Lights, Camera, Action Series: Little Red Meets the Dingo by Teacher Superstore

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By Jacquelin Melilli

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Little Red Meets the Dingo

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For primary/secondary students © Rea dyEdPubl i cat i ons •f orr evi ew pur posesonl y•

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Written by Jacquelin Melilli. Illustrated by Melinda Brezmen. (© Ready-Ed Publications 2005) This edition published by Ready-Ed Publications (2010) P.O. Box 276 Greenwood Western Australia 6024 Email: info@readyed.com.au Website: www.readyed.com.au

COPYRIGHT NOTICE Permission is granted for the purchaser to photocopy sufficient copies for non-commercial educational purposes. However, this permission is not transferable and applies only to the purchasing individual or institution.

ISBN 978 1 86397 637 4

Inquiries

r o e t s B r e oo Jacquelin Melilli p u k S

Inquiries regarding performing rights and sales should be addressed to:

Website: www.jacquelinmelilli.com

About the Author

This play is fully protected by copyright and is sold subject to the condition that it shall not by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the Author’s prior consent in any form of binding or cover than that in which it is published.

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Email: drama@jacquelinmelilli.com

Jacquelin Melilli was born in France to a French father and Spanish mother. She came to Australia at the age of four and a half. After mastering the English language, writing stories became her passion.

Inquires should be addressed to the above address. Permission to perform any play must be obtained from the author or the author’s agent. Royalties must be paid for each and every performance.

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Jacquelin also pursued her love of acting, performing in theatre and some small roles in film, television and corporate videos. In 2001, Jacquelin began teaching drama at the Coffs Regional Conservatorium to students aged between 8 and 16 years. She has written five plays and produced and directed two of her plays into short films. These were screened at the Sawtell Cinema in 2002 to a full house.

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Subject to the conditions prescribed under the Copyright Act, no par t of this publication may lawfully be reproduced in any form or by any means – photocopying, typescript, electronic, recording (including video/digital recording) manuscript, mechanical or otherwise or be stored in a retrieval system or transmitted without prior written permission.

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Photocopying of any part of the play script contained herein is expressly forbidden without payment of photocopying licence.

Jacquelin’s plays require little rehearsal time, minimum props and very simple sets, making them ideal for schools, travelling groups and for performing at Theatre Festivals. A smaller cast makes travelling to different venues easier to manage and the chance of all actors being present at every rehearsal are greater. Jacquelin tries to avoid writing small roles, as she knows most actors like to be on stage as much as possible! Her plays are also ideal for converting into short film scripts, radio plays and puppet shows.

s t n e t Con r o e t s Bo r e p ok u S Copyright Information ............................................ 2 About the Author ................................................... 2 About this Series ................................................... 4 Introduction ........................................................... 5 Teachers’ Notes .................................................... 5 Curriculum Links ................................................... 6 Production Roles ................................................... 7 Stage Directions .................................................... 9 Extra Crew for Film Production ............................ 10 Where to Start ..................................................... 11 Storyboarding the Script ..................................... 12 Theatre/Film Planning ........................................ 14 Filming: Suggestion Notes .................................. 16 Using the Camera ............................................... 18 Shooting the Scenes ........................................... 19 Editing a Film ...................................................... 20 Producing a Radio Play ....................................... 21 Putting on a Puppet Show ................................... 22 Suggested Shooting Script .................................. 23

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Little Red Meets the Dingo

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Student Workheets: Teachers’ Notes .................................................... 27 Analysing Characters (Students’ Notes) ................ 28 Character Profiles ................................................. 30 Story Comprehension Activities ............................ 32

o c . che e r o t r s super Little Red Meets the Dingo About the Play ...................................................... 34 Suggested Costumes and Props .......................... 35 Cast and Background ........................................... 36 The Script ............................................................ 37

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About this Series This Lights, Camera, Action! series is designed as an informative starting point for creating professional dramatic arts performances through either film, stage play, radio show or puppet show. Each book contains an award winning script that is highly entertaining as well as topical. Comprehensive ideas and recommendations have been given throughout the series for making the most of these plays.

r o e t s Bo r e p ok u S There are four titles in this series:

Little Red Meets the Dingo Foreigners in Oztralia

Can Anybody Hear Me? Goldisocks and the Three Koalas

Each book in the series contains a full script that can be performed as either a screen play, stage play, radio or puppet show. Because many of the production roles are similar for each of the performances above, this information has been kept in one section and should be followed for all forms of the play. Presenting the material in this manner, allows you to decide what options to go with for your production (e.g. film, stage, radio or puppet show).

Production Roles

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Many of the behind the scenes roles are similar in nature (e.g. sound effects, costume design) and can be applied to any type of performance. Specific roles (e.g. film editor for a film, stage manager for a stage play) have been given special mention where relevant.

Making Film ©R eaa dyEdPubl i cat i ons This book contains very useful introductory notes on film production roles, storyboarding, camera shooting sequences, editing filmn andl much •f or r evi ewshots,p ur p ose sao ymore. •You will note that the shooting sequences varies from the actual script so it is

Stage Play

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recommended that you read the full script (see Page 37) before being able to understand the suggested shooting script (see Page 23).

