Peter Pan Script.pdf

By J. M. Barrie

A Play For Teachers and Students! Adapted for a Large Cast of Young Performers By Kathryn Schultz Miller

SCRIPT & PERFORMANCE LICENSE ( Rights to copy script and perform one time )

ArtReach Children’s Theatre Plays.com 3936 Millsbrae Avenue Cincinnati, Ohio 45209 Phone & Fax: (513) 351-9978

Copyright 2004, Kathryn Schultz Miller

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PETER PAN Running Time: About 45 minutes.

Characters - Cast of 30! 7 Female, 4 Male, 19 Female/Male Easily adapted for larger or smaller cast.*

Stars:

4 Teachers Winkie (13 lines, m/f) Sparkle (12 lines, m/f) Flashy (12 lines, m/f) Stellar (12 lines, m/f)

Family: Students Mother (9 lines, f) Father (11 lines, m) Wendy (39 lines, f) * John (17 lines, m) Michael (21 lines, m) Nana (8 lines, f) Peter Pan (72 lines, m/f) * Peter’s Shadow (movements only, m/f) Tinker Bell (18 lines plus movement, m/f) Pirates:

Captain Hook (29 lines, m) Smee (28 lines, m/f) 3 S Tattoo Bill (8 lines, m/f) Skylights (5 lines, m/f) Noodler (6 lines, m/f)

Crocodile (movements only, m/f) Lost Boys:

Tootles (13 lines, m/f) Nibs (11 lines, m/f) Curly (11 lines, m/f) Twin/Harry (12 lines, m/f) Twin/Terry (11 lines, m/f)

Indians:

Tiger Lily (6 lines, f) Great Big Little Panther (4 lines, m/f) Lean Wolf (3 lines, m/f)

Mermaids:

Pearl (5 lines, f) Starfish (4 lines, f) Moonglow (4 lines, f)

OPTIONAL TRANSITIONS: If you would like to divide the large roles of Peter and Wendy, the following suggestions are offered and notes on transitions are found on the following pages:

Peters:

Peter #1, Pages 7 – 11, 8 lines Peter #2, Pages 11 – 14 19 lines * Peter #3, Pages 14 – 19, 9 lines Peter #4, Pages 19 – 22, 14 lines * Peter #5, Pages 22 – 25, 16 lines * Peter #6, Pages 25 – END, 9 lines Peter # 7 Shadow

Wendys:

Wendy #1, page 7 – 11, 6 lines Wendy #2, page 11–14, 14 lines * Wendy #3, page 14 – 25, 17 lines * Wendy #4, page 25 – END, 7 lines

Captains Hook Captain Hook #1, page 16 – 22, Captain Hook #2, page 25–END,

Smee

Smee #1, page 16 – 21, 13 lines Smee #2, page 21–END, 15 lines

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PETER PAN CD Sound Cues CD soundtrack available from Children’s Theatre Plays.com

No.

Time

Description

Cue Line / Action

1

0:35

Magical music

Pg 7, Starts the show (end as Peter enters)

2

0:51

Flyingmusic,wind

Pg14,“Followme!”

3

1:17

Indians, Tiger Lily dance

Pg 14, “…this is what they saw.”

4

1:40

Piratemusic

Pg15,“Look,Michael,pirates!”

5

1:16

Scary Crocodile!

Pg17, “Tick-tock, tick-tock…”

6

0:35

Magicalmusic

Pg19,“…tomeetthemermaids.”

7

1:16

Scary Crocodile!

Pg 22, “…if it’s the last thing I do!”

8

1:36

ScaryCrocodile2!

9

1:02

Flyingmusic

Pg28,“AnythingforyouWendy.”

10

2:22

Magical music, into… Curtain call (pirate music)

Pg 29, “Oh, Yes!” (Plays through END)

Pg27,“…but

he will!”

Cues have ! second of silence at the beginning and 10 seconds at the end (except last). Times shown include silence. Some cues may be longer than needed so they can play through your particular staging and fade out at the end of the action or when the scene changes. Start the play with Cue 1, then use Pause/Fwd/Play controls for each cue: 1. Press PAUSE at the end of the cue or fade out VOLUME then PAUSE. 2. Press FWD (or SKIP, right arrows) to set at next cue. 3. Press PLAY to start the next cue (at the appropriate line, action, as indicated)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

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Staging Notes This script has been written especially for you and your students. All aspects of the production have been kept simple so that you can concentrate on the fun part -performance! If you have the time and resources to build elaborat e sets and costumes, please don’t hesitate to do so! But Peter Pan may be performed without traditional scenery. Pantomime* and imagination can help simplify set, props and costumes. Here are some suggestions for a fun, stress-free production. OPEN CONCEPT:This play has been adapted to require the fewest props, costumes and set pieces as possible. It does not include a “backstage” area, all performers may sit or stand in full view of the audience. The script refers to a “playing area” rather and a stage. There will be times in the play when the performers who are not “on stage” can contribute (such “wind” afor flying). This takes a ensemble. little of the fear of public performance awayasasproviding well as lending sense of teamwork and SET PIECES: Instead of a backdrop consider building small pieces that stand alone, that can be used in more than one scene. You will need several pieces of furniture in the playing area. You may use ordinary chairs and stools (anything that you have available) to create “levels and scenes”. If you have the resources, a backless bench and sturdy wooden boxes can be built and painted fancifully to complement your costumes and set pieces. Have the students move these as needed (IE: benches can be chairs in the Lost Boys home and also be used as the plank on Pirates’ ship.) These pieces can moved around the area by STARS who handle the storytelling, or even by the characters themselves. Often just moving one piece to another area of the playing area is enough to signal to the audience that there is a change of scene. PERFORMANCE SPACE: If the play is to take place in a classroom, move all the desks to the back of the room. If this does not allow sufficient space for the performance, push them against 3 sides and let the center of the room be part of the “stage” or playing “ area”. A larger room is suggested, however. A gym or cafetorium will probably give you more space than needed. In that case use just half of the room and arrange audience chairs in a horseshoe shape around the playing area. PERFORMING IN THE AUDIENCE: Almost any playing area will have exits and entrances behind the audience. Have the performer simply run up the aisle and exit out the rear door. This is especially effective for a chase scene where the performer can be pursued through one door and enter through another. In this play the flying scenes are indicated by Peter Pan and others “flying” through the performance room and out the back door. Such staging is a lot of fun, extremely effective and very easy to do. If such staging is impossible use traditional entrances and exits. PERCUSSION INSTRUMENTS: Raid the music room! Gather as many simple percussion instruments as you can find (such as chimes, xylophones, kazoos, whistles, rhythm sticks, jingle bells, etc.*) Create a “percussion stand” by arranging the instruments on a table or a narrow ledge. Some of the instruments will need to be held up to be played (IE: triangle, chimes, gong). The music room might have a stand for these instruments. If not, you may build one or simply have the children hold those up when they are played. The STARS and off-stage players, should be seated around this percussion station. These performers will act as narrators and orchestra in the tradition of

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

6a Greek Chorus*. (Occasionally, CHORUS members are given short on-stage tasks to do, in this case the STARS make the “water” for the Lagoon*.) COSTUME RACK: In an upstage corner will be a hat stand, or several hat stands. Any construction of hooks will do to allow you to hang costume pieces (see below) that will be put on by the children as they assume their roles. Each player may have their props near their chair so that they will be ready when needed. COSTUMES: There is a Japanese theatrical tradition of dressing actors all in black and using masks or costume pieces to indicate character. What a great idea! Have your young performers wear all black ordark blue. They will then use pieces such Pirate hats, Lost Boys hats, bows and arrows etc. to identify their characters. Remember it’s more important (and more fun!) for your students to convey their character’s personality through acting rather than costume.

