jist dry up those 149 tears. I have somethin' right here in 150 this bag that's gonna' turn those tears 151 into pearl drops! 152 CINDY: But fer heaven sakes--Who are you? 153 GODMOTHER: Well, I ain't Mr. Sandman, but I am yor 154 Cowgal Godmother. 155 CINDY: (Disbelieving) I didn't know I had any 156 kind of Godmother. 157 III
Lines 142 - 147 - CINDY barely gets words out for her crying.
Line 146 GODMOTHER X to CINDY - CINDY ignores GODMOTHER. GODMOTHER needs to have dress in suitcase.
Line 153 CINDY rises - backs away (does not pick up broom.)
Line 157 - CINDY X DR - work on GODMOTHER'S movement. 38
GODMOTHER: Well, honey, you shor enough do! I am yor 158 very own rootin', tootin' Cowgal Godmother. 159 CINDY: (Rubbing her eyes) I don't believe it! 160
GODMOTHER: Now you listen up, young lady, and listen 161
up close. Do you really want to go to that 162 big shindig that Duke feller is throwin' 163
over at Long Neck Ranch? 164
CINDY: Oh, yes, M'am, I surely do! 165
GODMOTHER: Well, then, all ya' have ta' do is do a 166
li'l believin' in me fer the time bein' 167
and do exactly what I say. 168
CINDY: Well, I don't know! (hesitates) Oh, heck, 169
why not! 170
GODMOTHER: Good! Now honey, the furst thang we've 171
got to do is git you to that dance. Now 172 what would you like to ride on. 173 CINDY: Oh, I would love to have my very own white 174 pony. I always dreamed of havin' my very 175 own white pony. Could ya' git one for me? 176 GODMOTHER: Well, now, let me see! (thinks for a 177
Line 159 GM mime - shoot guns on "rootin', tootin" Line 161 GM X to CINDY.
Line 164 GM emphasize "Long Neck Ranch".
Line 169 - CINDY X DR - "Oh, heck, - X back to 'TM. GM keep voice up, be excited and energetic, work on whistle. 39
GODMOTHER: minute.) You run out in that field over 178 yonder and fetch me an armadiller and 179 bring him right back here! 180
CINDY: That might be a li'l difficult, but I'll 181
sure enough try. 182 (CINDY runs Offstage L. We hear her trying
to catch the armadillo. OFF stage. "Here, dillo,
here, dillo,...now, I gotcha'...... Oh, come here, ya' li'l rascal!") GODMOTHER: (Looking off stage) How ya' doin', 183 darlin'? 184 CINDY: I got 'em, Godmother. I got 'em! 185 I'm a coming ! (Comes on stage with 186 armadillo) He's a big one, Cowgal 187 Godmother! 188
GODMOTHER: Oh, my, that is a nice one! Put him 189
down right here. (Opens suitcase and 190
pulls out rope.) Now I am jist gonna 191
say a few appropriate words over this 192
Line 178 - GM points OFF L.
Line 182 - CINDY X OFF L. CINDY needs to project from backstage articulate.
Line 183 -GM X UL
Line 187 - CINDY enters SL - work on armadillo's ears.
Line 190 - Both X to C.
Line 191 - GM needs to work with lasso when not on stage. Keep working on movement. 40
GODMOTHER: critter, and swing my lasso, and you 193 jist see what happens. (Swings lasso 194 over armadillo and yodels---nothing
happens---She tries again---nothing
happens.) Oh, dear, I have trouble 195 with armadillers evertime! They are 196 sech stubborn creatures! 197 CINDY: Oh, I'll never git to go to the dance 198 at this rate. Please, hurry, and do 199 somethin'. 200
GODMOTHER: Now don't cha git impatient, honey! 201 (Swings lasso again and yodels---nothing
happens.) Oh, well, heck! (Kicks the 202
armadillo and whistles toward SL. In
comes a white horse---actors in costume.) GM. CINDY X DR of Line 200 CINDY X DR of GM. CINDY'S character developing well.
Line 201 GM get more irritated with CINDY.
Line 202 - HORSE enters from behind barn - dances around stage, nodding at children. Dance steps: Front of horse
1-2-3-Kick R Foot 1-2-3-Kick L Foot Back of horse 1-2-3-Kick L Foot 1-2-3-Kick R Foot CINDY runs to horse - walks around stage with horse showing horse to children. HORSE and CINDY end up CS with GM. CINDY use pleasing expression for children. Be convincing. 41
CINDY: (Running to horse) Oh, Cowgal Godmother, 203 he is jist the most beautiful white 204
horse in the entire county. I know I 205 will be envied by all the other gals at 206
the dance. (Suddenly her face falls-- 207 almost in tears again.)
GODMOTHER: Well, Cindy, now what's the matter? 208 CINDY: Oh, I love the horse, Godmother, but I 209 still cain't go to the big hoe down-- 210
'causin' I ain't got a thang to wear. 211
I cain't go like this! I would be the 212 laughin' stock of Yokum County! 213 (Cannot hold back the tears.)
GODMOTHER: Now, now, child. You saw how that white 214
horse jist sprung up from nowhar. Don't 215 cha think I kin manage to git ya' some 216
fancy duds to put on your purdy li'l self. 217 1 Line 204 - GM X to CINDY.
Line 209 - HORSE puts head on CINDY'S shoulder. CINDY'S cry needs to be more believable.
Line 210 - HORSE hangs head.
Line 211 - HORSE shakes head (No)
Line 213 - HORSE shakes head (Yes)
Line 215 HORSE shakes head (No)
Line 217 - HORSE shakes head (Yes)
HORSE needs to respond positively or negatively to each of CINDY'S statements by shaking of the head. 42
C INDY: Well, ya' did have some trouble with the 218
horse! 219
GODMOTHER: Never ya' mind that! Now git over here. 220
Turn around three times. (CINDY turns 221
three times---nothing happens.) Three 222
more, I know somethin' will happen this 223
time. (CINDY turns three more times-- 224 nothing happens.)
CINDY: Oh, Lawdy, Godmother, this is never 225
gonna work! I might as well go slop 226
the hogs! 227
GODMOTHER: No, you listen up, young lady. I always 228
come prepared in case of an emergency. 229
(Takes a western dress and boots out of
suitcase and hands them to CINDY. CINDY
is overjoyed---swings around with her
new dress.)
CINDY: Oh, these are the most gorgeous clothes 230
I ever did lay my eyes on! 231
GODMOTHER: Now you run on in and git yorself all 232
prudy for that young handsome Duke feller. 233
CINDY: Yes, M'am. (Starts to run into the house- 234 looks in, but turns back) Oh, Cowgal 235
Line 222 HORSE shakes head (No)
Line 224 HORSE shakes head (No)
Line 227 - HORSE shakes head (Yes) CINDY X DR. 43
C INDY: Godmother, I jist cain't go. Come take 236
a look at this house. It's a mess, 237 and I ain't done any of my chores! 238 GODMOTHER: Now, never you mind all that, child. I 239
will see to it that all yor work is done 240
before yor kin git back. 241
CINDY: (Skeptically) Are you sure? 242 GODMOTHER: You jist git yorself in there and git 243
ready before you miss the whole shindig. 244 Leave the rest up to me. 245 CINDY: O.K. and thanks, Cowgal Godmother! 246
GODMOTHER: Ah! Shucks! Gal, anytime. (CINDY starts 247 into house.) Oh, lan'sakes, youngin', 248 I almost forgot the most important thang. 249 CINDY: What is it, Godmother? 250 GODMOTHER: You have ta' remember one very important 251 detail. 252 CINDY: Yes? 253 GODMOTHER: At midnight---now, that's exactly mid 254 night that purdy white horse of yors 255 and all those fancy clothes will jist 256
Line 248 CINDY exits into house - re-enters.
Line 253 CINDY X to GM.
Line 254 - GM needs to be much stronger using more vocal inflection. 44
GODMOTHER: vanish as if they were never there-- 257 so ya' got to be careful to leave the 258 dance before time. Now, don't cha forgit, 259 child, leave before midnight or you will 260 look mighty foolish to all the county 261 folk, especially Duke! 262 CINDY: I won't forgit! And Godmother, thanks 263 again. (Leans over and kisses GODMOTHER 264 on cheek---goes into house as lights fade out.)
(Lights come up on NARRATOR.)
NARRATOR: Well, now, ain't that the beatin'est 265 ya' ever did see----Cindy on her way to 266 that big barndance on her very own white 267 pony. She jist must be in hog heaven. 268 All I kin say is , I reckon if any youngin' 269 ever deserved a Godmother who could zap 270 up a white horse and fancy duds, and 271
Line 257 HORSE swings head around quickly on word "vanish". HORSE'S movements need to be more definite.
Line 259 HORSE shakes head (Yes) Shake head more. Line 262 HORSE shakes head (Yes) Line 263 - CINDY exits into house. GM picks up broom and begins sweeping the porch. GM shoos the HORSE behind the barn.
Music comes up for set change - Set change needs to be faster - too much noise - fade out music as NARRATOR begins dialogue. 45
NARRATOR: send her off to meet her feller, Cindy did. 272 Well, now while Cindy is ridin' to the 273 Long Neck Ranch, all the other gals in 274 Yokum County are flockin' into the fanciest 275 barndance ever held in the state of Texas. 276 As all them purdy ladies, and some not so 277 purdy ladies, entered the dance, Duke 278 looks them over real good. He had always 279 been known to be the most particular 280 feller in the county when it came to his 281 women---bein' so rich an' all, he had to 282
be particular. He shor didn't want to 283
Line 272 - N X DC Barn needs a ladder - not enough levels.
Line 274 - Girls enter barn door and take places. Cue: "all the other gals in Yokum County are flockin' in to the fanciest barndance ever held in the state of Texas." All action has to be mimed. No dialogue during the narration. The NARRATOR must be heard.
Line 276 - Two dancers enter back of audience R and L.
Line 277 - LL - SS - SM enter barn door.
Line 279 - B-Caller enters barn door.
Line 280 - Other girls enter - Bart enters - pesters girls. NARRATOR X up to barn. The misic comes up on "The music began to play."
Stage positions - Scene II
SS DUKE CALLER SM LL D D D D D D 46
NARRATOR: marry up with a gal who was jist out for 284
his money! Well, after all the folks from 285
the county had fin'lly arrived---Well, 286
everyone but one, the fiddle player and 287
the rest of the band began to play ever 288
one's favor-rite tune. I kin jist hear 289
that music now. 290
(Music fades up as curtain rises on barndance.
Suggested song Texas Women)
SCENE II
BARNDANCE
(Interior of a barn-platform for musicians and
caller - Stage L. Hay bales and typical barn
decor on stage. Everyone is mingling around
talking. Duke sings Texas Women. After the
song, caller goes up on platform and announces
Cotten-Eyed-Joe. (Music begins for Cotten-Eyed
Joe. The dancers dance. When the dance ends, the
girls huddle together talking about who Duke is
going to choose to be his wife. LINDY LOU and
Line 286 - Change to "the music began to play." Music comes up on Texas Women.
Line 287 - CUT Line 288 - CUT
Line 289 - CUT
Line 290 - CUT 47
BARNDANCE
SASSY SUE run over to DUKE as a slow country song begins. They drag him out on the dance floor.
When narration ends the actors begin talking. It
must look like a party and sound like one.)
Positions for Cotten-Eyed-Joe.
X X CALLER x x x x x x x x x x x x
During the dance LL, SS, and SM try to cut in. They
cannot. None of the dancers will allow them to dance.
Finally, they go into the audience and choose one or
more of the children. They dance together. (If none
of the children respond, the actors should ask an adult
to dance.)
Positions after the dance.
SM CALLER BO D D D BART D DUKE LL SS D D D D 48
LINDY LOU: Come on, Duke, I am the best dancer in 291
these parts! 292
SASSY SUE: (Grabbing DUKE from LINDY) Don't listen 293
to her, Duke, she cain't kick up her heels 294
to even the best of country music. Now, 295
as for me that's a different story. 296
Come here, honey. (Pulls DUKE into her) 297
LINDY LOU: (Grabs DUKE away from SASSY) Duke, 298
She'll step on ya' with those big feet 299
of hers. 300
SASSY SUE: Lindy, you better git lost before one 301
of my dainty li'l ol' feet boots ya' 302
out of here! 303 (LINDY LOU and SASSY SUE fight over DUKE-
pulling at him.)
DUKE: Now, listen, gals, you both kin dance 304
jist fine, but my feet are jist killin' 305
me right now, so I'm gonna set down for 306
a spell. (DUKE leaves LINDY and SASSY 307
still arguing with each other. Goes over
to his sidekick, BO.)
BO: Hey, Duke, this is quite a shindig. I 308
bet ever gal in the county is here! 309
Line 307 - DUKE X to B0 - DUKE work on stage presence. DUKE needs a stronger voice. 49
DUKE: I know, Bo, but my heart jist hasn't 310
gone out to a one yet. Maybe I was jist 311
meant to be a lonesome polecat for the 312 rest of my days. 313 BO: Oh, Duke, don't talk that way. Surely 314 out of all these gals you kin set your 315 heart on one! 316 (All of a sudden CINDY enters up center stage.
She is so beautiful everyone gasps at the sight
of her. DUKE goes over to her. Band begins to
play May I Have This Dance?) DUKE: (To Cindy) May I have this dance? 317 C INDY It would be my utmost pleasure! 318 (CINDY and DUKE dance.)