Extensive guidelines for staging a play are included as well as a section on stage directions for organising the entrance and exits of cast members. Puppet Show and Radio Show Play

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Information is provided specific to producing the plays in this manner, however, the book mainly concentrates on requirements for film and stage play production. Much of this stage and film information can be applied to radio and puppet shows. There is much less work involved in putting on a radio play as there is no need for costumes or set design, lights, film etc. However, a thorough understanding of the script is an important part of preparation. This can be achieved by completing the student activity sheets on Pages 27-33. A radio play relies heavily on a director’s interpretation of the script and the actors’ interpretation of the characters.

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A puppet show is similar to a stage production with the exception that it’s the puppets who are seen by the audience rather than the actors, so directions for putting on a stage production should be followed. Activity Pages To allow students a better understanding of characterisation, photocopiable activity pages have been included. Ideally, these sheets should be used early on, once an initial read-through of the full script has occurred.

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Teachers’ Notes A Successful Production Begins with a Good Script

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Little Red Meets the Dingo is a play with subtle messages about the dangers of Internet chat rooms, being an only child, juggling a career and single parenting. It is an extremely funny play to rehearse and perform, which makes the seriousness of the message behind it not seem preachy to young performers and the audience.

Why is drama so beneficial?

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Half the battle of creating a production is the time-consuming task of writing a good script. An effective script should be clear and easy for the audience to follow and preferably have a solid message that will stay in the mind of the audience. Dialogue should flow and be natural and the characters should be interesting and memorable. Finally, it needs to be entertaining with bursts of energy to keep the pace exciting. This makes choosing a good script a much easier task than writing one.

Drama is a great way to learn about human behaviour and, if delved into, can be quite complex with aspects of psychology being used to understand the characters portrayed. Understanding human behaviour is empowering as it allows students to better understand themselves and their peers, which in itself builds self-confidence. Drama also helps tremendously with communicating self-expression in a non-threatening way by enabling the actors to self examine their own feelings when portraying a character. Most actors are attracted to roles that they can relate to in one way or another.

Drama

Not everyone likes to perform in front of an audience, yet most enjoy watching performances and having participated in the production in some way can be very rewarding. Ideally, encourage engaging the talents of the whole class to work behind the scenes in one way or another.

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Using Little Red Meets the Dingo in the classroom:

Using the stage play as part of a reading program is a fun way to get students to enjoy reading. A read through would involve each student reading a section of the script, whether it is one line of dialogue or the action description. The script can then be read around the class and then continued from the first student down to the last again. In using this method, no set student plays a particular character role. Once students get through the first round, you’ll find some interesting voices will emerge! After the read through, work through the accompanying student activities: Analysing Characters/Character Profiles

Readers

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sheets and the Story Comprehension Activity Sheet provided on Pages 30-33. Students can work in groups to create the most interesting voices for the characters and record them on CD to be presented as a radio play. This is a very good exercise in helping children express themselves via use of their voice. Those students, who do not like acting in any form, will still be needed to create the sound effects and music required for background noise.

Radio Play

Theatre Production Ready-Ed Publications

Involves the whole class in the process of putting on a production and the importance of working as a team for successful results. This book contains detailed sections on what will be required.

Puppet Show

Students can work in groups with some being voice actors and others in charge of music, lights and sound effects. Puppets can be made by the students or dolls and stuffed animals can be turned into puppets and dressed accordingly.

For the more ambitious, and for those who have access to a digital film camera and editing software, an introduction into filmmaking has been included. Making a film is a lot more involved and time consuming and therefore the project can be done over the year or over three terms. Choosing a short script of around 30 minutes is sufficient. It is strongly recommended that you shoot the scenes in a blocked period of two or three days to keep with continuity. If you shoot it over weeks or months you will get all sorts of problems such as the actor’s hair growing, a pimple that wasn’t previously there and so on – the list is endless. If all the preparation has been done thoroughly prior to shooting, there should not be any problems with shooting the script in two days and allowing a third day for any re-shoots or scenes the director is not completely happy about.

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Then again, you may not want to take the film project too seriously, but simply use it as a means of experimenting with the camera, angles, using different directors and comparing how differently each one would shoot a scene. You may want to break students up into groups and allocate them a scene each for filming. Use different actors and allow everyone to take on different roles in the crew – after all, it is only an introduction to filmmaking. We all need to start somewhere. Playing around first allows you to get a good feel for it.

