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Peter Pan Script PDF
Peter Pan Script PDF
Barrie
A Play
For Teachers and Students!
By
Kathryn Schultz Miller
Stars: 4 Teachers
Winkie (13 lines, m/f)
Sparkle (12 lines, m/f)
Flashy (12 lines, m/f)
Stellar (12 lines, m/f)
Family: Students
Mother (9 lines, f)
Father (11 lines, m)
Wendy (39 lines, f) *
John (17 lines, m)
Michael (21 lines, m)
Nana (8 lines, f)
If you would like to divide the large roles of Peter and Wendy, the following suggestions
are offered and notes on transitions are found on the following pages:
CD Sound Cues
CD soundtrack available from Childrens Theatre Plays.com
3 1:17 Indians, Tiger Lily dance Pg 14, this is what they saw.
10 2:22 Magical music, into Pg 29, Oh, Yes! (Plays through END)
Curtain call (pirate music)
Cues have second of silence at the beginning and 10 seconds at the end (except last). Times shown
include silence. Some cues may be longer than needed so they can play through your particular staging
and fade out at the end of the action or when the scene changes.
Start the play with Cue 1, then use Pause/Fwd/Play controls for each cue:
1. Press PAUSE at the end of the cue or fade out VOLUME then PAUSE.
2. Press FWD (or SKIP, right arrows) to set at next cue.
3. Press PLAY to start the next cue (at the appropriate line, action, as indicated)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
5
Staging Notes
This script has been written especially for you and your students. All aspects of the
production have been kept simple so that you can concentrate on the fun part --
performance! If you have the time and resources to build elaborate sets and costumes,
please dont hesitate to do so! But Peter Pan may be performed without traditional
scenery. Pantomime* and imagination can help simplify set, props and costumes. Here
are some suggestions for a fun, stress-free production.
OPEN CONCEPT: This play has been adapted to require the fewest props, costumes
and set pieces as possible. It does not include a backstage area, all performers may sit
or stand in full view of the audience. The script refers to a playing area rather and a
stage. There will be times in the play when the performers who are not on stage can
contribute (such as providing wind for flying). This takes a little of the fear of public
performance away as well as lending a sense of teamwork and ensemble.
SET PIECES: Instead of a backdrop consider building small pieces that stand alone, that
can be used in more than one scene. You will need several pieces of furniture in the
playing area. You may use ordinary chairs and stools (anything that you have available)
to create levels and scenes. If you have the resources, a backless bench and sturdy
wooden boxes can be built and painted fancifully to complement your costumes and set
pieces. Have the students move these as needed (IE: benches can be chairs in the Lost
Boys home and also be used as the plank on Pirates ship.) These pieces can moved
around the area by STARS who handle the storytelling, or even by the characters
themselves. Often just moving one piece to another area of the playing area is enough to
signal to the audience that there is a change of scene.
PERFORMANCE SPACE: If the play is to take place in a classroom, move all the desks
to the back of the room. If this does not allow sufficient space for the performance, push
them against 3 sides and let the center of the room be part of the stage or playing area.
A larger room is suggested, however. A gym or cafetorium will probably give you more
space than needed. In that case use just half of the room and arrange audience chairs in
a horseshoe shape around the playing area.
PERFORMING IN THE AUDIENCE: Almost any playing area will have exits and
entrances behind the audience. Have the performer simply run up the aisle and exit out
the rear door. This is especially effective for a chase scene where the performer can be
pursued through one door and enter through another. In this play the flying scenes are
indicated by Peter Pan and others flying through the performance room and out the back
door. Such staging is a lot of fun, extremely effective and very easy to do. If such staging
is impossible use traditional entrances and exits.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
6a
Greek Chorus*. (Occasionally, CHORUS members are given short on-stage tasks to do,
in this case the STARS make the water for the Lagoon*.)
COSTUME RACK: In an upstage corner will be a hat stand, or several hat stands. Any
construction of hooks will do to allow you to hang costume pieces (see below) that will be
put on by the children as they assume their roles. Each player may have their props near
their chair so that they will be ready when needed.