(Later in the dance LINDY speaks.) LINDYf LOU: Who is she? I have never seen her in 319 these parts before! 320
SASS) Y SUE: (Standing by BART) I certainly don't 321
know, but she ain't gonna take Duke 322 away from me or any other true Yokum 323 County gal if I kin he'p it. 324 LIND) Y LOU: Oh, Sassy, what do ya' think ya' kin do 325
Line 316 - Girls giggle. Music plays May I Have This Dance LL X to DUKE - sings song and flirts with DUKE during song. CINDY enters barn door X DC. LL X back to table
CINDY and DUKE need to look loving at each other. 50
LINDY LOU: about it. Look at how Duke is looking' at 326 her. She is tearin' the heart right out 327 of that man, right this minute. 328 SASSY SUE: Well, we'll see. (turns to BART) Bart, 329 honey, now that's a down-right purdy gal 330 Dukes dancin' with. I hear tell you been 331 braggin' all over Yokum County that you 332 were gonna marry up with the purdiest 333 gal around, and if Duke got in yor way, 334 you would gun 'im down. 335 BART: I reckon ya' heard right, Miss Lindy, and 336 I reckon that gal over there is the most 337 beautiful heifer I ever had the pleasure 338 of layin' my eyes on. 339 LINDY LOU: Well, then, git yorself over there and 340 cut in on that dance before Duke plucks 341 out that li'l gal's heart. 342 BART: Humph! Why, she's gonna be my gal, and 343 I'm fixin' to let both of 'em know it. 344 Right now' 345 (BART walks over and cuts in on DUKE and CINDY.
Line 329 - SS X to BART BART needs to be meaner. BART needs to have black hair. SASSY needs to slow down on lines with BART. Articulate.
Line 345 - BART X to CINDY. 51
CINDY still looks after DUKE as she dances with
BART.)
BART: Now, look, li'l darlin'. I promised myself 346
I was gonna git me the purdiest gal in this 347
county and that gal is you. Now you jist 348
come closer and give me a big kiss so Duke 349
over there will know jist exactly who you 350
belong to. 351
(BART pulls her to him roughly. BO, standing
by DUKE signals to the band. The band changes
to a fast song. CINDY takes the cue and pulls
away from BART in a fast dance movement. BART
tries to pull her to him and in doing so, stomps
on her foot. DUKE breaks away from BO who has
been keeping him back. CINDY grabs her foot in
pain as DUKE comes up to BART and hits him. DUKE
and BART fight while CINDY sits---takes off her
boot and rubs her foot. DUKE wins the fight and
shoves BART out the barn doors. The CALLER gets
up on the platform.)
CALLER: All right, Ladies and Gents---it's almost 352 midnight! and time for our last hoedowrn of, 353
Line 351 - During the fight scene,'the dancers must react to the fighting with screams and frightened expressions on their faces. CINDY sits at table during the fight scene. She takes off her boot and puts it on the table, visible to the audience. BART and DUKE keep fighting in CS. BART will throw DUKE over a table and DUKE fights back to CS. 52
CALLER: the evenin'. Everyone git ready! 354
(CINDY looks up - startled - remembering what
COWGAL GODMOTHER had told her. DUKE is coming back to
get CINDY for the last dance when CINDY runs past him
and out the same door that BART had been pushed out.
DUKE calls after her, but to no avail.)
DUKE: Hey, where are ya' goin'? Who are you? I 355 don't even know yor name. 356
BO: (Seeing DUKE crestfallen) Now, Duke, no gal 357 is worth gittin' so shook up about. If'n 358
she's after ol' Bart, she cain't be worth 359 much anyways' 360
(DUKE spots CINDY'S boot - walks over and picks it up.)
DUKE: Look, Bo, she left her boot. I don't know 361
who she is, but I'm gonna find her, and I 362
will know it's her when I find who belongs 363 to this boot. She's mine, Bo, do ya' under- 364
stand, she's mine. I'll kill Bart, if I 365
havta'. 366
Line 355 - DUKE X to barn door.
Line 356 - Lines added: "That's it! The party's over! Everyone go home!" LL - SS - SM all say "Humph! Of all the nerve." all at the same time and stomp out of the barn door. DUKE needs to be stronger. DUKE X to CS.
Line 361 - BO X to DUKE. After DUKE spots boot, BO X to table with boot.
Lines 365-66 - Cut: "I'll kill Bart, if I havta'." 53
(Ba puts his arm around DUKE and sings) BO: Where, oh, where are you tonight? Why did 367 you leave Duke here all alone? He searched 368 the world over and thought he'd found true 369 love. You met another and "pffft" (rasberry )370 You were gone! 371 EVERY ONE: You met another and "pffft" (rasberry) 372 You were gone! 373
CURTAIN
(Lights come up on NARRATOR - Stage R.) NARRATOR: Well, now, that Duke feller didn't know 374
Cindy had to run all the way home that 375 night 'cause her white horse jist up an' 376
disappeared. He figured she had run after 377 that mean hombre, Bart, and was off consolin'378
him somewhares. And the more he thought 379 about that possibility the madder he got. 380 So he took off on his horse goin' from 381 ranch to ranch tryin' to find 'em both. 382 It got down right lonesome for Duke searchin'383
On song - BO and DUKE X CS. Girls gather around DUKE, expressing sympathy.
Line 374 - N X DC Set change needs to be quiet.
Line 377 - NARRATOR needs to talk to the children as if telling a story. 54
NARRATOR: and searchin' for his gal, but he was 384
mighty determined to seek out his true 385 love. 386
(Lights come up on DUKE far Stage L. He sings
suggested song Lookin' for Love. Lights fade off
DUKE as curtain rises on Scene III.)
SCENE III
OUTSIDE RANCHHOUSE:
(Out in front of the ranchhouse LINDY LOU, SASSY
SUE, and STEP-MOTHER are all sitting in lawn chairs
talking about the previous night's events.)
SASSY SUE: Well, if ya' ask me, it's good riddance 387
to whoever that gal was at the barndance. 388
Duke will jist have ta' choose one of us 389
now! 390
LINDY LOU: Well, she sure enough made a complete 391
fool out of herself runnin' after Bart 392
the way she did. How disgustin'' 393
Line 385 - DUKE enters back of audience. He sings song to children. They must love him.
N X back to barn during song.
Line 387 - SS, LL, and SM enter from house.
SS and LL sit UC on bench.
SM stands behind bench in between LL - SS STEP-MOTHER must be meaner. 55
STEP-MOTHER: Well, now, I think you two are the 394
fools. While I was in town this mornin', 395 I heard tell that Duke was out lookin' 396
for this gal. She was in sech a hurry 397 she left her fancy boot behind, and he 398
swears he's gonna find the foot that 399 boot fits. I hear he's half out of his 400
head over her. Now, you both listen up 401
and you listen up real good! He will 402
end up here any time now, and one of 403 you better, and I mean better, git yor 404
foot into that boot! I don't care what 405 it takes----you jist do it! One of you 406
is gonna marry up with Duke, so I kin 407 own pract'lly all the land in this 408
county. Now, do you both understand me? 409
LINDY LOU: But Ma! What if it jist won't fit? 410
STEP-MOTHER: Did ya' hear what I said? You make 411
it fit! 412
LINDY AND SASSY: Yes M'am. 413 (DUKE enters - shooting his guns and holds up the boot.)
DUKE: I'm here to find the gal this boot fits. 414
Line 413 - DUKE enters back of audience SL.
Line 414 - DUKE X C - DUKE needs to hold the boot up straight. 56
DUKE: (Looks around in case BART is near.) Are 415 you holdin' up Bart in there? Is that why 416 all of ya' are out here? 417
SASSY SUE: Why, no, Duke, honey. He's been long 418 gone. I jist told him that you were my 419
true love, and he jist took off like 420
lightin'. I jist know he heard you were 421
coming' gunnin' for him over li'l ol' me. 422 LINDY LOU: Duke, she's jist down right lyin'! It's 423 me Bart thinks you are after him for. 424 That boot right there in yor hand is 425 mine. Jist give it here and I'll prove 426 it ta' ya'. (Grabs boot from DUKE. Sits 427 down and tries to put it on.) Oh, my. 428 My foot must have swollen from all that 429
dancin' last night. I know this is my 430 boot! (Keeps trying to get on the boot, 431
until SASSY grabs it away from her.) SASSY SUE: (Grabbing boot) Lindy, you know that's 432 not yor boot! Give it here! I know it 433
Line 416 DUKE X to barn. The X to house looking for BART. After satisfied that BART is nowhere around DUKE X to C.
Line 418 SS X to DUKE following him around the stage.
Line 427 - LL X to bench (sits) Neighbors begin to gather on stage to see what is happening, two or three at a time.
Line 432 - SS grabs boot from LL. SS walks with boot half on. 57
SASSY SUE: will jist slip right on my foot! (Tries 434
but cannot get it on.) Well, I'll be, I 435 jist don't know what's the matter? 436
(Gets up and tries to walk - sits back
down) They fit so purfectly jist last 437 night! 438
(CINDY has appeared on the porch and neighbors
have gathered around including NARRATOR.)
CINDY: Duke, could I try on the boot! (DUKE 439 gazes upon CINDY as if he has seen her
before.)
DUKE: Why, shor you can, honey! 44o
SASSY SUE: Why, Duke, whatever for? Cindy couldn't 441
have possibly been at the dance last 442
night. Poor darlin', she had sech a 443
headache, she jist had to stay home. 444
Line 439 - Final stage positions of neighbors when all enter. x x x x SM SS LL D C x x x x x x
Line 440 - DUKE X to CINDY
Line 441 - DUKE and CINDY X to bench 58
LINDY LOU: That's right, Duke. Cindy didn't even 4 45 go to the dance. Tell him, Cindy. Now, 4 46
tell him. (Punching her in the ribs.) 4 47
(Cindy ignores LINDY and SASSY and walks over and sits down on the lawn chair.
DUKE puts the boot on CINDY. DUKE knows
CINDY is his gal and takes her in his arms.
LINDY, SASSY, and STEP-MOTHER are shocked.)
SASSY SUE: But, Duke, Cindy jist cain't be------448
(Music begins - DUKE sings last verse of Lookin'
for Love. (suggested) STEP-MOTHER, SASSY, and LINDY
huff off into ranchhouse. Cheers go up from crowd
after song.)
BO: Well, now, I think this calls for a 449
celebration! Come on, ya'll. Let's 450
have us the biggest celebration dance 451
this county has ever seen! 452
NARRATOR: (At end of song) And Cindy sure enough 453 got her feller, and they lived happily 454
ever after. 460
EVERYONE: And they sure enough lived happily ever 461
after. 462
(CINDY and DUKE walk arm in arm off stage R. as
THE CURTAIN FALLS
Line 447 - DUKE puts boot on CINDY - it fits; they hug, then face audience. GM brings on other boot. She has CINDY turn three times and CINDY in turns takes off robe to reveal dress worn at dance. 59
Positions for Orange Blossom Special: (suggested) X X
X
X X
X X
X X
C D
Orange Blossom Special Dance:
Partners face each other - Boys SR - Girls SL
Eight counts in place
Three counts to partners - bow
Four counts back.
Eight counts aro14nd partner R and back.
Eight counts around partner L and back.
Eight counts arm in arm with partner L and back.
Eight counts arm in arm with partner R and back.
Sixteen counts of shuffle-ball-change in a circle
Boys SR - Girls SL.
Partners meet each other and form a London Bridge.
DUKE and CINDY come through bridge - DUKE swings CINDY into him.
COSTUME LIST
Narrator - Western shirt
Scarf for neck
Blue Jeans
Western hat 60
Cindy Dress with patches Sandals
White satin skirt with gold fringe
White satin western blouse with gold trim
Blue or pink long tie robe with matching slippers.
Duke White satin shirt with gold fringe
White Jeans
White or black boots
White western hat
White western belt
Bart Black shirt Black Jeans
Black western hat
Black boots
Black neck scarf
Step-Mother Two-brightly colored dresses Boots
Bright colored robe and slippers
Lindy Lou Two-brightly colored dresses Boots
Hair piece
Brightly colored robe and slippers
Sassy Sue - Two-brightly colored dresses
Boots
Ribbons for hair
Brightly colored robe and slippers 61
Caller Overalls Brightly colored shirt
Boots
Bo Bright colored western shirt Blue Jeans
Western boots
Female Dancers - Full colorful dresses (different colors) Black jazz slippers
Bows in hair to match dresses
Male Dancers - Colorful western shirts (can match girls dresses) Blue Jeans
Colored scarf for neck
Western boots
PROP LIST
Scene I Broom - Cindy
Suitcase - Godmother
Armadillo - (backstage)
Lasso - (in suitcase)
Cindy's dress - (in suitcase)
Scene II - Table Red checked table cloth Several bales of hay
Four boxes painted yellow, blue, green, and red.
Scene III - Two lawn chairs or bright colored bench. CHAPTER III
DIRECTOR'S LOG AND EVALUATION
Day One - June 1 - Introduction to the Summer Company
The director entered the audition room with some anticipation since she had not met any of the faculty or the students with whom she would be working. However, being of an assertive nature, she greeted all the people with whom she would be closely associated for the next four weeks. Suddenly, all the strange faces seemed to appear quite familiar as the overwhelming realization came over her that everyone in the room was there for the
same ultimate purpose--to provide good theatre for the
summer repertory.
The session, designed to acquaint directors, faculty,
and students with the program and with one another, had
begun with Dr. Ralph Culp explaining the schedule for the
repertory and introducing all the students who had been
selected for the company. The director made note of the
fact that many of the students were in-coming freshman
from various parts of Texas ranging from Dallas to Corpus
Christi. When the director of Cindy's Feller was intro
duced, she told of her directing experience and gave a
brief description of the children's play to be performed.