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Film Production

For more information on putting on a stage play, radio play, puppet show or making a film visit: www.jacquelinmelilli.com

Curriculum Links

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South Australia – Arts Strands: Arts Practice - 2.1, 2.3, 3.1, 3.3; Arts Analysis and Response – 2.4 Arts in Contexts – 2.6

Victoria – The Arts Strand: Performing Arts Sub-strand: Arts practice – ideas, skills, techniques and processes: 2.1, 3.1 Sub-strand: Responding to the arts – criticism, aesthetics and contexts – 2.2, 3.2

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Queensland – The Arts Strand: Drama; Level 2 Core: DR 2.1, DR 2.2, DR 2.3; Discretionary: DDR 2.4 Level 3 Core: DR 3.1, DR 3.2, DR 3.3 Western Australia – The Arts Strand: Communicating arts ideas; CAI 2, CAI 3 Strand: Using arts skills, techniques, technologies and processes; STP 2, STP 3 Strand: Responding, reflecting on and evaluating the arts; RRE 2, RRE 3, RRE 4 NT, ACT and Tas. (National Curriculum) – The Arts Strand: Drama Creating, Making and Presenting: Band B; Past and Present Contexts: Band B

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Production Roles The producer is responsible for raising funds, publicity, overseeing the budget and is overall in charge of the production. All decisions must be reported back to the producer. It is recommended that the teacher take this role with possibly an assistant producer to “learn the ropes”, especially where budgeting is concerned. A producer will need to draw up a budget with all the foreseen expenses listed and then calculate the cost of each ticket to recoup expenses and make a profit that may be set aside for the next production.

r o e t s Bo r e p ok u S Director

Creates the vision of how the play/film is to be performed. Works as head of the production team to approve cast, costumes, set construction, lighting, sound, movement on stage/set, appearance of the stage/set, etc.

Assistant Director Stage Manager

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Producer

(Film) Carries out tasks set out by the director, such as organising casting calls and rehearsals; making sure the actors are ready to go on set; making sure everything runs smoothly and sorting out problems as they arise.

(Theatre) Is the first to arrive at the theatre prior to a performance and the last to leave the theatre after a performance. A stage manager oversees all activities on the stage and is responsible for any problems that may arise during a performance. Prior to a performance, the stage manager thoroughly checks all scenery, props, costumes, lighting and sound to make sure everything is ready and in place for the performance. The stage manager arranges for the actors to be at the theatre at least an hour prior to performance and advises actors of “half hour curtain call”, “fifteen minute curtain call”, ”five minute curtain call” and finally advises the actors to take their places prior to calling “Curtain!”. The stage manager must also communicate with the lighting and sound directors and the ushers to make sure everything is ready prior to calling “curtain”.

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Costume Designer

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Chooses team members to help design costumes and make the necessary arrangements to obtain them. This may mean compiling a note to send home to parents with detailed information/drawings of what exactly is needed. Second hand clothing shops are an excellent place to find costumes, wigs and even props! You may also be able to get the co-operation of the Textiles and Design class to make costumes for the production.

o c . che e r o t r s uArtists per Make-Up ,s Hair

Chooses team to help with putting on make-up, styling hair and wigs. A basic make-up kit should consist of: foundation (to suit character), powder, make-up pencils for brow and lips, brushes and sponges, make-up remover and hair spray. Most actors will already have these items and may prefer to bring their own make-up bag to rehearsals.

Set Designer

Chooses team to design the set as per the director’s instructions. This may be as simple as choosing class members who are talented artists to paint backdrops, on either butcher’s paper or suitable fabric to be hung as a background. Props can also be made from cardboard boxes, papier mâché, etc.

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Prop Assistant/s

Prompter/s

Need to organise props and familiarise themselves with the script to make sure props are in place when required during the performance. Must have replacement props organised in case any prop gets damaged or lost. Must be at every rehearsal.

Must be very familiar with the script and actions of actors. Responsible for prompting actors quietly from backstage if they forget their lines. Must be at every rehearsal.

r o e t s Bo Lighting Director r e p ok u S Sound Director

Fundraiser/s

Works with the director to create appropriate sound effects or music to accompany production. Special care must be taken to come in exactly on cue with music or sound effects. Must be very familiar with scripts and be at every rehearsal.

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Works with the director to create appropriate lighting and mood during the performance. The lighting director must be familiar with the script and be present at every rehearsal.

Funds may need to be raised depending on the scale of the production. A budget will need to be worked out and discussed between the director and producer. Playing Theatre Sports is a fun way to raise funds. For more information visit: www.jacquelinmelilli.com

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Stage Directions

It is good practice for the director to use the correct referrals for directions on stage. Refer to the diagram below and ensure everyone has a copy. A fun warm-up game prior to rehearsals is for the director to call out a section of the stage randomly and have the actors run to that section as quickly as possible.

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The back of the stage: UPPER STAGE RIGHT, UPPER STAGE CENTRE, UPPER STAGE LEFT

The front of the stage: (closest to the audience) DOWN STAGE RIGHT, DOWN STAGE CENTRE, DOWN STAGE LEFT

Note:

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The centre of the stage: CENTRE STAGE RIGHT, CENTRE STAGE, CENTRE STAGE LEFT

The director who is watching/directing the actors from the audience’s point of view must remember that his/her RIGHT is the actor’s LEFT hand side. So care must be taken when giving instructions to actors so as not to cause confusion.

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Extra Crew -

For Film Production Camera Operator/DOP

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An excellent exercise for the entire class to be involved in. Students may work in pairs or groups. Each group must have access to a computer with editing software installed and make up their own edited version of the production. You will find each version to be edited differently according to the student’s interpretation and talents. Let the audience be the judge as to whose version they prefer.

