Readers Theatre For Beginning Readers

cover
cover next page >
title :
author :
publisher :
isbn10 | asin :
print isbn13 :
ebook isbn13 :
language :
subject
publication date :
lcc :
ddc :
subject :
cover next page >
file:///F|/1563081369/files/cover.html [29/04/2009 22:35:19]

page_iii
< previous page page_iii next page >

Page iii
Readers Theatre for Beginning Readers
Suzanne I. Barchers
Teacher Ideas Press

A Division of
Libraries Unlimited, Inc.
Englewood, Colorado
1993
< previous page page_iii next page >
file:///F|/1563081369/files/page_iii.html [29/04/2009 22:35:19]

page_iv
< previous page page_iv next page >

Page iv
Dedicated to
Charla Pfeffinger
and
Connie Mantarro
<><><><><><><><><><><><>
Copyright © 1993 Suzanne I. Barchers

All Rights Reserved
Printed in the United States of America
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. An
exception is made for individual library media specialists and teachers who may make copies of scripts for classroom
use in a single school. Performances may be videotaped for school or library purposes.
TEACHER IDEAS PRESS

A Division of Libraries Unlimited, Inc.
P.O. Box 6633
Englewood, CO 80155-6633
1-800-237-6124
Library of Congress Cataloging-in-Publication Data
Barchers, Suzanne I.
Readers theatre for beginning readers / Suzanne I. Barchers.
vii, 97 p. 22x28 cm.
Includes bibliographical references and index.
ISBN 1-56308-136-9
1. Children's plays, American. 2. Readers' theater. I. Title.
PS3552.A5988R4 1993
812'.54dc20 92-45813
CIP
< previous page page_iv next page >
file:///F|/1563081369/files/page_iv.html [29/04/2009 22:35:20]

page_v
< previous page page_v next page >

Page v
CONTENTS
Acknowledgments vii
Introduction 1
The Role of Readers Theatre 1
Preparing the Scripts 1
Getting Started 2
Presentation Suggestions 2
Props 3
Delivery 3
The Audience 4
Beyond Readers Theatre for Beginning Readers 4
References 4
Part 1 5
Belling the Cat (Greek) 7
Jack and the Beanstalk (English) 9
The Lion and the Mouse (Greek) 14
The Old Woman and Her Pig (English) 16
The Three Billy Goats Gruff (Scandinavian) 19
The Three Little Pigs (English) 22
The Tortoise and the Hare (Greek) 25
The Town Mouse and the Country Mouse (Greek) 28
file:///F|/1563081369/files/page_v.html (1 of 2) [29/04/2009 22:35:21]

page_v
Part 2 31
Baba Yaga (Russian) 33
The Bremen Town Musicians (German) 37
Goldilocks and the Three Bears (English) 41
The Half Chick (Spanish) 44
The Little Boy Who Went to the North Wind (Scandinavian) 47
Little Red Riding Hood (German) 50
The Three Wishes (English and French) 54
Tom Tit Tot (English) 57
The Wolf and the Seven Little Kids (German) 62
< previous page page_v next page >
file:///F|/1563081369/files/page_v.html (2 of 2) [29/04/2009 22:35:21]

page_vi
< previous page page_vi next page >

Page vi
Part 3 65
Cinderella (French) 67
The Emperor's New Clothes (Danish) 72
Henny Penny (English) 76
Kumba and Kambili (African) 79
The Peach Boy (Japanese) 82
The Tinderbox (Danish) 86
The Ugly Duckling (Danish) 91
Alphabetical Index to Tales 95
About the Author 97
< previous page page_vi next page >
file:///F|/1563081369/files/page_vi.html [29/04/2009 22:35:21]

page_vii
< previous page page_vii next page >

Page vii
ACKNOWLEDGMENTS
Grateful appreciation is extended to Susan Carlson and her second-graders and Linda Gouin and her first-graders for
their willingness to test and critique this book. Their suggestions were invaluable.
Grateful acknowledgment is made for permission to adapt "The Half Chick" from The Green Fairy Book, edited by
Andrew Lang, Dover Publications, 1965. "Kumba and Kambili" was adapted from Wise Women: Folk and Fairy Tales
from Around the World by Suzanne I. Barchers, Libraries Unlimited, 1990.
< previous page page_vii next page >
file:///F|/1563081369/files/page_vii.html [29/04/2009 22:35:22]

page_1
< previous page page_1 next page >

Page 1
INTRODUCTION
The Role of Readers Theatre
"Readers theatre is a presentation by two or more participants who read from scripts and interpret a literary work in such
a way that the audience imaginatively senses characterization, setting, and action. Voice and body tension rather than
movement are involved, thus eliminating the need for the many practice sessions that timing and action techniques
require in the presentation of a play" (Laughlin and Latrobe 1990, 3). Traditionally, the primary focus in readers theatre
is on an effective reading of the script rather than on a dramatic, memorized presentation. Generally, there are minimal
props and movement on the stage, although with primary students, adding such touches enlivens the production and
invites more active participation. The ease of incorporating readers theatre into the language arts program offers
teachers an exciting way to enhance the program, especially in today's classrooms that emphasize a variety of reading
and listening experiences.
The scripts in this collection were developed from folktales and fables that are familiar or have repetitive or cumulative
lines. All scripts were evaluated with the Flesch-Kincaid readability scale and are grouped into sections with first-,
second-, or third-grade readability levels (parts 1, 2, and 3, respectively). Although readability levels are given, the
teacher and students are encouraged to sample all levels of scripts. Each script should be further evaluated by the
teacher for features that will assist easy reading: familiarity, repetition, predictability, and so forth. Though children are
not expected to memorize the lines in readers theatre, many children will have internalized the familiar story and will
need only the slightest prompting from the script. Thus, paraphrasing by the reader is common and acceptable. Such
success in reading and sharing is highly motivating for the beginning reader who appreciates the different forms of
reading. After spending an entire morning exploring and practicing a script, one second-grader asked his teacher why
they never had reading that day. She probed for a minute, then gently asked what they were doing as they prepared the
script. He lit up in delight, "Oh, we were reading!"
The performance of readers theatre scripts also strengthens oral skills for readers and promotes active listening for
students in the audience (Sloyer 1982, 4). Students explore literature in a new form, and the class can begin to analyze
various treatments of the same or similar stories through use of the picture books listed with each script. An additional
benefit is the pleasure of performing for parents or other classes and the ease of preparing for special days when a
program is expected.
Preparing the Scripts
Once scripts are chosen for reading, make enough copies for each character, plus an extra set or two for your use and a
replacement copy. Because beginning readers may have difficulty keeping their place on the page, bold-faced character
initials are included in the margin for the various parts (readability levels 1 and 2 only). Use highlighter markers to
designate a character's picture within the copy. For example, the tortoise could be highlighted in blue each time it
appears, the hare in green, and the narrator in orange. This helps readers track their parts and eases management of
scripts in the event pages become mixed. Small numbers are included in the right margin for easy prompting by the
teacher to a specific line.
file:///F|/1563081369/files/page_1.html (1 of 2) [29/04/2009 22:34:15]

page_1
Photocopied scripts will last longer if you use the three-hole punch (or copy them on prepunched paper) and place them
in inexpensive folders. The folders can be color coordinated to the internal highlighting for each character's part. The
title of the play can be printed on the outside of the folder, and scripts can be stored easily for the next reading.
Preparing the scripts and folders is a good task for a volunteer parent or an older student helper. The preparation takes a
minimum of initial attention and needs to be repeated only when a folder is lost.

page_2

Page 2
Getting Started
For the first experience with a readers theatre script, choose a script with many characters to involve as many students
as possible. Gather the students informally, perhaps in a circle on the floor. If a picture book version of the chosen script
is available, read it aloud to the students. Next, introduce the script version and explain that readers theatre does not
mean memorizing a play and acting it out, but rather reading a script aloud with perhaps a few props and actions. Select
volunteers to do the initial reading, allowing them an opportunity to review their parts before reading aloud. Other
students could examine illustrated versions or brainstorm prop ideas and preview other scripts.
Before reading the first script, decide whether to choose parts after the reading or to introduce additional scripts to
involve more students. A readers theatre workshop could be held periodically, with every student belonging to a group
that prepares a script for presentation. A readers theatre festival could be planned for a special day when several short
scripts are presented consecutively, with brief intermissions between each reading. Groups of tales could include the
well-known Grimm tales, those by Hans Christian Andersen, the English tales, or a variety of animal tales. Consider
these additional groupings drawn from this collection:
Aesop's fables: "Belling the Cat," "The Lion and the Mouse," "The Tortoise and the Hare," and "The Town Mouse and
the Country Mouse.''
Wolf tales: "The Three Little Pigs," "Little Red Riding Hood," and "The Wolf and the Seven Little Kids."
Royal tales: "Tom Tit Tot," "Cinderella," and "The Emperor's New Clothes."
Tales of distant lands: "Baba Yaga" (Russia), "The Half Chick" (Spain), "Kumba and Kambili" (Africa), and "The
Peach Boy" (Japan).
Tales of clever children: "Baba Yaga," "The Little Boy Who Went to the North Wind," and "The Peach Boy."
Tales of foolishness: "The Three Wishes," "Tom Tit Tot," "The Emperor's New Clothes," and "Henny Penny."
Once the students have read the scripts and become familiar with new vocabulary, determine which students will read
the various parts. In assigning roles, strive for a balance between males and females. Many roles are animals and may be
read by either sex. Some parts are considerably more demanding than others, and students should be encouraged to
volunteer for roles that will be comfortable for them. Once they are familiar with readers theatre, students should be
encouraged to stretch and try a reading that is challenging. Though one goal for incorporating readers theatre is to
develop and inspire competent readers, it is equally important that the students succeed and enjoy the literature.
Presentation Suggestions
For readers theatre, readers traditionally standor sit on stools, chairs, or the floorin a formal presentation style. The
narrator may stand with the script placed on a music stand or lectern slightly off to one side. The readers may hold their
scripts in black folders.
The position of the reader indicates the importance of the role. For example, the emperor in "The Emperor's New
Clothes" would have a position in the front center of the stage, with the minor characters to the sides and slightly behind
him. The tortoise and the hare from the Aesop fable would be positioned to the front and center, with the narrator and
starter to the back and side.

page_2

page_3

Page 3
Because these scripts are for beginning readers, it is important that the students are comfortable with the physical
arrangement. It is assumed that the students will present more informally than in the traditional readers theatre style,
perhaps adapting or enlivening the presentation. Therefore, a traditional arrangement for presenters is not provided with
the scripts. Instead, a few general suggestions are supplied for each play. For example, readers of small parts may enter
or leave the stage prior to and following their parts. Alternatively, readers may stand up for a reading and sit down for
the remainder of the script.
Determining the presentation arrangement is a good cooperative activity for the readers. The arrangement should foster
success; a student who cannot stand quietly for a long period of time should be allowed to sit on a chair, pillow, or the
floor. The restless student with a short reading could remain on stage only for the duration of the reading. However,
students may have fresh ideas for a different presentation, and their involvement should be fostered.
Props
Readers theatre traditionally has no, or few, props. However, simple costuming effects, such as a hat, apron, or scarf,
plus a few props on stage will lend interest to the presentation. Shirlee Sloyer (1982, 58) suggests that a script can
become a property: "a book, a fan, a gun, or any other object mentioned in the story." Suggestions for simple props or
costuming are included; however, the students should be encouraged to decide how much or little to add to their
production. Examining illustrated versions of the tales will give them many good ideas. However, for beginning readers,
the use of props or actions may be overwhelming, and the emphasis should remain on the reading, rather than on an
overly complicated presentation.
Delivery
In an effort to keep the scripts easy for beginning readers, no delivery suggestions are written within the scripts.
Therefore, it is important to discuss with the students what will make the scripts come alive as they read. Primary
students naturally incorporate voices into their creative play and should be encouraged to explore how this same
practice will enhance their reading. Small groups that are working on individual plays should be invited to brainstorm
delivery styles. A variety of warm-ups can help students with expression. For example, have the entire class respond to
the following:
discovering school has been canceled due to snow
being grounded for something a sibling did
learning a best friend is moving
getting a new puppy or kitten
being told there will be a big test every Monday
discovering a sister ate your last piece of birthday cake
having a genie or fairy appear with three wishes

page_3
In first experiences with presenting a script, it is tempting for students to keep their heads buried in the script, making
sure they don't miss a line. Students should learn the material well enough to look up from the script during a
presentation. Students can learn to use onstage focus, where they focus on each other during the presentation. This is
most logical for characters who are interacting with each other. The use of offstage focus, where the presenters look
directly into the eyes of the audience, is more logical for the narrator or characters that are uninvolved with onstage
characters. An alternative is to have those students who do not interact with each other focus on a prearranged offstage
location, such as the classroom clock, during delivery.

page_4

Page 4
Simple actions can also be incorporated into readers theatre. Though primary students are generally less inhibited than
older students, encourage presenters to use action by practicing pantomime in groups. If possible, have a mime come in
for a presentation and some introductory instruction. Alternatively, introduce mime by having students try the following
familiar actions: combing hair, brushing teeth, turning the pages of a book, eating an ice cream cone, making a phone
call, falling asleep. Then select and try general activities drawn from the scripts: climbing, carrying items, putting a hat
on and off, kneeling, and so forth. The actions need not be elaborate; characters can indicate falling asleep simply by
closing their eyes. Although readers theatre uses minimal gestures and actions, they can brighten the presentations for
both participants and audience.
Generally, the audience should be able to see the readers' facial expressions during the reading. Upon occasion a script
lends itself to a character moving across the stage, facing each character while reading. In this event the characters
should be turned enough that the audience can see the reader's face.
The use of music can enhance the delivery of the play. For "Kumba and Kambili," jungle drums may be used effectively
during parts of the presentation. Royal music may be effective during the procession in "The Emperor's New Clothes."
A bell may tinkle during "Belling the Cat.'' As with props and action, music should be added sparingly, as the emphasis
should remain on the reading.
The Audience
When students are part of the audience, they should understand their role. Caroline Feller Bauer (1992, 30) recommends
that students should rehearse applauding and reacting appropriately to the script. Several of the plays include
suggestions for involving the audience, such as providing sound effects during "The Three Billy Goats Gruff." Cue
cards that prompt the audience to make noises can be incorporated into the production. Encourage students to find
additional ways to involve the audience in the program.
Beyond Readers Theatre for Beginning Readers
Once students have enjoyed the reading process involved in preparing and presenting readers theatre, the next logical
step is to involve them in the writing process of creating their own scripts. The options for scripts are endless, and
students will naturally want to translate a favorite story into a script. For an in-depth discussion of this process, consult
part 1 of Shirlee Sloyer's Readers Theatre: Story Dramatization in the Classroom.
References
Bauer, Caroline Feller. 1992. Read for the Fun of It: Active Programming with Books for Children. Illustrated by Lynn
Gates Bredeson. Bronx, NY: H. W. Wilson.
Laughlin, Mildred Knight, and Kathy Howard Latrobe. 1990. Readers Theatre for Children: Scripts and Script
Development. Englewood, CO: Teacher Ideas Press.
Sloyer, Shirlee. 1982. Readers Theatre: Story Dramatization in the Classroom. Urbana, IL: National Council of
Teachers of English.
file:///F|/1563081369/files/page_4.html [29/04/2009 22:34:19]

page_5

Page 5
PART 1

page_5

page_7

Page 7
Belling the Cat
Summary
In this fable by Aesop, the mice are living contentedly until a cat disrupts their freedom. The mice meet and decide to
attach a bell to a ribbon and tie it on the cat. However, no one is willing to tackle the task.
Reading level: 1.
This fable provides an opportunity to involve many students. Other Mice have several lines in unison, and there can be
as many students as desired sharing this role. The formal staging could include Narrator, Mouse Leader, and Young
Mouse positioned stage front. Alternatively, the staging could have Mouse Leader on the side, raised on a chair or stool,
with the others loosely arranged as in a meeting. An additional (nonspeaking) role could be created for a cat who simply
could prowl in the background.
Props
Most of the mice could wear pink and gray ears on a headband made of felt and reinforced with interfacing. Mouse
Leader could wear buttons or a hat to designate the role, and Wise Old Mouse could wear glasses. A ribbon and bell
could be placed on stools onstage.
Delivery
Mouse Leader should have a strong voice. Other Mice can have squeaky and young voices. Young Mouse should sound
young, and Wise Old Mouse should sound tentative. The audience could be prompted to contribute mouse and cat
sounds with cue cards, and a bell could be rung softly when Young Mouse suggests belling the cat.
Booklist
Calmenson, Stephanie, reteller. "Belling the Cat." In The Children's Aesop, 62. Illustrated by Robert Byrd. Honesdale,
PA: Caroline House, 1992.
Calmenson has the mice tapping their tails when they have nothing to say. Share this version and compare it to the
traditional story in the following collection.
Jacobs, Joseph, ed. "Belling the Cat." In The Fables of Aesop, 159. Illustrated by Richard Heighway. New York:
Schocken Books, 1966.
This is a large collection of fables with a traditional treatment.
Paxton, Tom. "Belling the Cat." In Belling the Cat and Other Aesop's Fables. Illustrated by Robert Rayevsky. New
York: Morrow Children's Books, 1990.
Paxton's verse and Rayevsky's color illustrations provide a lively version.
Characters

page_7
Narrator HM Hungry Mouse
ML Mouse Leader YM Young Mouse
OM Other Mice (as many as preferred) WO Wise Old Mouse

page_8

Page 8
BELLING THE CAT
Narrator: There were many mice living happily together in a big, old house. One day a cat arrived.
After the cat chased the mice for some days, the leader of the mice called the mice together.
ML Mouse Leader: My friends, we have a problem. 1
OM Other Mice: What is it? 2
ML Mouse Leader: It is that wicked cat! I am tired of being chased night and day. 3
HM Hungry Mouse: Me, too! I haven't had a crumb to eat since that beast came. I am so hungry! 4
OM Other Mice: Me, too! Me, too! 5
ML Mouse Leader: Well, we must come up with a plan. We have to be able to run about the house again. 6
OM Other Mice: A plan! A plan! 7
YM Young Mouse: I know what to do. 8
OM Other Mice: What? What? 9
YM Young Mouse: There is a bell in the corner of the kitchen and a ribbon in the bedroom. First we have 10
to put the bell on the ribbon. Then we wait for the cat to fall asleep and tie the ribbon around his
neck. When he moves, the bell will ring. We will be able to hear it and run away.
OM Other Mice: Hurray! Hurray! 11
ML Mouse Leader: That is a splendid plan. Let's do it! 12
WO Wise Old Mouse: Excuse me, please. 13
ML Mouse Leader: What is it, Old Mouse? We have no time to waste! 14
WO Wise Old Mouse: Who is going to tie the bell around the cat's neck? 15
ML Mouse Leader: Why, a volunteer, of course. 16
WO Wise Old Mouse: And who will volunteer? 17

page_8
Narrator: The mice all looked at each other, waiting for someone to volunteer. No one did. And mice
are still being caught by cats to this very day.

