(7 lines spoken together)
Robbie Robot (M/F, 17 lines)
Jack-in-the-Box (M/F, 18 lines)
Tin Soldier (M/F, 15 lines)
Raggedy Anne (M/F, 15 lines)
Pin-the-Tail-Donkey (M/F, 15 lines)
Cymbal Monkey (M/F, 15 lines)
Skin Horse (M/F, 9 lines + song)
RABBIT (M/F, 50 lines total + song)
Velveteen Rabbit #1: a new stuffed bunny. (M/F, 37 lines)
Velveteen Rabbit #2, a shabby stuffed bunny. (M/F, 13 lines + song)
Michael, a boy.
(M/F, 24 lines, songs)
Dream Michael, a boy in a dream. (M/F, 14 lines)
Older Michael (M/F, 8 lines + song)
Mother (F, 12 lines + songs)
Father (M, 7 lines, songs)
Aunt Ruth (M/F, 2 lines, songs)
Uncle Archie (M/F, 20 lines + song, songs)
Nana (M/F, 16 lines, songs)
Doctor (M/F, 6 lines)
Rudy (M/F, 3 lines + song)
Rosie (M/F, 3 lines + song)
Jingle, Young Rabbit (M/F, 4 lines + song)
Buttons, Father Rabbit (M/F, 4 lines + song)
Ivy, Mother Rabbit (M/F, 5 lines + song)
Gardener (M/F, 4 lines)
Nursery Fairy (M/F, 4 lines)
Stuffed Toy Becomes "Real"
Sioux Center, IA - PACE School of Performing Arts, NYC
"Real isn't how you are made," said the Skin Horse.
"It's a thing that happens to you. When a child loves you for a long, long time, not just to play with,
but REALLY loves you, then you become Real."
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 Peter Pan) 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!
Writers often describe a magical phenomenon when a piece seems to write itself. It doesn't happen often and it doesn't mean there's not a lot of drudge work still to do once the idea has been born. But I will say that Treasure Island came forth on its own with very little tug and pull from me. Writing this play was simply fun.
It's hard to remember to have fun when there are pressures from all sides to produce a great show. I confess, when I ran a professional theatre company I certainly worried about meeting payroll more than enjoying the process of creation. I had a thing I called the "Wednesday Blues", which usually hit midway through rehearsals of a new play, when I tossed and turned all night imagining an enormous flop. I can only say that I stuck it out long enough to learn that things will almost always turn out better than you thought they would. Theatre is teamwork and if you put your faith in the natural exuberance of your performers you will be rewarded with a wonderful show.
So don't let any naysayers get you down. Persevere, remember to laugh, have faith and simply enjoy the process. It's all just make-believe. You can't do it wrong. Your kids can't wait to discover all the talents and gifts that lie within themselves. Your job is simply to coax them out and then sit back and enjoy!
Thank you for choosing The Velveteen Rabbit. Have a wonderful show!
THE VELVETEEN RABBIT
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 also contains simple music to accompany the performers and audience as they sing the Christmas songs in the play (song cues shown below in red). It does not contain music and songs from the movie or stageplay. Cues have 10 seconds of silence at the end - times shown below include silence.
[ Click on [sample] to hear a short sample of the indicated cues. ]
1. "WE WISH YOU A MERRY CHRISTMAS" (1:01) [sample]
2. "STARS AND STRIPES FOREVER" (3:17)
3. SKIN HORSE SOUND & MUSIC (0:32) [sample]
4. SKIN HORSE SONG: "AWAY IN A MANGER" (1:29) [sample]
5. NANA ENTRANCE SOUNDS & MUSIC (0:39)
6. "AWAY IN A MANGER" LULLABY (1:00) [sample]
7. RABBITS SONG: "GOD REST YE MERRY GENTLEMEN" (1:09) [sample]
8. "SILENT NIGHT" PLAYS QUIETLY (1:02)
9. UNCLE ARCHIE SONG: "SILENT NIGHT" (2:41) [sample]
10. MAGICAL DREAM MUSIC & SEA SOUNDS (2:10) [sample]
11. SEA & GALLOPING SOUNDS (1:01)
12. VELVETEEN RABBIT SONG: "AWAY IN A MANGER" (1:23)
13. MAGICAL NURSERY FAIRY SOUNDS & MUSIC (0:57) [sample]
14. ANIMALS SONG: "GOD REST YE MERRY GENTLEMEN" (0:48)
15. CAST SONG: "O CHRISTMAS TREE" (3:31) [sample]
16. CURTAIN CALL MUSIC (2:37) [sample]
Note: Some teachers choose familiar songs, obtain sheet music and insert their own music choices 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 )
Touching Christmas Musical for Family Audiences!