Lighting Director Sound Director

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(DOP=Directory of Photography) This may be one person or a team who takes turns in operating the camera. A DOP should be creative and work closely with the director in regards to using different angles to create a mood or sense of presence for the audience.

Must be aware of both interior and exterior lighting. Works with a crew.

Needs to be aware of sounds that may not be picked up by the camera’s microphone. They can still be recorded separately on the day of shooting and added later during editing. Sound director works with a crew.

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Takes notes and photos (a digital camera is very handy) of every single take in filming so that continuity is kept between the different setups of the scene. For example, an actor may be eating a banana in one scene. If he/she has only taken one bite in the first take, it would look out of place if half the banana is gone in the final take. Or an actor may be wearing glasses in a scene and may forget to put them back on for the following scenes. A team of two people would be better – one to take notes and one to take photos. Notes should also be taken on camera angles, lighting, props and furniture, etc. A storyboard is a series of drawings of the scenes as they will be shot on film. Each scene is drawn in the camera angle in which it will be shot as discussed with the director. Every detail is drawn, including the cutaways (see Page 20) so that when the time comes to shoot the scene, everyone is clear on how it will be filmed and will know which angles and what effects/moods the director wants to create.

Storyboard Artists

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o c . che e r o t r s super Clapper

The two sticks that are struck together to mark a sync sound take at the commencement of each scene. It is helpful to have a small whiteboard detailing the scene and “Take” number held up in front of the camera when filming of the scene begins. Hitting a pen on the whiteboard can create the clapper sound needed. All this helps with editing later. A director will usually call “Rolling” to start the camera rolling, and then call “Mark it” to the person holding the clapper.

Dailies/Rushes

Someone will need to arrange for the day’s unedited work print of the film to be seen by the director and camera operator. This can be done on a television monitor to ensure that everything shot that day was successful and doesn’t need to be re-shot the following day.

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Where to Start

The teacher/producer will need to choose a suitable director. Both director and producer need to become very familiar with the script as they will be choosing the cast and crew and making all the major decisions whilst working closely together. The assistant director/ stage manager will also be closely involved.

r o e t s Bo r e p ok u S Read Through

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Start with a read through of the script, allowing different students to read different roles until the director can decide whom to cast in each role. It is important for everyone to be present at the reading – even the crew will need to be very familiar with the script and the directions for sound and lighting given in the script. Choose a few of the crew to read the stage directions out loud during the read through. It is important for actors to understand the characters they are playing so as to avoid situations where actors play themselves or overact in an unnatural way. The Analysing Characters and Character Profiles worksheets (see Pages 28-31) will help develop an understanding of the roles and are very beneficial for the whole class to do after having read through the script a number of times. Allow students to choose which character they would like to analyse, making sure all characters are covered.

Character Research

Choose Cast and Crew © Re adyEdPubl i cat i ons •f orr evi ew pur posesonl y•

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The producer can assist here by making sure that “friends” are not chosen for specific roles, and that the most suitable person for each role should be carefully selected. Actors play a very important part in the overall success of a production and therefore it is very important to choose the right actor for the role. Consideration needs to be given when casting that a daughter/son is not taller than her mother/father and if possible, an effort should be made to keep a balance with resemblances. Once the cast and crew have been chosen, the director should allow each person to do their job and bring their own special talent to the production. A director should not become a “control freak”. They should be flexible in some areas, yet remain firm when it comes to the final decision about how the production should be performed.

It is recommended that you select understudies for the cast. If someone is away or becomes sick or injured during a scheduled performance, it could jeopardise all the hard work that has gone into making the production. If you are working on a theatre production and you have a large class, you may consider splitting the group into two and having them perform on alternate nights.

o c . che e r o t r s super Rehearsals and Blocking

Actors: Once rehearsals begin the director can begin to block where he would like the actors to stand/move for each scene. For short plays, it is recommended that actors read their scripts for two rehearsals only. They should make an effort to remember their lines as soon as possible to allow for character development and freedom of movement without the hindrance of holding a script. From this point on, PROMPTERS are an important part of rehearsals and must be in tune with each of the actors on the stage so as not to cause long pauses when prompting!

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Storyboarding the Script r o e t s Bo r e p ok u S

The director would have a vision of how he/she wants the story viewed by the audience which is where the use of “Close-up”, “Long Shots”, etc. comes in. If the director wants the audience to see a particular expression on an actor’s face, he/she would choose a close-up shot. If the director wants to emphasise an action, he/she would choose a longer/wider shot. Storyboarding all of these shots makes it clearer to the camera operator and crew involved on exactly how to set up each shot when filming begins. This saves valuable time further down the track when weather conditions or time limits can affect the shoot. See the illustrations on the following page for examples.

The StoryBoard

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For Film Production: The director and storyboard artists will need to work together to sort out how the shots will be filmed. As this is quite a time-consuming task, this process should begin at the same time as rehearsals. It would be a good idea to have the storyboard artists present at rehearsals so they can listen in to the director guiding the actors. They can then create the storyboard according to these instructions.