page_9

Page 9
Jack and the Beanstalk
Summary
In this traditional English tale, Jack trades his cow for some magic beans. Jack climbs the beanstalk and finds the house
of a giant and his wife. Jack steals their gold, their hen that lays golden eggs, and their singing harp. When the giant
chases him, Jack chops down the beanstalk, and the giant falls to his death.
Reading level: 1.
Although this is easy to read, it is much longer than many other scripts in this section. Because the old man has only a
brief role, it may be wise to let that student exit or sit down after reading those lines. Similarly, Mother may want to
stand for her first lines, sit during Jack's journeys to the giant's home, and stand for the ending lines.
Props
Mother may wear an apron or bonnet. Jack may wear a vest and cap or hat with a feather. The old man might wear a
jacket, tie, or hat. The giant's wife might also wear an apron or have a broom. Suspenders and extra padding would
enhance the giant's appearance.
Delivery
Jack's mother should sound appropriately motherly. Jack is rather ingenuous, but he is brave. His voice should vary
depending on the circumstances he is in, such as when he begs the giant's wife for a bit of food. The old man should
sound wheedling as he convinces Jack to trade for the beans. The giant's wife is usually cranky, and the giant is gruff.
Students could participate in creating the THUMP, THUMP, THUMP! Ominous music could also introduce the giant
each time he speaks.
Booklist
Dahl, Roald. "Jack and the Beanstalk." In Revolting Rhymes, 21. Illustrated by Quentin Blake. New York: Bantam
Skylark Books, 1986.
This amusing twist makes a good case for daily bathing. Before reading it aloud to older students, consider some minor
editing in the event some lines might offend your listeners.
Characters
Narrator OM Old Man
M Mother W Wife
J Jack G Giant

page_9

page_10

Page 10
JACK AND THE BEANSTALK
Narrator: A poor widow had one son named Jack and a cow named Milky-white. They lived well on
the cow's milk. But one day it gave no more milk.
M Mother: Jack, Jack. What shall we do? 1
J Jack: Don't worry, Mother. I will get a job. 2
M Mother: But no one would take you the last time you tried. We must sell Milky-white. Take her to 3
market today. Then we will make a new start.
J Jack: I'll sell her, and then we will see what to do next. 4
Narrator: Jack started down the road. Soon he met an old man.
OM Old Man: Good morning, lad. 5
J Jack: Good morning, sir. 6
OM Old Man: Where are you going? 7
J Jack: I'm going to market. I must sell our cow. 8
OM Old Man: Will you swap something for your cow? 9
J Jack: No, I must sell her. We need the money for a new start. 10
OM Old Man: Ah, this will give you the start you need. I'll trade you these beans for your cow. 11
J Jack: No, that would never do. My mother would be very unhappy. 12
OM Old Man: But these are magic beans. Plant them tonight. By morning they will grow up to the sky. 13
J Jack: Is that true? 14
OM Old Man: If it isn't true, you can have your cow back. 15
J Jack: That sounds fair. 16

page_10
Narrator: Jack traded his cow for the beans. He hurried home to tell his mother.
M Mother: That was quick, Jack. Did you get a good price? 17

page_11

Page 11
J Jack: Better than a good price! 18
M Mother: How much then? 19
J Jack: I traded Milky-white for these magic beans! 20
M Mother: You are a fool! Those beans aren't magic. What will I do with you? 21
J Jack: But Mother! 22
Narrator: Jack's mother threw the beans out the window and sent him to bed without his supper. The next
morning when Jack woke up, his room looked strange. Instead of being filled with the usual morning sun,
it was dark and shady. Jack got dressed and went to the window.
J Jack: Goodness! That man was right! Those beans were magic. Look at that beanstalk! 23
Narrator: Jack leaned out the window and climbed right up the beanstalk, just like going up a ladder.
When he reached the sky, he found a path. He walked along until he came to a big house. On the doorstep
was a tall woman.
J Jack: Good morning, ma'am. 24
W Wife: Good morning, little boy. 25
J Jack: I am hungry this morning. Would you be kind enough to give me some breakfast? 26
W Wife: Breakfast! Ha! You'll be the breakfast if you don't go away. My husband is a giant, and he loves to 27
eat boys on bread. Move on!
J Jack: Oh please, ma'am. Couldn't I have just a little before I go? My mother sent me to bed with no supper 28
last night.
W Wife: All right, but you must be quick about it. 29
Narrator: Just as Jack was eating some bread and milk, the house began to shake. THUMP, THUMP,
THUMP!
W Wife: Oh, dear! My husband is home. You must hide. Quick! Into the oven! 30
G Giant: Wife, cook these calves for me. But wait! What is that smell? 31

page_11
Fee. Fi. Fo. Fum.
I smell the blood of an Englishman.
W Wife: There is no one here. Go wash up. I'll fix your breakfast. 32

page_12

Page 12
Narrator: Jack was about to run away, but the woman told him to stay where he was.
W Wife: Wait till after he eats. Then he will fall asleep. 33
Narrator: After breakfast the giant went to a big chest. He took out two bags of gold and began to count
the coins. Soon he fell asleep. Jack sneaked out of the oven, grabbed one bag of coins, and ran for the
beanstalk. He threw the gold down to the garden and climbed down till he got home.
J Jack: Mother! Come see what I have! Gold! Those beans were magic! 34
Narrator: Jack and his mother lived on the gold for a long time. When it was almost gone, Jack decided to
try his luck again. He climbed up the beanstalk and followed the path to the giant's house. There stood the
tall woman on the doorstep again.
J Jack: Good morning, ma'am. 35
W Wife: Aren't you the bold one! Go away! My husband will eat you up. 36
J Jack: Oh please, ma'am. Couldn't I have just a bite to eat before I move on? 37
W Wife: You! Aren't you the one who came before? That was the day my husband lost a sack of gold 38
J Jack: I don't know about that. But I do know I am very hungry. 39
Narrator: Again she said she would give Jack a bite to eat. Just as before, the house began to shake.
THUMP, THUMP, THUMP!
W Wife: Oh, dear! My husband is home. You must hide. Quick! Into the oven. 40
G Giant: Wife, cook these oxen for me. But what is that smell? 41
Fee. Fi. Fo. Fum.
W Wife: Husband, there is no one here. I'll fix your breakfast. 42

page_12
Narrator: After breakfast the giant called to this wife.
G Giant: Wife, bring me the hen that lays the golden eggs. 43
Narrator: After she brought the hen, the giant told it to lay. The hen laid an egg of gold. Again the giant
fell asleep. Jack crept out of his hiding place, took the hen, and ran for the beanstalk. When Jack got
home, he showed his mother the hen.

page_13

Page 13
J Jack: Look, Mother! See what happens with this hen? Lay! 44
Narrator: The hen laid a golden egg. Every time Jack said "Lay!" the hen laid another golden egg. But
even these riches did not satisfy Jack. He decided to try his luck again with the beanstalk. This time he
did not go up to the giant's house, but hid until the wife came out to fetch some water. He crept into the
house and hid behind the door. Soon he heard the THUMP, THUMP, THUMP! of the giant.
G Giant: Fee. Fi. Fo. Fum. 45
W Wife: Do you, dear? If it's that brat who stole the gold and hen, he's probably in the oven. 46
Narrator: They looked in the oven, but Jack wasn't there.
G Giant: Well, he isn't here. Bring me my golden harp, Wife. 47
Narrator: She brought him his harp. The giant told it to sing, and it played beautiful tunes. The giant fell
asleep and began to snore. Jack slipped out from behind the door, sneaked over to the table, and grabbed
the harp.
This time the harp called out, "Master, Master!" The giant woke up and saw Jack running away with his
harp. Jack ran as fast as he could. When Jack got to the beanstalk, the giant was getting close. But the
giant was afraid of climbing down the beanstalk.
The harp cried out again, "Master! Master!" The giant started down the beanstalk. Jack jumped the last
few feet and ran for home.
J Jack: Mother! Mother! Bring the ax! 48
Narrator: Jack took the ax and began to chop at the beanstalk. With three swift chops, the beanstalk began
to sway. The beanstalk fell over, and the giant fell to the earth. Jack and his mother were very happy to
see the giant was dead.
J Jack: Mother, look at this treasure! A golden harp that can sing! 49
M Mother: You have done well, my son. 50
Narrator: Jack never replanted the beanstalk. From that day forward, Jack and his mother had their new
start.

page_13

page_14

Page 14
The Lion and the Mouse
Summary
In this fable from Aesop, a sleeping lion is awakened by a mouse using him as a playground. The lion agrees to let the
mouse go. After the lion is captured by hunters, the mouse returns the favor by chewing through the lion's ropes.
Reading level: 1.
Because this fable is very short, with only three characters, it could be paired with other fables in this section. Staging
can be formal, with the characters sitting on stools or standing.
Props
The mouse could wear a headband with pink and gray felt ears reinforced with interfacing. The lion could have a
swishing tail of rope and whiskers drawn on with eyeliner pencil. A tree or plant could be in the background.
Delivery
The mouse should have a small and squeaky voice. The lion should sound big and gruff.
Booklist
Calmenson, Stephanie, reteller. "The Lion and the Mouse." In The Children's Aesop, 16. Illustrated by Robert Byrd.
Honesdale, PA: Caroline House, 1992.
The illustration of the trapped lion demonstrates the challenge the mouse faced. Compare this to the script and the
following version.
Carle, Eric, reteller. "The Lion and the Mouse." In Twelve Tales from Aesop, 26. New York: Philomel, 1980.
Carle's lion, dressed in suit, hat, and tie, provides a whimsical contrast to Calmenson's version.
Characters
Narrator
L Lion
M Mouse

page_14

page_15

Page 15
THE LION AND THE MOUSE
Narrator: A lion was sound asleep. A mouse thought the lion would make a great place to play. He
ran up the lion's back. Then he slid down the golden fur. He ran up and slid down again. The third
time he ran up, the lion awoke with a roar.
L Lion: ROAR! What is this? Who is playing on my back? 1
M Mouse: Oops! 2
Narrator: The lion looked around. Seeing the mouse, he used his tail to pull the mouse to his mouth.
L Lion: Looks like a tasty treat! 3
M Mouse: Please forgive me, King Lion. I was only having some fun. 4
L Lion: The fun is over for you! 5
M Mouse: Wait! I won't be much of a meal for such a big lion. Let me go. Someday I will pay you back. 6
Please?
L Lion: Hmmph! I can't think how you could ever pay me back. But it is true. You are not even a 7
mouthful. Be off with you then. Don't bother me again!
Narrator: The lion was soon asleep again. He did not hear some hunters creep up on him. Before he
could even roar, they tied him to a tree. The hunters left to get a wagon to take the lion to the king.
The lion roared his anger and fear at being trapped.
M Mouse: That sounds like the lion! Why is he so upset? I'll go see what is wrong. 8
Narrator: The mouse found the lion tied to the tree.
M Mouse: Be quiet, my friend. Now I can pay you back. 9
L Lion: How is that? I need more help than a tiny mouse can give. 10

page_15
Narrator: But the mouse did not reply. He began to chew the ropes with his sharp little teeth. Soon
the ropes fell away.
M Mouse: Now you are free, King Lion. Run before the hunters return. 11
L Lion: I may be free. But you have proved to me that little friends can be the best. 12
Narrator: From that day forth the lion and mouse were always friends.

page_16

Page 16
The Old Woman and Her Pig
Summary
A woman finds a coin and decides to buy a pig in this cumulative English tale. The pig won't jump over the stile, and
the woman solicits the help of various characters she meets on her way.
Reading level: 1.
This script includes many characters. However, the woman does the bulk of the reading. With the exception of the last
passage, the narrator's role is simple, a departure from most scripts. This is thus a good opportunity for a more tentative
reader to assume the narrator's role. For more involvement on the part of the other characters and a resounding finish,
the other characters and the audience could join in with the narrator during the reading of the last passage.
Staging could be formal, with the narrator and woman dominating the stage. An alternative is to have the minor
characters step forward or stand up during their readings. For a more involved production, the characters could be in
order from left to right across the stage. The woman could walk up to each character as they have their exchange, facing
sideways to the audience. For the finale, all characters could face forward.
Props
Each character could be challenged to determine an appropriate prop. Suggestions include a hat for the narrator, an
apron or bonnet for the woman, a collar or leash for the dog, a walking stick for the stick, wood for the fire, flowing
ribbons for water, a bell for the ox, a butcher's hat or table knife for the butcher, rope for the rope, a rubber mouse or
whiskers for the rat, a collar or catnip toy for the cat, and a bell or bucket for the cow.
Delivery
The many roles offer opportunities for interesting voices. Challenge the students to determine appropriate voices.
Suggestions include a whiney voice for the woman, a barking voice for the dog, a sharp voice for the stick, a crackling
voice for the fire, a flowing voice for the water, a deep voice for the ox, a rough voice for the butcher, an undulating
voice for the rope, a squeaky voice for the rat, a meowing voice for the cat, and a mooing voice for the cow. The
audience could join in as the rhyme accumulates.
Booklist
Kent, Jack. The Fat Cat. New York: Scholastic, 1971.
Compare the cumulative nature of this Danish folktale in which a cat keeps eating more items and people.
Rockwell, Anne, reteller. ''The Old Woman and Her Pig." In The Three Sillies and 10 Other Stories to Read Aloud, 1.
New York: Harper & Row, 1979.
This is a simple retelling that is very similar to the script.
Characters

page_16
Narrator F Fire RO Rope
WO Woman WA Water RA Rat
D Dog O Ox CA Cat
S Stick B Butcher CO Cow

page_17

Page 17
THE OLD WOMAN AND HER PIG
Narrator: An old woman was sweeping her house. She found a coin.
WO Woman: What good fortune! I will go to market and buy a little pig. 1
Narrator: The old woman bought the pig. They came to a little fence, called a stile. The pig wouldn't
go over the stile. She went on a bit farther, feeling vexed. Soon she met a dog.
WO Woman: Dog, dog! Bite pig! Piggy won't go over the stile, and I won't get home tonight. 2
D Dog: I won't bite pig. 3
Narrator: The woman went a bit farther and met a stick.
WO Woman: Stick, stick! Hit dog! Dog won't bite pig. Piggy won't go over the stile, and I won't get home 4
tonight.
S Stick: I won't hit dog. 5
Narrator: The woman went a bit farther and met a fire.
WO Woman: Fire, fire! Burn stick! Stick won't hit dog. Dog won't bite pig. Piggy won't go over the stile, 6
and I won't get home tonight.
F Fire: I won't burn stick. 7
Narrator: The woman went a bit farther and met water.
WO Woman: Water, water! Put out fire! Fire won't burn stick. Stick won't hit dog. Dog won't bite pig. 8
Piggy won't go over the stile, and I won't get home tonight.
WA Water: I won't put out fire. 9

page_17
Narrator: The woman went a bit farther and met an ox.
WO Woman: Ox, ox! Drink water! Water won't put out fire. Fire won't burn stick. Stick won't hit dog. 10
Dog won't bite pig. Piggy won't go over the stile, and I won't get home tonight.
O Ox: I won't drink water. 11
Narrator: The woman went a bit farther and met a butcher.

page_18

Page 18
WO Woman: Butcher, butcher! Kill ox! Ox won't drink water. Water won't put out fire. Fire won't burn stick. 12
Stick won't hit dog. Dog won't bite pig. Piggy won't go over the stile, and I won't get home tonight.
B Butcher: I won't kill ox. 13
Narrator: The woman went a bit farther and met a rope.
WO Woman: Rope, rope! Hang butcher! Butcher won't kill ox. Ox won't drink water. Water won't put out fire. 14
Fire won't burn stick. Stick won't hit dog. Dog won't bite pig. Piggy won't go over the stile, and I won't
get home tonight.
RO Rope: I won't hang butcher. 15
Narrator: The woman went a bit farther and met a rat.
WO Woman: Rat, rat! Chew rope. Rope won't hang butcher. Butcher won't kill ox. Ox won't drink water. 16
Water won't put out fire. Fire won't burn stick. Stick won't hit dog. Dog won't bite pig. Piggy won't go
over the stile, and I won't get home tonight.
RA Rat: I won't chew rope. 17
Narrator: The woman went a bit farther and met a cat.
WO Woman: Cat, cat! Kill rat! Rat won't chew rope. Rope won't hang butcher. Butcher won't kill ox. Ox 18
won't drink water. Water won't put out fire. Fire won't burn stick. Stick won't hit dog. Dog won't bite pig.
Piggy won't go over the stile, and I won't get home tonight.
CA Cat: If you go to the cow and bring me a bowl of milk, I will kill the rat. 19
Narrator: The woman went a bit farther and met a cow.
WO Woman: Cow, cow! I need some milk. 20
CO Cow: If you get me some hay, I will give you some milk. 21

page_18
Narrator: So the old woman got some hay. After the cow had eaten, it gave the old woman some milk.
She took the milk to the cat. The cat drank the milk and began to kill rat. The rat began to chew rope. The
rope began to hang butcher. The butcher began to kill ox. The ox began to drink water. The water began
to put out fire. The fire began to burn stick. The stick began to hit dog. The dog began to bite pig. The pig
was so scared it jumped over the stile. And the old woman got home that night.

page_19

Page 19
The Three Billy Goats Gruff
Summary
This Scandinavian tale features three goats who wish to eat grass on the other side of a bridge and a troll who wants to
eat them up.
Reading level: 1
The repetitive language makes this script ideal for beginning readers. Staging can be formal, with the narrator and troll
forward and the goats in order of appearance slightly behind. Alternatively, the narrator could be off to the side, the troll
could be in the middle of the stage, and each goat could move past the troll as the part is read.
To involve more students, assign dual roles, with one set of characters serving as readers in a formal staging and the
other set pantomiming the action in front of the readers. The play could be read a second time, with students trading
roles.
Props
Each goat could have a bell, tail, or horns. The troll could have makeup to indicate fierce eyes, plus a wild wig, horns,
or any other scary features.
Delivery
The goats should have voices suited to their individual sizes. The troll should sound very gruff. The part of the bridge,
with its trip-trap noises, could be played by several students, or the narrator could direct the audience to join in with
sound effects, perhaps using wood blocks or other rhythm instruments. Each subsequent trip-trap should be louder.
Booklist
Alborough, Jez. The Grass Is Always Greener. New York: Dial Books for Young Readers, 1987.
This related story is about some sheep who follow Thomas to greener grass only to find that it is no better than what
they had.
Hooks, William H. The Gruff Brothers. Illustrated by Pierre Cornuel. New York: Bantam Books, 1990.
This is an easy-to-read version that uses rebuses.
Stevens, Janet, reteller. The Three Billy Goats Gruff. San Diego, CA: Harcourt Brace Jovanovich, 1987.
These three goats plot to outsmart a frightening troll.
Characters

page_19
Narrator LB Little Billy Goat Gruff
B Bridge MB Middle Billy Goat Gruff
T Troll BB Big Billy Goat Gruff

page_20

Page 20
THE THREE BILLY GOATS GRUFF
Narrator: Once upon a time there were three billy goats. Their name was Gruff. They wanted to eat
the green grass on the hillside to make themselves fat. On the way was a bridge over a stream. Under
the bridge lived a mean, ugly troll. It had big eyes and a long nose. The youngest Billy Goat Gruff set
off to cross the bridge.
B Bridge: Trip, trap! Trip, trap! 1
T Troll: Who's that trip-trapping over my bridge? 2
LB Little Billy Goat Gruff: It is I, the littlest Billy Goat Gruff. I'm going to the hillside to eat the green 3
grass and make myself fat.
T Troll: Oh no you won't! For I am coming to eat you up! 4
LB Little Billy Goat Gruff: Oh please don't eat me! I am so little. Wait for the next Billy Goat Gruff. He 5
is much bigger. He will make a much better meal for you.
T Troll: Well, then. Be off with you! 6
Narrator: So the littlest Billy Goat Gruff trip-trapped over the bridge. He began eating the green grass
on the hillside. Soon the middle Billy Goat Gruff came across the bridge.
B Bridge: Trip, trap! Trip, trap! Trip, trap! 7
T Troll: Who's that trip-trapping over my bridge? 8
MB Middle Billy Goat Gruff: It is I, the middle Billy Goat Gruff. I'm going to the hillside to eat the green 9
grass and make myself fat.
MB Middle Billy Goat Gruff: Oh please don't eat me! I am not so big. Wait for the big Billy Goat Gruff. 11
He is so much bigger. He will make a much better meal for you.
T Troll: Well, then. Be off with you! 12
Narrator: So the middle Billy Goat Gruff trip-trapped over the bridge. He began eating the green
grass on the hillside. Soon the big Billy Goat Gruff came across the bridge.