COSTUMES: There is a Japanese theatrical tradition of dressing actors all in black and
using masks or costume pieces to indicate character. What a great idea! Have your
young performers wear all black or dark blue. They will then use pieces such Pirate hats,
Lost Boys hats, bows and arrows etc. to identify their characters. Remember its more
important (and more fun!) for your students to convey their characters personality through
acting rather than costume.
Free yourself from worry about whether or not its good. No one is paying big ticket
prices; no one expects a Broadway success. The key to making this project meaningful is
to put the emphasis on process; realize that rehearsal and practice are as much a part of
the experience as the actual performance. Encourage fun and you will free the children
from embarrassment and stress. If the kids cant learn the lines let them carry a script or
use their own words to convey the characters message. If they seem to wander the
stage, let them explore where they want to go they might surprise you with a wonderful
idea. In every aspect of the process give them the wings to create and think. Give them a
comfortable, supportive place to go and their confidence and self-expression will soar!
Above all else, make sure you are having fun. If youve never directed a play before, dont
worry. Its all just pretend -- you cant do it wrong! The quality of your experience is every
bit as important as that of the children. You need the joy of self-expression too, that
doesnt go away when we grow up. So give yourself a break. And when all else fails,
laugh!
Thank you so much for choosing Peter Pan. Its been a pleasure to hear from you and to
receive accounts of your wonderful productions. I cant think of anything more rewarding
than to create this version of Peter Pan for you and your students! Break a leg!
KSM
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
7
PETER PAN
AT RISE: We hear sounds of a magical harp, gentle like a lullaby. STARS enter, they
sit together in a row. They stretch and yawn and promptly fall asleep. Peter bounds on
stage or onto playing area and crows.
(He bows theatrically. TINKER BELL enters and flits around PETER. She uses
a kazoo to talk, making the sounds of the words she would use if she could
speak.)
Er-er-er-errrrrrrrr!!!!!! For what could be more wonderful than a story about me?
You see it all began this way Once up a time there were four little stars
sleeping in the sky
(As he names the STARS, TINKER BELL dances around them and wakes them
up.)
And Sparkle
SPARKLE: Ow.
(TINKER BELL pulls star dust [confetti] from her pocket and sprinkles it on
FLASHYS head.)
And Stellar.
(TINKER BELL taps each with her wand and they all snap to attention, wide
awake. TINKER BELL whispers in PETERs ear: Tell them who you are.)
PETER: Me? Why everyone knows who I am! Im Peter Pan, of course!
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
8
WINKIE: Big deal.
PETER: Hey! Im the leader and what I say goes! And I say its time for you to
tell my story.
(PETER isnt sure what to do, TINKER BELL tugs at his sleeve and whispers in
his ear.)
(PETER and TINKER BELL go to sit on floor in front of the first row. PETER
speaks to audience member nearby.)
MICHAEL: Wow-wow-wow-wow!
(JOHN runs in wearing tri-cornered pirate hat and an eye patch, pretending to be
a pirate. He chases MICHAEL around the room.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
9
JOHN: (In his best pirate voice.) Hard-ee, har-har! Ive got ye now, mate! Argh!
MICHAEL: (Struggling to free himself from JOHNS grasp.) Let me go you miserable
pirate!
WENDY: (To PETERS SHADOW.) Oh, dear youre much too large to put in the
drawer. Come help me with this shadow, will you, boys?
(PETER starts to crow but TINKER BELL claps a hand to his mouth.)
JOHN: Of course!
MICHAEL: Uh-oh.
FLASHY: Nana was a dog but the children could always understand what she
said.
NANA: What are you hiding, children? (Like a bark.) What! What! What!
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
10
WENDY: Oh, nothing, Nana. We were just getting ready for bed.
(FATHER enters with a great oversized tie all messed up in silly knots.)
FATHER: If this tie wont tie we cant go to the party and if we cant go
to the party Ill lose my job and if I lose my job well all have to live in the street!
FATHER: Youre not a child anymore Wendy, youre a young lady. And its time
for Nana to sleep outside like all the other dogs.
ALL: What?
FATHER: Out!
NANA: (Angry, taking bottle and spoon from her apron.) Ruff!
(NANA tearfully gives each a spoonful of medicine, all are near tears. NANA
looks hopefully to FATHER. He points.)