A NOTE FROM THE PLAYWRIGHT In past few years since we began creating plays for young performers we’ve seen a tremendous increase of confidence in the teachers we hear from. Most are finding it easier to let the process flow and worry less about the final product. I firmly believe that the experience will be best for all when you keep a few things in mind: Free yourself from worry about whether or not it’s “good”. No one is paying big ticket prices; no one expects aBroadway success. The key to making this project meaningful is to put the emphasis on process; realize that rehearsal and practice are as much a part of the experience as the actual performance. Encourage fun and you will free the children from embarrassment and stress. If the kids can’t learn the lines let them carry a script or use their own words to convey the character’s message. If they seem to wander the stage, let them explore where they want to go – they might surprise you with a wonderful idea. In every aspect of the process give them the wings to create and think. Give them a comfortable, supportive place to go and their confidence and self-expression will soar! Above all else, make sure you are having fun. If you’ve never directed a play before, don’t worry. It’s all just pretend -- you can’t do it wrong! The quality of your experience is every bit as important as that of the children. You need the joy of self-expression too, that doesn’t go away when we grow up. So give yourself a break. And when all else fails, laugh! Thank you so much for choosing Peter Pan. It’s been a pleasure to hear fromyou and to receive accounts of your wonderful productions. I can’t think of anything more rewarding than to create this version of Peter Panfor you and your students! Break a leg!

KSM

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

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PETER PAN AT RISE: We hear sounds of a magical harp, gentle like a lullaby.STARS enter, they sit together in a row. They stretch and yawnand promptly fall asleep. Peter bounds on stage or onto playing area and crows.

(SOUND CUE #1: Magical music.) ( 0: 35 sec) PETER # 1 WENDY #1 PETER: Er-er-er-errrrrrrrrrrrrrrr!!!!!!!!! Good evening ladies and gentlemen! Welcome to a wonderful story all about… myself! (He bows theatrically. TINKER BELL enters and flits around PETER. She uses a kazoo to talk, making the sounds of the words she would use if she could speak.) Er-er-er-errrrrrrrr!!!!!! For what could be more wonderful than a story about me? You see it all began thisway… Once up a time there were four little stars sleeping in the sky… (As he names the STARS, TINKER BELL dances around them and wakes them up.) There was Winkie… (TINKER BELL claps her hands to wake him up.) And Sparkle… (TINKER BELL pulls his ears.) SPARKLE: Ow. PETER: And Flashy. (TINKER BELL pulls star dust [confetti] from her pocket and sprinkles it on FLASHY’S head.) And Stellar. (TINKER BELL tweaks STELLAR’s nose.) STELLAR: Hey that hurt! (TINKER BELL taps each with her wand and they all snap to attention, wide awake. TINKER BELL whispers in PETER’s ear: Tell them who you are.) PETER: Me? Why everyone knows who I am! I’m Peter Pan, of course! (TINKER BELL bows to him.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

8 WINKIE: Big deal. FLASHY: Show off. PETER: Hey! I’m the leader and what I say goes! And I say its time for you to tell my story. SPARKLE: We’re tired of that story, Peter. STELLAR: It’s always about you, isn’t it? PETER: Tell my story or at once or I’ll… I’ll…. (PETER isn’t sure what to do, TINKER BELL tugs at his sleeve and whispers in his ear.) I’ll blow you out! (PETER and TINKER BELL take big breaths ready to blow…) WINKIE: No, not that! FLASHY: Anything but that! PETER: So go on then. Once upon a time… SPARKLE: Once upon a time… PETER: That’s it! Come on Tink, let’s grab a seat! (PETER and TINKER BELLgo to sit on floor in front of the first row. PETER speaks to audience member nearby.) This is going to be great! WINKIE: There were two boys… SPARKLE: Young Michael… (MICHAEL runs in wearing an Indian headband with a red feather in standing up at the back of his head. He puts his hand to his mouth as he yelps like an Indian.) MICHAEL: Wow-wow-wow-wow! (JOHN runs in wearing tri-cornered pirate hat and an eye patch, pretending to be a pirate. He chases MICHAEL around the room.) FLASHY: And his older brother John. (JOHN catches MICHAEL from behind.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

9 JOHN: (In his best pirate voice.) Hard-ee, har-har! I’ve got ye now, mate! Argh! STELLAR: They believed in Peter Pan. PETER: Err, err, err, errrrrrrrr!!!! (TINKER BELL points proudly to PETER: That’s him!) MICHAEL: (Struggling to free himself from JOHN’S grasp.) Let me go you miserable pirate! WINKIE: And they had a sister… (WENDY enters carrying/leading PETER’S SHADOW, who is limp.) MICHAEL: Wendy! John’s not playing fair! WENDY: (To PETER’S SHADOW.) Oh, dear you’re much too large to put in the drawer. Come help me with this shadow, will you, boys? (JOHN and MICHAEL drop their playing and come to her.) MICHAEL: Whose shadow is it, Wendy? WENDY: Why it’s Peter Pan’s, of course. (PETER starts to crow but TINKER BELL claps a hand to his mouth.) He left it here last time he came to visit. JOHN: Of course! MICHAEL: You could keep it under the bed, Wendy. JOHN: Or hide it behind the curtains. SPARKLE: Just then their nanny came into the nursery. NANA: Ruff! Ruff! Ruff! MICHAEL: Uh-oh. (CHILDREN quickly throwa blanket over PETER’S SHADOW. NANA enters wearing dog ears, a fluffy hat and apron.) FLASHY: Nana was a dog but the children could always understand what she said. NANA: What are you hiding, children? (Like a bark.) What! What! What!

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

10 WENDY: Oh, nothing, Nana. We were just getting readyfor bed. STELLAR: And they had a father… (FATHER enters with a great oversized tie all messed up in silly knots.) FATHER: This tie will not tie! SPARKLE: And a mother… (MOTHER enters, going to FATHER.) MOTHER: (To FATHER.) Now, now dear, let me help you. FATHER: If this tie won’t tie we can’t go to the party and if we can’t go to the party I’ll lose my job and if I lose my job we’ll all have to live in the street! (MOTHER fixes tie.) MOTHER: There now. Better? FATHER: Thank you, dear. Now children I’ve made a decision. It is time for Wendy to leave the nursery. WENDY: But why? FATHER: You’re not a child anymore Wendy, you’re a young lady. And it’s time for Nana to sleep outside like all the other dogs. ALL: What? NANA: (Me? Me? Me?) Ruff? Ruff? Ruff? FATHER: You heard me, Nana. (Pointing.) Out! NANA: (Whimpering.) Oh no, oh no, oh no… FATHER: Out! NANA: (Angry, taking bottle and spoon from her apron.)Ruff! MOTHER: Nana wants to give the children their medicine, dear. FATHER: All right. One last time. (NANA tearfully gives eacha spoonful of medicine, all arenear tears. NANA looks hopefully to FATHER. He points.) Out! NANA: Ruff! (She gathers her dignity and exits with head held high.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