page_20
B Bridge: TRIP, TRAP! TRIP, TRAP! TRIP, TRAP! TRIP, TRAP! 13

page_21

Page 21
T Troll: Who's that TRIP-TRAPPING over my bridge? 14
BB Big Billy Goat Gruff: IT IS I, THE BIG BILLY GOAT GRUFF! I'm going to the hillside to eat the green 15
grass and make myself even fatter.
BB Big Billy Goat Gruff: Then come on up! 17
For I have two horns.
I'll poke out your eyeballs!
I'll crush all your bones.
Narrator: The troll flew at the big Billy Goat Gruff. But the big Billy Goat Gruff butted and poked him
just as he promised. The big Billy Goat Gruff threw the troll into the stream and went on up the hillside.
There the three Billy Goats Gruff ate and ate and ate. They got so fat they could hardly walk home. So ...
Snip, snap, snout.
This tale's told out.

page_22

Page 22
The Three Little Pigs
Summary
This is the familiar English tale of the three pigs who build their houses of straw, sticks, and bricks. The wolf blows
down the houses of straw and sticks, eating the pigs. But the third pig outsmarts him.
Reading level: 1.
The familiar story and repetitive lines make this a comfortable script for the earliest readers. The presentation can be
formal, with the pigs and wolf at the front of the stage. Because they have only one line each, the merchants could exit
or sit down after their lines.
In an alternative presentation, the merchants could approach the pigs, leave the straw, sticks, or bricks, and exit the
stage. Later the wolf could approach each pig in turn, with the first and second pigs sitting to indicate being eaten.
When the third pig outsmarts the wolf, it could also sit. Remember that all characters can be male or female in this play.
Props
Have the merchants carry the straw, sticks, or bricks. The pigs can wear vests or hats, with freckles added with makeup.
The wolf can have a tail, makeup for whiskers and mean eyes, or a stuffed shirt to indicate big lungs.
Delivery
The three pigs' voices could sound increasingly mature, from the first to the third. The wolf should sound gruff. For
more audience involvement have a second reading and invite the audience to join in with "Not by the hair of my chinny
chin chin" and "Then I'll huff and I'll puff and I'll blow your house down!"
Booklist
Claverie, Jean, reteller. The Three Little Pigs. Translated and adapted by Elizabeth D. Crawford. New York: North-
South Books, 1989.
Claverie's soft illustrations are alive with movement.
Dahl, Roald. "The Three Little Pigs." In Revolting Rhymes, 47. Illustrated by Quentin Blake. New York: Bantam
This outrageous poem should be shared after reading "Little Red Riding Hood" in the same collection.
Students will enjoy not only the twists Dahl brings, but also his interplay with the two stories.
Hooks, William H. The Three Little Pigs and the Fox. Illustrated by S. D. Schindler. New York: Macmillan, 1989.
This version set in Appalachia is a humorous contrast to the familiar versions.

page_22
Scieszka, Jon. The True Story of the 3 Little Pigs by A. Wolf. Illustrated by Lane Smith. New York: Viking Kestrel,
1989.
A. Wolf tells his side of the story in this amusing twist on the traditional tale. Children will enjoy the fresh treatment.
Characters
Narrator 3P Third Pig 3M Third Merchant
1P First Pig 1M First Merchant W Wolf
2P Second Pig 2M Second Merchant

page_23

Page 23
THE THREE LITTLE PIGS
Narrator: Three pigs left their mother's house. They had to build their own houses before winter
came. The first pig met a merchant carrying some straw.
1P First Pig: Please could I have some of your straw? I need to build a house before winter. 1
2P & 3P Second Pig and Third Pig: Straw! That will not be very strong! 2
1P First Pig: It will do just fine! 3
1M First Merchant: Here is your straw, then. 4
Narrator: The first pig built his house of straw. Soon the second pig met a man carrying some sticks.
2P Second Pig: Please could I have some of your sticks? I need to build a house before winter. 5
3P Third Pig: Sticks! That will not be very strong! 6
2P Second Pig: Sticks are stronger than straw. It will do just fine! 7
2M Second Merchant: Here are your sticks, then. 8
Narrator: The second pig built his house of sticks. Soon the third pig met a man carrying some bricks.
3P Third Pig: Please could I have some of your bricks? I need to build a house before winter. 9
1P & 2P First Pig and Second Pig: Bricks! You will have to have mortar for a house of bricks. And it will take 10
you so long to build it!
3P Third Pig: It will take some work. But it will be strong. And I have time before winter comes. 11
3M Third Merchant: Here are your bricks, then. 12
Narrator: So the third pig built his house of bricks. Soon it was nearly winter. A hungry wolf needed
to fatten up before the snow fell. He came to the house of straw the first pig had built.

page_23
W Wolf: Little pig, little pig. 13
Let me come in!

page_24

Page 24
1P First Pig: Not by the hair of my chinny chin chin. 14
W Wolf: Then I'll huff and I'll puff. 15
And I'll blow your house down!
Narrator: The wolf blew the house down. Then he ate the pig. He went down the road and saw the house
of straw built by the second pig.
Let me come in!
2P Second Pig: Not by the hair of my chinny chin chin. 17
And I'll blow your house down.
Narrator: The wolf blew that house down. Then he ate the second pig. Feeling happily full, he went down
the road. He saw the house of the third pig. He decided that dessert would be just right.
Let me come in!
3P Third Pig: Not by the hair of my chinny chin chin. 20
And I'll blow your house down!
Narrator: The wolf blew. And blew. And huffed. And puffed. But the third pig's house was too strong.
The wolf couldn't blow it down.
W Wolf: Hmm. There has to be a way. Maybe I can't blow down the house. But I can surely get inside. 22

page_24
Narrator: The wolf returned home for a rope. He went back to the third pig's house and threw the rope
around the chimney. He pulled himself up to the roof. He used the rope to let himself down the chimney.
But little did he know just how smart that pig was. The third pig had filled a pot with water and heated it
on his fire. The wolf landed with a splash in the boiling water. That was the end of the wolf. But the pig
lived to a ripe old age.

page_25

Page 25
The Tortoise and the Hare
Summary
In this fable by Aesop, the hare brags that he can win any race. When the tortoise challenges him, the overconfident
hare naps and consequently loses the race.
Reading level: 1.
Consider combining the reading of this and other short scripts in this section. Staging can be formal, with characters
sitting on stools or standing. To involve more students, consider assigning dual roles with the second set of characters
pantomiming the fable in front of the readers.
Props
Consider giving the hare long ears and tennis shoes. The tortoise could wear padded clothes and boots to indicate
heaviness. The starter could wear a stopwatch around his or her neck.
Delivery
The hare should speak boastfully and quickly. The tortoise should speak quietly and deliberately. The starter should
have a commanding voice. The audience could be directed to join in with "On your marks. Get set. GO!"
Booklist
Calmenson, Stephanie, reteller. "The Hare and the Tortoise." In The Children's Aesop, 4. Illustrated by Robert Byrd.
Honesdale, PA: Caroline House, 1992.
Students will enjoy the rich illustration of the tortoise, who appears to relish his progress in the race.
Castle, Caroline, reteller. The Hare and the Tortoise. Illustrated by Peter Weevers. New York: Dial Books for Young
Readers, 1985.
Compare this book-length version illustrated with Weever's elegant watercolors to the following book by Janet Stevens.
Stevens, Janet, adapter. The Tortoise and the Hare. New York: Holiday House, 1984.
Stevens has expanded this tale into a book-length version with amusing touches, such as the tortoise's tennis shoes.
Characters
Narrator
H Hare

page_25
T Tortoise
S Starter

page_26

Page 26
THE TORTOISE AND THE HARE
Narrator: Once there was a tortoise and a hare. The tortoise was slow and careful. The hare did
everything fast. He loved to brag about his speed.
H Hare: I am so fast! I have never been beaten in a race. There isn't anyone who can beat me! In fact, 1
no one is brave enough to try.
T Tortoise: I am brave enough. I will race you. 2
H Hare: You! That is a fine joke. I could run circles around you and still win the race! 3
T Tortoise: You should save your bragging until you've won. 4
H Hare: Let's race then! 5
Narrator: The tortoise and the hare agreed on the race course. They would race on the path that led
through the woods. All the animals lined up to watch.
S Starter: Quiet! Quiet! It is time for the race. You know the rules. The first to cross the finish line is 6
the winner. Tortoise, are you ready?
T Tortoise: Yes, I am. 7
S Starter: Hare, are you ready? 8
H Hare: Of course! This will be a quick race! 9
S Starter: On your marks. Get set. GO! 10
Narrator: The tortoise got off to a steady start. The hare left a trail of dust as he raced off down the
path.
T Tortoise: Oh, dear! Look at the hare go. I shouldn't have been so brave. But there is no going back, 11
only forward.
Narrator: The tortoise plodded on, hardly lifting his head to look down the path. Meanwhile, the hare
stopped to look back for the tortoise. He waited and waited but didn't see him.

page_26
H Hare: This is too boring. I think I'll take a bit of a nap. That tortoise won't be along for hours. 12

page_27

Page 27
Narrator: The tortoise plodded on. The hare slept on. Finally, the tortoise neared the finish line. His
animal friends began to cheer.
H Hare: What? What is all that noise? It must be time to finish the race. 13
Narrator: But it was too late for the hare. The tortoise crossed the finish line just as the hare came around
the last turn. As the animals cheered, the tortoise had only one thing to say to the hare.
T Tortoise: Slow and steady wins the race. 14

page_28

Page 28
The Town Mouse and the Country Mouse
Summary
Two mice who are cousins visit each other's homes, finding that both city and country have their drawbacks. This is a
short, easy fable by Aesop.
Reading level: 1.
This familiar tale is especially suitable for beginning readers. Staging can be formal, with the two mice taking center
stage. The cook could enter and exit for her reading.
Alternatively, dual roles could be assigned, with some students pantomiming the play while others read. Because the
mice are often thought of as males, it would be suitable to have both a girl and a boy in the mouse roles, and perhaps for
one portrayal to use girls for both mice. The script should be revised accordingly.
Props
The town mouse should be in dress clothes. The country mouse can be dressed casually, perhaps in tennis shoes, T-shirt,
and jeans. The town mouse could have an elegant suitcase nearby, while the country mouse might have a battered bag
or a bundle on a stick. The cook could wear a hat or apron. The cat might have felt ears, whiskers, tail, or collar.
Delivery
The town mouse should sound sophisticated and elegant and the country mouse simple and countrified. The cook
should sound outraged, and the cat should sound appropriately eager to eat the mice.
Booklist
Kent, Jack. ''The Town Mouse and the Country Mouse." In Jack Kent's Fables of Aesop, 44. New York: Parents'
Magazine Press, 1972.
Kent's simple version and drawings may suggest props to students.
Paxton, Tom. "Town Mouse and Country Mouse." In Belling the Cat and Other Aesop's Fables. Illustrated by Robert
Rayevsky. New York: Morrow Children's Books, 1990.
Paxton's verse and Rayevsky's illustrations provide an amusing interpretation of this fable.
Stevens, Janet, adapter. The Town Mouse and the Country Mouse. New York: Holiday House, 1987.
Stevens's illustrations are rich and detailed in this book-length version.
Characters

page_28
Narrator C Cook
TM Town Mouse MC Mouser the Cat
CM Country Mouse

page_29

Page 29
THE TOWN MOUSE AND THE COUNTRY MOUSE
Narrator: One day the town mouse decided to visit his cousin in the country. The mice had a good
chat. They had a breakfast of nuts and seeds. For lunch they had a picnic of nuts and seeds. The
country mouse baked nuts and seeds for dinner. The town mouse soon tired of eating nuts and seeds.
TM Town Mouse: Cousin, come visit me in the city. I am tired of this simple food. I promise you that we 1
will dine on the finest meats and cakes.
CM Country Mouse: That sounds splendid! When shall we go? 2
TM Town Mouse: Let's go now. I am ready to be home. 3
Narrator: The country mouse packed a simple bag. After some time they came near the city.
TM Town Mouse: We are almost home! I will be so happy to have real food! 4
Narrator: The mice came to a huge house. The town mouse led the country mouse to a small opening
in the bricks in the back.
TM Town Mouse: Shhh! Now you must be as quiet as a whisper. 5
CM Country Mouse: Why? 6
TM Town Mouse: Never mind. Just be quiet. 7
Narrator: The town mouse led the country mouse into the dining room. They scampered up the table.
The table was littered with the remains of a fine feast.
TM Town Mouse: Now you see how I eat! Help yourself to anything you wish. 8
CM Country Mouse: This is great! No wonder you wanted to come home. 9
Narrator: The mice were enjoying second helpings when the kitchen door opened.
C Cook: Eeeek! Mice! Now there are two! Where is that pesky cat? Mouser! Mouser! Where are you? 10

page_29
TM Town Mouse: Time to run, cousin. Follow me! 11
Narrator: The town mouse led the country mouse to a hole under the floor.
CM Country Mouse: Who was that? 12

page_30

Page 30
TM Town Mouse: That is the cook. Don't worry about her. She is harmless. She'll go back to the kitchen.
Then we'll have dessert.
Narrator: Soon it was quiet again. The town mouse led the country mouse back to the dining table.
TM Town Mouse: Eat, my friend, eat. You won't find such sweet cakes in the country. 14
Narrator: But just then, Mouser the Cat leaped onto the table. One paw landed on the country mouse's tail.
MC Mouser the Cat: What have I here? Looks like dessert! Mrowr! 15
TM Town Mouse: Run, cousin! Run! Meet me below! 16
Narrator: But the country mouse had seen enough. He twitched his tail away from the cat. Then he darted
toward the door.
CM Country Mouse: No thanks, cousin! If this is life in the city, it is not for me. I'll take my seeds and nuts 17
any day. Good-bye! From now on, you come and visit me!
Narrator: And that is why the town mouse has to go to the country to see his cousin.

page_31

Page 31
PART 2

page_31

page_33

Page 33
Baba Yaga
Summary
This Russian tale features a young girl whose stepmother wants to be rid of her. The girl's aunt helps her outwit Baba
Yaga, the stepmother's sister, who plans to eat her for breakfast. In return for the girl's kindness, various characters
assist her as she escapes and returns to her loving father.
Reading level: 2.
This tale includes a variety of interesting characters. Though it is longer than some of the other scripts, it includes some
repetitive lines. Readers should have an opportunity to become familiar with possibly unfamiliar words such as hinges,
sieve, mortar, pestle, niece, and handkerchief.
Because there are many characters and the play is more complex than others, the narrator and girl should be forward on
the stage. The stepmother and aunt could exit after their brief readings, with the stepmother returning to the stage with
the father near the end of the reading. The other characters, including Baba Yaga, could be seated on stools or standing.
Props
Challenge the students to create suitable props or costumes. The stepmother could wear an ugly or black dress. The girl
could be dressed in rags or a pinafore. The aunt could wear an apron. Baba Yaga could look like a witch. The maid
could wear an apron or dustcap. The cat and dogs could have collars, felt ears, or tails. The door could have a hinge
hanging from the student's belt. The birch tree could be adorned with ribbons. Father could wear a hat or suspenders.
Students could act as trees of the forest onstage.
Delivery
The stepmother and Baba Yaga should sound mean. The girl should be sweet, her aunt caring, and the maid kind. The
cat and dog can punctuate their lines with meows and barks. The door can sound smooth; the tree can swish; and the
father should be strong. For additional audience involvement, prepare cue cards that direct the audience to meow, bark,
swish, and so forth.
Booklist
Cole, Joanna. Bony-Legs. Illustrated by Dirk Zimmer. New York: Four Winds Press, 1983.
Though the characters are slightly different, children will enjoy this simple variant.
Kimmel, Eric A., reteller. Baba Yaga: A Russian Folktale. Illustrated by Megan Lloyd. New York: Holiday House,
1991.
This colorful version includes conflict with the stepsister as well as the stepmother.
Characters

page_33
Narrator BY Baba Yaga DR Door
S Stepmother M Maid BT Birch Tree
G Girl C Cat F Father
A Aunt DO Dogs

page_34

Page 34
BABA YAGA
Narrator: Once there lived an old man who had a wife and daughter. After his wife died, he married
another woman. This stepmother did not like the girl and wanted to be rid of her. One day the father
left for work, and the stepmother sent the girl on an errand.
S Stepmother: Go to your aunt, who is my sister. Ask for a needle and thread to make you a dress. 1
G Girl: Yes, Mother. 2
Narrator: The girl was not stupid. The stepmother's sister was Baba Yaga, who was a witch. The girl
decided to go first to see her own aunt.
A Aunt: Good morning, my dear niece. Why are you here? 3
G Girl: Mother has sent me to her sister to get a needle and thread to make me a dress. I am afraid to go. 4
A Aunt: I'll tell you what to do. Tie a ribbon on the branch of the birch tree, or it will hit you in the eye. 5
Pour oil on the hinges of the doors, or they will creak. Throw this bread to the dogs, or they will tear
you to pieces. Give the cat some ham, or it will scratch you.
G Girl: Thank you, dear Auntie. You've been very kind. 6
Narrator: The girl walked till she came to a hut. Baba Yaga was weaving in the hut.
G Girl: Good morning, Auntie. 7
BY Baba Yaga: Good morning, my dear. 8
G Girl: Mother has sent me to fetch a needle and thread to make me a dress. 9
BY Baba Yaga: Sit and weave for a while. I will get the needle and thread for you. 10
Narrator: Baba Yaga went outside and found her maid.
BY Baba Yaga: Go inside and heat some water. Then wash my niece. I want to have her for breakfast. I 11
will wait outside till all is ready.

page_34
Narrator: Soon the maid was preparing the fire. The girl was terrified. She spoke to the maid.

page_35

Page 35
G Girl: Please, help me. Wet the firewood so it will not burn. Fetch the bath water in sieve. If you do this, 12
I'll give you this handkerchief.
M Maid: I will be glad to help you. 13
Nrrator: Just then Baba Yaga came to the window and called in to the girl.
BY Baba Yaga: Are you weaving, my dear? 14
G Girl: Yes, dear Auntie. 15
Narrator: Next, the girl gave the piece of ham to the cat.
G Girl: How can I escape from here, dear cat? 16
G Cat: Take this comb and towel and run away. Baba Yaga will come after you. But stop and listen at the 17
ground. When you hear that she is close, throw the towel on the ground. It will become a wide river.
If Baba Yaga gets across the river, listen at the ground again. When you hear that she is close, throw the
comb on the ground. It will become a dense forest. She will not be able to get through it.
G Girl: Thank you, dear cat. 18
Narrator: The girl took the towel and comb and ran. She threw the bread to the dogs, and they didn't chase
her. She poured oil on the hinges of the doors, and they didn't creak. The birch tree would have hit her
eye, but the branch was tied back with the ribbon. The cat sat at the loom, pretending to weave.
BY Baba Yaga: Are you weaving, my dear? 19
C Cat: Yes, dear Auntie. 20
Narrator: Baba Yaga came into the hut. Seeing that the girl was gone, she began to beat the cat for not
scratching her.
C Cat: In all the years I've been with you, you have never given me so much as a scrap. She game me ham. 21
Narrator: Baba Yaga went out to the yard and began to beat the dogs, doors, tree, and maid.

page_35
DO Dogs: In all the years we've been with you, you have never given us even a bone. She gave us bread to eat. 22
DR Door: In all the years I've been with you, you have never put oil on my hinges. She did. 23

page_36

Page 36
BT Birch Tree: In all the years I've been with you, you have never tied a ribbon on me. She did. 24
M Maid: In all the years I've been with you, you have never given me so much as a rag. She gave me a 25
handkerchief.
Narrator: Baba Yaga was so angry she grabbed her mortar, pestle, and broom and flew off after the girl.
When the girl heard her, she threw down the towel. It became a wide river. Baba Yaga went home,
brought her oxen, and drove them across the river. When the girl heard her coming again, she threw down
the comb. A thick forest grew up. Baba Yaga began to chew on it, but she couldn't chew through it.
Meanwhile, the girl's father had come home.
F Father: Where is my daughter? 26
S Stepmother: She went to see her auntie. 27
Narrator: Finally the girl got home.
F Father: Where have you been, daughter? 28
G Girl: Mother sent me to Auntie for a needle and thread to sew a dress. But the aunt was Baba Yaga, and 29
she wanted to eat me for breakfast.
F Father: How did you escape? 30
Narrator: The girl told her father the whole story. When she was done, he banished his wife from the
house. He lived happily with his daughter for the rest of his days.

