The Jungle Book
Cast of Happy Jungle People!
Glasgow Christian Academy, Bear DE
- Storytellers (M/F, 5 lines together)
BIRCHI - Camel (M/F, 13 lines)
MAO - Peacock (M/F, 9 lines)
FERAO - Woodpecker (M/F, 9 lines)
MANG - Bat (M/F, 13 lines)
TABAQUI - Jackal (M/F, 13 lines)
MYSA - Buffalo (M/F, 13 lines)
MAN-FATHER - Human (M, 2 lines)
- Panther (M/F, 49 lines)
BAGHEERA #1: (M/F, 20 lines)
BAGHEERA #2: (M/F, 29 lines, enter page )
SHERE KHAN -
Tiger (M/F, 18 lines)
AKELA - Wolf-Father (M, 14 lines)
RAKSHA - Wolf-Mother (F, 11 lines)
GRAY BROTHER - Wolf-Cub (M/F, 11 lines)
SCOUT - Wolf-Cub (M/F, 2 lines)
HUNTER - Wolf-Cub (M/F, 2 lines)
LUNA - Wolf-Cub (M/F, 3 lines)
- Man-Cub (89 lines total)
MOWGLI #1 (M/F, 17 lines)
MOWGLI #2 (M/F, 11 lines, enter page )
MOWGLI #3 (M/F, 32 lines, enter page )
MOWGLI #4 (M/F, 11 lines, enter page )
MOWGLI #5 (M/F, 16 lines, enter page )
IKKI - Porcupine (M/F, 4 lines)
NANGIR - Represents Antelope-People, Bees, Villagers, etc. (M/F, 8 lines)
DARZOW - Represents Snake-People, Villagers, etc. (M/F, 8 lines)
Elephant (M/F, 8 lines)
HATHI-CALF - Young Elephant (M/F, 5 lines)
CHIL - Vulture (M/F, 6 lines)
KAA-HEAD - Rock Python (puppet) (M/F, 18 lines)
KAA-TAIL - Rock Python (puppet) (M/F, 8 lines)
BALOO - Bear (M/F, 34 lines)
(M/F, 3 lines together)
JAGO (M/F, 3 lines)
ORIEL (M/F, 2 lines)
CARR (M/F, 1 line)
KIKI (M/F, 1 line)
GOLDEN QUEEN OF
Queen of the Monkey-People (M/F, 13 lines)
MAN-MOTHER - Human (F, 9 lines)
All the Comedy & Drama of the Kipling Classic!
Baloo, Bagheera and Mowgli with Red Flower, Mt. Hood College OR
Written especially for young people to perform.
While you may find large cast plays from other publishers, most of those were originally written for adults or professional actors to perform. They often contain difficult dialogue, unfamiliar or complex language, and speeches too long for young children to memorize. They may even contain jokes, innuendos and subject matter that may not be appropriate for children.
Easy to understand and memorize.
Dialogue is simple, fresh, quick and humorous, keeping the action flowing without stops and starts between scenes. This keeps young people and young audiences engaged throughout the performance - no awkward pauses, no dead-time, no wiggles!
All children are involved throughout the performance. This builds confidence, promotes team spirit and eliminates rehearsal rowdiness. The audience is often asked to join in the fun, and action often spills into the aisles! All of our SCHOOL PLAYS give suggestions on how to divide up large parts (such as Alice or Cinderella) among several performers so that no one child is the "star".
Familiar stories with upbeat endings.
The story line stays as close as possible to the familiar story the kids already know. While some authors feel the need to "improve" the story, our SCHOOL PLAYS stay as close to the familiar narrative as possible, making it easier for children - and your audience - to understand.
Feel free to edit! Go ahead and tape it!
Most publishers insist that no changes may be made to their scripts. We know that your goal is to engage every child in the most meaningful way and that your needs are unique. Cut, eliminate, re-assign lines, or add as much as you like! Also, there are no restrictions on video tapes. Parents want a tape or DVD to remember their child's big moment. Go ahead and tape away!