11 FATHER: Come along, dear, we mustn’t be late for the party. MOTHER: Just a moment. I’ll be right down. (FATHER exits. MOTHER turns lovingly tothe CHILDREN.) Darlings. You know your father means well. He loves you very much. WENDY: But he said I have to grow up and I don’t want to grow up, Mother. MOTHER: Nobody wants to grow up, Wendy. But we all have to someday. Now get a good night’s sleep and we’ll see you in the morning. And don’t worry, Nana will be just fine. (From off stage but still visible, NANA gives a great howl of sadness.) NANA: Oooowwwooooooo!!!!!!!!!!!!! (NANA covers her face with herpaws and whimpers. MOTHER kisses the CHILDREN and exits. PETER hops up from his place in audienceand joins the show.) I WONT GROW UP SONG PETER #2 AND WENDY # 2 PETER : Are you going to let them get away with that? WENDY, JOHN, MICHAEL : Peter Pan! WENDY : Why, Peter! I knew you’d come to see us tonight. (TINKER BELL jumps up and joins PETER.) TINKER BELL : (Kazoo: What about me?) WENDY : Hello, Tinker Bell. (To JOHN and MICHAEL.) She’s a fairy. MICHAEL : What’s a fairy? WENDY : I’m not quite sure. But I’m sure she is one. (TINKER BELL throws a little confetti over her head to prove she’s a fairy.) TINKER BELL : (Kazoo: Ha! Can you do that?) PETER : I’d never let anyone tell me to grow up. WENDY : Mother says there’s nothing I can do about it. PETER: Of course there is! JOHN: What is it, Peter?

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

12 PETER: You can come with me to Neverland! MICHAEL: Neverland? That sounds exciting! PETER: Tell me what you like more than anything else on earth! MICHAEL: Indians! JOHN: Pirates! WENDY: Mermaids! PETER: We have all of those on the Neverland Island. And also there are lost boys. WENDY: Lost boys? Why are they lost? PETER: Because they don’t havea mother. Hey! You could be our mother! WENDY: That’s silly. I’m just a girl. TINKER BELL: (Agrees with WENDY. Kazoo: That’s right she can’t come.) PETER: You’d make a great mother! We’d all be so happy to haveyou there. And in Neverland you never grow up! JOHN: Can we go Wendy? MICHAEL: Oh, please, please, please can we go? WENDY: Well, all right. But how do we get there? PETER: We fly, of course. WENDY: Fly? Oh, but we can’t fly! JOHN: Sounds dangerous. TINKER BELL: (Agrees. Kazoo: That’s right they can’t fly. It’s very dangerous.) PETER: Then I’ll teach you! WENDY: Aren’t you forgetting something, Peter? (SHE lifts cover and lets PETER’S SHADOW out.) PETER: Of course! I can’t fly without my shadow! (PETER goes to SHADOW. SHADOW stands behind PETERand “mirrors” his movements. PETER puts his hands on his hips, SHADOW does the same. © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

13 PETER lifts his cap and scratches the top of his head, SHADOW does the same. PETER takes big steps across the playingarea, SHADOW follows. Suddenly PETER turns and grabs SHADOW, who squiggles trying to get lose.) PETER: Hurry, Wendy. Sew it on before it gets away. (She rushes to him with pretend “needle andthread”. She sews SHADOW’s feet to PETER’s feet. Until he exits, SHADOWstays close behind PETERmimicking/ mirroring his gestures.) You’re going to be the best mother ever!(To MICHAEL and JOHN.) Ready to fly? JOHN, MICHAEL, WENDY: Ready! PETER: You just think wonderful thoughts and they lift you in the air.(To MICHAEL.) You go first. MICHAEL: Okay. (He climbs up on bench. He squinches his eyes shut.) Indians, Indians, Indians. (Jumps, falls to the ground.) PETER: Silly me! I forgot the fairy dust. Tinker Bell, sprinkle them with your fairy dust. (TINKER BELL crosses her arms and shakes her head: No.) PETER: If you don’t, I won’t let you come with me on any more adventures. (Less sure of herself, she shakes head: No. PETER puts out his hand toward her head. She knows what this means and runs a bit. PETER catches up and rubs the top of her head.) There we go! Fairy dust! (PETER blows the dust from his palm at the children.) TINKER BELL: (Kazoo: You’re welcome.) PETER: Now, think wonderful thoughts. (WENDY, JOHN and MICHAEL stand on benches and close their eyes.) WENDY: Mermaids! JOHN: Pirates! MICHAEL: Indians! PETER: Now we just need one more thing. A big gust of wind. TINKER BELL: (Kazoo, pointing toaudience: They can help!) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

14 PETER: That’s a great idea, Tink. Can you blow toward them to make them fly? When I count to threeblow as hard as you can. One, two, three! (The “gust” causes the CHILDREN to jump off benches and twirl around the playing area. PETER’S SHADOW gets blown away and twirls off stage, exiting. All children seated in the chairs around playing area continue to blow and wave air at them.) WENDY, JOHN, MICHAEL: Whaaaoooooohhhh!!! (STARS stand on chairs and look and point down.) WINKIE: Do you see what I see? SPARKLE: The children are flying! FLASHY: They’re not very good at it! STELLAR: I hope they don’t fall out of the sky. That would be the end of the story! WINKIE: I hope Peter knows where he’s going! PETER: (Flying, to WINKIE.) Of course I know where I’m going. Second star to the right and straight on till morning. (To WENDY, JOHN and MICHAEL.) Follow me!

(SOUND CUE #2: Flying. ( 0: 51 sec) PETER and CHILDREN twirl as if caught in the wind. Then they join hands and fly away, down center aisle and out behind the audience, outthe door and back down the aisle to playing area while STARS set up for next scene. TINKER BELL flies away from them and hides among audience. STARS put a bench in the center of the playing area. PETER leads them back to playing area and stands highest on the bench. PETER #3 AND WENDY #3.) SPARKLE: When they got to Neverland Island this is what they saw.

(SOUND CUE #3: Indians. ( 1: 17 sec) JOHN stands behind and peaks out around PETER, WENDY stands in front and MICHAEL sits on ground in front sothat all faces are visible. They put out their arms like wings and fly in place looking down to see INDIANS as they pass in front of them, left to right.) FLASHY: First came the Indians!