page_37

Page 37
The Bremen Town Musicians
Summary
In this German tale, a donkey running away from certain death plans to be a musician in the city. On the way to Bremen
he meets various other down-and-out animals who decide to join him. While seeking shelter for the night, they discover
and scare off a house of robbers. They live comfortably together thereafter.
Reading level: 2.
The themes of survival and good over evil are strong components of this play. The staging can be formal, with the
characters sitting on stools or standing while reading their parts. Nonspeaking parts could be included for the other
robbers, with all of them exiting the stage when frightened away.
For a variation, challenge the students to extend the script by including more animals. Encourage them to determine
how they would participate as musicians and in the resolution of the plot when the robbers are finally ousted.
Props
The animals could have distinguishing features: donkey ears and tail, a dog collar or tail, cat whiskers or tail, a wattle or
feathers, and a cap and rough clothes for the robber leader.
Delivery
The animals should have voices suited to their roles. All the animals could punctuate their comments with a bray, woof,
meow, or cock-a-doodle-doo. Rhythm instruments such as a sand block, wood block, triangle, and whistle could be
matched to the animal sounds. The robber leader should sound alternately sneaky and scared. Cue cards could prompt
the audience to provide the appropriate animal noises.
Booklist
Crossley-Holland, Kevin. "The Bremen Town Musicians." In The Fox and the Cat: Kevin Crossley-Holland's Animal
Tales from Grimm, 54. Illustrated by Susan Varley. New York: Lothrop, Lee & Shepard, 1985.
Students will enjoy comparing this version to the script.
Rockwell, Anne, reteller. "The Bremen Town Musicians." In The Three Sillies and 10 Other Stories to Read Aloud, 52.
New York: Harper & Row, 1979.
The simple text and illustrations make this a good introduction to the script.
Characters
Narrator C Cat

page_37
DK Donkey R Rooster
DO Dog RL Robber Leader

page_38

Page 38
THE BREMEN TOWN MUSICIANS
Narrator: There once was a donkey who worked hard for his master. But as he grew old, he grew
weak. The donkey knew that the master was thinking of getting rid of him.
DK Donkey: I will run away and go to the city of Bremen. My body is weak, but my voice is strong. I will 1
find work as a singer.
Narrator: The donkey ambled toward the city. Soon he saw a dog.
DK Donkey: Why are you panting so hard, my friend? 2
DO Dog: Ah, I am old and weak. My master was going to be rid of me. So I ran away. Now I wonder, 3
how will I make my way?
DK Donkey: I am going to the city of Bremen to be a singer. Come with me. I know that dogs can howl. 4
Perhaps you can be a musician as well.
DO Dog: You are kind, sir. I will be happy to join you. 5
Narrator: The donkey and dog set off together. Soon they came on a cat sitting in the middle of the
road.
DK Donkey: Why do you look so sad, dear cat? 6
C Cat: It is hard to be happy when one is soon to die. I am too old to catch mice. My mistress was about 7
to drown me this very day. But I ran away. But how will I find food if I cannot catch mice?
DK Donkey: All cats know how to sing at night. Come with us. We will find good jobs as musicians in 8
the city of Bremen.
C Cat: What a grand idea! Thank you for your kindness. 9
Narrator: The cat joined the donkey and dog. Soon they walked by a farmyard. A rooster flew up on
the fence.
R Rooster: Cock-a-doodle-doo! 10
DK Donkey: What a fine voice! Why do you crow? 11

page_38
R Rooster: This is how I woke the family each day. But the cook says I am soon to be Sunday stew. 12
What shall I do?

page_39

Page 39
DK Donkey: No stew pot for you! Come with us to the city of Bremen. We will find jobs as musicians. 13
Maybe we will give a concert with the four of us!
R Rooster: I would be proud to be a musician with you! Thank you! 14
Narrator: The rooster joined the donkey, dog, and cat. They walked along till nighttime, but the city was
still far away. They looked for a dry place in the woods to rest. They found a place under a big tree.
Before going to sleep the rooster flew into the tree to look around.
R Rooster: I see a light a ways off. Perhaps there is a house. 15
DK Donkey: Let's go to it. It will be better than sleeping in the open. Perhaps there will be a bit of hay for me. 16
DO Dog: Perhaps there will be a bone for me! 17
C Cat: Perhaps some milk for me! 18
R Rooster: And I could find some corn! 19
Narrator: The rooster led them to the light. When they got to the house, the donkey peeked in the window.
DK Donkey: Oh dear! This is a house of robbers! 20
DO Dog: How do you know? 21
DK Donkey: There are guns all about. Money is piled on the floors. And the robbers are eating and drinking 22
at a fine table with gold dishes.
R Rooster: I would like some of that fine food. 23
C & DO Cat and Dog: So would I! 24
DK Donkey: We must think of a plan. 25
Narrator: So the donkey, dog, cat, and rooster discussed what they must do. Soon the donkey stood on his
hind legs. The dog got on his shoulders. The cat got on the dog's back. And the rooster flew up to the
back of the cat.
DK Donkey: Hee haw! Hee haw! 26
DO Dog: Bow wow! Bow wow! 27

page_39
C Cat: Meow! Meow! 28

page_40

Page 40
Narrator: The robbers looked out the window. All they could hear was this horrible noise. They
ran out of the house, fearing for their lives.
DK, DO, C, & R Donkey, Dog, Cat, and Rooster: Hurray! Hurray! Let's eat! 30
Narrator: The four musicians sat down at the table. They ate and ate. Soon they found familiar
places to sleep. Meanwhile, the robbers saw the lights go out.
RL Robber Leader: Maybe we left too fast. Stay here. I will go find out if there is anything to fear. 31
Narrator: The leader of the robbers crept back to the house. He found a candle and some matches.
The cat, curled up by the fireplace, woke up. Its eyes shone as it watched the robber. The robber
thought the eyes were glowing coals. He lit a match and tried to touch the coals with it. The cat
flew at his face, spitting and scratching him. This woke the dog, who was lying by the door. It bit
the robber's leg as he ran out. The donkey in the yard gave him a kick with his hind foot. And the
rooster on the roof crowed its loudest.
RL Robber Leader: We can't live there any more. There is a witch in the kitchen with hot breath and 33
long nails. A man by the door stabbed me in the leg. A giant in the yard hit me with a club. And a
fellow on the roof shouted, ''Give him up to me !"
Narrator: The musicians never went to the city. But they had so many riches in the robbers' house
that they never went without again.

page_41

Page 41
Goldilocks and the Three Bears
Summary
This English tale is about a family of bears that leaves the house for a walk in the woods while their porridge cools. A
young girl, Goldilocks, explores their house while they are gone, eating their porridge, breaking a chair, and sleeping on
Baby Bear's bed.
Reading level: 2.
Students enjoy this familiar tale of discovery and escape. The characters can be placed in order of appearance on the
stage. In an alternative arrangement, the bears can exit during Goldilocks's exploration and return at the resolution.
Upon her discovery, Goldilocks can run off the stage.
This script lends itself well to a dual presentation, with a second set of characters pantomiming the play during its
reading. Parts can be traded to allow for more participation.
Props
The bears can be dressed in old-fashioned trousers and suspenders. Goldilocks can be dressed for outdoor play. For a
more elaborate production with the pantomime characters, a simple kitchen with bowls and chairs can be set up, with
pillows representing the three beds.
Delivery
The bears should have voices appropriate to their sizes and roles. Goldilocks should sound young and innocent. For
more audience participation, have students practice joining in on the bears' lines after they return to the house (e.g.,
"Someone's been sitting in my chair," and so forth). Rhythm instruments could be used to signal the departure and
arrival of the bears.
Booklist
Dahl, Roald, "Goldilocks and the Three Bears." In Revolting Rhymes, 31. Illustrated by Quentin Blake. New York:
Bantam Skylark Books, 1986.
Preread this irreverent, amusing treatment before sharing it with older students.
Stevens, Janet, reteller. Goldilocks and the Three Bears. New York: Holiday House, 1986.
Stevens's illustrations colorfully highlight this traditional version.
Watts, Bernadette, reteller. Goldilocks and the Three Bears. New York: North-South Books, 1984.
Watts has provided a simple retelling with lovely illustrations.
Characters

page_41
Narrator PB Papa Bear
BB Baby Bear G Goldilocks
MB Mama Bear

page_42

Page 42
GOLDILOCKS AND THE THREE BEARS
Narrator: Once upon a time there were three bears. One was Baby Bear, the smallest. The middle-size
bear was Mama Bear. The biggest bear was Papa Bear. They lived together in a house in the woods.
One day Mama Bear made porridge for breakfast. They all sat down to eat.
BB Baby Bear: Ouch! This porridge is too hot! 1
MB Mama Bear: You are right, Baby Bear. What shall we do until it is cool? 2
PB Papa Bear: Let's take a walk in the woods. When we come back, it will be just right. 3
Narrator: The bear family left the porridge cooling on the table. They walked into the woods, enjoying
the fresh morning air. While they were away, a little girl named Goldilocks was also walking in the
woods. Her mother had sent her on an errand. She walked by the bear's house and smelled the porridge.
G Goldilocks: Oooh. What smells so good? I think I'll just take a quick peek. 4
Narrator: Goldilocks looked in the window and saw the porridge on the table. She gave a push to the
door and walked right in.
G Goldilocks: Look at this big bowl of porridge. I'll have to try it. Oh dear. This is just too hot. Maybe 5
this middle-size bowl is better. No, it is just a bit too cold. I'll try this little bowl. Oh yes! This is just
right!
Narrator: Goldilocks ate every bite of Baby Bear's porridge. Then she began to look around the house. 6
She noticed the three chairs for the bears.
G Goldilocks: Look at those chairs! I think I'll try the big one first. Goodness! This chair is much too hard 7
for me. Maybe the middle-size chair is better. No. Too soft. I bet this little one will be just right.
Narrator: But when Goldilocks sat down, the little chair broke right out from under her. That made her
very cross. She decided to look upstairs. She found the bears' three beds.
G Goldilocks: Those beds look very inviting. I think I'll rest my eyes for just a bit. I'll try the big bed first.
Oh my! This is much too high for me. Perhaps the middle-size bed is better. No, this bed is too soft. I'll
try the little one. Yes, this is just right.

page_42
Narrator: And with that, Goldilocks fell fast asleep. Very soon, the bears came back from their walk.
BB Baby Bear: Look, Father! The door is open! 8

page_43

Page 43
MB Mama Bear: Let's go in carefully.
Narrator: Papa Bear was the first to see that someone had been eating the porridge.
PB Papa Bear: SOMEONE HAS BEEN EATING MY PORRIDGE! 10
Narrator: Mama Bear saw that some of her porridge was gone also.
MB Mama Bear: Oh dear. Someone has been eating my porridge as well! 11
Narrator: Then baby bear saw that his bowl was empty.
BB Baby Bear: Someone has been eating my porridge! And it's all gone! 12
Narrator: The bears began to look around the house. Papa Bear saw that the cushion was off his chair.
PB Papa Bear: SOMEONE HAS BEEN SITTING IN MY CHAIR! 13
Narrator: Then Mama Bear saw that someone had moved her shawl.
MB Mama Bear: Someone has been sitting in my chair, too! 14
Narrator: Then Baby Bear saw what was left of his chair.
BB Baby Bear: Someone has been sitting in my chair! And it's all broken! 15
Narrator: The bears went upstairs, looking around carefully. Papa Bear was first to see that his blanket was
crumpled.
PB Papa Bear: SOMEONE HAS BEEN SLEEPING IN MY BED! 16
Narrator: Then Mama Bear saw that her pillow was mussed.

page_43
MB Mama Bear: Someone has been sleeping in my bed, too! 17
Narrator: Then Baby Bear spotted Goldilocks, sound asleep in his bed.
BB Baby Bear: Someone has been sleeping in my bed! And there she is! 18
Narrator: Goldilocks woke with a start. Seeing the three bears, she leaped from the bed, ran down the
stairs, and dashed out the door. Goldilocks was so scared she ran straight home. The bears still took their
morning walk when the porridge was too hot. But they made sure to lock their door.

page_44

Page 44
The Half Chick
Summary
This is a Spanish tale of a chick born with half a body. The chick does not let its disability stop it from journeying to the
king's castle. But on the way, it chooses to ignore pleas for help from the water, fire, and wind. When it is thrown into
the cooking pot for broth, the water, fire, and wind will not help it. The half chick is relegated to spending its days as a
weather vane atop a church in Madrid.
Reading level: 2.
Discuss what a weather vane is with students before sharing this tale. The elements of water, fire, and wind are also
important features. Be sure students are comfortable with the pronunciation of Medio Pollito: May'-de-o Po-yee'-to.
Staging should feature Medio Pollito and the elements. The mother hen could exit after her reading.
Props
Costume touches could include a yellow shirt for the chick, a blue shirt for the water, an orange shirt for the fire, a white
shirt for the wind, and a hat and apron for the cook. Props could include a pot and a weather vane placed onstage.
Delivery
Mother Hen should sound motherly and kind. Medio Pollito should sound successively brave, haughty, and pleading.
The water, fire, and wind should sound pleading and later regretful. The cook should sound pleased with finding the
chicken for her broth. Musical instruments could be used to indicate the water, fire, and wind.
Booklist
Lobel, Arnold. "The Young Rooster." In Fables, 37. New York: Harper & Row, 1980.
This is a different story with a happier ending and an interesting depiction of the rooster in a weather vane position. Use
it to discuss how roosters came to be used as weather vanes.
Characters
Narrator F Fire
MH Mother Hen WI Wind
MP Medio Pollito C Cook
WA Water

page_44

page_45

Page 45
THE HALF CHICK
Narrator: There once was a Spanish hen who had many chickens. They were all fine, fat chicks, except
the youngest. This chick looked like it was cut in half. It had one leg, one wing, one eye, half a head,
and half a beak.
MH Mother Hen: You poor chick. You will never grow up to rule a farmyard like your brothers. But never 1
mind. You will always be here to keep me company.
Narrator: She called the chick Medio Pollito, Spanish for "half-chick." But she soon found that he was
unlike his brothers in other ways as well as his appearance. His brothers always came when she called.
But Medio Pollito loved to roam. He used his one leg to kick and hop his way around the yard. When
she called, he would pretend he didn't hear her with his one good ear. One day he came home after a
long exploration.
MP Medio Pollito: Mother, I am tired of this dull farmyard. I am going to Madrid to see the king. 2
MH Mother Hen: Don't be silly! You can't go to Madrid. It is much too far. Forgetsuch a journey. Just stay 3
home with me.
MP Medio Pollito: I am sorry, Mother. I must go. When I have my yard in the king's palace, you can come 4
visit me.
MH Mother Hen: Medio Pollito, please stay. I will miss you so. 5
Narrator: But Medio Pollito was on his way. He walked a long way. He passed a stream that called to
him.
WA Water: Oh, Medio Pollito, please help me! I am choking from these weeds. Please come clear them 6
away.
MP Medio Pollito: Help you? You can help yourself! I am off to Madrid to see the king! 7
Narrator: And Medio Pollito hopped and kicked down the road. Soon he came to a fire that called to
him.
F Fire: Oh, Medio Pollito, please help me! I am burning so low. Please put some sticks and leaves upon 8
me so I won't die.

page_45
Narrator: And Medio Pollito hopped and kicked down the road. The next morning he came to a large
tree. The wind was caught in its branches and called to him.

page_46

Page 46
WI Wind: Oh, Medio Pollito, please help me! I am tangled up. Please get me free of these branches. 10
. Narrator: And Medio Pollito hopped and kicked down the road. Soon Medio Pollito came to the town. He
saw the palace and began to hop up to the gate to wait for the king. The king's cook saw him.
C Cook: Aha! Here is just what I need. The king wants chicken broth with his dinner! 12
Narrator: The cook grabbed Medio Pollito and dropped him into a pot of water. Poor Medio Pollito felt
very wet and cold.
MP Medio Pollito: Water, water! Please don't wet me! Have pity on me! 13
WA Water: Medio Pollito, if only you had helped me when I was choked with weeds. I am afraid I cannot 14
help you now.
Narrator: Then the fire began to burn Medio Pollito.
MP Medio Pollito: Fire, fire! Please don't burn me. Have pity on me. 15
F Fire: Medio Pollito, if only you had helped me when I was dying. I am afraid I cannot help you now. 16
Narrator: Medio Pollito hurt so much that he thought he would die. Just then the cook lifted the lid of the
pot.
C Cook: Oh, dear! This chicken is burned to a crisp. It is of no use to me. 17
Narrator: The cook threw Medio Pollito out the window. The wind blew him into the air.
MP Medio Pollito: Wind, wind. Please don't blow me along so fast. Have pity on me. 18
WI Wind: Medio Pollito, if only you had helped me when I was caught in the branches of the tree. I am 19
afraid I cannot help you now.

page_46
Narrator: The wind blew Medio Pollito over the houses until they reached the highest church in town. It
left him there on top of the steeple. That is where he stays. If you go to Madrid today and find the highest
church, you will find Medio Pollito. He is perched on one leg with one wing and one ear. He doesn't hop
and kick any more. He just looks out over the town with one sad eye.

page_47

Page 47
The Little Boy Who Went To the North Wind
Summary
This is the Scandinavian tale of a little boy whose mother sends him to the miller for flour for bread. The north wind
repeatedly blows the flour away, and the boy seeks reparations. The north wind gives him a magic cloth that is later
stolen by an innkeeper. The north wind then gives the boy a magic stick that identifies the thief.
Reading level: 2.
This tale could be easily converted to "The Little Girl Who Went to the North Wind." The staging should be formal,
with the boy or girl and the north wind taking prominent roles.
Props
The boy or girl could have a bowl set on a stool nearby. The stage could also feature a table covered with a cloth, and a
staff could be placed on or against the table.
Delivery
The little boy or girl should sound young but determined. The mother should sound kindly but concerned. The north
wind should be strong, perhaps with a blowing sound. The innkeeper should sound first sneaky and later contrite. The
audience could be cued with cards to join in with the wind sounds.
Booklist
Barchers, Suzanne. "The Little Old Woman Who Went to the North Wind." In Wise Women: Folk and Fairy Tales from
Around the World, 305. Englewood, CO: Libraries Unlimited, 1990.
Compare this variant to the script, discussing the differences created by having a little boy instead of an old woman in
the main role.
Littledale, Freya, reteller. Peter and the North Wind. Illustrated by Tory Howell. New York: Scholastic, 1988.
Howell's charming illustrations enliven this version, similar to the following retelling by Anne Rockwell.
Rockwell, Anne, reteller. "The Lad Who Went to the North Wind." In The Three Sillies and 10 Other Stories to Read
Aloud, 65. New York: Harper & Row, 1979.
Have students find all the details that vary from the script.
Characters
Narrator NW North Wind

page_47
LB Little Boy (or Girl) I Innkeeper
M Mother

page_48

Page 48
THE LITTLE BOY WHO WENT TO THE NORTH WIND
Narrator: A mother wanted to make a loaf of bread. She sent her son to miller to buy a bowl of flour.
Her son got the flour and started home. Just as neared his house, the north wind blew in. All the flour
blew to the four corners the world.
LB Little Boy: Mother, I have had bad luck. Just as I got near our home, the north wind blew our flour 1
away.
M Mother: Son, here is another coin. Return to the miller for flour. Try to be more careful this time. 2
Narrator: The boy went back for another bowl of flour. He carried the bowl very carefully. But again
the north wind blew the flour to the four corners of the world.
LB Little Boy: Mother, again I have had bad luck. The north wind blew our flour away. 3
M Mother: Son, here is my last coin. Return again. If you lose the flour, we will go hungry. 4
Narrator: The boy returned a third time to the miller. But in spite of his care, the north wind blew all
the flour to the four corners of the world.
LB Little Boy: This is not fair! I cannot go home without the flour. I will go to the north wind and 5
demand that he give me back my three bowls of flour!
Narrator: The boy walked a long way. Finally, he came to a mountaintop where he found the north
wind.
LB Little Boy: How are you, North Wind? 6
NW North Wind: I am quite fine. What can I do for you? 7
LB Little Boy: I ask only that you return the three bowls of flour that you blew away. 8
NW North Wind: I am afraid I cannot do that. Those bowls of flour are scattered to the four corners of the 9
world. But I will give you something even better. You will never be hungry again. Here is my magic
tablecloth. All you must say is, "Cloth, spread yourself." Then you will have the best food and drink.
LB Little Boy: Thank you, North Wind. That is very kind of you. 10

page_48
Narrator: He took the magic tablecloth and walked toward his home. Because it was a long way, he
stopped at an inn for the night. He was also very hungry, so he took out the cloth.