Picture 3. MID SHOT: Profile - biker rides to screen right

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Picture 4. VERY LONG SHOT: Biker rides to screen right Picture 5. CLOSE-UP: Boot on pedal

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Picture 2. LONG SHOT: Biker rides towards camera, race banner in background

o c . che e r o t r s super Picture 6. CLOSE-UP: Exhaust pipe shooting flames

Picture 7. LONG SHOT: From rear, biker rides towards finish line Picture 8. CLOSE-UP: Biker’s head as he passes finish line flag

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LS Biker rides toward camera, race banner in background

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CU Biker puts helmet on

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MS profile biker rides to screen right

o c . che e r o t r s super CU Boot on pedal

CU Exhaust pipe shooting flames

LS Biker rides away from camera

CU Biker in helmet

Illustration based on material from “Producing Videos: A complete guide” by Martha Mollison. Illustrator: Anthea Stead

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Theatre/Film Planning Props and Costumes

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Some costumes may need to be altered if they are to be used in a fight scene or a scene that requires a quick costume change. Velcro dots glued or sewn to fabric just behind buttons are excellent for a quick change or for fight scenes where the costume needs to be ripped. For a ripping scene, preprepare the costume by cutting the fabric where the rip should be and glue or sew Velcro dots in place. You’ll also get the added ripping sound of the Velcro when it is pulled apart.

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Actors should work with props, wigs and costumes as soon as possible so as to become familiar and comfortable with using or wearing them. If costumes are not ready, then rehearsing with similar clothing is helpful. The costume designer should be working behind the scenes during rehearsal time to prepare costumes and make sure they are clean, ironed and properly put away for the next rehearsal/performance. They should also be present during rehearsals to assist actors with costume changes.

With amateur productions it is best to keep things simple. If there are limitations with staging, then try to improvise by perhaps using freestanding lights or lamps and even a torch as a simple spotlight. Make sure you have new batteries in the torch and a spare torch handy (with new batteries) in case the inevitable happens and the torch dies mid-performance. If a proper stage is available then experimenting with the lights whilst actors are rehearsing is an advantage. Lighting is important, particularly if shooting a film, as bad lighting or the wrong use of coloured gels can make an actor’s face look splotchy, especially if heavy stage make-up is used.

Lighting

On a stage, lights are already set in place. Learning to operate them is not difficult. For beginners, keeping things simple is best. If you have an experienced lighting director then the use of gels, spotlights and stroboscopic lights may be discussed with the director. Care must be taken if using stroboscopic lights during a performance as the constant flashing may cause some people to have epileptic fits. If using stroboscopic lights, a warning must be given in the performance program of their use. It is best to keep the use of stroboscopic lights to a minimum. Importantly, the lighting director should be present at every rehearsal.

Sound

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If the performance space is small, a CD player can be used for recorded sound effects and/or music. Keep in mind that the audience must be able to hear it, so the sound person should position him/herself in view of the actors but remain out of view of the audience. If it is to be an open-air performance, the use of body microphones would be a big advantage. If not, stand up microphones can be placed down stage left and right at each corner with perhaps some microphones on short stands placed in front, down stage centre also. If performing on a stage, the sound director should be present at every rehearsal and be very familiar with the sound equipment so no technical problems arise during the performance. For filming, the use of body microphones is also highly recommended.

o c . c e her r Set Design o t s super

Set design need not be expensive. For an amateur production, making simple backdrops is sufficient. For example, a backdrop can be made by joining pieces of butcher’s paper together and painting a background on it to suit the scene. This can be taped onto the wall. Another alternative that can easily be stored away and reused is painting a backdrop on calico that has been sewn together. Glue the top of the background onto a long roll such as what is used for roll down blinds and attach the roll to a pre-made A-frame or hang the backdrop from the ceiling if possible. If more than one background scene is required, they can easily be changed around between curtain calls. Furniture can be borrowed and moved around. If the scenes change from one room to another, simply throwing a cover over a lounge or chair can make it look different or, alternatively the furniture can be moved around. Filming is easier as the cast and crew can move to different locations, such as the kitchen or lounge room.

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Make-Up

HOT TIP GENERAL APPLICATION: The first step is applying the foundation with a colour to suit skin tone. Foundation should be applied to all exposed areas up to the hairline, around the ears and down the neck to the top of the costume. Then apply the rouge to the highest part of the cheekbone and blend it downwards. Eye shadow is applied first on the upper eyelid and then eyeliner is applied to the upper and lower lids to make the eyes appear bigger. Use a lip liner to trace the lips. For fuller lips trace just above the lip line and then colour in with lipstick. OLD PERSON: To create the look of an old person, apply a darker foundation starting first with a darker shade under the eyes and in the cheek hollows. A brown eye pencil can be used to draw fine lines around the mouth and eyes. Then apply the foundation. Brown shadow makes the eyes look old. Talcum powder combed through the hair will give a grey appearance if a wig is not available. Streaks with white mascara are also good.

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There are three types of theatre make-up: grease paint, pancake and crème stick. For small theatres and film, a more natural look is best when applying make-up. Heavily applied make-up with brighter shades is normally used for large theatre or open-air performances where the actor’s features need to be seen from a further distance. Mostly, make-up should be used sparingly and checked at dress rehearsal under the stage/set lighting so that any adjustments can be made.