62 63
A feeling of excitement enveloped her as she witnessed the illuminated faces of the students as she disclosed the play.
After the introductions and the announcements, the remainder of the session was a discussion of audition dates. Auditions for Cindy's Feller were set for June 2 from two-thirty to four-thirty p.m.
Day Two - June 2 - Auditions
Since the director needed to learn the talents and capabilities of each student auditioning, she had begun immediately observing the stage presence and poise of each student from the moment each one had entered the room.
Audition forms, provided by the Drama Department, were distributed and completed by each student. Any student taking a class in theatre the first term was eligible to try out for the play. The students, being divided into two groups, one to rehearse a chorographed dance and the
other for line reading, had begun the long process of auditioning. The first group each read from the script while the other group rehearsed the dance routine.
As the auditions progressed, the director noticed the
training each student had had in the actual art of auditioning.
She observed some bad habits into which some of the students
had fallen; particularly, in stage presence and portraying
self-confidence. Evidence of other development of the art in
the students soon appeared throughout the auditions. Because
believability of character has contributed extensively to 64 children's theatre, the director also took full-notice of how believable the students were with the characters they read. After the readings the students performed the dance they had learned. They performed in small groups so the director would know how well each one would move on stage, as well as, to choose the best talent for the two choreographed dances within the play.
After the auditions, the long evening lay ahead for the director in choosing the best cast to make the best show.
The experience of the students who had auditioned ranged from no theatrical training to at least four years of study in theatre. Since the director had not been provided with a list of students who were actually in the company, she was less biased as to whom would play the roles in the play. Her decision was based strictly on the day's auditions.
Day Three - June 3 - Rehearsals Begin
The rehearsals had begun with a preliminary discussion concerning children's theatre. A disclosing of the know ledge the director had gained through research on children's theatre opened the session. Developing a believable character and watching "playing down" to the children were the two main points emphasized by the director. When asked if the students had ever been involved in children's theatre, most answered that they had. Discussion then led to what problems could arise with a children's audience, and everyone agreed that playing to children could be very difficult, and, at times, 65 very frightening because of the true honesty of the child.
Those in the cast who had never been exposed to performing
in shows for children particularly benefited from the dis
cussion.
The next portion of the session was devoted to a read
through of the play. Before beginning, the director clearly
stated the importance of character development throughout the
rehearsals starting with the read-through and continuing with
every rehearsal; thus, the read-through proved to be very
entertaining and enlightening. For the director it was a
time to observe which students were trained and those who
she was going to have to teach, as well as, direct. The
importance of learning the cast as individuals, and the hard
ships of working with students from various backgrounds was
becoming evermore evident to the director.
After the read-through, blocking of the play commenced.
Since it has been essential for an audience of children to be
able to see action, as well as, hear words, the director had the actors mime the action which was told by the narrator.
This proved to be rather confusing to some of the actors as
they felt more of the action should have been written into the
script which the director took under careful consideration for
the revision of the play. The remainder of blocking went
smoothly and provided time for a working rehearsal of the
scenes blocked. 66
Day Four - June 4 - Recording Session and Rehearsal The session began with the director asking for any problems the actors might have with their character or lines. Cindy had already begun to develop her character in quite a different manner than the traditional Cinderella. The script had pro vided Cindy with a rather Scarlett O'Hara side to her, and she was becoming rather aggressive, cunning, and, yet, the audience
still could find sympathy with her. Sassy Sue's character had
already begun to blossom with all the movement and character
of an ugly step-sister. Lindy Lou had some difficulty in
developing the nasty, ugly-nature which was so important to her
character. Since the step-sisters and the step-mother were to
be portrayed with an ugly, hateful nature, rather than so much
physical ugliness, the session revolved around a discussion of
the inner feelings these characters would possess such as
jealousy, bitterness, hate, possessiveness, and greediness.
Because all of these feelings lead toward evil, the step-mother
and sisters had some difficulty with such character develop
ment at the beginning of the rehearsals. The discussion ses
sions were recorded for future reference by the director.
After the recording session and discussion, the rehearsal
seemed to run much smoother than the previous day. This could
have been contributed to both the session and the fact that
the actors were beginning to learn their director and vice-versa. 67
Day Five - June 5 - Rehearsal
At the beginning of the session, Sassy Sue and Lindy Lou discussed a problem with the fight scene between the two of them over the clothes they were going to wear to the dance.
The dialogue seemed to be too few lines in order to develop the scene and provide believability. To solve the problem, more lines were added to improve the scene. Also during this session, it was pointed out that the narrator needed to be more of a storyteller than a narrator since he would be talking mainly to children. The discussion of the problem led the director to simply change some of the blocking by having the narrator sit at times on a brightly colored box to provide more intimacy with the audience. Speaking directly to some of the children, rather than the audience as a whole, helped the narrator's believability.
The Godmother found it difficult to relate to the Minni
Pearl image. In discussing the problem during the session,
it had become evident that the director needed to have a
personal conference with the actor. Because the private
session with the Godmother proved to be quite effective, the
continuation of group discussion culiminated with private
sessions with the actors proved to be extremely profitable
to both the rehearsals and performances.
The working rehearsal of the blocked scenes went well
with the exception of some attitude problems with part of the
cast. Because of such problems, the director had to resort 68 to line readings for the actors to try to help them with their characters. Even though the director said some of the lines for the actors, she emphasized the importance of their own delivery in their own character, utilizing the feelings which had been previously discussed. A beginning of a rebel lious attitude in a few actors had begun to flourish which disturbed both the director and the other actors as well.
Day Six - June 8 - Rehearsal Since the rehearsal for the day was going to be a tedious one, the director limited the discussion session. The dis cussion surrounded the importance of believability of character
once more and the movement on stage. The scene to be blocked was the barndance with the introduction of Duke, the protagonist, and Bart, the antagonist. The air of melodrama within the
scene gave an increased emphasis on proper movement. Also,
the director discussed the importance of stage pictures during
the barndance scene. Most of the students seemed aware of the
problems which could arise in the blocking of the scene, but
again an attitude problem on the part of a few of the actors
was becoming evermore visable. Thus, the most difficult
blocking of the play began with a cast which was drawing apart.
Day Seven - June 9 - Rehearsal This was a frustrating day for the director. The problems
of being a commuting director from Plano surfaced with car
trouble on the way to Denton. The assistant director took 69 over the rehearsals and ran through all the scenes which had been blocked or worked.
Day Eight - June 10 - Rehearsal
Entering the rehearsal room with a sense of disorientation and frustration from the previous days experiences and the ever developing attitude problems, the director faced a new crisis.
One of the students had to drop out of the play because of medical problems. Confronted with this new dilemma, the direc tor had the challenge of recasting the play in part. The prob lem was quickly resolved and the rehearsal continued. The
choreographer worked with the dancers on the "Cotten-Eyed-Joe" while the director polished the first two scenes of the play.
The attitudes were better because the cast realized time was beginning to be of utmost importance. The soloists were told
all the songs were to be learned for the remainder of the
rehearsals.
All in all the rehearsal went well with everyone pulling together to work hard for the good of the show. Possibly the
previous days frustrations were today's profits.
Day Nine - June 11 - Rehearsal
The rehearsal again began with dividing the cast into
segments with part of the cast working with the director on polishing scenes while the others worked on choreography and
songs. The time arrived to put it all together. Knowing the
remainder of the rehearsal would be rough, the director was 70 prepared for the grueling rehearsal; however, the reoccurrance of the attitude problems arose rather unexpectedly. After the rehearsal and a restless, sleepless night, the director decided a change in plans was in order and another discussion session, and possibly individual conferences, were necessary for the next day's schedule.
Day Ten - June 12 - Discussion
Upon entering the rehearsal room, the director knew the session had to be one of laying everything on the line in order to bring the cast back together again. The director also knew it could be putting her own neck in a noose--but what had to be done---had to be done. All the cast were called into the room and the director opened the discussion with the knowledge of some attitude problems, and the fact that they had to be resolved. The cast was then asked to openly discuss the problems. The main problem discussed was that of direction. A few of the cast were finding it diffi cult to conform to a different director. As the complaints began to pour in, it became evident that these students had previously worked under only one director in their few years of theatre. Such comments as "I am used to be given notes after every rehearsal instead of being stopped during a work ing rehearsal", or "I am afraid I am going to reach my peak too soon because the director is pushing us too far" brought about a very important learning process for the students.
Having some very experienced actors and teachers in the cast 71 proved to be very beneficial to the session. After several negative comments were voiced, the experienced cast members
spoke up by emphasizing that in the world of theatre, the actor has to learn to work under many directors and different ways of directing----"not all directors are going to work the
same." The director of Cindy's Feller mostly listened closely
to the discussion and the expression of feelings, both the
negative and the positive. From this session, the director
gained more respect from the cast than from any other discus
sion or rehearsal because she let the cast be heard and helped
resolve any problems which had arisen over the first two weeks.
Although, for the most part, the session seemed to be benefi
cial, the director observed a few of the cast members were still having trouble communicating in the discussion. There
fore, private conferences were scheduled for the remainder of
the afternoon.
During these conferences, the director learned that some
of the company members had resented all along the fact that
students who were not in the company had been cast in lead
roles. After the director explained that the show was cast
from the point of view of the best person for the part to give
the audience the best possible production, the students began
to realize the hardships; the true dedication and the maturity
that comes with the involvement with any theatrical experience.
Again the conferences proved to be a learning process for the
student. 72
During the conferences several of the students mentioned the length of the play bothered them. They felt the play tended to be too short, and they were finding it difficult to develop a character. The director explained that the play was written with young children in mind who had short attention spans. Also when the author wrote the adaptation,
she had in mind a time frame which would be most advantageous
for schools where the play might possibly be performed.
Although these sessions took priority over scheduled
rehearsals, they were well worth the time and effort. Feelings
were out and real communication had begun. The director knew
the production was well on its way to success.
Day Eleven - June 15 - Rehearsal
The director entered the rehearsal room with a great
feeling of accomplishment knowing that the following week of
rehearsals were going to be without conflict. The rehearsal
schedule was to run the entire show. The director ran the
show without stopping it and at the end of the rehearsal gave
notes to the cast and prepared the cast and crew for their first technical rehearsal.
Day Twelve - June 16 - Technical Rehearsal
With confidence the director began the technical rehear
sal of Cindy's Feller. Throughout the previous eleven days,
the director had met with the set designer, the technical
director, the head of costumes, head of lighting, and the 73 head of props. Each knew their deadlines and performed their duties with a sense of professionalism. Because of the con fidence the director had gained in the students in charge of all the technical areas, she felt the same sense of confidence about the first technical rehearsal. The rehearsal was no disappointment to either the cast or the director.
Day Thirteen - June 17 - Technical Rehearsal Today again was devoted to the technical aspects of the production. A few problems with the lighting were resolved.
Notes again were taken by the director and given to the cast at the end of the rehearsal. The director noticed an excite ment in both the cast and crew about the upcoming production on June 19.
Day Fourteen - June 18 - Dress Rehearsal Today's rehearsal began with a costume parade before the dress rehearsal. The costume committee were involved in case any changes had to be made. The director had consulted fre quently with the costume committee over the past thirteen
days and most of the problems were resolved before the parade.
Only a few changes had to be made. The director held a dress
rehearsal after the costume parade where notes were taken and given to the cast and crew at the end of the rehearsal. Dis
tributing a final performance schedule to the cast illuminated
a sudden realization that time was near for the children's play.
The cast members voiced some fears of how the children might 74 react to the change in the story, their characters, the set, and the costumes. They all wanted a successful production and in two days the ultimate test would become a reality. The director felt a feeling of great accomplishment as she saw her cast coming together with tremendous energy and complete enthusiasm.
Day Fifteen - June 19 - Final Dress Rehearsal
Although the feeling of accomplishment still lingered in the mind of the director, the feeling was accompanied by the realization that her job basically was over. On looking back on the past few weeks, the director suddenly relived all the frustrations, disappointments, and accomplishments as a learning experience beyond any in her career. The final dress rehearsal began and the director sat back and enjoyed a delightful, entertaining and energetic children's production.
She looked forward to an audience the following day.
Day Sixteen - June 20 - Performances
The day began with a nervousness in the pit of the stomach of the director. When the cast was ready, she gave the warm up exercises to prepare them for the performance. Although the audience was small, the sight of bright young faces in the theatre gave a new perspective to all previous week's work.
The director sat in the audience sensing all the aspects of children's theatre. As the play began, the director watched the children rather than the play. The cast held the energy 75
level which they had reached the previous day, and the children
were spellbound. The ultimate observation and honesty of the
young audience began to flow throughout the production. The
cast, being previously warned of sudden outburst from the
audience, held their concentration and provided their young
audience with a delightful performance. After the production
positive comments began flowing from the children and the
adults with the exception of one small child. She had come
to the theatre dressed in a ruffled pink dress with a book
of Cinderella tucked under her arm. After the show she walked up to the director, looked her straight in the eye and asked very angrily, "Why was it not like my book?"---then she turned and walked away. The cast went into the audience after the play to talk to the children. All the little girls swarmed around Cindy giving her kisses and hugs. Others totally ignored the step-sisters, step-mother, and Bart. The cast, crew, and director excitedly gathered in the greenroom and shared the comments of the children. The cast's faces were glowing. Some of the young actors who had never performed in a children's play commented that it was one of the most fright ening, but thrilling experiences they had ever had.
Another performance was scheduled for the afternoon and the audience was larger than the morning. Although the energy level dropped during this performance, the children's positive reactions sustained throughout the play. Being aware of the problems within the performance, the cast felt down and voiced 76
their determination to keep up their energy for the remainder
of the performances. The director encouraged the cast because
each member knew in his own mind where he had failed.