page_49

Page 49
LB Little Boy: Cloth, spread yourself. 11
Narrator: Not a moment later the cloth was covered with a feast. The boy ate hungrily. But he did not
know that the innkeeper was watching through the keyhole.
I Innkeeper: I must have that magic cloth for myself. Think of the money I will save! I will take it when the 12
boy is asleep.
Narrator: The next morning the little boy found his tablecloth missing. He returned to the north wind for
help.
LB Little Boy: North Wind, my tablecloth has been stolen. I don't know who took it. Can you help me? 13
NW North Wind: I will give you my magic staff. When you say "Staff, dance," it will dance on the toes of the 14
thief.
LB Little Boy: Thank you for your help. You have been most kind. 15
Narrator: The little boy returned to the inn. The innkeeper was feeding his guests a feast provided by the
magic tablecloth.
LB Little Boy: Staff, dance! 16
Narrator: The staff danced right over to the innkeeper and danced on his toes. The innkeeper tried to get it
off. But the staff would not stop dancing.
I Innkeeper: Ow! Ouch! Stop this staff! 17
LB Little Boy: I will stop the staff when you return what I own. 18
I Innkeeper: Gladly! Take your tablecloth and go. 19
Narrator: The little boy took his tablecloth and left the inn. The staff danced back to the north wind. And
the little boy went home. From that day forth he and his mother were never hungry.

page_50

Page 50
Little Red Riding Hood
Summary
The Grimm Brothers tell the story of a young girl with a red cape who goes through the woods to deliver a cake to her
ailing grandmother. A wolf distracts her from the path. While Little Red Riding Hood collects flowers, the wolf goes to
Grandmother's house and swallows first Grandmother and later Little Red Riding Hood. A passing hunter rescues them
and kills the wolf.
Reading level: 2.
This traditional tale is familiar to most children. Consider sharing and discussing different illustrated versions before
reading the script. The staging can be formal, with Little Red Riding Hood and the wolf sitting on stools or standing. The
mother might exit after she reads her lines.
Props
The mother might wear an apron or long dress. A red cape and basket are obvious choices for Little Red Riding Hood.
The wolf could be dressed in a tie, jacket, or hat. Grandmother might be in a long flannel nightgown. The hunter could
have a cap and vest.
Delivery
Mother should sound pleasant, and Little Red Riding Hood should sound like a somewhat naive little girl. The wolf
should sound sly with Little Red Riding Hood and should later attempt to assume Little Red Riding Hood's and
Grandmother's voices. The audience could join in with the familiar lines of Little Red Riding Hood (e.g., ''Grandmother,
what big ears you have!").
Booklist
Dahl, Roald. "Little Red Riding Hood." In Revolting Rhymes, 41. Illustrated by Quentin Blake. New York: Bantam
Students will delight in this twist in which Little Red Riding Hood finishes off the wolf with her pistol.
Hyman, Trina Schart, reteller. Little Red Riding Hood. New York: Holiday House, 1983.
Compare this version to the script. If appropriate, share with the students that this version has been criticized because
Little Red Riding Hood is taking wine to her grandmother.
Marshall, James, reteller. Little Red Riding Hood. New York: Dial Books for Young Readers, 1987. Marshall's humorous
illustrations make the tale nonthreatening to the younger listener.
Perrault, Charles. Little Red Riding Hood. Translated by George Martin. Illustrated by Beni Montresor. New York:
Doubleday, 1991.

page_50
The publisher recommends this book for children ages seven and up. Some pictures are frightening, and the reader is left
in doubt as to whether there is a rescue by the woodsman. Though it is a controversial treatment, mature readers will
enjoy discussing Montresor's illustrations.
Richardson, Lee, reteller. Little Red Riding Hood. Illustrated by Shirley Holt. Carmel, CA: ShirLee Publications, 1985.
Explore the use of red in the illustrations of this traditional retelling.
Young, Ed. Lon Po Po: A Red-Riding Hood Story from China. New York: Philomel, 1989.
This brooding version can also be compared to "The Wolf and the Seven Kids."
Characters
Narrator LR Little Red Riding Hood G Grandmother
M Mother W Wolf H Hunter

page_51

Page 51
LITTLE RED RIDING HOOD
Narrator: Once there was a little girl who lived near the woods with her mother. The little girl's
grandmother had made her a beautiful red cape. The little girl wore it all the time. Everyone called
her Little Red Riding Hood. One morning her mother asked her to take some cake to her grandmother.
M Mother: Little Red Riding Hood, come here to me. Grandmother has not been feeling well. Take this 1
cake to her. It will make her feel better. Go now before the sun gets too hot. Stay on the path and
don't go deep into the woods. And mind your manners.
LR Little Red Riding Hood: Don't worry, Mother. I will be careful and take the cake right to 2
Grandmother's house.
Narrator: Little Red Riding Hood set off down the path, carrying a basket with the cake inside. The 3
path led through the woods, but Little Red Riding Hood knew the way and was not scared. Soon she
met a wolf.
W Wolf: Good morning, Red Riding Hood. 4
LR Little Red Riding Hood: Good morning, Wolf. 5
W Wolf: Where are you going this fine morning? 6
LR Little Red Riding Hood: To Grandmother's house. 7
W Wolf: What is in your basket? 8
LR Little Red Riding Hood: A cake for Grandmother. She doesn't feel well. 9
W Wolf: Where does your grandmother live? 10
LR Little Red Riding Hood: Through the woods near the three big trees. 11
Narrator: The wolf thought about what a good meal she and the grandmother would make.
W Wolf: Little Red Riding Hood, look at all the pretty flowers. Do you think your grandmother would 12
like to have some flowers with her cake? They could help make her feel better.
LR Little Red Riding Hood: I think you are right. I'll pick a few.

page_51
Narrator: Little Red Riding Hood had to leave the path to pick the flowers. They were so pretty she
went deeper and deeper into the woods. While she picked the flowers, the wolf hurried to
Grandmother's house. He knocked on her door.

page_52

Page 52
G Grandmother: Who's there? Is that you, Little Red Riding Hood? 13
W Wolf: Yes, Grandmother. I have brought you some cake. Please open the door. 14
G Grandmother: Just lift the latch and come in. I'm resting in bed. 15
Narrator: The wolf opened the door and quickly ate Grandmother. He put on her nightclothes and got into
bed. He pulled a curtain across the bed. Soon Little Red Riding Hood came with her cake and flowers.
She was surprised to find the door open.
LR Little Red Riding Hood: Grandmother? Are you there? Is something wrong? 16
Narrator: Little Red Riding Hood went to Grandmother's bed and peeked behind the curtain.
LR Little Red Riding Hood: Grandmother! What big ears you have! 17
W Wolf: All the better to hear you with, my dear. 18
LR Little Red Riding Hood: Grandmother! What big eyes you have! 19
W Wolf: All the better to see you with, my dear. 20
LR Little Red Riding Hood: Grandmother! What big hands you have! 21
W Wolf: All the better to catch you with, my dear. 22
LR Little Red Riding Hood: Grandmother! What big teeth you have! 23
W Wolf: All the better to eat you with, my dear. 24
Narrator: And the wolf jumped out of bed and ate poor Little Red Riding Hood. Having eaten two meals,
the wolf got back into bed and fell fast asleep. He began to snore very loudly. Soon a hunter who was
walking by heard the snores.
H Hunter: I wonder why Grandmother is snoring so loudly. I had better make sure she is all right. 25
Narrator: The hunter slipped into the house and saw the wolf with his fat belly sound asleep on the bed.
He guessed what had happened and was about to shoot the wolf. Then he thought that maybe the wolf had
swallowed Grandmother whole. He took out his knife and carefully cut open the wolf's belly, finding not
only the grandmother, but also Little Red Riding Hood.

page_52

page_53

Page 53
LR Little Red Riding Hood: Oh my, thank you! It was so dark inside that wolf! 26
G Grandmother: Oh dear me, dear me. Thank you for saving us! What shall we do with the wolf now? 27
Narrator: The hunter killed and skinned the wolf. After he was done, Grandmother, Little Red Riding
Hood, and the hunter enjoyed some cake. The hunter took the wolf's skin home to hang over his door.
Grandmother began to feel much better. And Little Red Riding Hood never left the path in the woods
again.

page_54

Page 54
The Three Wishes
Summary
A woodcutter spares an oak tree at the request of a fairy and is granted three wishes. He plans to use his wishes
carefully, but he and his wife thoughtlessly waste the wishes. This version is a blending of the French and English tales.
The fairy is from the English version. The woodcutter's sharing of the story with his wife and their decision to plan the
wishes are featured in the French version. A final English detail is the equal sharing of foolish wishes by the woodcutter
and his wife. Students may enjoy reading a more complex variant by the Grimm Brothers, "The Fisherman and His
Wife" (see booklist), or in any complete collection, in which the couple waste wishes granted by a fish.
Reading level: 2.
Students should be told that a black pudding is a sausage. Perhaps a long, cooked sausage could be brought to the
classroom to demonstrate how ugly it would look on one's nose. The sausage could be sampled at an appropriate time.
Props
The woodcutter could wear a hat and jacket. The wife could wear an apron. The fairy could be dressed in a frilly dress
or have paper wings on her back. A sausage could be placed on a table.
Delivery
Other than the fairy's tiny voice, there are no special requirements for voices. The woodcutter and his wife should sound
appropriately excited and dismayed as the story unfolds.
Booklist
Carter, Angela, translator. "The Foolish Wishes." In Sleeping Beauty and Other Favourite Fairy Tales, 41. Illustrated
by Michael Foreman. New York: Schocken Books, 1984.
Have students explore the slight differences between this version and the script. The illustration gives students an
excellent image of a black pudding.
Grimm, Brothers. The Fisherman and His Wife. Translated by Anthea Bell. Illustrated by Alan Marks. Saxonville, MA:
Picture Book Studio, 1989.
Have students explore how this tale differs from "The Foolish Wishes" and this script.
Characters
Narrator
F Fairy

page_54
W0 Woodcutter
WI Wife

page_55

Page 55
THE THREE WISHES
Narrator: Long ago there lived a poor woodcutter. He worked long and hard in the woods every day.
One day he marked an old oak tree for felling. Just as he was about to strike the first blow, he heard a
tiny voice.
F Fairy: Please, kind woodcutter. Please don't cut down this tree. 1
WO Woodcutter: Why not, pray tell? 2
F Fairy: Please, kind sir. I cannot say why. But I beg you to spare it. 3
WO Woodcutter: I don't understand, but I will do as you ask. 4
F Fairy: You have chosen well, my friend. To thank you, I'll grant your next three wishes, whatever 5
they might be.
Narrator: The fairy disappeared while the woodcutter stood in amazement. Soon he gathered his wits
and his ax and returned home. It was a long way back, and he was tired and hungry when he arrived.
WO Woodcutter: Wife, wife! I have such a story to tell you. 6
Narrator: The woodcutter told the story, and they rejoiced over their good fortune.
WI Wife: Let's wait until the morning to make our wishes. Then we will be more rested and will be able 7
to think clearly.
WO Woodcutter: That is a good plan. For now, I am tired and hungry. When is dinner? 8
WI Wife: It will be ready in an hour. 9
WO Woodcutter: An hour? Ah, I am starving. I wish I had a black pudding right now. 10
Narrator: No sooner had he said those words than a black pudding came rustling down the chimney.
When his wife saw the black pudding, she screamed. Then she realized how it had arrived.
WI Wife: You fool! We were going to wait until tomorrow for our wishes! Then we could have wished 11
for fine jewels or a wonderful home. But no! You waste a wish on a black pudding!

page_55
WO Woodcutter: I'm sorry. I don't know what to say. It was foolish, I admit. But there are two wishes left. 12

page_56

Page 56
WI Wife: Being sorry doesn't fix it. You are such a dunce. I wish that black pudding were hanging from your 13
nose.
Narrator: And in an instant the black pudding was hanging from the woodcutter's nose. He pulled on it,
but it was stuck tight.
WO Woodcutter: Well, dear wife. This is a fine mess. The only thing to do now is use this last wish. I wish this 14
pudding were off my nose.
Narrator: Suddenly the pudding was in the dish on the table. The woodcutter and his wife looked at each
other sadly. They lacked fine jewels or a wonderful home, but they did have a delicious black pudding for
dinner.

page_57

Page 57
Tom Tit Tot
Summary
This is an English tale of a young girl whose misunderstanding of the language and her mother's pride cause a
predicament. The girl is told some pies will "come again." Not understanding that her mother means the crusts will later
soften, the girl eats the pies. The mother, singing about her daughter's mistake, is heard by the king. Instead of telling
the truth, she tells him her daughter can spin five skeins in a day. He marries the daughter, who must spend the last
month of the first year spinning five skeins a day or face death. A Rumpelstiltskin-like character, Tom Tit Tot, helps
her. If she can't guess his name by the end of the month, she must bcome his. Fortunately, the king unwittingly
discovers and tells his wife the name of Tom Tit Tot.
Reading level: 2.
It is important that the students understand the significance of the daughter's misunderstanding of the colloquialism
"come again." The class might discuss how misunderstandings of the language can cause complications. The general
story can be compared to Rumpelstiltskin, with the differences discussed.
The story can be presented formally, with the girl and Tom Tit Tot sitting on stools or standing. The mother might exit
or sit down after reading her lines.
Props
Pie pans and skeins of wool will add interest to the stage. The girl and her mother can be dressed simply, with the king
dressed in a grand fashion. Tom Tit Tot could be small with a long nose and tail. He could be dressed in strange clothes.
Delivery
The mother should sound rather simple. The daughter should sound rather helpless until the end, when she should sound
triumphant. The king should be regal and proud. Tom Tit Tot should have a small voice that is wheedling at first then
gleeful when he thinks the girl will not guess his name. A shake of bells or a whistle could indicate Tom Tit Tot's arrival.
Booklist
Grimm, Brothers. Rumpelstiltskin. Retold by Alison Sage. Illustrated by Gennady Spirin. New York: Dial Books for
Young Readers, 1990.
Compare this story to "Tom Tit Tot" and Spirin's elegant illustrations to Zelinsky's in the following book.
Zelinsky, Paul O. Rumpelstiltskin. New York: E. P. Dutton, 1986.
Lush oils illustrate this version, which can be compared to "Tom Tit Tot."
Characters

page_57
Narrator K King
M Mother T Tom Tit Tot
G Girl

page_58

Page 58
TOM TIT TOT
Narrator: Once there was a woman who baked five pies. The crusts were too hard, so she asked her
daughter to put them on the shelf to soften.
M Mother: Daughter, put the pies on the shelf. Leave them a little, and they'll come again. 1
Narrator: When the mother said "come again," she meant the pie crusts would soften. But the
daughter didn't understand.
G Girl: If those pies will come again, I will eat them now. 2
Narrator: The daughter ate all the pies. When suppertime came, the woman was ready for a pie.
M Mother: Daughter, go get one pie. They should have come again by now. 3
Narrator: The girl went and looked. Nothing was on the shelf except the dishes.
G Girl: No, mum. Those pies haven't come again. 4
M Mother: Well, come again or not, I want one for my supper. 5
G Girl: But you can't have one if it hasn't come. 6
M Mother: Yes, I can. Now bring me the best one. 7
G Girl: You can't have one. I ate them all. You can't have one till they come again. 8
Narrator: The mother was very unhappy. She took her spinning to the door. While she spun she sang.
M Mother: My daughter ate five pies today. 9
My daughter ate five pies today.

page_58
Narrator: The king was passing and heard her sing. He couldn't quite understand what the mother had
sung.
K King: What was that you were singing? 10
Narrator: The mother was ashamed of her daughter. So she sang something new.
M Mother: My daughter spun five skeins today. 11
My daughter spun five skeins today.

page_59

Page 59
K King: Good gracious! I have never known someone who could spin five skeins in one day! Look, I need a 12
wife. I'll marry someone who can spin five skeins a day. There is one condition. She can eat, dress, and
visit as she likes for the first eleven months of the first year. But during the last month she must spin five
skeins a day. If she doesn't, I will kill her.
Narrator: The mother thought this would be a fine marriage. She also thought that after eleven months the
king would forget about his wife spinning the five skeins a day. If he didn't, she would think of a way to
get the skeins.
M Mother: All right. You can marry my daughter. 13
Narrator: They were wed. For eleven months the girl had lovely food and clothes. She enjoyed visiting
with many friends in her elegant new home. The king never mentioned the skeins until the last day of the
eleventh month. Then he took her to a room with nothing but a spinning wheel and a stool.
K King: Tomorrow this will be your room. You will have plenty of food to eat and some flax to spin. If you 14
don't finish the five skeins by each night, you will be killed.
Narrator: The girl had no idea how to spin. She sat on a stool in the kitchen and began to cry. After a
minute she heard a knocking on the door. She opened the door and in walked a little man with a long nose
and tail.
T Tom Tit Tot: Why are you crying? 15
G Girl: Why should I tell you? 16
T Tom Tit Tot: Why not tell me? 17
G Girl: What good would it do? 18
T Tom Tit Tot: You won't know till you tell me. 19
G Girl: My mother made five pies. She told me they would come again. So I ate them. The king heard her 20
singing about the pies. But she told him I could spin five skeins a day. We have been married eleven
months. If I don't spend the last month spinning five skeins a day he will kill me.
T Tom Tit Tot: I can help you. I will come to your window every morning and night. I will take away the 21
flax in the morning and bring back five skeins in the evening.
G Girl: What must I do in return? 22
T Tom Tit Tot: I'll give you three chances every night to guess my name. If you haven't guessed it before the 23
month's end, you shall be mine.

page_59
Narrator: The girl thought that she could guess his name in a month, so she agreed. The next day her
husband took her to the room.

page_60

Page 60
K King: Here's the flax. If you don't spin it into five skeins, you will be killed. 24
Narrator: After he left, the girl heard a knock at the window.
T Tom Tit Tot: Where is the flax? 25
G Girl: Here it is. 26
Narrator: That evening she heard the knock again.
T Tom Tit Tot: Here are the five skeins. Now what is my name? 27
G Girl: Is it Adam? 28
T Tom Tit Tot: No. 29
G Girl: Is it Matthew? 30
T Tom Tit Tot: No. 31
G Girl: Is it Mark? 32
T Tom Tit Tot: Wrong again! 33
Narrator: With that, he twirled his tail and flew away. When her husband came in, there were five skeins.
K King: You have done well. Tonight you shall live. But tomorrow you will have the flax again. 34
Narrator: Every day the flax and food were brought to the room. Every day the little man showed up to
take away the flax. Every night he returned with the skeins. The girl would think about names all day, but
every guess was wrong. The evening before the last day the king came in to collect the skeins.
K King: So, my dear. You have only one day left. I'll have my supper in here with you. I have an amusing 35
story to tell you. I was hunting today and I came across an old pit. As I got off my horse to look, I heard
someone humming. I looked down in the pit and there was the funniest man. He was spinning very fast on
a spinning wheel. The faster he spun, the faster he sang this song:
Nimmy, nimmy not
My name's Tom Tit Tot.