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

15 MICHAEL: Indians? Where, where? (All the children seated along the playing area can take part in Indian chant as INDIANS dance on stage. Others may play tom-toms. INDIANS enter as their names are called. PETER raises a palm as if tosay “how” and bows his headto each as they pass.) ALL INDIAN CHANT: Ha-wah-me-no-haw-wah, Ha-wah-me-no-haw-wah… (Continue chant as needed.) STELLAR: (Pointing.) Look! Great Big Little Panther! GREAT BIG LITTLE PANTHER: (Dancing.) Ha-wah-me-no-haw-wah… MICHAEL: He must be the chief! See? You can tell by his feathers! JOHN: And look there! WINKIE: It was Lean Wolf. LEAN WOLF: Ha-wah-me-no-haw-wah… MICHAEL: He must be a young warrior. See his tomahawk? SPARKLE: And the most beautiful Indian Princess in the world… PETER: (Bowing very low.) Tiger Lily. (TIGER LILY enters and does a special dance for them and ends it by blowing kisses to WENDY, JOHN, MICHAEL and audience, her fans. INDIANS dance off.) JOHN: Look, Michael! Pirates! YEAR 2

(SOUND CUE #4: Pirate music. ) ( 1: 40 sec) PIRATES enter as they are called and stay down stage center in front of others on stage.) STELLAR: The first pirate was named Tattoo Bill… TATTOO BILL: (Pushes up sleeve and flexes muscles, to audience.)Ha-ha! See my terrible tattoos! Argg! WINKIE: Then came Skylights… SKYLIGHTS: Ha-ha! See my terrible glass eye! (Lifts eye patch, takes marble from palm of his hand as if it is his eye, shows it to the audience.) Argg! SPARKLE: Then Noodler whose hands were fixed on backwards. © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

16 (NOODLER may wear gloves backwards with thumbs stuffed.) NOODLER: Ha-ha! See my terrible hands that arefixed on backwards! Argg! FLASHY: Then Smee who was a terrible, terrible cook! SMEE # 1 SMEE: Ha-ha! Try my terrible, terrible food! (He goes to audience in front row or aisle seat and offers a spoonful of soup.)Have a taste of Pirate Soup! (Puts wooden spoon to audience member’s mouth.)Terrible, isn’t it? (Audience member agrees.) Argg! (PIRATES throw their arms around each other’s shoulders. SMEE leads them in a song. You can make up a simple tuneor have them simply say it as a poem.) CAPTAIN HOOK #1 PIRATES: Yo-ho a pirating we go! Yo-ho a-pirating we go! And if one of us is ever shot! We’re sure to meet below! (PIRATES repeat as they exit.) Yo-ho a-pirating we go!… PETER: Okay everybody… Hang on tight! I’m taking you to the Lost Boys! (PETER holds arms out and turns them to the left making a deep dip as if turning course. WENDY, JOHN and MICHAEL follow his lead. They jump off the bench and follow PETER up the aisle to back of audience and exit through door.) STELLAR: But there was one pirate more terrible than all the others put together… (CAPTAIN HOOK and SMEE enter. END MUSIC.) CAPTAIN HOOK: Shiver me timbers, Smee! I can’t sleep. I can’t eat. I won’t rest until I find Peter Pan. Just look what he did to me! (Holds up arm with hook.) SMEE: A terrible, terrible thing, Captain. Chopping off your arm! CAPTAIN HOOK: And feeding it to a crocodile. That slithering reptile likes the taste of me! He follows me wherever I go just hoping toget a nibble! SMEE: Terrible, terrible! Thank heaven the beast swallowed aclock! CAPTAIN HOOK: That’s the only thing that keeps me alive, Smee. Soon it will wind down and you know what that means.(Uses his finger for tick-tock.) Tick. Tock. Tick. Tock. Tick…(Finger is stuck.) No tock! SMEE: Oh, terrible, terrible! Wait! What’s that I hear?

17 (ALL players off stage in chairs around playing area begin to tick-tock.) CHILDREN: Tick-tock, tick-tock, tick-tock…

(SOUND CUE #5: Scary Crocodile!)

( 1: 16 sec)

CROCODILE enters from behind the audience and slithers up the aisle toward CAPTAIN HOOK. CHILDREN continue tick-tocking untilCROCODILE exits.)

CAPTAIN HOOK: Blame it all on PETER PAN!!! (Runs, exiting.) SMEE: Argg!!!! (Runs, exiting.)

(CROCODILE steps on stage and slowly follows CAPTAIN HOOK, exiting. END MUSIC.) WINKIE: Meanwhile back at the Lost Boys’ home… (LOST BOYS enter with their bows and arrows, looking around for something to shoot.) SPARKLE: Tinker Bell was up to no good! (TINKER BELL enters excitedly, talking to the LOST BOYS using her kazoo. She gestures, trying to tell them something.) TINKER BELL: (Kazoo: I have a message from Peter Pan.) TOOTLES: Hey, Tinker Bell! What’s that you say? NIBS: She has a message from Peter Pan. TINKER BELL: (Mimes using a bow and arrow. Kazoo: Shoot!) CURLY: She says he wants us to shoot something! TINKER BELL: (Nods: Yes! Kazoo: A great big Wendy bird!) HARRY & TERRY: A great big Wendy bird? TOOTLES: Of course, Tinker Bell! Anything for Peter! FLASHY: Just then Wendy came flying into sight. TOOTLES: (“Sees” something in sky, points arrow.)There it is! I got it, I got it! ALL STARS: No Tootles! Stop! Don’t shoot! STELLAR: But it was too late!

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

18 (TOOTLES shoots!) WINKIE: Wendy came falling out of the sky. (WENDY enters, twirls on stage andfalls dead. She holds an arrow at her chest.) TOOTLES: Peter will be so pleased. (PETER bounds on stage, followed by JOHN and MICHAEL.) PETER: Pleased? She was going to be our mother! NIBS: Our mother? PETER: She was going to tuck us in at night. And you shot her! LOST BOYS: (Groaning.) Awww… (LOST BOYS begin to cry. TINKER BELL starts to tiptoe away.) HARRY: It was Tink’s fault. TERRY: She said you wanted us to shoot her down. PETER: Tinker Bell? (He catches her mid-tiptoe.) TINKER BELL: (Acting innocent. Kazoo: Yes, Peter?) PETER: You did this because you don’t like Wendy. You’re jealous of her because she was going to be our mother. TINKER BELL: (Kazoo: No, no!) PETER: Just for that I banish you from Neverland forever! WENDY: (Stirring.) Oh, not forever, Peter! NIBS: She’s awake! CURLY: Are you all right, Wendy? WENDY: I think so. This arrow got caught in my blouse. HARRY & TERRY: Yay! Wendy lives! WENDY: Forever is such a long time. TINKER BELL: (Kazoo: She’s right. A long time!) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

19 PETER: Well, all right. One week. Now go! Get out of my sight! (TINKER BELL whimpers away, exiting.) CURLY: Does this mean you’ll tuck us in at night? NIBS: And tell us bedtime stories? WENDY: Only if you take your medicine and brush your teeth first. HARRY: (To TERRY.) Wow! She really is a mother! LOST BOYS : Yay! CURLY: Let’s go brush our teeth right now! (ALL exit joyfully. PETER # 4 YEAR 1 MOVING ARM LIKE SWIMMING WINKIE: The next day Peter took Wendy to the Lagoon to meet the mermaids.