Once the director is happy with the look of the make-up and it has been checked under the lights and through the camera (if filming), apply loose powder to the face to set the make-up. The loose powder also diminishes the “shiny” look. When performing, the heat radiating from the lights can make an actor perspire, so loose powder needs to be kept handy and re-applied when needed. (Theatre) As previously mentioned, the stage manager is the first to arrive at the theatre prior to a performance and the last to leave the theatre after a performance. He/she oversees all activities on the stage and is responsible for any problems that may arise during a performance. Prior to a performance, the stage manager thoroughly checks all scenery, props, costumes, lighting and sound to make sure everything is ready and in place for the performance.

Stage Manager’s Role

If you are putting on a show for the public, you will need a publicity team to spread the word in advance. This can be done via use of posters, flyers, Internet newsletters, word of mouth, newspaper editorials, radio and possibly television spots. Create a buzz so that people become curious to see what all the fuss is about. Supply photos of the cast to newspapers and ask for interviews for newspapers, radio and television. Ticket sales should start at least two weeks prior to opening night.

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Publicity

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(For Film Productions) Editing can make or break your film. It is often overlooked when watching a film but editing is a very important part of telling a story. The editing process is something every student can have a go at. It is a lot of fun and fairly simple to learn. (See Editing a Film on Page 20 for more information.) Editing software for Apple Macs is called iMovie and is usually already installed on the Macintosh. Windows XP computers should come with a copy of Windows Movie Maker installed. For more details check:

Editing

iMovie: Windows Movie Maker:

www.apple.com/ilife/imovie www.windowsmoviemakers.net

Ushers

The stage manager will be in charge of ushers. Ushers are primarily there to serve the audience and make them feel welcome and comfortable. They are responsible for collecting tickets and guiding people to their seats promptly so that the show can start on time. Ushers will need to advise the audience about rules regarding flash photography and unauthorised filming of the show.

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Filming: Suggestion Notes If you have decided to film the production of Can Anybody Hear Me? the following notes can be used as a guide to filming techniques and suggestions for how best to approach the project. Keeping in mind that filming will usually take place in the school grounds, improvising will be needed to suit each situation. The indoor scenes can be set up on stage as they would in a theatre production. Outdoor scenes can be filmed in a suitable part of the school grounds.

r o e t s Bo r e p ok u S Choice of Shots

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Filming is done out of sequence to the story, with all the indoor scenes filmed separately to the outdoor scenes. A Suggested Shooting Script has been provided on Page 23.

An important part of telling your story depends on the careful choice of shots. Because of the limits of the camera’s frame, an action shot would require enough distance for the viewers to see what is happening as a whole. For an emotional scene, a closer shot is preferred so the viewers can see the actor’s facial expressions. Camera shots and their abbreviations are described as follows:

© ReadyEdPubl i cat i ons •f orr evi ew pur posesonl y• Wide Shot (WS): Most opening scenes start with a wide shot such as a view of a particular landscape, building or crowd of people. Very Long Shot (VLS): Where the actor and his surroundings can be seen from a distance.

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Long Shot (LS): A full body shot of the actor from head to feet, fitting into the frame.

Medium Long Shot (MLS): A shot of the actor’s head to thighs, fitting into the frame. Mid Shot (MS): A shot of the actor’s head to waist, fitting into the frame.

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Medium Close-Up (MCU): A shot of the actor’s head to chest, fitting into the frame. Close-Up (CU): A portrait shot of the actor, fitting into the frame.

Big Close-Up (BCU): A close-up of the actor’s face fitting into the frame. Extreme Close-Up (ECU): A shot of an object or particular part of an actor such as his/her mouth or eye, filling up the frame.

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Long Shot (LS)

Medium Long Shot (MLS)

Mid Shot (MS)

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r o e t s Bo r e p ok u S Very Long Shot (VLS)

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Close-up (CU)

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Big Close-up (BCU)

Extreme Close-up (ECU)

ILLUSTRATION TAKEN FROM “PRODUCING VIDEOS: A COMPLETE GUIDE BY MARTHA MOLLISON ILLUSTRATOR: ANTHEA STEAD

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Using the Camera r o e t s Bo r e The Tripod p ok u S

The tripod is a very useful piece of equipment. It allows for height adjustment of the camera and avoids the jerky movements of hand holding the camera. It also allows for panning and tilting (see below). It is particularly important to become very familiar with how to set up the tripod so that the legs are secure and tightened before placing the camera onto it.

Moves Using Tripod

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For beginners, hand holding a camera is not recommended due to the difficulty of keeping the shot steady and preventing jerky movements when the operator attempts to walk to keep the action in shot. When setting up the camera it is very important to take into consideration whether the angle is one where the camera is looking down at the actors – making them seem smaller and inferior – or whether the camera is looking up at the actors – which may give the audience a sense of being inferior. Care should be taken by the camera operator who may have set the camera up to accommodate for his/her height rather than the effect required for the scene.

Panning describes moving the camera horizontally from right to left or left to right, to either show the distance between a person and object, or to follow an action. It is important to check that the tripod legs have been set up evenly or the panning may turn out slightly slanted.