page_60
Narrator: The girl nearly fainted with joy. The next night when the little man came with the last of the
skeins, he was grinning with glee.
T Tom Tit Tot: What's my name? 36

page_61

Page 61
G Girl: Is it Joshua? 37
T Tom Tit Tot: No! 38
G Girl: Is it Jeremiah? 39
T Tom Tit Tot: NO! 40
G Girl: Nimmy, nimmy not 41
Your name's TOM TIT TOT!
Narrator: And with that, the little man shrieked and flew into the dark. She never saw him again. The girl
lived happily with her king from that day forth.

page_62

Page 62
The Wolf and the Seven Little Kids
Summary
A nanny goat has seven kids in this tale by the Grimm Brothers. She warns her children about letting the wolf in the
house, but the wolf tricks them. It eats all but the youngest kid, who has hidden in the clock case. When the mother
comes home and finds her kid, they search together for the wolf, cut open its belly, and find her other kids whole and
alive. They fill the wolf's belly with stones and it drowns.
Reading level: 2.
Discuss and compare this tale to Little Red Riding Hood. This script offers an opportunity to involve many students.
Choose seven students to represent the seven kids, with one of the seven designated as the youngest kid. The
participants can read while standing. The seven kids can read as a group. The mother can exit and enter between her
readings.
Props
Consider placing the following items on the stage: chalk, cupboard, table, washbowl, clock, pillows, blanket, and
stones. The mother might wear a bell to distinguish her from the kids.
Delivery
The mother nanny goat should sound motherly and warm. The kids should speak in unison and sound young and
innocent. The wolf should sound sly and wheedling. The youngest kid should sound timid and scared. A ringing bell
could introduce the mother.
Booklist
Crossley-Holland, Kevin. ''The Wolf and the Seven Young Kids." In The Fox and the Cat: Kevin Crossley-Holland's
Animal Tales from Grimm. Illustrated by Susan Varley. New York: Lothrop, Lee & Shepard, 1985.
This traditional version is highlighted with several illustrations.
Grimm, Brothers. Nanny Goat and the Seven Little Kids. Retold by Eric A. Kimmel. Illustrated by Janet Stevens. New
York: Holiday House, 1990.
Students will enjoy finding details that set this tale apart. For example, the wolf wears a T-shirt stating "Big and Bad,"
and the mother goat wears a hat with a veil.
Ross, Tony. Mrs. Goat and Her Seven Little Kids. New York: Atheneum, 1990.
Ross's illustrations include amusing details and outrageous characters. Compare to the Grimm Brothers' book and to the
script. Suggest that students consider enlivening the script with some of the visual details in this book.
Characters

page_62
Narrator W Wolf
M Mother YK Youngest Kid
7K Seven Kids

page_63

Page 63
THE WOLF AND THE SEVEN LITTLE KIDS
Narrator: There was once a nanny goat who had seven kids. She loved them dearly. One day she was
going into the woods to fetch some food for them. She called them to her.
M Mother: Children, I am going into the woods for some food. Watch out for the wolf. If he gets in the 1
house, he will eat you up. He may try to trick you. But you will know him by his gruff voice and black
feet.
7K Seven Kids: We'll be careful, Mother. 2
Narrator: The goat went off to the woods. Soon the kids heard knocking and a voice at the door.
W Wolf: Open the door, dear children. Your mother is back. I have something for each of you. 3
Narrator: The kids knew that wasn't their mother's voice.
7K Seven Kids: You are not our mother! She has a soft voice. You are the wolf! 4
Narrator: The wolf went to a shop and bought a lump of chalk. He ate it, and his voice was very soft.
Soon the kids heard knocking and a voice at the door.
Narrator: But the wolf had unwittingly put his black paws on the windowsill.
7K Seven Kids: You are not our mother! She doesn't have black paws. You are the wolf! 6
Narrator: The wolf went to the baker.
W Wolf: I have hurt my feet. Put some dough on them. 7
Narrator: After the baker had put some dough on his feet, the wolf went to the miller.

page_63
W Wolf: Put some flour on my feet. 8
Narrator: The miller suspected that the wolf was up to no good. But when he hesitated, the wolf said he
would eat him up. The miller put the flour on the wolf's feet. The wolf hurried to the home of the nanny
goat. Soon the kids heard knocking and a voice at the door.

page_64

Page 64
Narrator: This time when the kids saw the white feet on the door, they thought it was their mother. They
opened the door. When the wolf came in, they tried to hide. One ran under the table. The second jumped
into bed. The third hid in the oven. The fourth ran in the kitchen. The fifth went into the cupboard. The
sixth hid in the washbowl. The seventh hid in the tall clock case. But it was too late. The wolf swallowed
each one except the seventh. He could not find him in the clock case. The wolf left, lay down in a nearby
meadow, and began to snore.
The nanny goat came home. The house was ruined. Tables and chairs were upside down. The washbowl
was broken. The bedcovers were torn from the bed. She called for her kids by each one's name. When she
called her youngest's name, he answered.
YK Youngest Kid: I am here in the clock case, Mother. 10
M Mother: Oh, my child! What has happened here? Where are your brothers and sisters? 11
YK Youngest Kid: The wolf tricked us. He ate everyone except me. I was hiding in the clock case, and the 12
wolf didn't find me.
Narrator: After weeping for her lost ones, the nanny goat decided perhaps the wolf had not gone very far.
She and the youngest kid went outside. Soon they heard the snoring from the meadow. They looked
carefully at the sleeping wolf and saw movements inside its belly.
M Mother: Do you think my kids are still alive in the wolf? 13
YK Youngest Kid: Something is moving inside him, Mother. 14
Narrator: She cut a hole in the wolf's belly and out jumped all six kids. The mother joyfully danced
around with them.
M Mother: Now, my children. Fetch me some big stones. We will fill the wolf's body so he won't eat 15
anything else.
Narrator: The kids brought the stones and filled his belly. Their mother sewed the wolf up very tight.
When he woke, he felt very thirsty and went to the stream to drink. When he bent over to drink, the heavy
stones pulled him into the stream. The wolf drowned.
7K & M Seven Kids and M Mother: The wolf is dead! The wolf is dead! 16
Narrator: The mother and her kids lived happily from that day forward.

page_64

page_65

Page 65
PART 3

page_65

page_67

Page 67
Cinderella
Summary
This familiar French tale is about a girl whose stepmother makes her slave in the kitchen. When the stepsisters are
invited to the ball, Cinderella yearns to attend as well. Her fairy godmother provides her with coach, attendants, gown,
and glass slippers. When she runs home at midnight, Cinderella leaves behind a glass slipper. The messenger uses the
slipper to claim Cinderella for the prince's bride.
Reading level: 3.
This favorite story, though long and more difficult than other scripts, will be comfortable for readers because of its
familiarity. Share a variety of illustrated versions before introducing the story. Ask the librarian for versions
representing other cultures and compare the different tellings.
The reading can be presented formally, with characters sitting on stools or standing. The stepmother and stepsisters
might exit and reenter before and after the ball.
Props
To enliven the production, Cinderella could be dressed simply, with a few pieces of jewelry or a ribbon hair adornment
added during her transformation. The stepmother, stepsisters, and messenger should be dressed in fine clothes. The fairy
godmother could be dressed in a gown and hold a wand. Kitchen items, a pumpkin, and some rubber mice would add
interest to the stage.
Delivery
The stepmother and stepsisters should sound vain and proud. Cinderella should sound sweet and good-natured. The
fairy godmother should sound kind and loving. The messenger should sound regal. A sand block could signal the arrival
of the stepmother and sisters, and a tinkling bell could indicate the entrance of the fairy godmother.
Booklist
Climo, Shirley. The Egyptian Cinderella. Illustrated by Ruth Heller. New York: HarperTrophy, 1989.
Contrast the familiar Perrault version with Climo's story of Rhodopis.
Dahl, Roald. "Cinderella." In Revolting Rhymes, 1. Illustrated by Quentin Blake. New York: Bantam Skylark Books,
1986.
Dahl's poem is delightful for older students, but before sharing it aloud you should preread it and edit a few words or
lines.
Karlin, Barbara, reteller. Cinderella. Illustrated by James Marshall. Boston: Little, Brown, 1989.
Marshall's outrageous illustrations make this a favorite with children.

page_67
Louie, Ai-Ling, reteller. Yeh-Shen: A Cinderella Story from China. Illustrated by Ed Young. New York: Philomel, 1982.
Compare this elegant story to other variants.
Morris, Ann, reteller. The Cinderella Rebus Book. Illustrated by Ljiljana Rylands. New York: Orchard Books, 1989.
Use this colorful version to explore the use of rebuses.
Perrault, Charles. Cinderella. Retold by Amy Ehrlich. Illustrated by Susan Jeffers. New York: Dial Books for Young
Readers, 1985.
Jeffers's lush illustrations make this oversize version a must-read for children and adults.
Perrault, Charles. Cinderella. Translated and illustrated by Diane Goode. New York: Alfred A. Knopf, 1988.
This is a beautifully illustrated traditional retelling.
Characters
Narrator Cinderella Stepsister Two Messenger
Stepmother Stepsister One Fairy Godmother

page_68

Page 68
CINDERELLA
Narrator: Once upon a time there was a man whose wife had died. He had one daughter, who was
good and sweet. But the man was lonely, and he wanted his daughter to have a mother. He married a
woman who seemed very kind. But once they married, she showed her true nature. She was the most
arrogant woman ever seen.
She had two daughters, who were both homely and vain. She hated the man's daughter and made her
work all day. The man's daughter spent so much time cleaning the cinders from the kitchen fireplace
they all began to call her Cinderella.
Stepmother: Cinderella! Cinderella! Come here! Look at this floor. Get the scrub brush and bucket. When you 1
finish, start our dinner. No time to waste, young lady!
Cinderella: Yes, ma'am. I'll have it all done this afternoon. 2
Narrator: While Cinderella scrubbed and cooked, a royal messenger arrived with a special invitation.
Stepmother: Girls! Come here! Look at what has just arrived! The prince is having a ball, and we are invited. We 3
must plan what to wear. I know he is looking for a wife. This is your big chance, girls!
Cinderella: Excuse me, dear stepmother. The invitation is to the ladies of our house. I would like to go also. 4
Stepsister One: Listen to our Cinderella. What a foolish girl. 5
Stepsister Two: People would only laugh at you. 6
Narrator: Poor Cinderella did not ask again. In truth, they kept her so busy with pressing ruffles and fixing their hair
that she lacked time to think about going to the ball.
Stepmother: At last it is the night of the ball! I just know the prince will choose one of you to be his new wife. You 7
book look perfect!
Narrator: Of course, the stepsisters and stepmother looked good only because of Cinderella's hard work.
Stepsister One: Let's go! Good night, Cinderella! 8
Stepsister Two: Don't forget to clean the kitchen before you go to bed! 9
Narrator: With those mean words, they were out the door. Cinderella began to cry.
Cinderella: Oh, dear. I wish I could.... Oh, it is no use. 10

page_69

Page 69
Fairy Godmother: What do you wish, my child? 11
Cinderella: Goodness, who are you? 12
Fairy Godmother: I am your fairy godmother, dear. Were you wishing for something? 13
Cinderella: Oh, yes. My fondest wish is to go to the ball tonight. The prince is giving it. 14
Fairy Godmother: Is that all! Well then, you shall surely go! 15
Cinderella: There is no way that I could go to the ball. I have no dress or coach. But thank you for the kind thought. 16
Fairy Godmother: Hush that foolishness, my dear. Run into the garden and fetch the largest pumpkin you can find. 17
Narrator: Cinderella did not understand what good a pumpkin would be. But she did not want to disobey her fairy
godmother. She returned with it quickly.
Fairy Godmother: Let's scoop it out so it is clean. Now watch what a wave of my wand will do. 18
Narrator: And with one wave, the pumpkin changed into the finest coach Cinderella had ever seen.
Fairy Godmother: Next we need some mice. Can you find some for me? 19
Narrator: Cinderella knew the mice hid from the cat in the haystack. She caught six for her fairy godmother.
Fairy Godmother: Perfect. Watch this! 20
Narrator: She waved her wand six times. The mice became six fine horses.
Fairy Godmother: Next I need a rat. Try your mousetrap, dear one. 21
Narrator: Inside the mousetrap was one large rat. Cinderella brought the trap to her fairy godmother.
Fairy Godmother: Wonderful! See what a fine coachman he will make! 22
Narrator: In a blink of the eye, the rat became a handsome coachman.
Fairy Godmother: One last task, Cinderella. Go into the garden and find six large lizards. 23
Narrator: Cinderella had no idea what use six lizards would be. But they were easy to catch. She brought them back
to the others.

page_70

Page 70
Fairy Godmother: Well done! Now we have our footmen! 24
Narrator: With more waves of her wand, she turned the lizards into six footmen.
Fairy Godmother: See, Cinderella? Now you are ready to go to the ball! 25
Cinderella: But, don't you see? I can't go in these rags. 26
Fairy Godmother: What rags? 27
Narrator: The magic wand shimmered in the air. Cinderella's rags became the most beautiful dress of gold, silver,
and jewels. On her feet were delicate glass slippers.
Cinderella: How can I ever thank you? 28
Fairy Godmother: I have only one request, dear girl. Be sure you are home before midnight. That is when the magic 29
ends.
Cinderella: Of course. I promise! And thank you again. 30
Narrator: Cinderella's arrival at the ball caused great excitement. She was the most beautiful young woman there.
The prince danced with her many times. The king and queen admired her beauty and grace. Cinderella even chatted
with her stepsisters, who did not recognize her. Soon the clock began to strike twelve. Remembering her promise,
Cinderella ran out of the palace.
The prince ran after Cinderella, but he couldn't catch her. In her haste, one glass slipper fell off her foot. The prince
found it on the steps and kept it. Cinderella reached home, out of breath, but happy. Her fine clothes were gone
except for the other glass slipper. She hid it in her pocket. Soon her family arrived home.
Cinderella: How was the ball? 31
Stepsister One: It was wonderful! 32
Stepsister Two: Yes, dear Cinderella. If only you could have seen. 33
Cinderella: Did the prince choose to marry one of you? 34
Stepmother: That prince was too entranced with some stranger. No one knew who she was. She was lovely, but she 35
left abruptly. I am sure he will remember how desirable my daughters are. It's too soon to tell.
Narrator: The next day the prince proclaimed he would marry the mysterious young woman who had come to the
ball. The glass slipper was so small. He knew its owner would be his wife. He sent his messengers throughout the
land asking every young lady to try it on. Soon they came to Cinderella's home.

page_71

Page 71
Stepsister One: Let me try first. I know it will fit me. 36
Stepsister Two: Ha! Your foot is too big. Let me try now. 37
Messenger: Both your feet are too big. Is there not anyone else here to try? 38
Stepmother: Only our kitchen girl. But the slipper won't fit her. She didn't go to the ball. 39
Messenger: The prince ordered that every young lady should try it on. Please fetch her. 40
Narrator: When Cinderella tried on the slipper it fit her easily. Her stepmother and stepsisters were shocked. They
were even more surprised when Cinderella took the other slipper from her pocket and put it on, too. Then her fairy
godmother appeared. With a final wave of her wand, she gave Cinderella an even more beautiful gown.
Messenger: It seems we have found our prince's new bride! 41
Narrator: The messengers took Cinderella back to the prince. A magnificent wedding was held soon after. Having a
kind heart, Cinderella forgave her family. They joined her in the palace and all lived happily ever after.

page_72

Page 72
The Emperor's New Clothes
Summary
In this story by Hans Christian Andersen, a vain emperor hires two weavers to make his royal garments. They tell him
that only those who are honest and fit for their office can see the special cloth of which the garments are made. The
emperor is duped into wearing only his undergarments in the royal procession.
Reading level: 3.
Students love the idea of a royal person being tricked into being seen naked or in his undergarments. This script can be
performed in a traditional readers theatre style. It is also fun to assign dual roles and have students pantomime the roles
while the script is read. There are few female roles; consider having girls play the weavers.
Props
The weavers might have white long-sleeved shirts with vests. They could carry yarn and spools of thread. The emperor
might wear a crown and robe. The prime minister and counselor could be in dress pants and shirts. The child, mother,
and people could be in simple clothes.
Delivery
Royal music, such as a trumpet fanfare, could herald the emperor's role and the procession. The weavers should sound
clever and ingratiating. The emperor should sound proud and vain. The prime minister and counselor should sound
obsequious. The child should be loud and disbelieving. The people should sound quiet and then loud. The audience
could be prompted through cue cards to join in when the people declare, "The emperor has nothing on!"
Booklist
Lobel, Arnold. "King Lion and the Beetle," "The Bear and the Crow," and "Madame Rhinoceros and Her Dress." In
Fables, 7, 16, 27. New York: Harper & Row, 1980.
These related fables are of a lion, bear, and rhinoceros who dress proudly. All are humbled by others.
Stevens, Janet, adapter. The Emperor's New Clothes. New York: Holiday House, 1985.
In this adaptation, Stevens provides amusing illustrations of animals in the roles of the characters.
Characters
Narrator Emperor Child
Weaver One Prime Minister Mother
Weaver Two Counselor People

page_72

page_73

Page 73
THE EMPEROR'S NEW CLOTHES
Narrator: Many long years ago there was an emperor who loved clothes. He spent all his money on
new outfits. He even changed clothes several times each day. One day two thieves, who called
themselves weavers, came to town. They begged an audience with the emperor.
Weavers One and Two: Good morning, Your Highness. 1
Emperor: Good morning, gentlemen. 2
Weaver One: We would like to offer you our services. We know that you like to wear only the best clothing. 3
Weaver Two: We will weave you the very best cloth. This cloth is very special. Anyone who is unfit for his office 4
or is stupid cannot see it.
Emperor: That is most interesting, my friends. If I understand you correctly, you are saying that only clever and 5
honest people can see this fine cloth. It would be an easy matter for me to choose my counselors, wouldn't it?
Weavers One and Two: That is correct, Your Highness. 6
Emperor: Well, waste no time, my friends! 7
Narrator: The weavers asked the emperor for a rich advance on their work. They also requested the finest silk and
gold threads. They hid the thread for themselves and set up an empty loom. Day after day they pretended to labor at
the loom.
Emperor: I wonder how the weavers are coming with my cloth. Perhaps I should pay them a visit. 8
Narrator: The emperor remembered that only clever and honest people could see the cloth.
Emperor: I think I'll wait to visit the weavers. I'll send my prime minister instead. He is clever and honest and 9
surely can judge their progress.
Narrator: Before going into the weavers' room, the prime minister peeked in the window. Of course he could see
nothing on their looms.
Prime Minister: Can I be stupid? This is hard to believe. But perhaps I am unfit for my office. I better not let on that 10
I can't see the material.
Narrator: The prime minister stepped into the room with a hearty greeting for the weavers.