Day Seventeen - June 25 - Interim Rehearsal
During the week many calls had come in to the publicity
office from day care centers. The centers wanted to bring children as a group, but since the centers were not open on
Saturdays, a decision was made to add two performances on
Friday, June 26 and Friday, July 18. The director informed the cast of the added performances before the rehearsal. Some of the cast members had problems with flexibility and were becoming disillusioned. Problems within the organizational structure of the Summer Repertory Company had become obvious to the students, and the added performances multiplied their already frustrated feelings. Although these feelings were apparent, the cast agreed to the performances.
Day Eighteen - June 26 - Performance
All the frustration disappeared when the day care centers entered the play. The cast regained their enthusiasm and energy when they faced the audience full of children. The performance was a success.
Day Nineteen - June 27 - Performance
The enthusiasm of the cast continued during the performance as more publicity began to filter in from the newspapers and word of mouth. In the eyes of the public, the show was a 77 tremendous success and the cast felt good about being a part of the production. Even though there were problems with re-casting and frustrations with the continued performances, they laid aside these feelings during the productions and continued to enjoy the show and the children. The cast began to show a growth and maturity.
Day Twenty - July 9 - Rehearsal
In many aspects the day's rehearsal was a new beginning for the production. With a partially new cast, the atmosphere of the rehearsal was one of sincere dedication. All the old cast members enthusiastically helped the new with blocking and lines. With the co-operation of everyone, the rehearsal proved to be profitable.
Day Twenty-one - July 10 - Rehearsal
Again the rehearsal went smoothly with the new cast working together to keep the same level of performance which had been previously displayed. The director encouraged the entire cast to keep up the same energy and characterization as they had maintained throughout the other performances.
The cast left the rehearsal with a new excitement for the
Saturday performances. Again they felt a sense of accomplish ment in overcoming some difficult obstacles.
Day Twenty-two - July 11 - Performances
Because of the close-knit cast, the director felt at ease for the performances of the day. The disappointment of a 78 small morning audience was felt by all, but it taught the company tolerance of mistakes made in schduling the children's productions on Saturday mornings. The Saturday morning car toon shows, and the adults only day to "sleep 'til noon" had not been considered in the planning. The small Saturday morning audiences proved to be an organizational lesson for everyone. In some respects the small audience came as a blessing to the new cast members, giving them the opportunity to have a small audience for their first performance. With an increase in the afternoon audience, the performers carried the production to a new height. Again the production was a success with as many positive comments from the youthful aud ience as any of the other performances.
Day Twenty-three - July 17 - Performance
The performance today created a reformed enthusiasm within the cast as the day care centers again provided such a delightful audience. However, some of the cast stated that the drawn out performances tended to drain their energies which needed to be taken into consideration for any future children productions.
Day Twenty-four - July 18 - Performances
With a limited audience and an exhausted cast, the morning performance lacked the energy of the others, but the audience reaction still gave praise to the production. Returning with renewed vitality, the afternoon performance fell back into its 79 usual zest. After the production, the actors expressed disappointment about the end of a most successful theatrical experience. However, news had spread about the production and to the surprise of the director and the cast another performance had been scheduled for "The Little Olympics" who were to be on campus July 29. The cast agreed to perform the play for such a worthy cause.
Day Twenty-five - July 29 - Rehearsal and Performance
As the final rehearsal and production of Cindy's Feller quickly approached, the director felt a new excitement about the final moments of the long summer. The up-coming perform ance created a feeling of pride and joy in having her show performed for children less fortunate than others. An esti mated six hundred Little Olympics were to see the play.
Because of the large audience, the play was moved into the
large University Theatre. By this time the actors knew the
play so well that the rehearsal went smoothly even though
some blocking had to be changed for the new location. Because
of the late hour of the scheduled performance, only half of
the children attended, but when the country-western music
began playing, from the audience arose an enthusiasm uncom
pared to any other audience this director has ever experienced.
The cast members sensed the children's excitement, and the
last performance of Cindy's Feller filled the theatre with
fun, energy, and a pride in the production to top all other
productions. 80
DIRECTOR'S EVALUATION
Script
The playwright of any play has corrected and modified the script after the play has been produced. Since the playwright and director of Cindy's Feller were one and the same, many changes in stage directions and lines were made during the rehearsals of the play. One of the main concerns of this playwright stemmed from the obvious lack of stage directions written within the play. Too much was left to the director's and actor's imagination, which with another director, other than the playwright himself, would have presented numer ous complications.
Because the children needed to see action, as well as hear dialogue, many of the modifications occurred within the dialogue of the narrator by giving specific stage directions for the actors who needed to mime the action during the dia logue. Lighting changes were made in order to allow the story teller to remain a part of the story throughout the play. To establish a closer relationship between the narrator and the children, many modifications were made in the staging of the storyteller. In the fight scene between Lindy Lou and Sassy
Sue, more dialogue was included to allow the actors to build the scene. Because of repetition in words and lines in the play, the dialogue throughout the play was changed to eliminate the problem. Other revisions in dialogue were necessary to make the lines better suitable for a children's audience. 81
The length of the play aroused much controversy within the cast and other company members. However, the playwright had chosen to limit the production time when considering the play from the standpoint of future productions. Many colleges and high schools have performed children's theatre at elementary and middle schools. Fifty to fifty-five minutes have consti tuted the average length of the class periods in these schools.
The length of Cindy's Feller had been written to conform with this time-frame. Being a teacher at the middle school level, the playwright understood the problem directors have had in obtaining plays of suitable length to tour to schools without disrupting more than one period in any given day.
Another factor which needed to be considered in reference to the length of the play was the short attention span of younger children. Many day care centers were bused in to see the production of Cindy's Feller at North Texas State
University. The length of the play held the interest of the children in its entirity. Since the play developed from a familiar fairy-tale, the length of the play provided ample time for each actor to develop a character. Although some of the characters had only a few lines in the play, they were on stage, and much of the character development came through the action rather than the dialogue. Too much dialogue would have lost the children's audience. The only way the play could have been lengthened would have been to add more dialogue. 82
The most exciting accomplishment of the script to the director/playwright unfolded when the country-western theme created an unusual amount of energy both in the cast and in the audience. From the beginning of the preshow music until the final curtain call, enthusiasm, fun, and energy flowed throughout the production.
Character Development
Because the basic idea of each character in Cindy's Feller possessed certain qualities familiar to most people, the actors began developing their characters early in the rehearsals.
However, with some of the actors executing the true nature of their character came later during the latter rehearsals or with some as late as the first performance.
The character of Cindy possessed some of the traditional characteristics of "Cinderella" with additional traits which livened up the role considerably. The actress portrayed Cindy with a slight "spoiled brat" nature and did not lack a temper, but was somewhat absent of patience. As the Denton Chronicle
so well stated "Miss Walker plays Cindy with all the pouty allure of Scarlett O'Hara." Because of the actress' maturity and training in theatre, she executed the role to its height.
She had the ability to create her own character of Cindy which
charmed both the director and the audience.
The narrator suited the role of a storyteller by the time
of the first performance. With revisions in the staging and
encouraging more communication directly to the children, both 83 students who played the role did a commendable job. Timing served as an important element during the narration being combined with other actors miming the story. At times during the performances, the timing appeared awkward and should have been worked to perfection. Each narrator developed his own character and both worked very well.
The highlight in characterization during the production emerged from the young actress who played Sassy Sue. From the physical traits down to the innermost personality traits, the actress displayed every bit the ugly step-sister. Being a very attractive and talented young lady, she rapidly devel oped every aspect of her character and sustained this character throughout the rehearsals and performances. Having a definite innate talent, the actress proved herself to be an upcoming new talent in the theatre. During the performances believabil ity flowed from this character at all times which certainly contributed to the success of the production.
At the beginning of rehearsals, the fear that Sassy Sue's character would override that of Lindy Lou's concerned the director. However, as the rehearsals progressed so did Lindy
Lou's character. The meanness, greediness, hatefulness, ugli ness, and all the other evil characteristics the character needed began to flourish. The actress' difficulty with this character stemmed from the lack of theatrical experience and being of a totally opposite nature. The two step-sisters worked well together, and without imitating the two learned 84 from each other. By the time of the productions, the play had two very ugly step-sisters.
The role of the step-mother probably was the hardest to develop throughout the production. Limited dialogue called for development in movement and facial expression to portray a believable character. To the director this character failed to progress into a truly believable mean, ugly step-mother.
Although the improvement in characterization proved to be exceptable to the audience, the director could see far more potential in the actress, and the character, than that which was portrayed.
The Minni Pearl image bothered the young actress who played the Cowgal Godmother. Being instructed "imitating a character is not true acting", the performer felt restricted in her characterization. However, she quickly overcame her difficulties and played a delightful Godmother. Even though the role called for an image of Minni Pearl, the actress soon realized she could develop her own character within Minni and it worked.
Being in both productions of the Summer Repertory Company and being his first experience with theatre, the actor playing
Duke had his work cut out for him. The main problem he had with Duke's character was the physical traits. Although the actor improved tremendously by performance, he still lacked the stance and stature to truly make his character believable.
The actor's handsome young face and the nice quality in his 85 voice sustained his character throughout the performances.
The potential was there for this young man, but with the lack of training, Duke proved to be one of the weakest char acters in the production.
One young man stated, "No, I will not act. I only do tech." With an encouraging "I know you can do it!", he finally consented to play the part of Bo and, eventually, played the narrator combined with Bo in the latter performances of
Cindy's Feller. Although this actor lacked training, it soon became obvious that he had been "around" theatre. As the rehearsals rolled by, a confidence projected from him that delighted the director and the cast. Having a helpful nature in his own personality, the character of Duke's sidekick flowed naturally and became another highlight of the production.
In playing the part of the narrator, he kept the same character he had developed for Bo which added an extra relationship be tween the narrator and the children because the narrator became an actual character within the play.
The script deviated from the original story of Cinderella by introducing a new character, Bart. Bart portrayed all those guys that every young lady should have shunned, and the actor developed the character to its fullest. Vocally, he convinced the audience of Bart's evil nature. Physically, the actor had some problems because of his height, but by mentally thinking of his character, he appeared much taller and stronger in size than he actually was. Although some of the adults in the 86 audience did not seem too convinced of the evil Bart, the children wanted nothing to do with him following the performance.
At the beginning of rehearsals, the director instructed the dancers to develop a character by giving themselves a name and a definite personality. When the time came to work the barndance scene, the director witnessed all the characters coming alive on the stage. She saw the very shy young thing, the extremely aggressive gal who was out to get Duke, the
Tomboy, and the flirt who even encouraged Bart. Everyone on stage had a character and felt as important to the play as the next person. During the "Cotten-Eyed-Joe", one dancer had the pleasure of dancing with Bart. Bart roughly grabbed her to dance with him, and throughout the entire song, she was constantly trying to pull herself from him----always staying in character.
The popularity of the country-western theme contributed to the enthusiasm with which the students developed their characters. Even though some of the cast found it difficult to relate to the Texas style, everyone had been exposed to it in some form or fashion and fell into the characters quite easily after turning loose of some inhibitions.
The main element of the production which the director worked toward to create a successful play was consistency among the characters. Many times one or two characters were over shadowing the rest of the cast, and when they were not on stage, the production took a definite decline. Having actors 87
with experience and students with relatively no training,
consistency in characterization from the beginning of rehear
sals became a focal concern of the director. Being very
perceptive in this area, the director focused her attention
on the students who were less knowledgable in characterization
in order to bring them up to the level of the other actors.
This proved to be frustrating to some members of the cast who had been used to a director's attention to all actors. However,
the method of direction proved to be valid as the final product led to a more consistant show. From the standpoint of the director, however, the characterization of some of the actors
still could have been more consistent; thus providing the aud ience with an even more believable production.
Staging and Blocking
Cindy's Feller was written to be performed on a proscenium stage, but it became very adaptable to the theatre at North
Texas State University. Having some of the actors entrances and exits from the back of the audience seemed to draw the audience into the action of the play more than on-stage entrances.
The director allowed the actors freedom of movement in the beginning rehearsals in order for them to establish believ ability in their characters. As the rehearsals progressed, more definite blocking was established, and the show began to look polished. The greatest problem in staging arose during the barndance scene and the final scene of the play. Because the stage projected out into the audience, blocking the view 88 of the audience from some of the main action needed attention.
Although levels were used, at times the audience views from certain angles were still obstructed. The director tried to eliminate the problem by having the actors move to other areas when the action was motivated.
During the barndance scene both Duke and Bart mingled among the gals at the dance trying to find their own true love.
Throughout the various performances their blocking seemed irregular where they failed to be consistent. Possibly more polishing rehearsals on the scene would have eliminated the problem.
The final scene of the play constituted the same problem with staging. Portions of the audience had difficulty in viewing the entire central action at certain given moments.
However, the fast moving action in the scene provided less of a problem than that of the barndance scene.
To the director, the most worthwhile moments of staging came with the curtain call. Running the dance,"Orange Blossom
Special", and timing the curtain call perfectly with the end of the music became a real challenge for both the director and the cast, but ended in a true feeling of accomplishment, and delighted the audience with a clearly picturesque finale to an already pictureframed production.
Scenery and Properties
At the beginning of the Summer Repertory Company, the director conferred with the designer of the set as to how 89 she pictured each scene. The designer completed a rendering and upon the director's approval, the set building began.