(SOUND CUE #6: Magical music ) ( 0:36 sec) The STARS get up from their seats and make the water of the Lagoon:They use two long strips of bluefabric. They stretch them across the playing area and each STAR takes an end. They waft the fabric upand down making it look like waves. The MERMAIDS will swim between these two cloths. STARS speak as they take their places with the cloth.) FLASHY: If you close your eyes and think lovely thoughts… STELLAR: You can imagine a pool of blue water… WINKIE: Shimmering in the sun… (MERMAIDS enter betweenfabric strips, using their arms to swim. They begin to “play” with “bubbles” tossing them in the air.) SPARKLE: The Mermaids were splashing in the water… (PETER enters, WENDY follows with her hands over her eyes.) PETER: This way, Wendy! Now you can look. WENDY: (Taking her hands away.) Why, Peter it’s beautiful! PETER: Pearl! Starfish! Moonglow! (MERMAIDS see him and wave.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

20 PEARL: Peter! STARFISH: You’ve been gone so long! MOONGLOW: We thought you’d never come back! PETER: I brought someone for you to meet! Her name is Wendy! MERMAIDS: Hello, Wendy. PEARL: It’s a lovely day to play with the bubbles! STARFISH: Here, catch! (STARFISH “throws” bubble to PETER who “catches” it.) MOONGLOW: You too, Wendy! Catch! (MOONGLOW “throws” bubble to WENDY who “catches” it. TIGER LILY cries from off stage.) TIGER LILY: Help! Help! PETER: Why that’s Tiger Lily! PEARL: Something fishy is going on. TIGER LILY: (Off.) Help! Somebody help me! PETER: It is Tiger Lily! (To Mermaids.) You take care of Wendy and I’ll see what’s going on. MERMAIDS: Be careful, Peter! (MERMAIDS and WENDY exit. PETER hides in the audience. CAPTAIN HOOK and SMEE enter with TIGER LILY tied up in a rope.) TIGER LILY: Never! I’ll never tell you where Peter Pan is! CAPTAIN HOOK: Pretty please? We only want to… want to… SMEE: Give him a present? CAPTAIN HOOK: That’s it. A nice present. TIGER LILY: You’re lying! CAPTAIN HOOK: Shiver me timbers, Tiger Lily! If you won’t tell, we’ll leave you here on Marooner’s Rock!

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

21 SMEE: Many a landlubber’s beenleft here to drown. Argg! TIGER LILY: Never! CAPTAIN HOOK: Very well! Smee, tie her to the cliff! SMEE: Aye, aye, Captain. CAPTAIN HOOK: (To TIGER LILY.) Enjoy your drink! (Laughs loudly.) Optional: (CAPTAIN HOOK exits. SMEE fiddles with therope SMEE # 2 comes to help SMEE # 1 .)

SMEE: Now let’s see, if I just wrap this rope around here… PETER: (Hiding in audience, imitating CAPTAIN HOOK’S voice.)Shiver me timbers, Smee! Set Tiger Lily free! SMEE: Captain? Where are you? (Looks out can’t see PETER or CAPTAIN HOOK.) PETER: I’m right here, Smee! Can’t you hear me? This is your Captain speaking! SMEE: You say to set her free? PETER: Is this mutiny? Do as I say! SMEE: Aye-aye, Captain! (Begins to untie her.) (CAPTAIN HOOK enters SMEE # 1 EXIT) SMEE # 2 CAPTAIN HOOK: What’s taking so long? SMEE # 2: I’m setting Tiger Lily free, just like you ordered, Captain. CAPTAIN HOOK: Setting her free? (Grabs his hat and crunches it in frustration.) Are you out of you mind? I never gave such an order! SMEE# 2: But I, but you… CAPTAIN HOOK: Stop your blithering and get it done, man! (CAPTAIN HOOK exits in a huff.) SMEE #2: Sorry about this, Tiger Lily. (Begins to tie her again.) PETER: Are you deaf, Smee? I said to cut her bonds and let her go! SMEE #2: But I, but you, but I… PETER: If you don’t do it, you’ll walk the plank!

22 SMEE #2: Terrible, terrible! Don’t want that, do we? (Lets TIGER LILY free.) (TIGER LILY takes a big breath and holds her nose and jumps into the “water”.)

PETER: (His own voice.) Over here, Tiger Lily! (TIGER LILY “swims” to him and watches from the audience.) SMEE #2: (After TIGER LILY, waving.) Safe journey! (CAPTAIN HOOK enters.) CAPTAIN HOOK: Safe journey? Who are you talking to? SMEE #2: Why, Tiger Lily of course. She just swam away. PETER: Shiver me timbers, Captain Hook! You’ve been tricked! Catch us if you can! (PETER and TIGER LILY run down center aisle and out of the room.) CAPTAIN HOOK and SMEE: Peter Pan!!!! (CAPTAIN HOOK and SMEE run, following PETER and TIGER LILY.) CAPTAIN HOOK: I’ll catch you, Peter Pan, if it’s the last thing I do!!!! (CAPTAIN HOOK # 1 and SMEE # 2 exit. PETER # 5

SOUND CUE #7: Scary Crocodile! ( 1:16 sec) CROCODILE slithers slowly after CAPTAIN downare thesitting. aisle and out of the room. All players not on stage tick-tock fromHOOK where they When CROCODILE has exited PETER and TIGER LILY enter as STARS speak.END MUSIC) FLASHY: When the Indians found out what Peter did… STELLAR: There was nothing they wouldn’t do for him. (GREAT BIG LITTLE PANTHER and LEAN WOLF enter holding a feather head band, PETER comes to them and lets them put it on his head.) GREAT BIG LITTLE PANTHER: (Bowing.) You are our hero, Peter Pan. LEAN WOLF: (Bowing) And for your bravery we make you an honorary chief. GREAT BIG LITTLE PANTHER: And your name shall be known around the world.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

23 LEAN WOLF: This is your Indian name… TIGER LILY: (Bowing.) Peter the Great Chief Soaring Eagle! GREAT BIG LITTLE PANTHER: Wear it proudly. (INDIANS exit. PETER stands proudly in his feathers. WENDY and LOST BOYS enter.) PETER: What do you think about that, Wendy? I’m an Indian now. Big Chief Soaring Eagle. WENDY: That’s nice, Peter. Now everyone get into bedand I’ll tell a story. LOST BOYS & MICHAEL & JOHN:Yay! (They “get in bed”: They huddle all together andpull a blanket up to their chins. They may do this on their knees facing audience. PETER huddles in with them.) WENDY: Once upon a time, there was a very happy family. There were two Boys, John and Michael, and their big sister Wendy. They all lived together in a big house… PETER: I don’t think I like this story. WENDY: The children went far, far away but they missed their mother and father. PETER: That’s not right. They were happy! WENDY: Oh, Peter. I want to go home. PETER: But if you go you’ll have to grow up. WENDY: I won’t mind. Everyone has to someday. PETER: But who will make sure we brush our teeth at night? WENDY: It won’t be long and you’ll remember to do it yourself. PETER: Well, I don’t care what you do. Go! HARRY & TERRY: Can we come with you, Wendy? WENDY: Of course, you can. Peter? PETER: You’re all going to be sorry. They’ll make you grow up andyou’ll have to go to school. TOOTLES: Really? NIBS: Is it true? © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