page_74

Page 74
Prime Minister: Good morning, my fine friends! 11
Weavers One and Two: Good morning, sir. What do you think of our work thus far? 12
Prime Minister: Lovely! The colors are so rich! And the patterns are so bold. 13
Weaver One: We trust you will tell the emperor of our progress. Please tell him that we also need more silk and 14
gold thread.
Prime Minister: Of course! You shall have it in no time. 15
Narrator: The prime minister made his report that all was going as it should. Soon the emperor sent a counselor to
see the material. The counselor also looked into the window. He decided to pretend to see the cloth or risk being
thought unfit for his office.
Weaver Two: What do you think of our progress? 16
Counselor: It is indeed fine! Quite elegant. The emperor should be most pleased. 17
Narrator: The counselor reported the good news to his emperor, who decided it was time to see the cloth himself.
He gathered his prime minister and counselor to accompany him and went to the weavers' room.
Prime Minister: Isn't their work amazing? 18
Counselor: Aren't the colors wondrous? 19
Narrator: The emperor was shocked at not being able to see the cloth. But he was not ready to let on that he might
be stupid or unfit for his office.
Emperor: It is indeed splendid. I am quite pleased. I would like to have a new robe for the royal procession next 20
month. Please have it ready for me.
Weavers One and Two: Yes, Your Majesty. 21
Narrator: They measured the emperor. They pretended to drape him while considering colors and patterns. They all
agreed he would look quite regal. The night before the procession they worked all night. Finally, they were finished.
Weavers One and Two: The emperor's clothes are ready! 22
Narrator: The emperor and his attendants arrived early that morning.
Weaver One: Let me help you with the trousers. 23
Weaver Two: Be careful that the shirt hangs just right. 24
Weaver One: This robe is so light you will hardly know you are wearing it. 25

page_74

page_75

Page 75
Weaver Two: This train will feel like a light breeze on your back. 26
Narrator: The emperor stood patiently in his undergarments as they pretended to put on his clothes. His attendants
agreed that he looked wonderful. The emperor peered into the mirror, pretending to enjoy his royal attire.
Finally, he began his procession down the street. No one wanted to look stupid. All the people of the kingdom
remarked on how splendid he looked. Then a little child spoke up.
Child: Look, Mother! The emperor doesn't have any clothes on! 27
Mother: Hush, child. He looks wonderful. 28
Narrator: But the people began to whisper.
People: The emperor has nothing on. The emperor has nothing on. 29
Narrator: Soon the people were shouting.
People: The emperor has nothing on! The emperor has nothing on! 30
Narrator: The emperor knew the people must be right. But he held his head high and continued his procession to the
castle. The weavers were never seen or heard from again.

page_76

Page 76
Henny Penny
Summary
Henny Penny is a foolish hen in this English tale. After being hit on the head, she decides the sky is falling and sets off
to tell the king. A variety of characters join her on the way, including Foxy Loxy, who schemes to eat them.
Reading level: 3.
The repetitive, cumulative nature of this story makes it easy and fun to read. Use the animals' names to discuss the use
of nonsense words to create rhymes. Staging can be formal, or Henny Penny can approach each of the characters in turn.
Another presentation would have characters joining Henny Penny onstage one by one throughout the play.
Props
The characters could wear appropriate ears, tails, or makeup to indicate who they are. A simpler plan would be to have
large name tags in animal outlines labeled with the names of the characters. The stage could be decorated with plants
and drawings of trees to indicate a woodsy setting.
Delivery
Henny Penny should sound simple. Suitable animal noises could be added by the readers or by the audience prompted
by cue cards. Foxy Loxy should sound sly. Rhythm instruments could be added for each character, if desired.
Booklist
Butler, Stephen. Henny Penny. New York: Tambourine Books, 1991.
Butlet's bright illustrations may inspire students to try their own.
Lobel, Arnold. ''The Ducks and the Fox." In Fables, 5. New York: Harper & Row, 1980.
This parallel tale is about two ducks who are nearly captured by a fox on their way to the pond.
Zimmerman, H. Werner. Henny Penny. New York: Scholastic, 1989.
The outrageous illustrations may prompt ideas for costumes and props.
Characters
Narrator Goosey Loosey
Henny Penny Turkey Lurkey
Cocky Locky Foxy Loxy

page_76
Ducky Lucky

page_77

Page 77
HENNY PENNY
Narrator: One day Henny Penny was eating some corn in the farmyard. Smack! Something hit
her on the head.
Henny Penny: Goodness! The sky is falling! I must go and tell the king. 1
Narrator: Henny Penny set off to see the king. Soon she met Cocky Locky.
Cocky Locky: Where are you going, Henny Penny? 2
Henny Penny: The sky is falling! I am going to tell the king! 3
Cocky Locky:May I come with you? 4
Henny Penny: Of course you may. 5
Narrator: So Henny Penny and Cocky Locky set off to tell the king that the sky was falling. Soon they met Ducky
Lucky.
Ducky Lucky: Where are you going, Henny Penny and Cocky Locky? 6
Henny Penny and Cocky Locky: The sky is falling! We are going to tell the king! 7
Ducky Lucky: May I come with you? 8
Henny Penny and Cocky Locky: Of course you may. 9
Narrator: So Henny Penny, Cocky Locky, and Ducky Lucky set off to tell the king that the sky was falling. Soon
they met Goosey Loosey.
Goosey Loosey: Where are you going, Henny Penny, Cocky Locky, and Ducky Lucky? 10
Henny Penny, Cocky Locky, and Ducky Lucky: The sky is falling! We are going to tell the king! 11
Goosey Loosey: May I come with you? 12
Henny Penny, Cocky Locky, and Ducky Lucky: Of course you may. 13
Narrator: So Henny Penny, Cocky Locky, Ducky Lucky, and Goosey Loosey set off to tell the king that the sky was
falling. Soon they met Turkey Lurkey.
Turkey Lurkey: Where are you going, Henny Penny, Cocky Locky, Ducky Lucky, and Goosey Loosey? 14

page_77
Henny Penny, Cocky Locky, Ducky Lucky, and Goosey Loosey: The sky is falling! We are going to tell the king! 15

page_78

Page 78
Turkey Lurkey: May I come with you? 16
Henny Penny, Cocky Locky, Ducky Lucky, and Goosey Loosey: Of course you may. 17
Narrator: So Henny Penny, Cocky Locky, Ducky Lucky, Goosey Loosey, and Turkey Lurkey set off to tell the king
that the sky was falling. Soon they met Foxy Loxy.
Foxy Loxy: Where are you going, Henny Penny, Cocky Locky, Ducky Lucky, Goosey Loosey, and Turkey Lurkey? 18
Henny Penny, Cocky Locky, Ducky Lucky, Goosey Loosey, and Turkey Lurkey: The sky is falling! We are going 19
to tell the king!
Foxy Loxy: But this is not the way to the king, Henny Penny, Cocky Locky, Ducky Lucky, Goosey Loosey, and 20
Turkey Lurkey. I know the way. Shall I show you?
Henny Penny, Cocky Locky, Ducky Lucky, Goosey Loosey, and Turkey Lurkey: Yes! Please show us the way! 21
Narrator: So they all followed Foxy Loxy to tell the king that the sky was falling. Soon they came to the door of
Foxy Loxy's cave.
Foxy Loxy: This is a shortcut to the king's. I will go first. You come after, Henny Penny, Cocky Locky, Ducky 22
Lucky, Goosey Loosey, and Turkey Lurkey.
Henny Penny, Cocky Locky, Ducky Lucky, Goosey Loosey, and Turkey Lurkey: Of course! 23
Narrator: Turkey Lurkey was first into the cave. Foxy Loxy grabbed him and ate him up. Goosey Loosey was next.
Foxy Loxy grabbed her and ate her, too. Ducky Lucky waddled into the cave next. Foxy Loxy grabbed him for his
next meal. But when Cocky Locky came into the cave, Foxy Loxy was full and a bit slower. He grabbed for Cocky
Locky, but missed. Cocky Locky ran out of the cave.
Cocky Locky: Henny Penny! Run home! The fox has eaten Turkey Lurkey, Goosey Loosey, and Ducky Lucky! 24
Narrator: So Cocky Locky and Henny Penny ran home. And the king never found out that the sky was falling.

page_79

Page 79
Kumba and Kambili
Summary
An African village is tormented by a lion-man that devours the people. A husband and wife, Kambili and Kumba, work
together to discover the lion-man's true identity and kill him.
Reading level: 3.
This is a tale of a husband and wife who collaborate to succeed. It provides an opportunity to discuss how it contrasts to
many of the more traditional folktales in which women wait to be rescued.
The presentation should be formal. However, the tale focuses on Kumba, Kambili, and the narrator. Other roles might
enter and exit as appropriate. Be certain the students are comfortable with the unfamiliar names.
Props
Traditional African dress for the participants would enhance the reading. The stage could include plants to indicate the
African setting. Key elements, such as the lock of hair, sandal, and statue could be placed onstage.
Delivery
The messengers should sound pleading. All other characters should sound competent and strong. Drums could be
played softly in the background to add tension throughout the presentation.
Booklist
Abrahams, Roger D., reteller. African Folktales. New York: Pantheon Books, 1983.
Sample a variety of African folktales in this extensive collection.
Hamilton, Virginia. The People Could Fly: American Black Folktales. Illustrated by Leo Dillon and Diane Dillon. New
York: Alfred A. Knopf, 1985.
Twenty-four tales of America provide an excellent complement to the tales of Africa.
Musgrove, Margaret. Ashanti to Zulu: African Traditions. Illustrated by Leo Dillon and Diane Dillon. New York: Dial
Books for Young Readers, 1976.
African traditions are explored from A to Z. This richly illustrated book provides an abundance of background
information about Africa.
Characters
Narrator Kumba

page_79
Messenger One Truth Seeker
Messenger Two Nya-ji
Kambili
Adapted from Wise Women: Folk and Fairy Tales from Around the World by Suzanne I. Barchers. Illustrated
by Leann Mullineaux. Englewood, CO: Libraries Unlimited, 1990, p. 207.

page_80

Page 80
KUMBA AND KAMBILI
Narrator: Each night when the sky turned dark, the Malinke people cowered in their huts. Each night an
evil magician changed into a lion, crept into the villages, and devoured the people. Messengers appealed to the great
warrior Kambili to find and kill the lion-man.
Messenger One: Great Kambili! Save our people. Find this lion-man and kill him. 1
Messenger Two: You are the bravest of our warriors. Please help us. 2
Kambili: It shall be done. 3
Narrator: Kambili's first task was to determine the identity of the lion-man. He would need magic, but his wife,
Kumba, was clever in these matters.
Kambili: Kumba, I need your help to learn who the lion-man is. Would you cast your magic spells and sing your 4
magic songs?
Kumba: Of course, Kambili. 5
Narrator: She wove her magic, and the spirits whispered the answer in her ear.
Kumba: Kambili, I have learned who the lion-man is, but he will not be easily killed. He is a wizard with great 6
magic.
Kambili: Let us go to Bari, the Truth Seeker. He will tell us what to do. 7
Narrator: The ancient Truth Seeker listened to Kumba and Kambili and told them what to do.
Truth Seeker: You will need hair from the lion-man's head and a sandal from his foot. Bury them deep in the earth 8
before the statue of Nya-ji. Nya-ji will then tell you how to destroy the lion-man.
Narrator: Kambili was dismayed at the thought of trying to obtain the hair and sandal, but Kumba had a plan.
Kumba: I will go to his hut and tell him I have fallen in love with him. I'll cook his dinner and put a sleeping potion 9
in his food. Once he is asleep I will cut a lock of his hair and take a sandal.
Kambili: I can't let you be in such danger. 10
Kumba: Hush, husband. I promise it will work. 11
Narrator: Kambili reluctantly agreed. Kumba went off and found the magician in his hut.

page_80

page_81

Page 81
Kumba: You have never realized it, but I have loved you from afar. I would be a great wife for you. May I cook for 12
you and show you what a fine wife I would be?
Narrator: The magician was flattered and let her cook for him. Soon he slept and she trimmed a strand of hair and
removed his sandal. She returned to her hut and Kambili.
Kumba: Look, husband, I have what we need. 13
Kambili: Well done, dear Kumba. I am glad you are safe. Let us bury these at the statue of Nya-ji. 14
Narrator: When they buried the hair and sandal, Nya-ji spoke.
Nya-ji: To slay this man, you must lure him to the grove of trees near the village of Jimini. There you can slay him. 15
Kambili: How will we lure the lion-man? 16
Kumba: We will need a trap. Hunters lure a lion by tying a young goat to a tree for bait. Because the lion-man seeks 17
human flesh, we must use human bait. We will go to the grove together. I will sing an enchanted song to entice him
to come while you hide. Once he approaches, you can kill him.
Kambili: I can't let you be in such danger. 18
Kumba: But husband, you will be the one in danger. You must kill him. If you are bold enough to fight this beast, I 19
am brave enough to set the trap.
Narrator: Kambili saw he had no choice. They went to the grove near Jimini. Kumba leaned against a tree while
Kambili hid in the bushes. As night fell, Kumba began to sing a magical song about how she was alone in the grove.
The lion-man heard the song and crept to the grove, drooling in his greed. He took care to send a sleeping spell
ahead of him. Kumba's magic protected her, but Kambili's head drooped in sleep on his chest. Kumba whispered to
him.
Kumba: Kambili, wake up. 20
Narrator: Kumba realized how strong the lion-man's magic was. She knew Kambili was lost to her unless she used
stronger magic. She sang a special song to awaken Kambili.
His eyes slowly opened. Then he jolted awake at the sight of the lion-man crouching to leap upon Kumba. He
bounded from the bushes, howling in rage, and threw himself in front of Kumba. Kambili raised his spear. The lion-
man, unable to check his leap, landed on the spear. As they watched, the lion's body changed to the body of the evil
magician, now dead.
Wearily they returned to the village to announce that the people were safe from the lion-man. Both Kumba and
Kambili lived to a fine old age, enjoying peace and their family together.

page_82

Page 82
The Peach Boy
Summary
A childless couple in this Japanese story are delighted when a peach opens to reveal a little boy. As a young man,
Momotaro leaves home to rid a nearby island of ogres and to return stolen goods to the people. His kindness to a dog,
monkey, and pheasant are returned when they help him succeed.
Reading level: 3.
This tale demonstrates the power of working together and good winning over evil. The script could be introduced with
other illustrated Japanese tales or legends. Staging could be formal. The man and woman could exit after Momotaro sets
off on his journey, and the animals could join him onstage for their roles.
Props
The old woman and man could be dressed in plain, country clothing. Momotaro could be dressed in a peach-colored
shirt. The dog could have a collar and tail. The monkey could be dressed in brown and have a swishing tail. The
pheasant could be adorned with feathers.
Delivery
The parents should sound elderly and loving. Momotaro should sound brave and young. The animals should sound
adventurous and courageous.
Booklist
Lobel, Arnold. "The Mouse at the Seashore." In Fables, 40. New York: Harper & Row, 1980.
This related tale is of a mouse who also leaves home, faces danger, and finds contentment.
Sakade, Florence, ed. "The Peach Boy." In Japanese Children's Favorite Stories, 9. Rutland, VT: Charles E. Tuttle,
1958.
Read aloud this version and other tales of Japan.
Shute, Linda, reteller. Momotaro: The Peach Boy. New York: Lothrop, Lee & Shepard, 1986.
This retelling is sprinkled with Japanese terms. Source notes and a glossary provide useful information.
Characters
Narrator Dog
Man Monkey

page_82
Woman Pheasant
Momotaro

page_83

Page 83
THE PEACH BOY
Narrator: Long ago there lived an old man and old woman in a village in Japan. They were fine people,
but they had no children. One day they were eating their breakfast.
Man: What are you doing today, my wife? 1
Woman: I am going to the stream to scrub clothes. What are you going to do, my husband? 2
Man: I am off to the mountains to cut some firewood for the stove. 3
Narrator: The man went to the mountains and the woman went to the stream. When the woman began to scrub her
clothes, she noticed something strange floating in the river. A big, ripe peach was floating right to her.
Woman: This is my lucky day! I'll pull the peach to me with this stick. What a fine big peach this is! Wait until my 4
husband sees it.
Narrator: The old woman could hardly wait for her husband to come home.
Woman: Husband, come quickly. Come see what I have found! 5
Man: What is it, wife? Is something the matter? 6
Woman: Look at this peach! Isn't it the finest you have ever seen? 7
Man: How did you buy a peach like this? 8
Narrator: The old woman told him how it came floating down the stream.
Man: This is a fine piece of fortune. I have worked hard today. This will make a wonderful dinner for me. 9
Narrator: Just as the old man was about to cut the peach with his knife, he heard a voice.
Momotaro: Please don't cut me. 10
Man: My goodness! What is this I hear? 11
Narrator: Suddenly the peach split in half, and a little boy jumped out.
Man and Woman: Goodness gracious! 12

page_83

page_84

Page 84
Narrator: The little boy ate one half of the peach and then ate the other half. The old man and woman decided to call
him Momotaro, meaning Boy of the Peach. They were delighted to have a child and took great care of him. He
quickly grew into a fine young man. One day he asked his mother for a favor.
Momotaro: Mother, please make me some cakes. 13
Woman: Why, my son? 14
Momotaro: You have been very good to me. It is time I did some good of my own. I need the cakes for a journey. 15
Woman: But son, where are you going? 16
Momotaro: To the Island of the Ogres. They have stolen from many people. I hope to free the land of those 17
creatures and return the belongings to the people. Then they can live without fear.
Man: That is a fine idea. I wish you well. 18
Narrator: Momotaro's mother made him the cakes. Soon he was ready to leave.
Man and Woman: Good-bye, son. Take care. 19
Momotaro: Don't worry, my dear parents. I will be back soon. 20
Narrator: Momotaro hurried away. He was anxious to get to the Island of the Ogres. He was walking through the
forest when he began to feel hungry. He sat under a pine tree and unwrapped his cakes. Suddenly he saw a huge dog
slinking toward him. The dog spoke to him.
Dog: Momotaro, what do you have that smells so good? 21
Momotaro: I have a cake my mother made for me this morning. 22
Dog: If you give me one of your cakes, I will come with you to the Island of the Ogres. I can help you there. 23
Momotaro: You are welcome to the cake. I appreciate your offer of help. 24
Narrator: Momotaro and the dog continued on their way. Suddenly something jumped in front of Momotaro. It was
a monkey.
Monkey: Momotaro! I hear you are going to the Island of the Ogres. I would like to go with you to help. 25
Dog: Who needs a monkey? I am going to help Momotaro! 26

page_85

Page 85
Momotaro: There is no need to argue. You may both come. Here is a cake for you, monkey friend. 27
Narrator: The three continued on their journey. Suddenly they were stopped by a large pheasant. The dog leaped at
it, but the pheasant fought back. Momotaro stopped the fight. He gave the pheasant a cake.
Pheasant: Thank you, Momotaro. I would like to go with you to the Island of the Ogres. I think I can be of help to 28
you.
Narrator: The four of them continued down the path, chatting and becoming friends. Soon they came to the sea.
Momotaro found a boat, and they climbed in it. They came to the island, where the ogres' castle was surrounded by
high walls and a big gate. Momotaro studied the castle and explained his plan to his friends.
Momotaro: Pheasant, you fly over the castle gate and peck at the ogres. Monkey, climb over the wall and pinch the 29
ogres. The dog and I will break the bars and come to help when possible.
Narrator: The pheasant flew over the gate and pecked at the ogres. The monkey climbed over the wall and pinched
the ogres. Momotaro and the dog broke the bars and fought hard and long. Soon all the ogres were either dead or
taken prisoner.
Momotaro: Now, my friends. Let us look at their treasures. 30
Narrator: There were many jewels and fine goods. Momotaro returned the stolen goods to the owners and told the
people they need never fear the ogres again. There were many riches left for Momotaro and his friends. He returned
home to the old man and woman. They were very happy to see him, and they all lived happily for many years.