Crew calls began on June 5th and continued as scheduled until the set was completed on June 17th. The director fre quently checked the progress of the set throughout the produc tion rehearsals. Complete confidence in the crew quickly emerged as the director witnessed absolute competency in the technical director. The finished product, built on movable wagons for quick scene changes, proved to be very workable for the production. During scene one a front view of a ranch house painted white and bright yellow adorned stage right. On stage left the outside of a brown barn trimmed in red supplied the effect of the ranch. Behind the house and barn a backdrop had been painted giving the illusion of a desert, mountains, and a brillant blue sky. A dim light remained up on the set as the children entered the theatre to immediately create a country-western atmosphere.
The second scene was created by utilizing the back of the house and the barn which were turned and placed together. The front door of the house became the interior barndoor. Acces sories which hung on the interior of the barn made for a be lievable interior. Brightly colored crates and boxes added to the color of the set. The narrator utilized the boxes when on stage. The color of the boxes were changed between scenes which aroused comments from the young audience. The last scene of the play remained the same as the first with the addition 90 of a colorful bench in the yard. Because the scenery and properties created an illusion for the children, and were colorful and artistic, the set provided an element which contributed to the success of the production.
Lighting
Since the production of Cindy's Feller was performed in the small intimate theatre at the University, the lighting was important for scene changes, and the overall effect of the show. Before the production began a dim light created the atmosphere of the country-western theme as it shown upon the ranchhouse and the barn. The rest of the lighting was rela tively simple as lights were brought up full on all the scenes except for special lights on Cindy and Duke during their solos, and on the narrator as he told the story. Another special was used on Cindy and Duke as they danced together during the barndance. Although the light effects were kept to a minimum, they helped establish the illusion of the overall production.
Costumes
The costumes of Cindy's Feller provided the necessary color to the production. Although the set was bright during the first and last scenes, the barndance was limited in color because in order to make the interior of the barn realistic, it lacked color. However, the dancers' costumes with the girls wearing brightly colored full skirts and colorful blouses, and the guys with bright shirts and scarves provided the necessary 91 color for the second scene. Although the dancers' costumes were acceptable, they would have provided more excitement for the children if the skirts of the girls and the shirts of the guys had have been make from the same material. This would have provided a more picturesque scene for the children. To represent the good and evil of the play, Cindy's dress for the dance was white with gold trim with Duke also in white. Bart was dressed all in black. Each scene provided colorful cos tumes to add to the excitement of the show.
Although the director felt the production with all its excitement and color would be a success, the young audiences became the ultimate test. After each performance the children were asked to complete an evaluation of the play. The directors of the day care centers and the parents read questions from an insert in the program to the children. The children answered the questions and the adults filled out the results. The following table indicates the results of the evaluation. 92
TABLE II
SAMPLE OF SURVEY FORM FOR CHILDREN'S EVALUATION OF CINDY'S FELLER
1. Did you enjoy seeing "Cinderella" in Texas style?
75 Very Much 5 Somewhat 0 Not at all 2. Did you feel sorry for Cindy at the b beginning?
59 Very Much 21 Somewhat 0 Not at all 3. Were you happy for Cindy at the end?
76 Very Much 4 Somewhat 0 Not at all 4. Were the step-sisters and step-mother ugly and mean?
69 Very Much 11 Somewhat 0 Not at all 5. Was Bart mean?
.50 Very Much 50 Somewhat 0 Not at all 6. Were you happy Cindy got her feller, D)uke?
775 Very Much 5 Somewhat 0 Not at all 7. Was the dancing exciting?
68 Very Much 12 Somewhat 0 Not at all 8. At the barndance was Cindy's dress pretty?
80 Very Much 0 Somewhat 0 Not at all 9. Did Duke look like the good guy?
6j% Very Much 9 Somewhat 2 Not at all 10. Would you tell a friend about the show?
65 Definitely 1j .Possibly 0 Never
TOTALS TALLIED FROM 88 INSERTS FILLED OUT CHAPTER IV
FINAL SCRIPT OF CINDY'S FELLER
CINDY'S FELLER
or
"Cinderella Goes Country"
Cinderella dramatized by Liz Starcher Characters:
NARRATOR: (Willie Nelson image)
CINDY: (Cinderella image) LINDY LOU: (Step-sister)
SASSY SUE: (Step-sister)
STEP-MOTHER: (Step-mother)
COWGAL GODMOTHER: (Minni Pearl image)
DUKE: (Good guy)
BO: (Duke's Sidekick)
BART: (Bad guy)
DANCERS: (May vary in number)
(Lights come up on set. NARRATOR enters from behind barn. He picks up a box and crosses down to DC.)
NARRATOR: Once upon a time outside a li'l town in 1
Texas, there lived this darlin' li'l gal 2 named Cindy. (NARRATOR watches as CINDY enters from house onto the porch. She has
93 94
NARRATOR: a sad, exhausted look about her.) Now 4 Cindy was the purdiest gal in all those 5 parts, but never showed her purdy li'l 6 smile, 'cause she was down right unhappy 7 ------(NARRATOR looks at CINDY. CINDY
sighs.)--even though she lived on the 8 biggest ranch in the entire state. Now 9 I know yor askin' how come she was so 10
down in the mouth when all li'l gals 11
dream of livin' on a big ranch and havin' 12
their very own pony. Well, ya' see 13 Cindy's mama met up with a real bad 14
accident and had to go up ta' heaven 15 (CINDY looks towards heaven) when Cindy 16
was jist a babe, and a few years later 17 her daddy married up with this mean wider 18
woman (NARRATOR stops dialogue and watches 19 as the STEP-MOTHER enters SR carrying
shopping bags and crosses to CINDY.)
down the road who had herself two power 20
ful ugly gals of her own named Lindy Lou 21
(NARRATOR watches LINDY LOU enter SL
carrying shopping boxes.) and Sassy Sue. 22
(NARRATOR watches SASSY SUE enters SL
carrying shopping bags and boxes. All
three shove the bags and boxes at CINDY.) 95
NARRATOR: As all three of them gals grew up, 23 Cindy's step-sisses and step-mama 24
became fist fightin' jealous (LINDY LOU 25 and SASSY SUE turn away from CINDY - turn back and stick their tongue out at her
simultaneously.) 'cause Cindy was sure 26
enough the most beautiful gal (SASSY SUE 27 flips CINDY'S hair) in the county. They 28
jist treated her awful---pickin' at her 29
all the time (LINDY LOU and SASSY SUE 30
mime shaking fingers at CINDY.) and makin' 31 her do all their dirty work. (LINDY LOU 32
shoves the broom leaning on the porch
into CINDY'S hands. STEP-MOTHER, LINDY
LOU, and SASSY SUE exit into the ranch
house. CINDY leans the broom on the porch
and crosses to the fence.) Well, as the 33
story goes, one evenin' Cindy was particu- 34
larly low and powerful lonely (CINDY sighs)35
'cause there was a big barndance that 36
night given by the most handsomest, 37
richest feller this side of the Pecos. 38
All the folks in Yokum County was attendin'39
except------you guessed it------40
Cindy. (CINDY sighs) Cindy was outside 41
the big ranchhouse leanin' on the fence 42 96
NARRATOR: after a long exhaustin' day of slavin' 43 for all them other low down cacklin' 44
hens. (NARRATOR crosses to barn. 45
CINDY is leaning on the fence dressed in worn-out dress. Her hair is in a
bandana.)
CINDY: (Sadly) I jist feel all closed in and 46 long to git away from this horrible 47 ranch and those mean ol' step-sisters 48
and step-mama. I work and slave from 49 dawn until all hours of the night for 50 them everyday, and they treat me like 51 I was dirt under their feet. I'm so 52 tired, so terribly tired, and yet, I 53 dream of goin' to the big barndance 54 tonight and meetin' up with Duke and 55 he kin take me away from all this and 56 we kin jist keep on goin' forever and 57 ever. 58
(CINDY sings - suggested song - Don't Fence Me In .) (LINDY LOU and SASSY SUE come out of the house.) LINDY LOU: Cindy! Cindy! What are you doin' out 59 here jist a'lofin'. Don't you know we 60
have tons to do before the dance, and 61
ya' have ta' he'p us git ready. 62
SASSY SUE: Cindy, you git in here and he'p me git 63 97
SASSY SUE: my clothes ready for tonight! I have 64
ta' look especially allourin' this 65 evenin'. Oh, by the way, too bad you 66
cain't go, but jist look at ya'. But, 67 of course, with all you have ta' do for 68
us, you could never git ready in time. 69
(Both STEP-SISTERS giggle.)
LINDY LOU: (Sarcastically) Jist think, Cindy, yor 70
gonna miss the biggest shindig of the 71
entire century. I hear Duke wants to 72
git hitched up with some gal and he's 73
throwin' this hoedown to se-lect the 74
purdiest gal there. Of course, there 75
is no doubt who he will choose, ME, of 76
course! 77
SASSY SUE: Don't be so sure, darlin'. Have you 78
looked in the mirror lately? 79
LINDY LOU: Sassy, yor about to git a fat lip to go 80
along with those big ears of yors. 81
SASSY SUE: What do you mean my big ears. Why yor 82
feet are so big, we had to special 83 order yor boots for the dance. 84
LINDY LOU: That's a down right lie, Sassy, and you 85
better take it back! 86
(LINDY and SASSY begin fighting---pulling hair,
etc. CINDY intervenes.) 98
CINDY: (Pleadingly) Oh, Lindy and Sassy, 87 please quit yor fightin'! I do wish I 88
could attend the barndance tonight. You 89
know, if you would he'p yorselves git 90
ready and let me borrow some of yor 91
fancy duds, I jist know I could manage 92
to git all spruced up and go with y'all. 93
(LINDY and SASSY have stopped fussing---They stand
amazed at CINDY'S request.)
SASSY SUE: Why, Cindy, you know mama would jist 94 throw a hissy fit if she knew you have 95
even suggested sech a thang! If you 96
showed yor face at the dance, you 97
would be a disgrace to her good name. 98
The very idea! Besides you have to stay 99
here and slop the hogs! 100
CINDY: I reckin' yor right, Sassy. 101
LINDY LOU: Of course, she's right! (Turns to 102
SASSY) Come along, Sassy. We need to 103
git goin'. I jist cain't wait to git 104
to the dance. 105
(LINDY and SASSY start into the house---CINDY
lingers behind.)
SASSY SUE: I think I'll wear the green shirt. 106
LINDY LOU: Sassy, you know I bought that shirt 107
jist for tonight! 108 99
SASSY SUE: I saw that shirt furst and you jist 109
grabbed it up from right under my nose! 110
LINDY LOU: Did not! 111
SASSY SUE: Did too! 112
LINDY LOU: Did not! 113 SASSY SUE: Did too! 114
(LINDY and SASSY continue the Did not's and Did too's
..... faster and faster until they are both out of breath.
SASSY SUE stops and says.)
SASSY SUE: (Matter of factly) Never mind, I didn't 115 want to wear it anyway! (Turns to CINDY 116
and in a mean voice) Cindy, are you 117 coming ? You know mama is gonna tan yor 11
hide, ifin' you don't git in here and 119;
he'p us this minute. 120' CINDY: (Sighs) I'm coming . (CINDY looks out 121
toward Long Neck Ranch.) Oh, if only 122
there was a way! 123
(CINDY walks slowly into the house - turning back towards Long Neck Ranch.)
(NARRATOR crosses from the barn to CS.)
NARRATOR: Well, folks, I reckon you kin see now 124
jist why that li'l gal was so unhappy-- 125
havin' to put up with sech as that. 126
(Screams are heard from the house.
NARRATOR looks toward the house.) Why, 127 100
NARRATOR: she jist didn't have a chance in the 128
world of gittin' to go to that dance 129
and meetin' up with the most handsomest, 130
richest feller in Yokum County. Why, 131
she's in thar right now he'pin' her 132 step-ma and Lindy Lou and Sassy Sue 133 git ready for that big shindig while 134 they all fuss and fight (yelling at 135 CINDY is heard from the house. Clothes
are seen flying out of the front door.
NARRATOR stops and watches and shakes
his head.) over what they're gonna 136
wear. Typical women, if I ever did 137 see'em. But Cindy, bein' sech a nice 138 gal, jist is in thar puttin' up with all 139 their feudin' and fussin' (more yelling 140
is heard from the house.) and has fixed 141
them all up to be---well---almost purdy. 142 (NARRATOR crosses back to the barn and sits.
STEP-MOTHER pushes CINDY out the door and is foll :wed
by LINDY LOU and SASSY SUE. They are dressed for the dance in mis-matched brightly colored clothes.)
STEP-MOTHER: Now Cindy, you see to it that all that 143 mess we left in the house is cleaned up 144 by the time we git back and don't forgit 145 to slop the hogs! 146 101
CINDY: Yes, M'am. 147 SASSY SUE: (Sarcastically) Cindy, now you be shore 148
to have fun while we're gone. (giggles) 149
LINDY LOU: (Sarcastically) We are gonna miss ya' 150
at the dance. (giggles) 151 SASSY SUE: (Sarcastically) I'll be sure to dance 152
an extra dance with Duke jist for you. 153 (giggles)
(STEP-MOTHER, SASSY SUE, and LINDY LOU giggle loudly
while crossing SR, turn precisely together and wave
and say "Bye" simultaneously and exit SR behind the
audience still giggling loudly.)
CINDY: (Watching them disappear) Oh, it jist 154
ain't fair! (Stomps her foot) I only 155 wish there was some magical way I could 156
git everthang done I need to do, so I 157
could go to that dance-----(dreaming) or 158 better yet, I wish Duke would come ridin' 159
up this minute and take me away from here.160
I guess I can dream ...... 161
(CINDY sings - suggested song - Mr. Sandman. She stops in the middle of the song about to cry.)