Ask just about anybody and they will say Kipling's famous classic, The Jungle Book, is about Mowgli, a kid with an amazing story. But as I mentally wandered the glorious Indian Jungle in search of this adaptation, I came to a sense that Kipling's book was really about a community. I feel it is about individuals who are trying their hardest to order their neighborhood in a way that gives them what we all need: collective dignity, strength and pride. It's no accident that Kipling tags all animal groups as "People". He wanted us to look at his stories and try to understand how we, as people, can truly communicate and live together.
How I love this material! I've never run across a story that gives so many kids such a great chance to perform. Every child has a character, a name and a special moment on stage. I hope you and your kids jump right in and glory in all the wild joy that Kipling has given to us. I hope you will look at this play not as a show to put on, but a way to use drama to understand our lives, our natural exuberance and our shared place in the order of time.
I often ask you to forget about making the show "good" and strive instead to make the process meaningful and free of strife. As a playwright with a little wolf in her soul, I now invite you to howl with creativity and thrill to the call of a moonlit adventure! Every one of your young Mowglis and Jungle-People will find a little something here to carry with them through the great journey of the days and challenges to come.
Give your young performers roots and wings! Give them paws and claws and feathers and tails! Let the animals take over for a little while. Let the Jungle rumble with the imaginations of young and old, large and small, animal and human. Let the children pretend and day-dream of harmony and generosity in our marvelous, many-peopled, unending world!
Mt. Hood Community College, Gresham OR
THE JUNGLE BOOK
CD SOUNDTRACK CUES
Cues, sound effects, background music (traditional-classical)
The CD Soundtrack contains special sound effects and background music (public domain traditional-classical) that may be used to greatly enhance the performance. It does not contain music and songs from the movie or stageplay, nor does it contain music for the performers to sing along with. Cues have 10 seconds of silence at the end - times shown include silence.
[ Click on [sample] to hear a short sample of the indicated cues. ]
1. JUNGLE SOUNDS (1:38) [sample]
2. WOLF HOWLS, BABY CRY (0:45)
3. SHERE KHAN LAUGH, BABY CRY (0:57) [sample]
4. DRUMS, TRANSITION MUSIC (1:03)
5. WOLF HOWLS, MUSIC RISING (2:21) [sample]
6. ELEPHANTS TRUMPETING (1:13)
7. DRUMS, MUSIC (0:41)
8. INDIAN SNAKE CHARMER MUSIC (1:01) [sample]
9. MONKEY-PEOPLE SOUNDS (1:01) [sample]
10. DRUMS, CHAOS, GONG (1:10)
11. VULTURE WINGS, CHAOS (0:49) [sample]
12. DRUMS, FAST THEN SLOW (1:01)
13. FEMALE VOICE SINGING (0:34) [sample]
14. FIRE SOUNDS & MUSIC (0:43)
15. ELEPHANTS TRUMPETING (0:20)
16. ELEPHANTS TRUMPETING (0:20) [sample]
17. WOLF HOWLS, AKELA MUSIC (0:34)
18. CURTAIN CALL SOUNDS, DRUMS, MUSIC (2:57) [sample]
Note: Some teachers choose familiar songs, obtain sheet music and insert these songs into the play. We recognize that each school has a wide variety of educational needs to fulfill and we invite you to be creative in your use of our scripts; including changes or additions that are appropriate for your students. As author/publisher of our own creative works, we do ask that you obtain proper copyright permission for any additions you might make - that responsibility is up to you.
Music & Sound Resources Available on the Internet
( Sheet Music, Song Books, CDs, DVDs, Sing-along, Karaoke, Sound Effects )
THE JUNGLE BOOK
Mowgli meets Baloo for the first time. Baloo's got nothing on his mind but getting some snacks, especially honey!
(Script pages 27-31)
MOWGLI: Stay away from me!
BALOO: Aw, come on. I dont smell that bad.
MOWGLI: I never learned your Master-Word. Why do I understand you?
BALOO: Im a big fat bear. Whats to understand?
MOWGLI: Bagheera taught me all the Master-Words of the Jungle.
BALOO: Did he now? Let me tell you a little something about that guy. Hes an egg-head.
MOWGLI: Whats an egg-head?
BALOO: You know, a smarty-snickers. A know-it-all. A snooty-toot-rooty-toot!
MOWGLI: Youre funny.
BALOO: Hey, look whos talking, mister shorty pants.
MOWGLI: I just mean... well, youre not like the other Jungle-People.