Out!
NANA: Ruff! (She gathers her dignity and exits with head held high.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
11
Darlings. You know your father means well. He loves you very much.
WENDY: But he said I have to grow up and I dont want to grow up, Mother.
MOTHER: Nobody wants to grow up, Wendy. But we all have to someday.
Now get a good nights sleep and well see you in the morning. And dont worry,
Nana will be just fine.
(From off stage but still visible, NANA gives a great howl of sadness.)
NANA: Oooowwwooooooo!!!!!!!!!!!!!
(NANA covers her face with her paws and whimpers. MOTHER kisses the
CHILDREN and exits. PETER hops up from his place in audience and joins the
show.)
I WONT GROW UP SONG
PETER #2 AND WENDY # 2
PETER : Are you going to let them get away with that?
WENDY : Hello, Tinker Bell. (To JOHN and MICHAEL.) Shes a fairy.
(TINKER BELL throws a little confetti over her head to prove shes a fairy.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
12
PETER: You can come with me to Neverland!
PETER: Tell me what you like more than anything else on earth!
MICHAEL: Indians!
JOHN: Pirates!
WENDY: Mermaids!
PETER: We have all of those on the Neverland Island. And also there are lost
boys.
PETER: Because they dont have a mother. Hey! You could be our mother!
TINKER BELL: (Agrees with WENDY. Kazoo: Thats right she cant
come.)
PETER: Youd make a great mother! Wed all be so happy to have you there.
And in Neverland you never grow up!
TINKER BELL: (Agrees. Kazoo: Thats right they cant fly. Its very dangerous.)
(PETER goes to SHADOW. SHADOW stands behind PETER and mirrors his
movements. PETER puts his hands on his hips, SHADOW does the same.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
13
PETER lifts his cap and scratches the top of his head, SHADOW does the
same. PETER takes big steps across the playing area, SHADOW follows.
Suddenly PETER turns and grabs SHADOW, who squiggles trying to get lose.)
(She rushes to him with pretend needle and thread. She sews SHADOWs feet
to PETERs feet. Until he exits, SHADOW stays close behind PETER mimicking/
mirroring his gestures.)
Youre going to be the best mother ever! (To MICHAEL and JOHN.) Ready to
fly?
PETER: You just think wonderful thoughts and they lift you in the air. (To
MICHAEL.) You go first.
PETER: Silly me! I forgot the fairy dust. Tinker Bell, sprinkle them with your
fairy dust.
(TINKER BELL crosses her arms and shakes her head: No.)
PETER: If you dont, I wont let you come with me on any more adventures.
(Less sure of herself, she shakes head: No. PETER puts out his hand toward
her head. She knows what this means and runs a bit. PETER catches up and
rubs the top of her head.)
(WENDY, JOHN and MICHAEL stand on benches and close their eyes.)
WENDY: Mermaids!
JOHN: Pirates!
MICHAEL: Indians!
PETER: Now we just need one more thing. A big gust of wind.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
14
PETER: Thats a great idea, Tink. Can you blow toward them to make them
fly? When I count to three blow as hard as you can. One, two, three!
(The gust causes the CHILDREN to jump off benches and twirl around the
playing area. PETERS SHADOW gets blown away and twirls off stage, exiting.
All children seated in the chairs around playing area continue to blow and wave
air at them.)
STELLAR: I hope they dont fall out of the sky. That would be the end of the
story!
SPARKLE: When they got to Neverland Island this is what they saw.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
15
MICHAEL: Indians? Where, where?
(All the children seated along the playing area can take part in Indian chant as
INDIANS dance on stage. Others may play tom-toms. INDIANS enter as their
names are called. PETER raises a palm as if to say how and bows his head to
each as they pass.)
MICHAEL: He must be the chief! See? You can tell by his feathers!
(TIGER LILY enters and does a special dance for them and ends it by blowing
kisses to WENDY, JOHN, MICHAEL and audience, her fans. INDIANS dance
off.)
SKYLIGHTS: Ha-ha! See my terrible glass eye! (Lifts eye patch, takes marble from
palm of his hand as if it is his eye, shows it to the audience.) Argg!