CINDY: Oh, this is so foolish., I can dream 162
all I want, but nothin' is ever gonna 163
change. (Begins to cry.) 164
(CINDY goes to the porch and sits down. She is still 102
crying. GODMOTHER appears----She could be flown or
she could walk in with a suitcase in her hand. She
is a Minni Pearl image.)
GODMOTHER: How------Dee! (CINDY looks up but 165 continues to cry.) Now, youngin' what's 166
all those tears? 167
CINDY: (Through her tears) Oh, my step-sisters 168
jist left for the big barndance to meet 169
up with the best guy in the county, and 170
I cain't go 'cause I don't have anything 171 to wear, and my hair's all a'mess, and 172
I have to clean up their ol' mess and 173 slop the hogs, and...... (cries harder) 174
GODMOTHER: (Sympathetically) Now, now, honey, you 175 dry up those tears. I have somethin' 176
right here in this bag that's gonna 177 turn those tears into pearl drops' 178
CINDY: (CINDY looks up and rises taking a few
steps away from the GODMOTHER) But 179 fer heaven sakes---Who are you? 180
GODMOTHER: Well, I ain't Mr. Sandman, but I am 181
yor Cowgal Godmother. 182
CINDY: (Disbelieving) I didn't know I had any 183 kind of Godmother'. 184
GODMOTHER: Well, honey, you shore enough do! I am 185
yor very own rootin', tootin' Cowgal 186 103
GODMOTHER: Godmother! 187 CINDY: (Rubbing her eyes) I don't believe it! 188
GODMOTHER: Now you listen up, young lady, and 189
listen up close. Do you really want 190
to go to that big shindig that Duke 191
feller is throwin' over at the Long 192
Neck Ranch? 193
CINDY: Oh, yes, M'am, I surely do! 194
GODMOTHER: Well, then, all ya' have ta' do is to do 195
a li'l believin' in me fer the time 196
bein' and do exactly what I say. 197
CINDY: Well, I don't know! (hesitates) Oh, 198
heck, why not! 199
GODMOTHER: Good! Now honey, the furst thang we've 200
got to do is git you to that dance. Now 201
what would you like to ride on? 202
CINDY: Oh, I would love to have my very own 203 white pony. I always dreamed of havin' 204
my very own beautiful white pony. 205 Could ya' git one for me? 206
GODMOTHER: Well, now, let me see! (Thinks for a 207 minute.) You run out in that field 208
over yonder and fetch me an armadiller 209
and bring him right back here! 210
CINDY: That might be a li'l difficult, but 211
I'll sure enough try. 212 104
(CINDY runs off SL. We hear her trying to catch
the armadillo. Off Stage: "Here, diller. Here,diller
--now, I gotcha' -- Oh, come here ya' li'l rascal!")
GODMOTHER: (Looking off stage) How ya' doin' 213 darlin'? 214
CINDY: I got 'em, Godmother. I got 'em! I'm 215 a coming ! (CINDY comes on stage with an 216
armadillo) He's a big one, Cowgal God- 217
mother! 218
GODMOTHER: Oh, my, that is a nice one! Put him 219
down right here. (Opens suitcase and 220
pulls out a rope.) Now I am jist gonna 221
say a few appropriate words over this 222
critter, and swing my lasso, and you 223 jist see what happens. (Swings lasso 224 over armadillo and yodels---nothing
happens---She tries again--nothing
happens.) Oh, dear, I have trouble 225 with armadillers evertime! They are 226
sech stubborn creatures! 227
CINDY: Oh, I'll never git to go to the dance 228
at this rate! Please, hurry and do 229
somethin'. 230
GODMOTHER: Now, don'cha git impatient, honey! 231 (Swings lasso again and yodels---
nothing happens.) Oh, well, heck! 232 105
GODMOTHER: (Kicks the armadillo and whistles towards
SL. A white horse----actors in costume--
enter from behind the barn. The HORSE
dances around for the audience as CINDY
follows. The HORSE comes to CS and makes
a final turn for the audience.)
CINDY: Oh, Cowgal Godmother, he is jist the 233 most beautiful white horse in the 234 entire county. I know I will be envied 235 by all the other gals at the dance. 236 (HORSE shakes head (Yes) CINDY'S face falls-
She is almost in tears again.)
GODMOTHER: Well, Cindy, now what's the matter? 237 CINDY: Oh, I love -the horse, Godmother, but 238 I still cain't go to the big hoedown- 239 'causin' I ain't got a thang to wear. 240
I cain't go like this! (HORSE shakes 241
head (No).) I would be the laughin' 242 stock of Yokum County. (HORSE shakes 243 head (Yes). CINDY cannot hold back the
tears.)
GODMOTHER: No, now, child. You saw how that white 244 horse jist sprung up from nowhar. (HORSE 245 shakes head (No).) Don'cha think I kin 246 manage to git ya' some fancy duds to 247 put on yor purdy li'l self? 248 106
CINDY: Well, ya' did have some trouble with 249
the horse! (HORSE shakes head (Yes) 250
GODMOTHER: Never ya' mind that! Now git over here. 251 Turn around three times. (CINDY turns 252
three times---nothing happens. HORSE
shakes head (No).) Three more, I know 253 somethin' will happen this time. 254
(CINDY turns three more times-----nothing happens.
HORSE shakes head (No).)
CINDY: Oh, Lawdy, Godmother, this is never 255 gonna work! I might as well go slop 256
the hogs! (HORSE shakes head (Yes).) 257
GODMOTHER: Now, you listen up, young lady. I 258
always come prepared in case of an 259 emergency. (GODMOTHER takes western 260
dress, white with gold trim, and white
boots out of the suitcase and hands them to CINDY. CINDY is overjoyed. She swings
around with her new dress. HORSE dances
around in a circle.)
CINDY: Oh, these are the most gorgeous clothes 261 I ever did lay my eyes on! 262
GODMOTHER: Now, you run on in and git yorself all 263
purdy for that young handsome Duke 264
feller. 265
CINDY: Yes, M'am! (CINDY starts to run into 266 107
CINDY: house----looks in, but crosses back to
GODMOTHER.) Oh, Cowgal Godmother, I 267 jist cain't go. (CINDY takes GODMOTHER 268
by the hand and leads her to the open door
of the house.) Come take a look at 269
this house. It's a mess, and I ain't 270
done any of my chores! 271 GODMOTHER: Now, never you mind all that, child. I 272
will see to it that all yor work is done 273
before you kin git back. 274
CINDY: (Skeptically) Are you shore? 275
GODMOTHER: You jist git yorself in there and git 276
ready before you miss the whole shindig. 277
Leave the rest up to me. 278
CINDY: O.K. (CINDY starts toward house, but 279
comes back and kisses GODMOTHER on the
cheek.,) and thanks, Cowgal Godmother! 280
GODMOTHER: Oh! Shucks! Gal, anytime! (CINDY starts 281
into house, but GODMOTHER stops her.)
Oh, Lan'sakes, youngin', I almost 282
forgot the most important thang. 283
CINDY: What is it, Godmother? 284
GODMOTHER: You have ta' remember one very important 285
detail. 286
CINDY: Yes? 287
GODMOTHER: At midnight--now, that's exactly midnight 288 108
GODMOTHER: that purdy white horse of yors and 2 89 all those fancy duds will jist vanish 2 go as if they were never there---(HORSE 2 91 swings head around quickly.) so ya' got 2 92 to be careful to leave the dance before 2c 93 time. Now, don'cha forgit, child, 2 94 leave before midnight or ya'll look 2 95 mighty foolish to all the county folks, 2(96 especially Duke! (HORSE shakes head 2 97 (Yes).)
CINDY: I won't forgit! And Godmother, thanks 2 98
again. 2 99 (CINDY leans over and kisses GODMOTHER on cheek.
HORSE lowers head in embarrassment shaking his
head as CINDY exits into the house. GODMOTHER picks
up the broom and begins sweeping the porch. HORSE
exits behind the barn. MUSIC comes up for the set
change - suggested song - Texas Women. Music fades out as NARRATOR begins dialogue.)
NARRATOR: Well, now ain't that the beatin'est Y 00
thang ya' ever did see---Cindy on her 3 01
way to that big barndance on her very 3 02
own white pony. She jist must be in 3(03 hog heaven. All I kin say is I reckon Y 04 if any youngin' ever deserved a God- 3 05 mother who could zap up a white horse 3 06 109
NARRATOR: and fancy duds, and send her off to 307 meet her feller, Cindy did. Well, now 308
while Cindy is ridin' to the Long Neck 309
Ranch, all the other gals in Yokum 310
County are flockin' into the fanciest 311 barndance ever held in the state of 312
Texas. (Lights come up full onto in- 313
terror of barn. DUKE and BO are on stage.)
As all them purdy ladies, (FOUR GALS 314
enter from back of audience - Two on R
and two on L) and some not so purdy 315 ladies, (LINDY LOU, SASSY SUE, and 316
STEP-MOTHER enter the barn door) entered 317 the dance, Duke looks them over real 318
good. (DUKE goes from gal to gal) He had 319
always been known to be the most partic- 320
ular feller in the county when it came to 321
his women---bein' so rich an' all, he 322
had to be particular. (BART enters 323
from the barn door.) He shore didn't 324
want to marry up with a gal who was jist 325
out for his money! (Other GALS enter the 326
barndance.) Well, after all the folks 327
from the county had fin'lly arrived-- 328
well, everone but one, the music began 329
to play. (MUSIC comes up on song-suggested330 song-Texas Women) 110
SCENE II BARNDANCE:
(Interior of a barn-platform for musicians and caller
SL. Haybales and typical barn decor on stage. Everyone
is mingling around talking. DUKE may sing Texas Women
as the gals enter or the music may be played with re
actions to DUKE from the GALS, especially LINDY LOU and
SASSY SUE. After the song, the CALLER goes up on plat form and announces the Cotten-Eyed-Joe.)
CALLER: And now, folks, let's dance the Cotten-Eyed- 331 Joe. (Music begins for Cotten-Eyed-Joe 332
and the dancers dance. During the dance
LINDY LOU, SASSY SUE, and STEP-MOTHER try
to cut in on other GALS with no success.
They all then go into the audience to ask
the children to dance. When the dance ends,
the GALS huddle together talking about who
DUKE is going to choose to be his wife.
LINDY LOU and SASSY SUE run over to DUKE as
a slow country song begins. They drag him
out on the dance floor.)
LINDY LOU: Come on, Duke, I am the best dancer in 333
these parts! 334
SASSY SUE: (Grabbing DUKE from LINDY) Don't listen 335
to her, Duke, she cain't kick up her heels 336
to even the best of country music. Now, 337 111
SASSY SUE: as for me, that's a different story. 338 Come here, honey. (Pulls DUKE into her.) 339 LIND) f LOU: (Grabs DUKE away from SASSY) Duke, 340 she'll step on ya' with those big feet 341
of hers. 342 SASSY ( SUE: Lindy, you better git lost before one of 343 my dainty li'l ol' feet boots ya' out of 344 here. 345 (LINDY LOU and SASSY SUE fight over DUKE---pulling
him back and forth. DUKE jerks himself loose from
both LINDY LOU and SASSY SUE.)
DUKE: Now, listen gals. You both kin dance 346 jist fine, but my feet are jist killin' 347 me right now, so I'm gonna set down for a 348 spell. (DUKE leaves LINDY and SASSY 349 still arguing with each other. DUKE
crosses over to his sidekick, BO.)
BO: My, Duke, this is quite a shindig. I 350 bet ever gal in the county is here! 351 DUKE (Forelornly) I know, Bo, but my heart 352 jist hasn't gone out to a one yet. 353 Maybe I was jist meant to be a lonesome 354 polecat for the rest of my days! 355 BO: Oh, Duke, don't talk that way. Surely 356 out of all these gals you kin set yor 357 heart on one. 358 112
(MUSIC begins playing a song - suggested song - May
I Have This Dance? One of the GALS begins to sing the
song and crosses to DUKE. Flirtingly sings the song
to DUKE. After the gal finishes her song, the MUSIC
continues as CINDY enters the barndoor and crosses DCS.
She is so beautiful that everyone gasps at the sight
of her. DUKE crosses over to her.)
DUKE: (To CINDY) May I have this dance? 359 CINDY: It would be my utmost pleasure! 360
(CINDY and DUKE dance as they look lovingly at one
another. Later in the dance, LINDY LOU speaks.)
LINDY LOU: Who is she? I have never seen her in 361
these parts before! 362
SASSY SUE: I certainly don't know, but she ain't 363 gonna take Duke away from me, or any 364
other true Yokum County gal if I kin 365
he'p it! 366
LINDY LOU: Oh, Sassy, what do ya' think ya' kin 367
do about it. Look at how Duke is 368 lookin' at her. She is tearin' the 369
heart out of that man, right this minute. 370
SASSY SUE: Well, we'll see. (Crosses to BART) 371
Bart, honey, now that's a down-right 372
purdy gal Duke's dancin' with. I hear 373 tell you have been braggin' all over 374
Yokum County that you were gonna marry 375 113
SASS Y SUE: up with the purdiest gal around, and if 37 6 Duke got in yor way, you would gun 'im 3 77 down.3' 8 BART I reckon ya' heard right, Miss Sassy, 37 9 and I reckon that gal over there is the 3E 80 most beautiful heifer I ever had the 3E 31 pleasure of layin' my eyes on.-3E 32 Y LOU: LIND. (Pushing BART toward CINDY) Well, then, 38 33 git yorself over there and cut in on 38 34 that dance before Duke plucks out that 38 35 li'l gal's heart! 38 36 BART: Humph! (angrily) Why, she's gonna be 38 37 my gal, and I'm fixin' to let both of 38 38 'em know it. Right now! (BART walks 3839 over and cuts in on DUKE and CINDY.