BALOO: Aw, thats an uptight crowd, those guys. They make up laws for everything. Who needs it? You know what I like?
BALOO: Relaxin. I like to spread out under the sun like this... (Sits by a rock and leans back, hands behind his head.) And just let it pour down on me like sweet, sweet honey. (Sits up.) Ooof!
MOWGLI: What is it?
BALOO: I just made myself hungry! Come here. Listen to my belly.
(BALOO makes up a belly voice.)
Feed me! Feed me! Feed me!
(When MOWGLI comes near to listen to the belly, BALOO tickles him and they both roll around, laughing. They end sitting up in an easy embrace.)
MOWGLI: (Laughing.) Well, what should we feed that belly? No one is supposed to hunt during the Water Truce.
BALOO: I dont hunt!
(NANGIR climbs ladder with long stick, with a honeycomb at the end.)
MOWGLI: You dont?
BALOO: Nah. Bum knees. Bad back. Got the dallys-offen-itis. Bear disease. Plus, I dont like to mention this...
(Motions for MOWGLI to come near.)
Cant stand the sight of blood.
NANGIR: Zzzzzz! Zzzzz!
BALOO: Now thats good eatin, little bro. Why dont you climb up on there and get your old pal Baloo some honey?
BALOO: (Suddenly screams out and bends over.) Ow!
BALOO: The dallys-offen-itis! (Acting like hes in extreme pain in his back.) You never know when its gonna strike. You know whats good for it, dont you?
(BALOO mugs mournfully and painfully, pointing to honeycomb. His back hurts again.)
NANGIR: (Shakes the honeycomb.) Zzzzz! Zzzz!
MOWGLI: Oh, all right.
(MOWGLI steps up on rock to reach for honey. Just as hes about to get it, BAGHEERA enters and growls.)
BAGHEERA: What is this I see? Rrrrroooowwwwwlllllllllll!
(NANGIR gasps and runs away, exiting. MOWGLI falls from his place on the rock. JUNGLE-PEOPLE may use percussions to emphasize the fall.)
BAGHEERA: Using a Man-Cub to do your dirty work, Baloo? This is a new low even for you.
BALOO: Aw, come on, Baggy. Give a guy a break. Howm I suppose to get along with all this Truce business going on? I just need a little snack.
MOWGLI: Yeah, hes got the dilly-dally bear disease!
BAGHEERA: Mowgli, this bear has got nothing at all but a bad case of laziness.
MOWGLI: I dont care. Hes funny. And hes my friend.
MOWGLI: And he doesnt tell me to go to the Man-Village like you do!
BALOO: Yeah! Now wait. What? Youre going to the Man-Village? You cant go there!
BAGHEERA: Baloo, might I have a word with you?
(BALOO looks a little cautious and confused.)
BALOO: Sure. I guess.
(BAGHEERA moves BALOO away from MOWGLI and talks confidentially.)
BAGHEERA: You are doing this boy no favors, Baloo. Shere Khan has marked him for the kill!
BALOO: What? Poor kid!
BAGHEERA: His life is in danger if we do not get him safely to his own People.
MOWGLI: I know youre talking about me!
BALOO: No were not.
MOWGLI: What are you talking about then?
BALOO: Uh. Interior decorating. Uh. Different kinds of wallpaper.
(BAGHEERA moves BALOO away. MOWGLI moves closer.)
BAGHEERA: So you see, if you care about this boy, you must help me get him to the village.
MOWGLI: Village! I heard you say it! Youre talking about me going to the Man- Village.
BALOO: Kid, kid. This is serious. If it was anything else...
MOWGLI: I thought you were my friend, Baloo. I thought you were different!
BALOO: Aw, kid, I am different. Maybe thats the problem.
MOWGLI: I wont go, I tell you! I wont go!
(MOWGLI runs off, exiting. BAGHEERA growls.)
BAGHEERA: Look what youve done, Baloo.
BALOO: Bad Baloo.
(BALOO is almost crying as BAGHEERA leads him, they exit in the same direction as MOWGLI.)
Note: This is a sample from the actual script. To review the entire play, order the PERUSAL SCRIPT (online instant download). Or to save 20% on the full production kit and royalty for one performance, order the SCHOOL PLAY PACKAGE and start rehearsals today!