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
16
NOODLER: Ha-ha! See my terrible hands that are fixed on backwards! Argg!
SMEE # 1
SMEE: Ha-ha! Try my terrible, terrible food! (He goes to audience in front row
or aisle seat and offers a spoonful of soup.) Have a taste of Pirate Soup! (Puts
wooden spoon to audience members mouth.) Terrible, isnt it? (Audience
member agrees.) Argg!
(PIRATES throw their arms around each others shoulders. SMEE leads them in
a song. You can make up a simple tune or have them simply say it as a poem.)
CAPTAIN HOOK #1
PIRATES: Yo-ho a pirating we go!
Yo-ho a-pirating we go!
And if one of us is ever shot!
Were sure to meet below!
PETER: Okay everybody Hang on tight! Im taking you to the Lost Boys!
(PETER holds arms out and turns them to the left making a deep dip as if turning
course. WENDY, JOHN and MICHAEL follow his lead. They jump off the bench
and follow PETER up the aisle to back of audience and exit through door.)
STELLAR: But there was one pirate more terrible than all the others put
together
CAPTAIN HOOK: Shiver me timbers, Smee! I cant sleep. I cant eat. I wont
rest until I find Peter Pan. Just look what he did to me! (Holds up arm with
hook.)
CAPTAIN HOOK: And feeding it to a crocodile. That slithering reptile likes the
taste of me! He follows me wherever I go just hoping to get a nibble!
CAPTAIN HOOK: Thats the only thing that keeps me alive, Smee. Soon it will
wind down and you know what that means. (Uses his finger for tick-tock.) Tick.
Tock. Tick. Tock. Tick (Finger is stuck.) No tock!
(ALL players off stage in chairs around playing area begin to tick-tock.)
CROCODILE enters from behind the audience and slithers up the aisle toward
CAPTAIN HOOK. CHILDREN continue tick-tocking until CROCODILE exits.)
(LOST BOYS enter with their bows and arrows, looking around for something to
shoot.)
(TINKER BELL enters excitedly, talking to the LOST BOYS using her kazoo.
She gestures, trying to tell them something.)
TOOTLES: (Sees something in sky, points arrow.) There it is! I got it, I got it!
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
18
(TOOTLES shoots!)
(WENDY enters, twirls on stage and falls dead. She holds an arrow at her
chest.)
PETER: She was going to tuck us in at night. And you shot her!
PETER: You did this because you dont like Wendy. Youre jealous of her
because she was going to be our mother.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
19
PETER: Well, all right. One week. Now go! Get out of my sight!
WENDY: Only if you take your medicine and brush your teeth first.
PETER # 4
YEAR 1 MOVING ARM LIKE SWIMMING
WINKIE: The next day Peter took Wendy to the Lagoon to meet the mermaids.
(MERMAIDS enter between fabric strips, using their arms to swim. They begin to
play with bubbles tossing them in the air.)
(PETER enters, WENDY follows with her hands over her eyes.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
20
PEARL: Peter!
PETER: It is Tiger Lily! (To Mermaids.) You take care of Wendy and Ill see
whats going on.
(MERMAIDS and WENDY exit. PETER hides in the audience. CAPTAIN HOOK
and SMEE enter with TIGER LILY tied up in a rope.)
TIGER LILY: Never! Ill never tell you where Peter Pan is!
CAPTAIN HOOK: Shiver me timbers, Tiger Lily! If you wont tell, well leave you
here on Marooners Rock!
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
21
SMEE: Many a landlubbers been left here to drown. Argg!
CAPTAIN HOOK: (To TIGER LILY.) Enjoy your drink! (Laughs loudly.)
Optional: (CAPTAIN HOOK exits. SMEE fiddles with the rope SMEE # 2
comes to help SMEE # 1 .)
SMEE: Now lets see, if I just wrap this rope around here
SMEE: Captain? Where are you? (Looks out cant see PETER or CAPTAIN
HOOK.)
PETER: Im right here, Smee! Cant you hear me? This is your Captain
speaking!
SMEE # 2
SMEE # 2: Im setting Tiger Lily free, just like you ordered, Captain.
CAPTAIN HOOK: Setting her free? (Grabs his hat and crunches it in
frustration.) Are you out of you mind? I never gave such an order!