CINDY still looks after DUKE as she dances with BART.) Now, look li'l 39 0 darlin'. I promised myself I was 39 1 gonna git me the purdiest gal in this 39 2 county and that gal is you. Now you 39 3 jist come closer and give me a big 39 kiss, so Duke over there will know jist 39 5 exactly who you belong to. 39 6 (BART pulls CINDY to him roughly. BO standing by DUKE signals to the band. The band changes to a fast
song. CINDY takes the cue and pulls away from BART 114
in a fast dance movement. BART tries to pull CINDY
back to him and in doin so, stomps on her foot.
DUKE breaks away from BO who has been keeping
him back. CINDY grabs her foot in pain as DUKE
comes up to BART and hits him. (MUSIC changes to
melodrama music.) DUKE and BART fight while CINDY
sits at the table. She takes off her boot, lays it on
the table, and rubs her foot. DUKE wins the fight
and shoves BART out the barndoor. The CALLER jumps
on the platform.)
CALLER: All right, Ladies and Gents-----it's almost 397
midnight and time for our last hoedown of 398
of the evenin'. Everyone git ready! 399
(CINDY looks up - startled - remembering what Cowgal Godmother had told her. DUKE is coming back to get
CINDY for the last dance when CINDY runs past him and
out the same door that BART had been pushed out. DUKE
runs after CINDY and calls after her, but to no avail.)
DUKE: Hey, where are ya' goin'? Who are you? 400
I don't even know yor name! (DUKE 401
crosses back into the barn) That's it 402
The party's over! Everybody go home! 403
(Being very insulted, SASSY SUE, LINDY LOU and the
STEP-MOTHER stomp out the door.)
STEP-MOTHER: Well, I never! Come along, Sassy Sue, 404
and Lindy Lou! 405 115
BO: (Seeing DUKE crestfallen) Now, Duke. 406
No gal is worth gittin' so shook up 407 about. If'n she's after ol' Bart, 408
she cain't be worth much anyways! 409
(DUKE spots CINDY'S boot on the table. He walks over and picks it up.)
DUKE: Look, Bo, she left her boot. I don't 410
know who she is, but I'm gonna find 411
her, and I will know it's her when I 412
find who belongs to this boot. She's 413 mine, Bo, do ya' understand, she's 414
mine. (DUKE is beside himself. BO puts
his arm around DUKE and sings - )
BO: Where, oh, where, are you tonight? 415 Why did you leave Duke here all alone? 416
He searched the world over and thought 417
he'd found true love. You met another 418
and "pffft" (rasberry) you were gone! 419
EVERYONE: You met another and "pffft" (rasberry) 420 you were gone! 421 (BLACKOUT)
(MUSIC comes up on song for scene change - suggested
song - Texas Women. Spot comes up on NARRATOR DCS.)
NARRATOR: Well, now, that Duke feller didn't know 422
Cindy had to run all the way home 'cause 423
her white horse jist up an' disappeared 424 116
NARRAfTOR: He figured she had run after that mean 425 hombre, Bart, and was off consolin' 426
him somewhares. And the more he 427 thought about that possibility the 428
madder he got. So he took off on his 429 horse goin' from ranch to ranch tryin' 430 to find 'em both. It got down right 431 lonesome for Duke searchin' and searchin' 432 for his gal, but he was mighty deter 433 mined to seek out his true love. 434 (NARRATOR crosses to barn as DUKE enters SL and
sing song - suggested song - Lookin' for Love. He
sings the song to the audience. After the song the
lights fade off of DUKE and come up on Scene III.)
SCENE III
OUTS IDE RANCHHOUSE:
(LINDY LOU and SASSY SUE enter from the ranchhouse
dressed in colorful robes and slippers with curlers
in their hair. They appear even uglier than they
have before. They are talking about the events at the dance as they enter.)
SASSY SUE: I was never so insulted in my life' 435 Bein' asked to leave the barndance 436 like that! 437 LINDY LOU: I'll say, and Duke bein' so takin' 438 with that no good gal. I never! 439 117
SASSY SUE: Oh, I am shore he will git over her. 440
He jist has to! 441
LINDY LOU: Well, she's long gone now. 442
(LINDY LOU and SASSY SUE sit on the bench in the yard.)
SASSY SUE: Well, if ya' ask me, it's good riddance 443 to who ever she was. Duke will jist 444
have ta' choose one of us now! 445 LINDY LOU: Well, she sure enough made a complete 446
fool out of herself runnin' after Bart 447 the way she did. How disgustin'! 448
(STEP-MOTHER has come out on the porch and has over
heard SASSY SUE and LINDY LOU talking. She crosses
to bench and stands behind LINDY LOU and SASSY SUE.)
STEP-MOTHER: Well, now, I think you two are the 449
fools. While I was in town this mornin' 450 I heard tell that Duke was out looking' 451 for this gal. She was in sech a hurry, 452
she left her fancy boot behind at the 453 dance, and he swears he's gonna find 454
the foot that boot fits. I hear he's 455
half out of his mind over her. Now, 456
you both listen up, and you listen up 457
real good! He will end up here any 458
time now, and one of you better, and I 459
mean better, git yor foot into that boot. 460 118
STEP-MOTHER: I don't care what it takes----you jist 461 do it! One of you is gonna marry up 462 with Duke, so I kin own pract'lly all 463 the land in this county. Now, do you 464 both understand me? 465 LINDY LOU: But ma! What if it jist won't fit! 466 STEP-MOTHER: Did ya' hear what I said? You make it 467 fit! (Puts hands on heads of both sisters
and pushes them together.) LINDY and SASSY: Yes M'am! 468
(DUKE enters from the back of audience SL. He crosc ses
to CS and holds up the boot.)
DUKE: I'm here to find the gal this boot 469 fits. (DUKE looks around the house and 470 barn in case BART is near.) Are you 471 holdin' up Bart in there? Is that why 472
all of ya' are out here? 473 (SASSY SUE has been following DUKE around as he
has been looking for BART.)
SASSY SUE: Why, no Duke, honey. He's been long 474 gone. I jist told him that you were 475 my true love, and he jist took off like 476 lightin'. I jist know he heard you were 477
coming' gunnin' for him over li'l ol' me, 478 and it scared the socks right off 'em. 479 (giggles) "19
LINDY LOU: (Crosses to other side of DUKE) Duke, 480 she's jist down right lyin'! It's me 481
Bart thinks you are after him for. 482
That boot right there in yor hand is 483 mine. Jist give it to me and I'll 484
prove it ta' ya'. (LINDY grabs the 485 boot from DUKE. She sits down on the
bench and tries to put in on. She strug
gles with the boot for some time.) Oh, 486
my, my foot must have swollen from all 487
that dancin' I did. I know this is my 488
boot! (LINDY keeps trying to get on the 489
boot, until SASSY grabs it away from her.)
SASSY SUE: (Grabbing the boot) Lindy, you know 490 that's not yor boot! Give it here! 491
I know it will jist slip right on my 492
foot! (SASSY tries to put the boot on 493
but cannot.) Well, I'll be, I jist 494
don't know what's the matter! (She 495
tries again and pretends it is on.)
There! I knew it would fit! (She gets 496
up to walk and because the boot is not
all the way on her foot when she tries
to walk her ankle turns. She walks around
until she just has to sit back down.)
They fit so purfectly jist last night! 497 120
(CINDY has appeared on the porch in a robe, and the
neighbors have gathered around including the NARRATOR.)
CINDY: Duke, could I try on the boot? (DUKE 498
gazes upon CINDY as if he has seen her before.)
DUKE: Why, shore you can, honey! 499
SASSY SUE: Why Duke, whatever for? Cindy couldn't 500
have possibly been at the dance last 501 night. Poor darlin', she had sech a 502
headache, she jist had to stay home. 503 LINDY LOU: That's right, Duke. Cindy didn't even 504
go to the dance. Tell him, Cindy. Now, 505 you tell him. (LINDY punches CINDY in 506
the ribs. CINDY ignores LINDY and SASSY
and walks over and sits down on the bench.
DUKE puts the boot on CINDY. DUKE knows
CINDY is his gal and takes her in his arms. LINDY, SASSY, and STEP-MOTHER are shocked.)
SASSY SUE: But, Duke, Cindy jist cain't be...... 507 (GODMOTHER enters from back of audience SL holding
CINDY'S other boot.)
CINDY: Cowgal Godmother! 508
LINDY and SASSY: Cowgal Godmother? 509
(GODMOTHER frowns at the step-sisters and crosses
to CINDY.)
GODMOTHER: Now, Cindy, I want you to turn around 510 121
GODMOTHER: three times. (CINDY makes three turns 511 taking off her robe to reveal the dress
from the dance. GODMOTHER hands her the other boot.)
CINDY: Thanks, Cowgal Godmother! (CINDY leans 512 over and kisses GODMOTHER on the cheek.) GODMOTHER: Ah shucks, darlin'! You jist always love 513 that feller of yors. 514
CINDY: (Looking lovingly at DUKE) I shore 515 enough will! 516 (GODMOTHER exits SR.)
CINDY: Bye, Godmother! 517 (STEP-MOTHER, SASSY SUE, and LINDY LOU are astounded
by the GODMOTHER. They go into the house in a huff.
CINDY sits on the bench and puts on the other boot.
DUKE takes CINDY by the hand as she rises. They kiss.
Cheers from the crowd go up. The CALLER crosses to CS.)
CALLER: Well, now I think this calls for a 518
celebration! Come on, y'all. Let's 519 have us the biggest hoedown this county 520 has ever seen' (Cheers go up from the 521
crowd again as they take their places
for the dance. The MUSIC begins - suggested
song - Orange Blossom Special. All dance.)
NARRATOR: (At the end of the dance) And Cindy 522
shore enough got her feller, and they 523 122
NARRA TOR: lived happily ever after. 5 24 EVERY ONE: And they sure enough lived happily ever 525 after. 526 (CINDY and DUKE kiss and run off SR. EVERYONE waves
"Bye" to them as they exit the stage.)
(BLACKOUT) 123
ORANGE BLOSSOM SPECIAL DANCE:
Partners face each other - Boys SR - Girls SL.
Eight counts in place
Three counts to partners - bow
Four counts back
Eight counts around partner R and back
Eight counts around partner L and back
Eight counts arm in arm with partner L and back
Eight counts arm in arm with partner R and back
Sixteen counts of shuffle-ball-change in a circle
Boys SR - Girls SL
Partners meet each other and form a London Bridge
DUKE and CINDY come through bridge - DUKE-swings CINDY into him.
COSTUME LIST:
Narrator - Colorful western shirt
Colorful scarf for neck to match shirt
Blue jeans Western hat (optional)
Cindy - Plain dress with patches
Sandals - white or gold boots White satin skirt with gold fringe
White satin western blouse with gold trim
Blue or pink long tie robe with matching slippers
Duke - White satin shirt with gold trim White jeans
White or black boots 124
Costume List - Continued
Duke - White western hat
White western belt
White or gold scarf for neck
Bart - Black western shirt
Black jeans
Black boots
Black western belt
Black neck scarf
Step-mother - Colorful dress (ugly as possible)
Colorful skirt and blouse (ugly as possible)
Western boots
Ugly robe and slippers (colors need not match)
Sassy Sue - Colorful dress (ugly as possible)
Colorful skirt and blouse (ugly as possible)
Western boots
Bright robe and slippers (colors need not match)
Ribbons for hair
Lindy Lou - Colorful dress (ugly as possible) Colorful skirt and blouse (ugly as possible)
Bright robe and slippers (colors need not match)
Western boots
Hair piece (if necessary)
Caller - Overalls - bright color
Bright colored shirt
Western boots 125
Costume List - Continued
Bo - Bright colored western shirt Blue jeans
Western boots
Colored scarf for neck
Female Dancers-Full colorful dresses (different colors)
Black jazz slippers
Bows in hair to match dresses
Male Dancers - Colorful western shirts (can match girls dresses)
Blue jeans
Colorful scarf for neck Western boots
PROP LIST:
Scene I Broom - Cindy
Suitcase - Godmother
Armadillo - (backstage)
Lasso - (in suitcase)
Dindy's dress and boots - (in suitcase)
Scene II - Table
Three chairs around table Several bales of hay
Old barn accessories Four boxes painted yellow, blue, green and red
Red checkered tablecloth
Scene III - Brightly painted bench for yard CHAPTER V
CONCLUSION
The writing and producing of children's plays has brought
considerable enjoyment to children throughout the world, but
the art still has a limited recognition throughout the United
States. Aurand Harris, one of America's most produced child ren's theatre playwrights wrote:
I am optimistic, although a bit impatient. I, along with others, will continue to write the best plays I can because I believe that good children's theatre is a child's rightful heritage. If I am a bit impatient, it is because I would still like to be around when children's drama reaches a national standard of excellence in writing and production, when it is accepted and supported as an established twenty-first century cultural tradition. I would like to be around when children's plays are regarded as dramatic literature, placed on library shelves, chosen for inclusion in the Ten Best Plays, even considered for the Pulitizer Prize. Then the time might come that I am waiting for, when a child asked what he'd like to be when he grows up answers proudly "A children's playwright". 3 3
This thesis has presented the development of one such children's play. The evolvement of Cindy's Feller has created a new concept in the writing of a children's play from the standpoint of the author being both the writer and the director of the play. At the conception of the idea of writing a
33 Nellie McCaslin, Children and Drama (David McKay Company, Inc., New York City, New York, 1975), pp. 192-193.
126 127 country-western version of Cinderella, the writer wrote a brief scenario of the play which included a new villainous character in addition to the existing characters in Cinderella.
