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|
|
We
Are The Dream:
The
Legacy of Martin Luther King, Jr.
ArtReach
School Play, Musical Play for Children to Perform!
ArtReach
Playscript for Large Cast, Church Choirs, MLK Day! |
ADDITIONAL
INFORMATION
Cast
List
The
Best Play for You
Staging
Notes
CD
Soundtrack Cues
Dialogue
Sample
WE
ARE THE DREAM
CAST
LIST
Running
Time: About 45-50 minutes
Flexible
cast of about 25, 6 Male, 5 Female, All others M/F
Easily
adapted for larger or smaller cast
STUDENTS:
TONY
(M/F, 13 lines)
FLORA
(M/F, 14 lines)
JAMES
(M/F, 12 lines)
HOPE
(M/F, 13 lines)
GRACE
(M/F, 13 lines)
GROWNUP
JULIA (M/F, 17 lines)
YOUNG
JULIA (M/F, 13 lines)
JULIA'S
MOTHER (F, 9 lines)
JULIA'S
FATHER (M, 15 lines)
YOUNG
MARTIN (M, 11 lines)
ALBERTA
(F, 8 lines)
MARTIN'S
FATHER (M, 6 lines)
MARTIN
(M, 37 lines)
MRS.
WILLIAMS (M/F, 29 lines)
BILLY'S
MOTHER (M/F, 2 lines)
SHOE
CLERK (M/F, 2 lines)
CORETTA
(F, 16 lines)
ROSA
PARKS (F, 5 lines)
TV
ANNOUNCER (M/F, 18 lines)
BUS
DRIVER (M/F, 8 lines)
SHERIFF
(M/F, 11 lines)
JOSEPH
MCNEILL (M, 4 lines)
WAITER
(M/F, 8 lines)
WALLACE
(M, 6 lines)
VIVIAN
JONES (F, 8 lines)
CHOIR
(Optional, any size)
 
Ariel
Community Academy, Chicago, IL
WE
ARE THE DREAM
WHY
IS THIS PLAY BEST FOR YOUR SCHOOL?
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!
Everyone
participates!
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 Snow White or Cinderella) among
several performers so that no one child is the "star".
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!
 
Joshua
Academy, Evansville, IN
WE
ARE THE DREAM
STAGING
NOTES
CASTING:
This script is written for adults and children of varying ages to
perform together. Older children and adults may take the parts
of Grownup Julia, Mrs. Williams, Martin's Father, etc. An
obvious choice would be for the teacher who is directing the play to
perform Grownup Julia or Mrs. Williams. The purpose is to
deepen the experience of recounting Martin Luther King's life among a
wide and diverse group, a true community, helping all to see it from
many points of view. However, it is quite all right for all the roles
to be played by young people of just one age if that is the nature of
your project.
CHOIR:
Using an existing choir, such as a church choir or a school singing
group, will simplify this aspect of the production. The Choir
may be as small as one person or as large as you can
accommodate. The choir is the sole backdrop/scenery for the
play placed upstage center with action taking place in front of
them. Members can come and go from the Choir to perform in the
play taking on the speaking roles as they are described in the script
or playing non-speaking (or ad-libbed speaking) roles such as crowds
at protests etc. When actors are not performing in
the playing area they may step into the choir and sing through the
scenes until it is time to resume their role again. If your choir is
already practiced in songs you think are appropriate, by all means
replace the suggested songs with those your choir members already
know. If your audience is familiar with the songs feel
free to encourage them to join in throughout the show. If a choir is
too much for your project, a CD of background music and sound effects
is available and the references to songs may be eliminated from the production.
AUDIENCE
PARTICIPATION: The "call and
response" impulse is encouraged throughout the play. Some of
these possibilities are mentioned in the script. Indeed,
however your audience would like to participate should be
encouraged. Be sure to look for these signs in your audience
and use the adult characters such as Mrs. Williams and Grownup Julia
to ad-lib communication and connection between the performance and
the observers. If this connection is established early on, some
of the important pledges, declarations and shows of unity (such as
joining hands) toward the end of the play should happen
spontaneously. Remember to acknowledge participation even
if you aren't expecting it and be ready to integrate it into your
performance. If an audience member speaks to you, be sure to
answer in a way that includes them in your scene. The message
of the play is one of inclusion and everyone in your performance
space/theatre should feel a personal connection to the experience.
"Our
Production of We Are the Dream was
quite successful. The editor of the Arts section of the
Providence Journal gave it a "Best
Bets".
All
Children's Theatre, Pawtucket RI
WE
ARE THE DREAM
CD
SOUNDTRACK CUES
Cues,
sound effects, original background music
The
CD Soundtrack contains special sound effects and background music
(traditional spirituals and gospels) that may be used to greatly
enhance the performance. Cues have 10 seconds of silence at the end -
times shown below include silence.