24 TWINS: Can we really go to school? WENDY: Of course, you can. See, Peter, it won’t be so bad. PETER: I’m not going with you! I won’t grow up, I won’t! WENDY: (Sadly.) All right. Boys, get your toothbrushes. (To PETER.) If you won’t come, let me give you your medicine one last time. PETER: I don’t want any medicine. Leave it on the table. (WENDY sets it on a bench. LOST BOYS & MICHAEL & JOHN come to her.) CURLY: We’re ready, Wendy! WENDY: (To PETER.) Promise me you’ll come tosee me again. At the nursery window. PETER: I’m just a boy. I can’t be expected to keep promises. WENDY: Goodbye, Peter. LOST BOYS & MICHAEL & JOHN: Goodbye, Peter. (WENDY and LOST BOYS & MICHAEL & JOHN exit. TINKER BELL sneaks up and looks at PETER from behind backdrop.) PETER: Go on all of you! I don’t care. (Sees medicine.) I guess I should take my medicine. Just one last time. (PETER picks up bottle and is about to drink as TINKER BELL enters in a great fury of excitement.) TINKER BELL: (Kazoo: No! No! No! Peter, don’t take that! Don’t, Peter!) PETER: Tinker Bell! What are you doing here? Oh, Tink… I’m so sorry I banished you. TINKER BELL: (Kazoo: You should be.) PETER: You see, everyone’s left and there’s nothing to do but take my medicine. TINKER BELL: (Kazoo: NO! NO! NO!) PETER: Don’t worry, Tink. Wendy left it for me. (He starts to drink. TINKER BELL takes the bottle awayand swallows it herself. She swoons and falls into PETER’S arms.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

25 Tinker Bell! What happened? TINKER BELL: (Feebly toots on kazoo: Captain Hook...) PETER: Captain Hook? He poisoned my medicine? Tink! You took it to save me? Oh, Tinker Bell! (PETER cries as TINKER BELL lays limp in his arms.) What can I do, Tink? I’ll do anything to save you! (She tries to speak… PETER listens with his ear close to her mouth. Then he speaks to audience.) Tink says that she thinks shecan get well again if children believed in fairies. Do you believe? If you believe clap your hands, don’t letTink die! (He begins to clap and leads audience to clap with him. TINKER BELL makes a slow recovery as the clapping continues.) Louder! Yes, that’s it! Look, she’s getting better. Louder! (TINKER BELL slowly recovers, until… She sits up, stands and gives a little curtsey.) TINKER BELL: (Kazoo: Thank you.) PETER: Captain Hook will pay for this! Come on, Tinker Bell! It’s Hook or me this time! (PETER and TINKER BELL exit by hiding in the audience. Optional Transition: PETER # 6 --TO THE END. WENDY # 4 WINKIE: Little did Peter know that Wendy and the Lost Boys had been captured! CAPTAIN HOOK # 2 AND WENDY # 4 (CAPTAIN HOOK enters with WENDY wrapped up in a rope.) WENDY: Unhand me, you brute! CAPTAIN HOOK: Not until you tell us where Peter Pan is! WENDY: Never! CAPTAIN HOOK: Bring out the rest, mates! (PIRATES enter and stand in a line. The LOST BOYS & MICHAEL& JOHN enter one by one as their names are called. Pirates “throw” each boy, passing them down the line.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

26 SMEE # 2: Tootles! (PIRATES repeat name as each boy is passed down: “Tootles! Tootles! Tootles!” and so on.) PIRATES: Nibs! Curly! Harry! Terry! Michael! John! CAPTAIN HOOK: Tell me where Peter Pan is!ALL LOST BOYS & MICHAEL & JOHN: Never! CAPTAIN HOOK: Very well, then! Prepare the plank! (PIRATES move two benches together to use as plank.) Wendy, you’re first! ALL LOST BOYS & MICHAEL & JOHN: Oh, no! HARRY & TERRY: (Covering their eyes.) We can’t look. (WENDY climbs up on the benches. From their place in the audience, PETER and TINKER BELL begin to “tick-tock”. TINKER BELL uses kazoo.) SMEE #2: Wait, Captain! Listen! PETER & TINKER BELL: Tick-tock. Tick-tock. Tick-tock…(Continue as needed.) (PETER and TINKER BELLsplit up, ticking from twodifferent places. PETER encourages audience to join in on the ticking.) CAPTAIN HOOK: The Crocodile!! SMEE #2: (Pointing toward PETER.) It’s coming from over there! CAPTAIN HOOK: (Pointing toward TINKER BELL .) No, it’s coming from over there! TATTOO BILL: No, it’s coming from over there! SKYLIGHTS: Over there! NOODLER: Over there! (It is chaos, PIRATES are pointing in different directions calling out: “Over there!”. PETER creeps up into playing area, untying BOYS and WENDY as the PIRATES look in other directions. Finally CAPTAIN HOOK sees what is going on.) CAPTAIN HOOK: Peter Pan!

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

27 PIRATES: (Terrified!) Peter Pan! Argg!! (PIRATES run away, exiting.) PETER: (To WENDY and BOYS.) Run! (WENDY and LOST BOYS & MICHAEL & JOHN exit the action and sit in front of front row on the floor. They watch and react to battle betweenHOOK and PETER.) It’s just you and me this time, Hook. CAPTAIN HOOK: So it is, Pan. (CAPTAIN HOOK takes his sword from his belt.) So what are you going to do now? Fly away? (TINKER BELL brings PETER a dagger.) PETER: I’m no coward! (They fight.) Take that and that and that! (CAPTAIN HOOK is wounded in the leg.)CAPTAIN HOOK: Shiver me timbers!! I’m dying, dying! PETER: Quit crying, Hook. It’s just a flesh wound! CAPTAIN HOOK: (Whining.) But it hurts really, really bad.PETER: I won’t finish you off. But he will!

(SOUND CUE #8: Scary Crocodile! (1:36 sec) PETER points up aisle to back of the room. CROCODILE enters. All players not on stage and audience tick-tock from where they are sitting.) CAPTAIN HOOK: No, not the Crocodile! This bad form, Peter Pan. Bad form indeed! (CROCODILE moves a little faster this time. Perhaps the smell of CAPTAIN HOOK has sharpened his appetite. CAPTAIN HOOK moans and tries to escape by climbing on the plank. CROCODILE drools below him.) PETER: Might as well jump, Captain! CAPTAIN HOOK: J…j…j…jump? (TINKER BELL uses kazoo excited, wildly.) TINKER BELL: (Pointing to audience. Kazoo: They can help!) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

28 PETER: Good idea, Tink! All of you can help us beat Captain Hook! We need you to make a big gust of wind like we did before. On the count of three, blow as hard as you can. One, two, three! (ALL blow.) CAPTAIN HOOK: (Swaying in the gust.) I’ll get you for this, Pan! PETER: So long, Captain Hook! (PETER gives him a shove with his foot. CAPTAIN HOOK falls from plank and lets out a blood curdling scream.) CAPTAIN HOOK: Aaaaarrrrrrrrgggggggggg!!!!!!!!!!!!!!!! (He runs down aisle, to behind the audience and out of the room. CROCODILE follows close behindwith wide open jaws, exiting. From off stage:) I’ll get you, Peter Pan!!!!!!!!!!!!!!!!!!!! (LOST BOYS & MICHAEL & JOHN and PIRATES enter, stand.) SMEE #2: Three cheers for Peter Pan! (ALL, seated players and audience and STARS, cheer!) ALL: Hip-hip-hooray! Hip-hip-hooray! MICHAEL: All hail Peter Pan! ALL: All hail Peter Pan! Hip-hip-hooray! PETER: (Proudly crows.) Err! Err! Err! Eeerrrrrrrrrr!!!!!!!! (ALL applaud and cheer. When the cheering dies down, WENDY goes to PETER.) WENDY: (Gently.) It’s time for us to go home now, Peter. It’s way past our bedtimes. Will you take us there? PETER: Anything for you, Wendy.