page_86

Page 86
The Tinderbox
Summary
In this story by Hans Christian Andersen, a soldier returns from the war and agrees to help a witch retrieve her
tinderbox that is hidden in a tree full of riches. The soldier kills the witch and uses the tinderbox for his own needs. He
falls in love with a princess, is nearly hanged, but is rescued once again by the magic tinderbox.
Reading level: 3.
This is one of the longer and more violent of the scripts. The soldier gets riches and a princess, but he kills to succeed.
Many of Andersen's stories make a point about the unfairness of the world. Review stories such as ''The Ugly
Duckling," "The Emperor's New Clothes" (included in this collection of scripts and in Hague below), "The Match
Girl" (see Hague below), and "The Steadfast Tin Soldier." Discuss how these tales compare to this story.
Students will need to understand what a tinderbox is. There are a variety of parts, but the narrator and soldier have the
longest readings. Consider having the witch exit after her role and having the other small roles enter as needed.
Props
The soldier could wear a backpack and carry a plastic sword. The witch could be dressed in rags or with a black hat.
The townsperson should be dressed simply. The dog could have a collar. The royal family should be dressed in regal
style, and the lady-in-waiting should be dressed simply.
Delivery
The witch should sound wheedling and later defiant. The soldier should sound confident. The dog should sound
subservient. The princess should sound sweet, while her parents sound royal. A woodblock could signal the arrival of
each dog.
Booklist
Andersen, Hans Christian. "The Emperor's New Clothes," "The Little Match Girl," and "The Ugly Duckling." In
Michael Hague's Favourite Hans Christian Andersen Fairy Tales, 106, 113, 118. Illustrated by Michael Hague. New
York: Henry Holt, 1981.
Compare these tales to the messages in this script.
Mayer, Marianna, reteller. The Spirit of the Blue Light. Illustrated by Laszlo Gal. New York: Macmillan, 1990.
This lavishly illustrated, oversize book is a variant of "The Tinderbox."
Characters
Narrator Townsperson Queen

page_86
Witch Dog King
Soldier Princess Lady-in-Waiting

page_87

Page 87
THE TINDERBOX
Narrator: A soldier came marching down the road. He had been in the war and was on his way home.
He wore his pack on his back and his sword at his side. He marched left, right, left, right. As he marched, he passed
a witch.
Witch: Good evening, young man. I see that you are a soldier with your sword and backpack. How would you like 1
to have all the money you want?
Soldier: Yes, I would be pleased with having lots of money. Thank you. 2
Witch: See that big tree? Climb to the top of it and slide down into its hollow trunk. I'll tie a rope around you so I 3
can pull you out again.
Soldier: But what will I do down there? 4
Witch: At the bottom you will see a large hall with many lamps burning. There will be three doors with keys in the 5
locks. Open the first door. On a chest will be a dog with big eyes. Take my apron and spread it on the floor. Put the
dog on it, and it won't bother you again. Open the chest and take as many copper coins as you wish. For silver, go
into the next room. Put that dog with bigger eyes on my apron, and you can take the silver from the chest. If you
prefer gold, go in the third room. Put that dog with huge eyes on the apron, and you can take as much gold as you
want.
Soldier: But I don't understand. What am I to do for you? You must want something. 6
Witch: There is only one thing I want: an old tinderbox that my grandmother left the last time she was down there. 7
Soldier: That is no problem. Tie the rope around my waist, and let's begin. 8
Narrator: The witch tied the rope around his waist.
Witch: You are tied tight. Take my apron and be careful. 9
Narrator: The soldier climbed the tree, slid down into the hollow trunk, and found the room with the burning lamps.
He unlocked the first door.
Soldier: Good day to you, dog. 10
Narrator: He put the dog on the apron, filled his pockets with copper coins, closed the chest, and put the dog back
on it. He went to the second room.
Soldier: Another fine dog! Don't worry, I won't bother you. 11

page_88

Page 88
Narrator: He put the dog on the apron as before. When he saw the silver coins, he emptied his pockets of the copper
coins. He filled his pockets and backpack with the silver coins, closed the chest, put the dog back, and left the room.
Then he entered the third room. This dog was huge with great, staring eyes. The soldier moved carefully and quietly.
Soldier: Aren't you the handsome dog! 12
Narrator: He took off his cap and stared at the dog in fear. Because the apron had worked before, he set the dog on
the apron and opened the chest.
Soldier: My goodness! Look at all that gold! 13
Narrator: He emptied his pockets and backpack of the silver and filled them with gold. He even filled his boots and
cap. He returned the dog to the chest and called up to the witch.
Soldier: Pull me up now. I am ready. 14
Witch: Do you have my tinderbox? 15
Soldier: You're right. I have forgotten it. I'll get it. 16
Narrator: He found the tinderbox, and the witch pulled him up.
Soldier: Why do you want the tinderbox? 17
Witch: That's not your concern. You have your money. Give me my tinderbox. 18
Narrator: The soldier was feeling courageous with his newfound wealth.
Soldier: Tell me why you want the tinderbox, or I will cut your head off with my sword. 19
Witch: No! Mind your own business. 20
Narrator: The soldier drew his sword and cut off her head. He put his gold in her apron which he used as a bundle,
put her tinderbox in his pocket, and set off to town.
When he came to an inn he stayed in the finest room, ate the best food, and purchased the finest clothes. People
were happy to tell him about the town and the king's lovely daughter.
Soldier: I would like to see her. 21
Townsperson: But no one sees her. She lives in a castle surrounded by walls and a moat. A fortune teller said she 22
would marry a simple soldier, and the king is determined that this will not happen.

page_89

Page 89
Narrator: The soldier thought this was all very interesting and still hoped to meet the king's daughter. He continued
to live in a fine manner until he had only two coins left. He then had to move into a tiny room at the top of the inn
where it was very dark. One night he remembered there was a candle in the tinderbox. He took it out, and struck the
flint once on the tinderbox. Suddenly the first dog from the room in the tree came through the door.
Dog: What do you command me to do, master? 23
Soldier: What is this! Is this tinderbox magic? Let's put it to the test. Dog, bring me some money. 24
Narrator: In a flash the dog was back with a sack of copper coins in his mouth.
Dog: Here is your money, sir. 25
Soldier: Why, thank you! This is a fine turn of events. Let's see what happens if I strike the tinderbox twice. 26
Narrator: The soldier discovered that striking the tinderbox twice brought him the second dog who could collect
silver for him. Three strikes brought the third dog and gold. Soon he was living the rich life again. But he wasn't
completely content. He began to think about the princess. He took his tinderbox and struck the flint to it.
Soldier: I would like to see the princess, if only for a minute. Please bring her to me. 27
Dog: I can do that. 28
Narrator: The dog brought the sleeping princess on his back. The soldier fell instantly in love with her and kissed
her as she slept. The next morning the princess was having breakfast with the king and queen.
Princess: I had the strangest dream last night. 29
Queen: What was that, dear? 30
Princess: I dreamed that a dog came to my room and carried me away. There was a soldier in a fine room who 31
kissed me.
King: Just a dream, my dear. 32
Narrator: But the queen was worried and sent a lady-in-waiting to watch over the princess while she slept. Sure
enough, the soldier sent the dog again, but this time the lady-in-waiting raced after the dog. When she saw where
the dog took the princess, she marked a cross on the house with a piece of chalk.
Lady-in-Waiting: Now we can get to the bottom of this in the morning. 33

page_90

Page 90
Narrator: But when the dog returned, it saw the white cross on the door. It took a piece of chalk and marked all the
houses in the town. The next morning the king, queen, and lady-in-waiting came to the first house.
Lady-in-Waiting: Here it is! 34
Queen: No, here it is! 35
King: No, this must be it! 36
Narrator: Everywhere they looked they saw a house with a white cross on it. They soon gave up, but the clever
queen thought of a plan. She sewed a little bag filled with buckwheat and tied it around the princess's waist. Then
she cut a tiny hole in the bag so that the grains fell out one at a time. When the dog took the princess the next night,
it didn't notice the trail of buckwheat. In the morning the king and queen easily found the soldier. They had him
arrested immediately.
Soldier: What a fix I am in. I love the princess so much. Yet tomorrow I am to be hanged. 37
Narrator: Early the next morning the townspeople gathered for the hanging. A boy ran by the soldier's window.
Soldier: Boy! Wait a minute! There won't be a hanging until they come for me. Would you take a minute and run to 38
my room in the inn and fetch me my tinderbox? There will be four copper coins for you if you do. You have plenty
of time before the hanging.
Narrator: The boy had never had one coin, let alone four. He ran for the tinderbox and brought it to the soldier.
Soon the soldier was delivered to the gallows. As is the custom, he asked if he could have one last request. His
request was to be allowed to smoke a pipe of tobacco. The king couldn't refuse. The soldier struck the tinderbox
once, twice, and then three times. The three dogs stood before him.
Soldier: Help me, dogs. I don't want to hang! 39
Narrator: The dogs began to rip and tear at the guards. The biggest dog threw the king and queen high into the air.
The guards and people shouted for the soldier to be their king. He called off the dogs and rode in the carriage back
to the castle.
The soldier called out to the princess and asked her to be his wife. She agreed that marrying the soldier would suit
her very well. They had a fine wedding and a feast that lasted a week. Of course, the dogs were the guests of honor
at the table and every meal thereafter.

page_91

Page 91
The Ugly Duckling
Summary
A mother duck is surprised to find that her new brood of ducklings includes a large, ugly duckling. The ugly duckling
runs away, endures a difficult winter, and finally recognizes that he is a beautiful swan.
Reading level: 3.
This autobiographical tale by Hans Christian Andersen contains an important message about humble beginnings and
being different. Share illustrated versions of the tale and discuss differences in treatment. Presentation can be formal,
with readers sitting on stools or standing.
Props
Because this is a serious story, the presentation should be simple and straightforward. Props might include plants or
drawings that indicate a lake. The ducks could be dressed in yellow. The ugly duckling could be dressed in white. The
old woman and farmer should be dressed accordingly.
Delivery
Mother Duck should sound loving and protective. Duckling One should sound young. Other Duck should sound cruel
and derisive. Old Duck and Wild Duck should sound kindly. Ugly Duckling should sound wistful, then proud. The old
woman and farmer should sound pleased at their luck.
Booklist
Andersen, Hans Christian. "The Ugly Duckling." In Michael Hague's Favourite Hans Christian Andersen Fairy Tales,
118. Illustrated by Michael Hague. New York: Henry Holt, 1981.
Compare this complete version to the adaptation of the script.
Andersen, Hans Christian. The Ugly Duckling. Retold and illustrated by Troy Howell. New York: G. P. Putnam's Sons,
1990.
Lush illustrations enhance this poignant retelling.
Characters
Narrator Wild Duck
Mother Duck Ugly Duckling
Duckling One Old Woman

page_91
Old Duck Farmer
Other Duck

page_92

Page 92
THE UGLY DUCKLING
Narrator: It was a beautiful summer day. A duck was waiting on her nest for her eggs to hatch. One by
one, the eggs cracked, and the ducklings began to peep.
Mother Duck: Quack! Quack! Look around you and see the world! 1
Duckling One: How big the world is! 2
Mother Duck: This is just a piece of the world. It is much bigger, with fields and lakes. But wait, the biggest egg has 3
not hatched. I wonder how long it will take.
Narrator: An old duck had arrived to see the new brood.
Old Duck: Let me see that egg that hasn't hatched. Aha! No wonder! It is a turkey egg. I had one of those once. 4
Those turkeys are impossible. They won't go near the water. You may as well forget it and just teach your little ones
to swim.
Mother Duck: I have waited this long. I suppose I can wait a bit longer. 5
Narrator: She sat on the egg again, and by and by it began to crack. The mother duck looked hard at him.
Mother Duck: He's very big and doesn't look like his brothers. I wonder if he could be a turkey after all. Well, I'll 6
know if he won't go into the water.
Narrator: The next day the mother duck took her brood to the pond. One by one they disappeared into the water,
with their heads bobbing up like little corks. Even the big, ugly one swam around the pond.
Mother Duck: That is no turkey. It swims too well. Listen, children. Follow me. We are going to the henyard so you 7
can meet everyone. When we get there be sure to waddle like good ducklings.
Narrator: When they got to the henyard the other animals gathered around to see the new family. One duck took an
immediate dislike to the big duckling.
Other Duck: Look at that big, ugly duckling. We don't need him here. 8
Narrator: The other duck bit the ugly duckling. The mother got very angry.
Mother Duck: Leave him alone! He hasn't hurt you. 9
Other Duck: He is ugly and not one of us. That is reason enough to bite him. 10
Old Duck: Leave the poor thing alone. He may be ugly, but the other ducklings are lovely. 11

page_92

page_93

Page 93
Mother Duck: There is nothing wrong with him except for being in the egg a bit too long. He swims quite well. He 12
will be fine once the others have grown as large as he is.
Old Duck: Perhaps he will look better later. Meanwhile, make yourselves at home here in the henyard. 13
Narrator: The mother duck and her ducklings settled in, but the ugly duckling was not happy there. The others
chased and tormented him. Even his mother wished he would go away so he wouldn't be teased so much. Finally
the ugly duckling ran away. He flew over the bushes and walked a long way. Finally, he came to a big swamp
where some wild ducks lived. One spoke to him.
Wild Duck: What kind of bird are you? 14
Ugly Duckling: I am afraid I really don't know. 15
Wild Duck: You are ugly, but that doesn't matter to us. 16
Narrator: The ugly duckling only wanted to swim, eat, and drink in peace. But he wasn't that lucky. Suddenly,
hunters began shooting at the wild ducks. The ugly duckling lay quietly until the shooting stopped. He then dashed
out of the swamp as quickly as he could. Soon he came to a hut. An old woman saw him.
Old Woman: What luck! Now we'll have duck eggs, unless you're a drake. You can stay a few weeks. If you don't 17
lay eggs by then, you'll have to leave.
Narrator: The new yard was fine, but the duckling soon realized he missed the water.
Ugly Duckling: I think I'll try to find a lake. 18
Narrator: The duckling found a lake, but the other ducks ignored him because he was so ugly. One evening a flock
of beautiful birds arrived at the lake. They had white feathers and long, graceful necks. Fall had arrived, and these
swans were on their way to a warmer climate.
Ugly Duckling: Look at those beautiful birds. How I wish I could be like them. 19
Narrator: But the duckling stayed at the pond. Soon it became so cold that the lake froze around him. A farmer
found him, cut him free, and took him home.
Farmer: Look what I have brought home, wife! 20
Narrator: The wife and children made such a fuss over the duckling that it ran out the door. Somehow it made the
best of things and survived the winter. The next spring it felt strength from the warm earth and sun. It spread its
wings and flew until it saw some swans in a lake.

page_94

Page 94
Ugly Duckling: I shall fly over to those lovely birds. I know I am ugly, but even if they kill me it will make no 21
difference.
Narrator: He landed on the water and sat quietly. The swans began to swim to meet him. The ugly duckling felt so
ashamed in their presence that he ducked his head. But when he did, he saw his reflection. He was amazed.
Ugly Duckling: Why, I am not an ugly duckling! I am a swan! It doesn't matter where I was born or who my mother 22
was. I am truly a swan!
Narrator: The beautiful swan ruffled his feathers and swam to meet the other swans. From that day on he lived
proudly and happily with his new friends.

page_95

Page 95
ALPHABETICAL INDEX TO TALES
Baba Yaga (Russian, RL2), 33
Belling the Cat (Greek, RL1), 7
The Bremen Town Musicians (German, RL2), 37
Cinderella (French, RL3), 67
The Emperor's New Clothes (Danish, RL3), 72
Goldilocks and the Three Bears (English, RL2), 41
The Half Chick (Spanish, RL2), 44
Henny Penny (English, RL3), 76
Jack and the Beanstalk (English, RL1), 9
Kumba and Kambili (African, RL3), 79
The Lion and the Mouse (Greek, RL1), 14
The Little Boy Who Went to the North Wind (Scandinavian, RL2), 47
Little Red Riding Hood (German, RL2), 50
The Old Woman and Her Pig (English, RL1), 16

page_95
The Peach Boy (Japanese, RL3), 82
The Three Billy Goats Gruff (Scandinavian, RL1), 19
The Three Little Pigs (English, RL1), 22
The Three Wishes (English and French, RL2), 54
The Tinderbox (Danish, RL3), 86
Tom Tit Tot (English, RL2), 57
The Tortoise and the Hare (Greek, RL1), 25
The Town Mouse and the Country Mouse (Greek, RL1), 28
The Ugly Duckling (Danish, RL3), 91
The Wolf and the Seven Little Kids (German, RL2), 62

page_97
< previous page page_97

Page 97
ABOUT THE AUTHOR
Suzanne I. Barchers received her bachelor of science degree in elementary education from Eastern Illinois University,
her master's degree in education in reading from Oregon State University, and her doctor of education degree in
curriculum and instruction from the University of Colorado, Boulder.
Ms. Barchers has been an educator and administrator for more than twenty years. She is a contributing author to
Learning magazine and is the author of Creating and Managing the Literate Classroom; Wise Women: Folk and Fairy
Tales from Around the World; and Cooking Up U.S. History.
Ms. Barchers is on the adjunct faculty at the University of Colorado, Denver, and is acquisitions editor for Teacher
Ideas Press, a division of Libraries Unlimited. She continues to write in the area of language arts.

page_97
< previous page page_97

Readers Theatre For Beginning Readers

Transféré par

Informations du document

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Readers Theatre For Beginning Readers

Transféré par

Droits d'auteur :

Formats disponibles

cover

cover next page >

file:///F|/1563081369/files/cover.html [29/04/2009 22:35:19]

< previous page page_iii next page >

Readers Theatre for Beginning Readers

Teacher Ideas Press

< previous page page_iii next page >

file:///F|/1563081369/files/page_iii.html [29/04/2009 22:35:19]

< previous page page_iv next page >

Copyright © 1993 Suzanne I. Barchers

TEACHER IDEAS PRESS

Library of Congress Cataloging-in-Publication Data

< previous page page_iv next page >

file:///F|/1563081369/files/page_iv.html [29/04/2009 22:35:20]

< previous page page_v next page >

The Role of Readers Theatre 1

Preparing the Scripts 1

Beyond Readers Theatre for Beginning Readers 4

Belling the Cat (Greek) 7

Jack and the Beanstalk (English) 9

The Lion and the Mouse (Greek) 14

The Old Woman and Her Pig (English) 16

The Three Billy Goats Gruff (Scandinavian) 19

The Three Little Pigs (English) 22

The Tortoise and the Hare (Greek) 25

The Town Mouse and the Country Mouse (Greek) 28

file:///F|/1563081369/files/page_v.html (1 of 2) [29/04/2009 22:35:21]

Baba Yaga (Russian) 33

The Bremen Town Musicians (German) 37

Goldilocks and the Three Bears (English) 41

The Half Chick (Spanish) 44

The Little Boy Who Went to the North Wind (Scandinavian) 47

Little Red Riding Hood (German) 50

The Three Wishes (English and French) 54

Tom Tit Tot (English) 57

The Wolf and the Seven Little Kids (German) 62

< previous page page_v next page >

file:///F|/1563081369/files/page_v.html (2 of 2) [29/04/2009 22:35:21]

< previous page page_vi next page >

The Emperor's New Clothes (Danish) 72

Henny Penny (English) 76

Kumba and Kambili (African) 79

The Peach Boy (Japanese) 82

The Tinderbox (Danish) 86

The Ugly Duckling (Danish) 91

Alphabetical Index to Tales 95

About the Author 97

< previous page page_vi next page >

file:///F|/1563081369/files/page_vi.html [29/04/2009 22:35:21]

< previous page page_vii next page >

< previous page page_vii next page >

file:///F|/1563081369/files/page_vii.html [29/04/2009 22:35:22]

< previous page page_1 next page >

The Role of Readers Theatre

Preparing the Scripts

file:///F|/1563081369/files/page_1.html (1 of 2) [29/04/2009 22:34:15]

< previous page page_1 next page >

file:///F|/1563081369/files/page_1.html (2 of 2) [29/04/2009 22:34:15]

< previous page page_2 next page >

file:///F|/1563081369/files/page_2.html (1 of 2) [29/04/2009 22:34:17]

< previous page page_2 next page >

file:///F|/1563081369/files/page_2.html (2 of 2) [29/04/2009 22:34:17]

< previous page page_3 next page >