SMEE #2: Sorry about this, Tiger Lily. (Begins to tie her again.)
PETER: Are you deaf, Smee? I said to cut her bonds and let her go!
(TIGER LILY takes a big breath and holds her nose and jumps into the water.)
SMEE #2: Why, Tiger Lily of course. She just swam away.
(PETER and TIGER LILY run down center aisle and out of the room.)
(CAPTAIN HOOK and SMEE run, following PETER and TIGER LILY.)
CAPTAIN HOOK: Ill catch you, Peter Pan, if its the last thing I do!!!!
(GREAT BIG LITTLE PANTHER and LEAN WOLF enter holding a feather head
band, PETER comes to them and lets them put it on his head.)
GREAT BIG LITTLE PANTHER: (Bowing.) You are our hero, Peter Pan.
LEAN WOLF: (Bowing) And for your bravery we make you an honorary chief.
GREAT BIG LITTLE PANTHER: And your name shall be known around the
world.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
23
LEAN WOLF: This is your Indian name
(INDIANS exit. PETER stands proudly in his feathers. WENDY and LOST
BOYS enter.)
PETER: What do you think about that, Wendy? Im an Indian now. Big Chief
Soaring Eagle.
WENDY: Thats nice, Peter. Now everyone get into bed and Ill tell a story.
(They get in bed: They huddle all together and pull a blanket up to their chins.
They may do this on their knees facing audience. PETER huddles in with them.)
WENDY: Once upon a time, there was a very happy family. There were two
Boys, John and Michael, and their big sister Wendy. They all lived together in a
big house
WENDY: The children went far, far away but they missed their mother and father.
PETER: But who will make sure we brush our teeth at night?
PETER: Youre all going to be sorry. Theyll make you grow up and youll have
to go to school.
TOOTLES: Really?
NIBS: Is it true?
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
24
WENDY: (Sadly.) All right. Boys, get your toothbrushes. (To PETER.) If you
wont come, let me give you your medicine one last time.
(WENDY sets it on a bench. LOST BOYS & MICHAEL & JOHN come to
her.)
WENDY: (To PETER.) Promise me youll come to see me again. At the nursery
window.
(WENDY and LOST BOYS & MICHAEL & JOHN exit. TINKER BELL sneaks up
and looks at PETER from behind backdrop.)
PETER: Go on all of you! I dont care. (Sees medicine.) I guess I should take
my medicine. Just one last time.
(PETER picks up bottle and is about to drink as TINKER BELL enters in a great
fury of excitement.)
TINKER BELL: (Kazoo: No! No! No! Peter, dont take that! Dont, Peter!)
PETER: Tinker Bell! What are you doing here? Oh, Tink Im so sorry I
banished you.
PETER: You see, everyones left and theres nothing to do but take my
medicine.
(He starts to drink. TINKER BELL takes the bottle away and swallows it herself.
She swoons and falls into PETERS arms.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
25
(She tries to speak PETER listens with his ear close to her mouth. Then he
speaks to audience.)
Tink says that she thinks she can get well again if children believed in fairies. Do
you believe? If you believe clap your hands, dont let Tink die!
(He begins to clap and leads audience to clap with him. TINKER BELL makes a
slow recovery as the clapping continues.)
(TINKER BELL slowly recovers, until She sits up, stands and gives a little
curtsey.)
PETER: Captain Hook will pay for this! Come on, Tinker Bell! Its Hook or me
this time!
WINKIE: Little did Peter know that Wendy and the Lost Boys had been
captured!
CAPTAIN HOOK # 2 AND WENDY # 4
(CAPTAIN HOOK enters with WENDY wrapped up in a rope.)
CAPTAIN HOOK: Not until you tell us where Peter Pan is!
WENDY: Never!
(PIRATES enter and stand in a line. The LOST BOYS & MICHAEL & JOHN
enter one by one as their names are called. Pirates throw each boy, passing
them down the line.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
26
SMEE # 2: Tootles!
(WENDY climbs up on the benches. From their place in the audience, PETER
and TINKER BELL begin to tick-tock. TINKER BELL uses kazoo.)
(PETER and TINKER BELL split up, ticking from two different places. PETER
encourages audience to join in on the ticking.)