After writing the first draft of Cindy's Feller, it was pro duced at North Texas State University with the author as the director. As she directed the show, the author noted several revisions in the dialogue and stage direction had to be made; thus, a working outline developed from the direction of the play through the author's ability to actually visualize each unit of action. As a result of the first production, notable changes in the script were made. Again while directing the second production of her play, the author observed necessary additions in the action and dialogue, therefore, preparing for the final draft of Cindy's Feller.
Through the process of researching children's theatre, and then writing and directing her own adaptation of
Cinderella, the author learned that various unique aspects in writing and directing a children's play should be considered.
One concept that there must be more action than words in a play for children came to light as the author began the direc tion of her own play. The lack of mime in the stage directions of the first draft taught the author that when using narration, the child audience may become restless and lose interest in the play unless the dialogue somehow coincides with action.
It became important to the author that the actions should be written into the play rather than leaving them up to the 128 director or actor. The author also surmised that the dialogue in a children's play should be written in a colorful style, and the content should be suitable for a young audience in order for the children to truthfully identify with each char acter.
Being an adaptation of a fairy-tale helped the author establish necessary beats required for the writing of the play as the basic action had already been created by the orig inal story. The addition of another evil character in the plot of the play created more action and helped the children identify more clearly with the theme of good over evil. The author learned that taking some liberties with original stories can prove to be beneficial to an adaptation if these liberties help identify the existing theme.
The author of Cindy's Feller would recommend to any future writers, directors, and producers of children's plays to first of all have an extensive knowledge of children's theatre in order to recognize the various unique aspects involved with producing a children's play. Also they should have a know ledge of children in general so as to understand the children's complete honesty as an audience. If the writer had the ability to direct plays, the author would recommend directing his own work in order to observe weakness within the dialogue and stage direction. This author recognized the full advantages of being involved with the actual production of her play, Cindy's Feller. 129 APPENDIX
PROGRAM
MTSU. Sumrmer ~Reperto'j eodtre. ?resents
- '2
JA
or I olgj~;r
Ut k reker 130
PICTURES OF PRODUCTION
SCENERY - COSTUMES
snow~- 131
/1? 132 133 -A34
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137
'slat) 138
PUBL IC ITY
N&SU. Svmvner RepertorV Theofre Presents:
ka.
' Ori 3 inJal /d-ption b Liz,%rcher
STUDIO THEATRE JUNE qo)7)JULY1113 100AM*4 OOPM
FORTCKET RIsv. CALL788 -;8 NTSU DIVISION OF DRAMA 139 SUMMER REPERTORY THEATRE PRESENTS THE PAI NNAKER
OR BY N. RICHARD NASH AN ORIGINAL ADAPTATION BY LIZ STARCHER JUN E JUNE 2 0,27 AND 25,26,27
JULY I I ti 18 8:00 PM 0:00 AM AND 2 ooM STUDIO UN IVERS ITY THEATRE THEATRE
FOR RESERVATIONS CALL 7 88#--02't28 14o
News and Information Service John Weeks, Director NORTH TEXAS STATE UNIVERSITY Home Phone: 566-6445 Denton, Texas 76203 Story by: Carolyn Barnes Telephone: 788-2583; 788-2518; June 15, 19 788-2108 (AC 817) Dallas/Fort Worth Phone: 267-0651
MUSICAL CINDERELLA, THE RAINMAKER TO BE PERFORMED BY NTSU STUDENTS
A country-western version of "Cinderella" for children and "The
Rainmaker" will be performed at North Texas State University by stu
dents in the Drama Division's Summer Repertory Theatre.
"Cindy's Feller," an original musical adaptation of "Cinderella"
by NTSU graduate student Liz Starcher of Plano, will be performed at
10 a.m. and 2 p.m. June 20 and 27 and July 11 and 18 in the Studio
Theatre of the NTSU Speech and Drama Building.
"The Rainmaker," directed by Hobbs, N.M., graduate student Alan
Clay, will be performed at 8 p.m. June 25, 26 and 27 in the University
Theatre of the Speech and Drama Building.
Tickets to both plays are $1.50 for NTSU students, faculty and
staff, and $2.50 general admission.
For ticket information, call 788-2428. 141
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Cinderella play goes country
A children's play, "Cindy's Feller," a day in the Studio Theater of the Speech country-western version of "Cinderel- and Drama Building. la," will be performed by members of More performances are scheduled at the Drama Division's Summer Reper- the same times on June 27, July I I and tory Theater at 10 a.m. and 2 p.m. Satur- 18 in the Studio Theater.
Staff photos by MARK GRAHAM Cindy (Lori Walker) is delighted when her Cowgal Godmother con jures a steed for her to ride to the barn dance from a Texas ar madillo. To the left, Sassy Sue (Leann Berry) uses her freckles to try to attract the attention of Mean Bart (John Price) at the dance, but he has eyes only for the beautiful latecomer during the NTSU Sum mer Repertory Theater's production of "Cindy's Feller" or "Cinderella Goes Country."
By ELISE GIBSON Staff Writer When "Cinderella Goes Country" she doesn't need a pumpkin for her coach or a glass slipper for her dainty foot. In Liz Starcher's adaptation of the beloved fairy tale, Cindy fetches an armadillo that will become her trus ty white steed and a gold-trimmed cowboy boot graces her two-stepping toes. "Cindy's Feller," a Texas tale of barn dance romance, is a delightful children's theater production presented at North Texas State University by the Summer Repertory Theater. It continues Saturday and July 18 at 10 a.m. and 2 p.m. in the NTSU Studio Theater. Young audiences of the past two Saturdays have enthusiastically received the musical. When the cast mingles with the audience afterward, youngsters crowd around beautiful Cindy and her handsome Duke for autographs while shunning Mean Bart, the villain, played by John Price. Cindy, a lovely blonde played by Lori Walker, lives on the biggest ranch in Yoakum County but her life has been relegated to stepping and fetching for her shrewish stepmother and nasty stepsisters. Leann Berry as Sassy Sue plays a comic and coy wretch. Miss Walker plays Cindy with all the pouty allure of Scarlett O'Hara. The Cowgal Godmother (Leslie Sandberg), who sees to it that Cindy makes it to the dance on time, looks for all the world like Minnie Pearl. Ms. Starcher, who wrote the play as her master's thesis, also included such songs as "Mr. Sandman" and "Lookin' for Love." The play is more fun than Saturday morning cartoons and promises an ex citing introduction to live theater for youngsters. But it's clever enough for adults to enjoy, so don't just drop drop off the kids. Head on in yourself for 40 minutes of rollicking fun. For ticket information call 788-2428. m(rin 143
8-24-81 To: Cindy's Feller Cast, Crews, etc. 1norin Imo State University From: Ed DeLatte Denton, Texas 76203 29 The performance of Cindy's Feller on July athletes is being presented for young handicapped who are members of the Special Olympics teams. They are visiting our campus and this activity is scheduled on Wednesday night after they participate in a diving exhibition.
I want to alert you to the fact that the starting time will be sometime between 9:00p and 9:30p. The physical problems entailed in transporting approximately 300 to 400 handicapped youngsters, getting them settled in the theatre etc. necessitate a flexible schedule on our part.
As a "thank you" for your efforts we have been invited to participate in a beer-drinking celebration sponsored by Coors on August 3, 1981. We will know further details later.
xc: W. S. Jacquot
Departmentof Speech Communication and Drama * 788-2560 788-2211 Division of Communication Disorders 788-2262 Division of Drama 788-2588 Division of Radio! T V/Film 788-2537 Division of Public A ddress/Communication 144
DAY CARE CENTERS
IN DENT ON
Tomorrow' s Generation 387-6414 Nelson's Creative Learning Center 382-0173 Children's Corner 387-1533 Children's Play and Learning Center 383-1031 Denton City-Couny Day Nursey 382-6485 First Baptist Church Day Nursey 382-2570 Grace Temple Baptist Church Day Care 566-1335 Happy Days Preschool 387-1772 Kandy Kane Day 382-3983 Kiddie-Korral Preschool and Kindergarten 382-1111 Moore Fred Nursey 387-8214 More Happy Days Preschool 383-2988 St. Paul Lutheran Church Day Care Center 387-6651 Smith's Day Care Center 686-2610
Stoneleigh Learning Center 382-1222 Tender Loving Care Preschool 383-3003 145
Cindys Feller Designer: K. Tarpley
Dimmer Control Sheet Dimmer No. Area/Effect No. of Instr. Gel Color Cir. Nos.
1 1 4 2 2 4 3 3 4 4 4 4 5 5 4 6 6 4 7 7 4 8 8 4 9 9 4 10 11 12 lawn/porch 2 n/c 13 14 15 bk wall 2 n/c 16 17 18 19 20 21 22 23 24 146
Cindy's Feller Designer: K. Tarpley
Color Plot
llA 6A 5B 4A llB
1B 2A 3B
7P 8L 9P 7P 8L 9P
6L 5P 4L 6L 5P 4L
lP 2L 3P lP 2L 3P
7B 8A 9B 6A 5B 4A
12LA 1B 2A 3B 12LA
# of gels Pale Blue - B 9 Flesh Pk - P 10
Amber - A 8
Lt.Amber - LA 2
Spec. Lav - L 8 147
Cindy's Feller Designer: K. Tarpley Light Plot
?p6 9P o-- F we 6A 5B 4A
6B B 8B B B P 9 4B B 511 11 5 B W4
? B 1 2A 13B
lP 6 B 3P P j5 mB2 64A 3P OW. A 200 00 1 .
12A 174( 417 12A 41lB A2A I3B 148
PRODUCTION BUDGET
CINDY'S FELLER
COST
ITEM QUANTITY TYPE W6PER -L-1 L L UNIT%.IfL I --L- -A. TOTAL-L. %., -L. A A.." Lumber 7 sheets L" A/C plywood 8.80 61.60 5 sheets 5/8"A/C plywood 15.52 77.60 30 2"x4"x8'util .SPF 1.47 44.10 25 1" x4"x8 '#2yel. pine .96 24.00 Paint 2 qts. Burnt Umber 17.50 35.00 1 qt. Ultra Mar. Blue 14.75 14.75 3 gals. White Base 16.90 50.75 1 qt. Velour Black 4.94 4.94 1 qt. Gloss Medium 3.63 3.63 qt. Red t 8.25 8.25 2 qt. Chrome Yellow 8.25 8.25 Muslin 20 yds. 140 ct. unbleached 2.84 56.80 72" wide bolt Casters 12 Steel swivel 4.00 48.00
Gel 5 sheets Roscolene Color 2.95 14.95 Media
Sound 1 reel Maxwell 90 min. 10.00 10.00 recording tape
Door 1 32"x80" Hollow Core 29.88 29.88 prehung int. door
Misc. 2 500 W BLT MPF Proj. 10.00 20.00 lamps 2 qts. Elmers Glue 1.50 3.00 10 lbs. 16d.box nails 18.00/ 3.60 4d. common 50lbs. 6d. common 1 roll 3/4" blk. tape .50 .50 2 750 W EGG, MPF 10.50 21.00 Proj. lamps 149 COST ITEM QUANTITY PER UNT -V ---. -- -PYPEb.M.A.# 46J- AL .PEPI-L-TTNTTXJ- TOTAT Publicity 1500 Flyers 14.31 600 Programs 17.05 Reduction Charges .20 400 Table Tents 2.97 600 Mailers 35.55 Costumes 5 yds. Gold Fringe .91 4.55 8 yds. White Material 2.00 16.00
Make-up 34.00 TOTAL 666.08
ACTUAL PRODUCTION COST
CINDY'S FELLER
COST ITEM QUANT ITY I-I..6 --J A-.LW.I-L-L -,I-lTAT ... u - - - -TYPE- PER TNT T Cr TL Paint 3 gals. White Base 16.90 50.70 Gel 5 sheets Roscolene Color 2.95 14.75 Media
Lumber 8 sheets 1 "x4" x8'#2yel.pine .96 7.68 Publicity 1500 Flyers 14.31 600 Programs 17.05 Reduction Cost 400 .20 Table Tents 2.97 600 Mailers 35.55 Make -up 34.85 Costumes 5 yds. Gold Fringe .91 4.55 8 yds. White Material 2.00 15099 TOTAL 198.50 150
INCOME STATEMENT
Student tickets $1.00
Adult tickets $2.50
Saturday, June 20 2 performances $106.00 Friday, June 26 1 performance Saturday, June 27 2 performances $137.50 Saturday, July 11 2 performances $ 94.00
Friday, July 17 1 performance Saturday, July 18 2 performances $173.00
TOTAL INCOME $510.50 151
BIBLIOGRAPHY
Brockett, Oscar G., The Theatre and Introduction, Holt, Rinehart, and Winston, Inc., 1974. Brockette, M. L., Creative Dramatics in the Elementary School, Fine Arts Section, Division of Curriculum Development, Austin, Texas, 1978. Goldberg, Moses, Children's Theatre, A Philosophy and a Method, Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1974. Johnson, Richard C., The Theatre Student, Producing Plays for Children, Richards Rosen Press, Inc., New York City, New York, 1971. Lowndes, Betty, Movement and Creative Drama for Children, Plays, Inc., Boston, Massachusetts, 1971. McCaslin, Nellie, Children and Drama, David McKay Company, Inc., New York City, New York, 1975. McSweeny, Maxine, Creative Children's Theatre, A. S. Barnes and Co., Inc., Cranbury, New Jersey, 1974. Smiley, Sam, Playwriting, The Structure of Action, Prentice Hall, Inc., Englewood Cliffs, New Jersey, 1971.