(SOUND CUE #9: Flying. (1: 02 sec. ) BOYS, WENDY, JOHN and MICHAEL put out their arms and fly, following PETER, exiting down the aisle and out of the room.) FLASHY: And so they all flew home. (MOTHER and FATHER enter.) © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

29 FATHER: (Patting MOTHER’S shoulder.) My dear, it is all my fault. If I had not told Wendy to grow up none of this would have happened. (NANA enters dabbing her eyes with her apron and gives a mournful howl.) NANA: Owwwooooooohhhhh!!!!!!!!! MOTHER: (Weeping.) If only I could hold them in my arms right now. (WENDY enters, flying.) WENDY: Mother! Father! MOTHER: Wendy? It is! FATHER: It’s Wendy! (She flies to them. MICHAEL and JOHN enter, flying.) MICHAEL: Mother! (Flies to her arms.) JOHN: Father! (Flies to his arms.) (END MUSIC.) MOTHER: Oh, you’re home, you’re home! FATHER: We missed you so much! MICHAEL: We went to Neverland, Mother! JOHN: There were Pirates! MICHAEL: And Indians! JOHN: And mermaids! MICHAEL: And we flew! MOTHER: Yes, yes. Now it’s time to brush your teeth and go to bed. Would you like me to tell you a story? MICHAEL & JOHN: Oh, yes!

(SOUND CUE #10: Magical music, plays into Curtain Call music. (2: 22 sec ) ALL exit but WENDY. She stands looking out, down the aisle.) FLASHY: And late at night… © Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

30 STELLAR: When only the stars were watching… WINKIE: Wendy went to her window… SPARKLE: And said her last farewell. WENDY: Good night, Peter Pan. (She blows him a kiss and exits. PETER enters after she’sgone.) PETER: (Blows her a kiss.) Goodnight, Wendy.

END (PETER exits. SOUND CUE #10 - continued. CURTAIN CALL: STARS come forward, TINKER BELL taps each one as they bow and move to the side. MERMAIDS glide in, bow andswim to the side. ALL bow their heads as TIGER LILY enters dancing, leading the other INDIANS. INDIANS bow and stand aside as LOST BOYS enter with their bows, aiming aimlessly at the sky. WENDY(S) enters and LOSTBOYS aim at her. JOHN and MICHAEL enter, cry out “No!” They grab WENDY(S) to protect her andLOST BOYS move away, bow. WENDY(S), JOHN and MICHAEL bow. They gesture to MOTHER, FATHER and NANA who enter and bow. They gesture to PETER PAN(S) who enter crying out “Err-err-errr!” and bow . PETER’S SHADOW sneaks in and taps PETER on the shoulder, PETER turns in surprise, then gestures to the audience to applaudSHADOW, who bows. TINKER BELL taps on PETER’S other shoulder. PETER gestures for the audienceapplaud her, she bows. PIRATES enter from behind, busting through everyone. They sing out: “Yo-ho a pirating we go! Argg!” CAPTAIN HOOK comes barging in, takes a dramatic bow, then sees PETER(S) and shouts “PeterPan!” CAPTAIN HOOK chases PETER(S) offstage. TINKER BELL dances and uses to kazoo to remind everyone to bow again,together. As ALL bow together CROCODILE enters. As they stand from bow, ALL see CROCODILE, scream and run away. CROCODILE enjoys his moment, bows, slowly exits.)

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

31

PRODUCTION NOTES

Casting Options: If you need to make your cast smaller or larger you have the most flexibility in the STARS, PIRATES, LOST BOYS and MERMAIDS. You can easily double these parts or divide lines up between more performers. The largest roles are PETER PAN and WENDY. If you are concerned that it is too much for just one girl and boy you might consider dividing the roles and casting as many as 4 PETER PANS and 2 WENDYS. Optional Transition times are noted in the script. In this case each PETER PAN and WENDY should wear a very distinctive costume piece that easily identifies them. You might make an announcement to explain the casting option before the show or print it in a program. At the end have all PETER PANS and all WENDYS bow together.

Pantomime: Kids call it “pretend”, actors call it “mime”. Whatever term you use it means acting as if you are doing a thing even if you are not. To get kids to understand tell them to “pretend” brushing their teeth. Now tell them to “mime” brushing theirteeth. It’s the same thing isn’t it? School-Plays use a lotof pantomime to stimulate imaginative performances.

Playing Area: The audience should be seated on three sides of the playing area, like a horseshoe, on the same floor. A stage may be used but this less formal staging brings the action closer to the audience, gives the performers more room and has been very successful for children’s theatre. If there are children in the audience they may be seated on the floor close to the actors.

Percussion Instruments: Experiment with magical sounds such as chimes, tambourine etc. Drums and tom-toms can be most effective in the INDIAN scenes. Lay the instruments out so the performers can see them and let them choose what they like for different scenes.

Greek Chorus: Invented by the ancient Greeks, this chorus comments on the action, sings and narrates during the performance. In this play the STARS are the chorus. We use the tradition here to help the flow of the story.

Upstage, Downstage, etc.: Upstage is the part of the stage that is farthest from the audience. Downstage or foot is closest to the audience. Stage right is the actor’s right NOT the director’s or the audience’s right. Stage left is also the actor’s left.

Offstage: Offstage usually means the wings of the stage or behind the scenery. Here we are allowing the audience to see the actors at all times, so offstage means out of the playing area. Performers who are not on stage should participate throughoutthe performance by reacting to what is happening on stage.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

32 Cloth or Sheet: Using large pieces of cloth can be a very effective and very inexpensive way to add drama to a scene. Here we use long stretches of fabric to make the water for the Lagoon. Professionals use silk, but I’ve found that fabric which is called “lining” is very inexpensive and works just as well. Two or more performers can hold opposite ends andthen waft it on a breeze. In this play the MERMAIDS can “swim” betweentwo blue pieces of fabric. Allow performers to play with it to see what kinds of ideas they might have to create dramatic effects.

Crocodile: This costume can be as elaborate or simple as you please. It can be quite funny to have an actor make the jaws with his outstretched arms. But the performer could also make what he needs for a mask and tail in the art room with paper etc. Consider having two performers for the CROCODILE: One for the head and another for the tail. It would be lots of fun for the CROCODILE’s two pieces go inother directions “accidentally”. Props: Wand Confetti Handmade swords Blanket Tie Medicine bottle and spoon Kazoo Tomahawk Eye patch Soup spoon Bows and Arrows Cloth for Lagoon Rope Feather headdress Sword

33

J. M. Barrie Sir James Matthew Barrie, Baronet (May 9, 1860 - June 19, 1937), more commonly known as J. M. Barrie, was a Scottish novelist and dramatist. He is best remembered as the creator of Peter Pan. Barrie was born in Kirriemuir, Angus and was educated at Dumfries Academy and Edinburgh University. He became a journalist at Nottingham, then London, and became a novelist. The first two novels were set in Kirriemuir, disguised as "Thrums" (his father was a weaver). He then wrote for the theatre, including Quality Street, What Every Woman Knows and The Admirable Crichton. But he is remembered mainly for Peter Pan, which he based on his friends, the Llewellyn-Davies boys. He died in 1937 and was interred at Kirriemuir, next to his parents, sister and brother David.