PACE School of Performing Arts, Schaberle Studio, NYC
THE VELVETEEN RABBIT
The TOYS and SKIN HORSE meet the VELVETEEN RABBIT for the first time.
(Script pages 12-14.)
JACK-IN-THE-BOX: When all the humans went away...
RAGGEDY ANNE: All of Michael's other toys came out to inspect the newcomer...
(TOYS surround VELVETEEN RABBIT.)
PIN-THE-TAIL-DONKEY: Wull, I declare, it's a buh buh bunny.
CYMBAL MONKEY: So what's your gimmick, Rabbit?
VELVETEEN RABBIT: Gimmick?
CYMBAL MONKEY: You know, what do you do? I wind up like this!
(CYMBAL MONKEY shows how he winds up.)
ROBBIE ROBOT: And I take children on a mission to outer space! Pow! Right to the moon!
JACK-IN-THE-BOX: I surprise people like this!
(Uses party favor horn or popgun toy into VELVETEEN RABBIT'S ear, scaring him.)
VELVETEEN RABBIT: I guess I don't have a gimmick.
TIN SOLDIER: That's no good. Look at me! I've got rhythm!
(TIN SOLDIER taps his drum with gusto.)
RAGGEDY ANNE: I've got a heart full of love!
(RAGGEDY ANNE clasps hands over "throbbing" heart to indicate the exaggerated beating of her heart.)
PIN-THE-TAIL-DONKEY: And I still got this dern tail.
(PIN-THE-TAIL-DONKEY holds up detached tail.)
VELVETEEN RABBIT: I don't have anything I guess. I'm just made of sawdust.
CYMBAL MONKEY: Just then the great Skin Horse appeared.
(SOUND CUE #3: Magical sound then SKIN HORSE music.
TOYS gasp and stand back as SKIN HORSE enters. TOYS drop their heads in respect.
SKIN HORSE whinnies. He steps high and takes a few steps back and forth across the stage showing himself off. He poses grandly as his music ends.
SOUND CUE ENDS.)
SKIN HORSE: I have heard of your arrival, Velveteen Rabbit. I have come to welcome you.
ROBBIE ROBOT: The Velveteen Rabbit noticed that the Skin Horse was very old and his leather coat was worn and faded.
JACK-IN-THE-BOX: He had lost most of his tail...
TIN SOLDIER: And his eyes were just loose buttons...
RAGGEDY ANNE: But the other toys loved him and respected him above all others.
PIN-THE-TAIL-DONKEY: Because only the Skin Horse was Real.
VELVETEEN RABBIT: Is it true, Skin Horse? That you have become Real?
SKIN HORSE: It is true.
VELVETEEN RABBIT: But how?
SKIN HORSE: When a child loves you, not just to play with but really loves you, then you become Real.
VELVETEEN RABBIT: But how do I make a child love me?
SKIN HORSE: Oh, you can't make a child love you. And you can't rush them at all. It takes time. Lots of time.
VELVETEEN RABBIT: I don't know if I can wait.
(SOUND CUE #4: Tune of "Away in a Manger"; [short intro].)
SKIN HORSE: (Singing.)
You're anxious, dear Rabbit
For life to begin
You hope that the nursery
Will grant you Real skin
Your fuzz and your sawdust
Will turn magically
But you must be patient
And live hopefully.
(SOUND: Music fades to allow the next line.)
VELVETEEN RABBIT: But how can I have hope? I don't wind up like a Monkey. I don't have a gimmick. (Looks behind him.) I don't even have hind legs. How can it ever happen to me?
SKIN HORSE: (Singing.)
We all have our gimmicks
We all have our doubts
We all love the children
Who live in our house
But we are just playthings
Arranged on the floor
Until someone loves us
We can't expect more.
(SOUND CUE ENDS.)
PIN-THE-TAIL-DONKEY: (Wiping a tear with his tail.) That was buh, buh, beautiful.
SKIN HORSE: Michael's Uncle Archie made me Real many years ago. Once you become Real you can't become unreal again. It lasts for always.
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!
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