Panning

Tilting occurs when moving the camera vertically, both up and down, to emphasise height or depth. For example, starting at a person’s feet then slowly tilting the camera upwards towards the head; emphasising the height of a building by tiliting the camera from bottom to top; or filming an action such as jumping from a parachute.

Tilting

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Cameras have a zoom function that allows you to change the shot size from a long shot to a mid shot without having to physically move the camera and tripod. This action makes it easy to prepare for your next shot or you can zoom into an object or person whilst the camera is rolling. Zooming, however, can create problems later when editing, so be aware of the effect zooming might have during the filming process. The director may want the camera moved closer to the object or actor as opposed to zooming closer or further. If this is the case, a dolly is used which is a wheeled cart to which a tripod can be attached so that the camera can be moved smoothly backwards or forwards, or from left to right to change the angle of the shot. Improvise by using a trolley such as one that is used to carry an overhead projector. Make sure the wheels are well-oiled! Another idea is the use of a wheelchair. This however would mean that the camera operator would have to hand hold the camera which may work well for any walking shots where a bit of shakiness is not as noticeable.

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The camera’s microphone (or “mike” as it is usually referred to) picks up all sounds from all directions. This is ok if you’re filming indoors and you have some control over sound, but if you are filming outdoors the microphone will pick up all the ambient sounds such as birds, traffic in the distance, a dog barking and even the slightest bit of wind. Although it’s good to have these ambient sounds to give your film more realism, it can be a problem if the sounds ruin the mood and the actor’s voices cannot be heard.

Shotgun/gun mikes

These are called “gun” mikes because they are long and thin. They pick up sound from the front and can be used from a considerable distance. Gun mikes can be mounted on booms and then held high above the source of the sound so as not to be seen in the frame when filming.

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Body mikes

Body mikes are tiny microphones which can be clipped to the actor’s clothing or taped onto the body. Care needs to be taken when attaching them so that they are out of sight.

Sound

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Lighting for film is also different to a theatre production. If working indoors, any fluorescent lights are best turned off, as it is difficult for the camera to reproduce correct skin tones and colour balance. To keep things simple, lighting is about being aware of shadows which can either ruin the shot or enhance or create the mood you are looking for. Improvising can be done with the use of lamps. Light reflectors can be large pieces of white cardboard or the silver foil windscreen reflectors used in cars. These are used to reflect light that may cause shadows.

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Sound for film is different to a theatre production. Sound is normally recorded on location or on the set. If your sound equipment is limited you can use the camera’s microphone to separately record sounds or you can use a sound effects CD. It is also possible to download sound effects from the Internet. Check out: www.filmsound.org/sound-effects/libraries.htm soundfx.com

Shooting the Scenes © ReadyEdPubl i cat i ons

Film scenes are shot out of sequence to the story for a number of reasons. One reason is because it helps with continuity if all indoor scenes are filmed in sequence followed by any outdoor scenes or vice versa.

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For example, let’s say you have two different lounge room scenes to shoot which are at two different characters’ homes. Both homes would be decorated differently so rather than packing up and re-arranging the set a number of times to fit in with the sequence in the storyline, it is much easier to film ALL interior scenes in the one lounge room first and then the set can be re-arranged to portray the second character’s lounge room. This method saves time and reduces the chance of costly continuity mistakes, such as in the case where you may forget to include a piece of furniture or prop that was in an earlier scene, meaning that you would have to go back and re-shoot that scene.

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The same rule applies with outdoor scenes where control can be lost to the weather. If you are blessed with the exact type of weather that is required in the script, then shoot as much as possible whilst you are able to and make use of as much natural light as possible. An early start during the day is best, when you can make the most of natural lighting before it becomes too bright during the middle of the day. Brightness can cause harsh shadows and a lot more effort will be needed to balance out the light. The use of light reflectors will help here. Colours are also important with lighting. It is not advisable for actors to wear white as it is extremely reflective of light. Similarly, black or navy blue is very absorbent of light – add stripes or polka dots with these colours and the camera will be thrown off focus!

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Editing a Film

r o e t s B r e oo Editing Terms p u k S Establishing Shots

Begins with a wide shot to allow the audience to become orientated with the surroundings. Mostly, the first shot in a film begins with an establishing shot, however, establishing shots can also be used further in the film where a location changes completely.

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A film is a story told within a time limit. The story may happen in a day or it could span over a few years. Through editing, time can be manipulated to cover a span of minutes, hours, days or years, all within a few shots! So shortening time, fine tuning and cutting out the bloopers are some of the major purposes of editing. Considering there would have been several takes taken for each scene, there will be a lot of unusable footage. A director and editor cannot afford to get attached to footage. A lot will end up on the cutting room floor, so to speak, no matter how much a director or editor may love that footage. If it doesn’t quite fit in or make sense in the whole picture, it must be removed. A scene which seems to drag on will need to be cut down. Keep only what you need to tell the story.