Kathryn Schultz Miller Kathy co-founded the professional ArtReach Touring Theatre and served as Artistic Director for over 20 years. Most of her 44 plays have been published and have won countless awards. Her play A Thousand Cranes was performed at the Kennedy Center, the Sundance Institute, and has been produced thousands of times the world over. She has won Playwriting Fellowships from the National Endowment for the Arts, the Ohio Arts Council and the Post-Corbett Foundation. Kathy lives in Cincinnati with her husband Barry, who handles orders, soundtracks and website design for Children’s Theatre Plays.com.

© Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed without written permission from the author and payment of royalty for all performances (including non-paying audiences). Not available within the United Kingdom.

FULL PLAY LIST - Check our website often for exciting new titles! A Christmas Carol A Christmas Cinderella A Christmas Peter Pan A Christmas Wizard of Oz A Snow White Christmas A Thousand Cranes Aladdin (and the Magic Lamp) Alice in Wonderland Amelia Earhart Annie Oakley Beauty and the Beast Blue Horses Choosing Sides for Basketball Cinderella Emperor’s New Clothes, The Hansel and Gretel Haunted Houses I Think I Can I'm a Celebrity! Island Son Jack and the Beanstalk Knights of the Round Table Laura Ingalls Wilder Legend of Sleepy Hollow, The Legend of the Trouble Dolls Lewis and Clark Little Mermaid, The Mark Twain Show, The Mountains are a Feeling

Dicken’s classic story, traditional Christmas songs (SPP) The classic fairy tale with music – just for Christmas! (SPP) Peter Pan Christmas version with Holiday music (SPP) Wizard of Oz Christmas version with Holiday music! (SPP) The classic fairy tale with music – just for Christmas! (SPP) Story of Sadako, a young Hiroshima victim (SM, EX, SPP) Magical characters, audience participation! (SM, EX, SPP) Lewis Carroll and Alice in Wonderland (SM, EX, SPP) Amelia's life and her final, tragic flight (SM, EX) The true story of an American heroine (SM) A classic tale, beautifully told (SM, SPP) Four children act out their dreams (SM) School friends deal with life and self esteem (SM) The world’s most popular fairy tale (SPP) A rollicking version of the classic tale (SM, EX, SPP) Classic fairy tale, audience participation! (SM) Four children tell haunting real life stories (SM) A young girl gains confidence through imagination (SM) An unpopular boy dreams of becoming famous (SM) A Caribbean boy’s adventure on an enchanted island (SM) Hilarious version, audience participation! (SM) King Arthur fights the forces of evil (SM, EX) Voice of the Prairie: Story of the beloved author (SM, EX) Innovative retelling of the classic Halloween tale (SM, EX, SPP) An anciant Central American legend comes to life (SM) American explorers, a Bicentennial of Discovery (SM) Classic musical tale of underwater adventure (SPP) Twain’s writings: Tom Sawyer, Huck Finn and company (SM) Traditional Appalachian stories and folk tales (SM)

Peter Pan The little popular story thatbecame never grows Pinocchio The puppet who a real old live(SPP) boy! (SM, SPP) Poe! Poe! Poe! Edgar Allen Poe's classic writings, reader’s theatre style (SM) Princess and the Pea, The Full length version of the classic fairy tale (EX) Red Badge of Courage, The Stephen Crane’s classic Civil War story (SM, EX) Robin Hood The classic Medieval adventure tale (SM, EX) Rumpelstiltskin The delightfully rich fairy tale told in a Scottish setting (SM) Shakespeare to Go! Scenes from the Bard’s popular works, playfully told (SM) Shining Moment, The A grandfather's tender story and his final, loving gift (SM) Snow White & the Seven Dwarfs A classic fairy tale and favorite the world over! (SPP) Sword in the Stone, The Merlin teaches Arthur to be a good king (SM, EX) Thomas Edison: Fire of Genius Illuminating review of the great inventor's life and times (SM) Time Machine, The Two children hitch a ride into the future (SM) Trail of Tears Cherokees removal from their homeland (SM) Twas the Night Before Christmas Holiday musical play with famous St. Nicholas poen (SPP) Very Bestest Christmas Present, The Hilarious holiday fun –great for parties! (SM) We Are The Dream The legacy of Dr. Martin Luther King, Jr. (SPP) Welcome Home A Vietnam veteran shares his memories (SM) Why Do Heroes Have Big Feet? Midwest tall tales and American folklore (SM) Wizard of Oz, The Our most popular play! (SPP, also bilingual Spanish version) Yearning to Breathe Free You Don't See Me Young Cherokee

A Caribbean boy searches for freedon in America (SM) A young girl deals with the loss of her brother (SM) Native American culture and myths (SM)

*SM=SMall cast (touring), EX=EXpanded cast, SPP=School Play Package (large cast)

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PERFORMANCE LICENSE PERFORMANCE PETER LICENSE A CHRISTMAS PETER PAN PAN

This LICENSE, in consideration of royalty paid, does hereby grant RECIPIENT permission and legal rights to perform an ArtReach (Children’s Theatre Plays) PLAY one (1) time and to make up to 40 copies of the srcinal (perusal) SCRIPT for use in production. With this LICENSE the RECIPIENT has fulfilled its royalty and copyright obligations and is allowed to perform the PLAY one (1) time before a live audience (including non-paying audiences). This LICENSE also grants RECIPIENT the right to use the CD SOUNDTRACK in the performance (CD SOUNDTRACK purchased separately). For photocopying purposes, this LICENSE releases the copyright restrictions contained in the srcinal (perusal) SCRIPT and grants RECIPIENT the right to make copies of the copyrighted Kathryn Schultz Miller SCRIPT. Please present this LICENSE, if necessary, when copying the SCRIPT. Thanks for your business and we wish you a wonderful, successful production! Barry Miller, Order Processing & Licensing ArtReach Children’s Theatre Plays.com ___________________________

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ADDITIONAL PERFORMANCES NOT ALLOWED Additional performances of the PLAY are not allowed under this LICENSE, but may be authorized by payment of the ADDITIONAL PERFORMANCE ROYALTY for each additional performance beyond the first. To pay the ADDITIONAL PERFORMANCE ROYALTY, use our Website ORDER page or contact us at the above address.

This LICENSE is non-transferable, non-assignable, non-replicatable and is applicable only to the srcinal RECIPIENT in consideration of royalty paid by the RECIPIENT in conjunction with the purchase of a specific ArtReach (Children’s Theatre Plays) PLAY SCRIPT as shown in the srcinal order confirmation, payment receipt, or invoice. This LICENSE may be used one time only for the specific PLAY and may not be copied, duplicated or used by any other party for any other PLAY or purpose.