SMEE #2: (Pointing toward PETER.) Its coming from over there!
CAPTAIN HOOK: (Pointing toward TINKER BELL .) No, its coming from over
there!
(It is chaos, PIRATES are pointing in different directions calling out: Over there!.
PETER creeps up into playing area, untying BOYS and WENDY as the PIRATES
look in other directions. Finally CAPTAIN HOOK sees what is going on.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
27
PIRATES: (Terrified!) Peter Pan! Argg!!
(WENDY and LOST BOYS & MICHAEL & JOHN exit the action and sit in front of
front row on the floor. They watch and react to battle between HOOK and
PETER.)
CAPTAIN HOOK: So it is, Pan. (CAPTAIN HOOK takes his sword from his
belt.) So what are you going to do now? Fly away?
PETER: Im no coward!
(They fight.)
PETER points up aisle to back of the room. CROCODILE enters. All players not
on stage and audience tick-tock from where they are sitting.)
CAPTAIN HOOK: No, not the Crocodile! This bad form, Peter Pan. Bad form indeed!
(CROCODILE moves a little faster this time. Perhaps the smell of CAPTAIN
HOOK has sharpened his appetite. CAPTAIN HOOK moans and tries to escape
by climbing on the plank. CROCODILE drools below him.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
28
PETER: Good idea, Tink! All of you can help us beat Captain Hook! We need
you to make a big gust of wind like we did before. On the count of three, blow as
hard as you can. One, two, three!
(ALL blow.)
CAPTAIN HOOK: (Swaying in the gust.) Ill get you for this, Pan!
(PETER gives him a shove with his foot. CAPTAIN HOOK falls from plank and
lets out a blood curdling scream.)
(He runs down aisle, to behind the audience and out of the room. CROCODILE
follows close behind with wide open jaws, exiting. From off stage:)
(LOST BOYS & MICHAEL & JOHN and PIRATES enter, stand.)
(ALL applaud and cheer. When the cheering dies down, WENDY goes to
PETER.)
WENDY: (Gently.) Its time for us to go home now, Peter. Its way past our
bedtimes. Will you take us there?
BOYS, WENDY, JOHN and MICHAEL put out their arms and fly, following
PETER, exiting down the aisle and out of the room.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
29
(NANA enters dabbing her eyes with her apron and gives a mournful
howl.)
NANA: Owwwooooooohhhhh!!!!!!!!!
(END MUSIC.)
MOTHER: Yes, yes. Now its time to brush your teeth and go to bed. Would
you like me to tell you a story?
(SOUND CUE #10: Magical music, plays into Curtain Call music.
(2: 22 sec )
ALL exit but WENDY. She stands looking out, down the aisle.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
30
(She blows him a kiss and exits. PETER enters after shes gone.)
END
(PETER exits.
CURTAIN CALL: STARS come forward, TINKER BELL taps each one as they
bow and move to the side. MERMAIDS glide in, bow and swim to the side.
ALL bow their heads as TIGER LILY enters dancing, leading the other INDIANS.
INDIANS bow and stand aside as LOST BOYS enter with their bows, aiming
aimlessly at the sky. WENDY(S) enters and LOST BOYS aim at her. JOHN and
MICHAEL enter, cry out No! They grab WENDY(S) to protect her and LOST
BOYS move away, bow. WENDY(S), JOHN and MICHAEL bow. They gesture
to MOTHER, FATHER and NANA who enter and bow. They gesture to PETER
PAN(S) who enter crying out Err-err-errr! and bow. PETERS SHADOW sneaks
in and taps PETER on the shoulder, PETER turns in surprise, then gestures to
the audience to applaud SHADOW, who bows. TINKER BELL taps on PETERS
other shoulder. PETER gestures for the audience applaud her, she bows.
PIRATES enter from behind, busting through everyone. They sing out: Yo-ho a
pirating we go! Argg! CAPTAIN HOOK comes barging in, takes a dramatic
bow, then sees PETER(S) and shouts Peter Pan! CAPTAIN HOOK chases
PETER(S) offstage. TINKER BELL dances and uses to kazoo to remind
everyone to bow again, together. As ALL bow together CROCODILE enters. As
they stand from bow, ALL see CROCODILE, scream and run away.