1.
CHOIR: WHAT A MORNING (1:27)
2.
CHOIR: NOBODY KNOWS (1:39)
3.
CHOIR: NOBODY KNOWS 2 (1:02)
4.
CHOIR: OH HAPPY DAY (0:53)
5.
CHOIR: OH HAPPY DAY 2 (1:16)
6.
CHOIR: WHAT A MORNING 2 (2:34)
7.
EXPLOSION, BURNING CROSS (0:52)
8.
CHOIR: QUIET HUM (0:37)
9.
CHOIR: WE SHALL OVERCOME, CHAOS (2:41)
10.
POLICE, DOGS, MOB (0:33)
11.
CHOIR: BLACK AND WHITE TOGETHER (0:51)
12.
CHOIR: WALK HAND IN HAND (0:50)
13.
SPEECH & FREE AT LAST (2:48)
14.
SPEECH ONLY (CHOIR sings)
(2:19)
(use
either track 13 or 14 for this cue)
15.
CHOIR: WE SHALL OVERCOME FINALE (4:19)
16-26.
PRE/POST-SHOW MUSIC (30-35
MINS)
CHOIR:
Using an existing choir, such as a church choir or a school singing
group, will simplify this aspect of the production. The Choir
may be as small as one person or as large as you can
accommodate. The choir is the sole backdrop/scenery for the
play placed upstage center with action taking place in front of
them. Members can come and go from the Choir to perform in the
play taking on the speaking roles as they are described in the script
or playing non-speaking (or ad-libbed speaking) roles such as crowds
at protests etc.
WE
ARE THE DREAM
DIALOGUE
SAMPLE
|
Young
Martin has big plans but he knows he can't do it alone...
(Script
pages 12-13) |
CORETTA:
I am Coretta Scott.
MARTIN:
(Admiring.) Yes, you are.
CORETTA:
Don't you know me by now, Martin? Yes, I am Alabama born and
bred. But I have no intention of returning in this particular
lifetime. Boston suits me fine. I'll have my music
degree in a year and my masters in two! Give me one good reason
why I should complicate my plans by marrying you.
MARTIN:
Well, for one... because you love me.
CORETTA:
How on earth could you know that?
MARTIN:
Because I love you. And I can see you feel the same.
CORETTA:
Has anyone ever told you you're proud?
MARTIN:
Proud to be a man? Proud to be an African American?
Proud to have a brilliant woman like you at my side? Guilty as charged.
CORETTA:
Oh, Martin. I do love you but...
MARTIN:
But?
CORETTA:
I can't go back to the south. I just can't. I can never
forget how I was treated down there. Like I wasn't as
good as the white girls.
MARTIN:
That's exactly why I got to back, Coretta. And why you got to
go with me. Someone has to begin to lift our people up!
CORETTA:
Oh, Martin you're a dreamer. Do you think you can do all that
by preaching from a pulpit?
MARTIN:
I can. I must.
CORETTA:
If I say yes. If I marry you. I won't be marrying just a
man. I'll have to marry your dream too.
MARTIN:
I wouldn't ask you if I thought you couldn't do it. You'll be
my partner, Coretta, by my side every step of the way.
CORETTA:
And give up singing?
MARTIN: (Smiling.)
There's always the choir.
(SOUND CUE
#4: Choir, Oh Happy Day.)
CHOIR:
(humming and clapping intro to song...)
CORETTA:
The church choir? After all my classical training? (Rolling
her eyes.) Oh, happy day!...
CHOIR:
(Singing in direct response to CORETTA.)
Oh happy day...
Oh happy day
Oh happy day...
Oh happy day
When Jesus
washed... When Jesus washed
Oh when He
washed... When Jesus washed
When Jesus
washed... When Jesus washed
He washed my
sins away
Oh happy day...
Oh happy day...
(Repeat
"Happy Day" and/or lyrics as needed. CORETTA acknowledges
the CHOIR with an "I can take a joke" look to them.
She and MARTIN join the CHOIR and sing a phrase. END CUE.)
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 (below) and start
rehearsals today!
SCHOOL PLAY PACKAGE (Everything)
One
payment for everything you need to perform the play at your school
or organization. No need to purchase multiple scripts, no royalty
quote, no separate royalty payment. Order the School Play Package and
you're done -- start rehearsals immediately!
The
SCHOOL PLAY PACKAGE Includes:
1.
Master Script ($9.95)
2.
Teachers Guide ($9.95)
3.
CD Soundtrack ($19.95)
4.
Performance License ($60.00)
(License:
Rights to copy script, Royalty
for one performance)
Get
Everything ($99.85
value) - Only $89.95
(
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