CROCODILE enjoys his moment, bows, slowly exits.)
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
31
PRODUCTION NOTES
Casting Options:
If you need to make your cast smaller or larger you have the most flexibility in the STARS,
PIRATES, LOST BOYS and MERMAIDS. You can easily double these parts or divide
lines up between more performers. The largest roles are PETER PAN and
WENDY. If
you are concerned that it is too much for just one girl and boy you might consider dividing
the roles and casting as many as 4 PETER PANS and 2 WENDYS. Optional Transition
times are noted in the script. In this case each PETER PAN and WENDY should wear a
very distinctive costume piece that easily identifies them. You might make an
announcement to explain the casting option before the show or print it in a program. At
the end have all PETER PANS and all WENDYS bow together.
Pantomime:
Kids call it pretend, actors call it mime. Whatever term you use it means acting as if
you are doing a thing even if you are not. To get kids to understand tell them to pretend
brushing their teeth. Now tell them to mime brushing their teeth. Its the same thing isnt
it? School-Plays use a lot of pantomime to stimulate imaginative performances.
Playing Area:
The audience should be seated on three sides of the playing area, like a horseshoe, on
the same floor. A stage may be used but this less formal staging brings the action closer
to the audience, gives the performers more room and has been very successful for
childrens theatre. If there are children in the audience they may be seated on the floor
close to the actors.
Percussion Instruments:
Experiment with magical sounds such as chimes, tambourine etc. Drums and tom-toms
can be most effective in the INDIAN scenes. Lay the instruments out so the performers
can see them and let them choose what they like for different scenes.
Greek Chorus:
Invented by the ancient Greeks, this chorus comments on the action, sings and narrates
during the performance. In this play the STARS are the chorus. We use the tradition here
to help the flow of the story.
Offstage:
Offstage usually means the wings of the stage or behind the scenery. Here we are
allowing the audience to see the actors at all times, so offstage means out of the playing
area. Performers who are not on stage should participate throughout the performance by
reacting to what is happening on stage.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
32
Cloth or Sheet:
Using large pieces of cloth can be a very effective and very inexpensive way to add drama
to a scene. Here we use long stretches of fabric to make the water for the Lagoon.
Professionals use silk, but Ive found that fabric which is called lining is very inexpensive
and works just as well. Two or more performers can hold opposite ends and then waft it
on a breeze. In this play the MERMAIDS can swim between two blue pieces of fabric.
Allow performers to play with it to see what kinds of ideas they might have to create
dramatic effects.
Crocodile:
This costume can be as elaborate or simple as you please. It can be quite funny to have
an actor make the jaws with his outstretched arms. But the performer could also make
what he needs for a mask and tail in the art room with paper etc. Consider having two
performers for the CROCODILE: One for the head and another for the tail. It would be
lots of fun for the CROCODILEs two pieces go in other directions accidentally.
Props:
Wand
Confetti
Handmade swords
Blanket
Tie
Medicine bottle and spoon
Kazoo Tomahawk
Eye patch Soup
spoon
Bows and Arrows Cloth for
Lagoon Rope
Feather headdress
Sword
33
J. M. Barrie
Sir James Matthew Barrie, Baronet (May 9, 1860 - June 19, 1937), more commonly
known as J. M. Barrie, was a Scottish novelist and dramatist. He is best remembered as
the creator of Peter Pan. Barrie was born in Kirriemuir, Angus and was educated at
Dumfries Academy and Edinburgh University. He became a journalist at Nottingham,
then London, and became a novelist. The first two novels were set in Kirriemuir,
disguised as "Thrums" (his father was a weaver). He then wrote for the theatre, including
Quality Street, What Every Woman Knows and The Admirable Crichton. But he is
remembered mainly for Peter Pan, which he based on his friends, the Llewellyn-Davies
boys. He died in 1937 and was interred at Kirriemuir, next to his parents, sister and
brother David.
Copyright Kathryn Schultz Miller, all rights reserved. This play cannot be performed
without written permission from the author and payment of royalty for all performances
(including non-paying audiences). Not available within the United Kingdom.
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35
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