This is when an actor leaves the frame during a shot and re-enters it in a different scene. It’s a way of shortening the time span and cutting out the unnecessary bits such as a character leaving his house, getting into his car, driving to a new location and entering another building. For this to work when it is finally edited, the frame must be left clear on exiting and remain clear when entering, otherwise the transition will not be smooth.

Entering and Exiting

Cut-ins ©R eadyEdPubl i cat i ons •f orr evi ew pur posesonl y•

Cut-ins are a closer look at something the director may want to bring to the audience’s attention which would otherwise be missed in a wider shot. For example, there may be a midshot of a character speaking, followed by a cutaway shot of the character’s fingers crossed behind his/her back, followed by a shot of two characters shaking hands. Cutaways are snippets of film shot, which are relevant to the story. Cutaway scenes are mostly shot on location at the time of shooting the film. For example, the character may be in the bush, so a cutaway shot might be of a flowing river or a koala in a tree which can later be added to the longer shot when editing.

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Cutaways

Stock footage refers to footage that someone else has shot which will fit nicely into your scene, such as a shot of a waterfall which is not on location but may be needed in your scene.

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Although most cameras have inbuilt transitions such as fade in/fade out, it is best to refrain from adding transitions until editing the complete film. Depending on which editing software package (e.g. iMovie) you are using, the transition choices will depend on the director and editors’ decision as to which transition choice is most appropriate for each scene.

This is when a shot fades to either black or white, leaving the screen blank. Fade to black is normally used on the last shot of the film to depict the ending. Fading out followed by a fade in to a new shot depicts the passing of time or change in location.

A dissolve is the term used when one shot fades away and another appears. It joins the two shots together by cross dissolving the footage. The speed of the dissolve is important. You want the dissolve in a chase scene to be quick compared to a dissolve in a waltz dance scene. The editor must always be aware of the mood of each scene.

Dissolve

The audio is the sound recorded with the footage. Your editing software will have audio tracks that allow you to manipulate the audio. You may decide to add music in the background at some point/s. In order for the music not to override the dialogue, you will need to adjust the music track to reduce the volume whilst the dialogue is spoken and then re-adjust as necessary.

Audio

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Producing a Radio Play

A radio play relies solely on a good script, dialogue, music and sound effects to capture an audience and enable them to visualise the story in their “mind’s eye”. Therefore, producing a radio play requires the chosen cast to develop their voices so as to be heard and understood. The voice is a powerful tool. The quality of the voice is dependant on tone, resonance, pitch, power and tempo. Sloppy pronunciation, mumbling or a monotonous droning voice are not acceptable.

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Timing when delivering lines should be well-rehearsed, yet seem spontaneous. Good technical assistance with music and sound effects is very important.

Script

Sift through the script and highlight where sound effects are needed. Select the sound technicians who will be in charge of operating the CD player. They must be present at every rehearsal with a back up technician.

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Most importantly, the director must be chosen carefully and should have a good ear for vocal expression by the actors allowing him/her to direct accordingly.

When preparing to produce a radio play, it is the actors’ voices that must be rehearsed and directed. Actors must learn to listen to themselves and train their ears to hear correct sounds that will enable them to pronounce and phrase the words correctly. This is where recording the dialogue becomes quite helpful. During every rehearsal, the dialogue should be recorded with the inclusion of the sound effects and then played back and discussed. Once the actors are comfortable with their lines and how to portray their character, you may want to proceed with the master recording. The use of an omni-directional microphone is best.

Rehearsals

Sound effects should be used sparingly and should support the story and suggested action. Too many sound effects may make the play difficult to produce and detract from the story. Sounds that must be timed precisely with the dialogue should be done manually, e.g. a knock on the door.

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Sound effects or music that serve as background or mood-setting should be pre-recorded on a blank CD in sequence to the script and marked according to its sound, such as: Track 1: Introduction music, Track 2: Typing on computer, etc. Make sure to leave long enough pauses between sound effects. The specially made soundtrack for the script can then be used at every rehearsal using a CD player or through the sound system to be used during the “true recording”. HOT TIP: Sound effect technicians should stick with using the same sound system they have been using during rehearsals. If a CD player was used throughout rehearsals, then changing to a bigger and better CD player or sound system at the time the ‘true recording’ is to take place, may result in failing the sound effects cues for the simple reason that the sound technician is not as familiar with the new equipment. Don’t make last minute equipment changes!

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Where to find sound effects: There are many sound effects CDs available for purchase or some can be downloaded from the Internet. Try: www.vca.unimelb.edu.au/production/html/sound.html

Converting Little Red Meets the Dingo Stage Play into a Radio Play This can be done individually by each student and then notes are compared and discussed as a group. The script notes can be rewritten into the narrator’s dialogue and sound effects can be highlighted in different colours to depict either music or sounds needed. Extra sounds will be needed such as heavy breathing/panting, and dingo/dog type sounds to clarify that Din is actually a dingo. Typing sound effects when Little Red is on the computer, etc. The radio play version of Little Red Meets the Dingo is available at www.jacquelinmelilli.com

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Putting on a Puppet Show Puppet shows are fun and very simple to organise. A show can be as simple as using Barbie and Ken dolls in appropriate costumes and stuffed toy animals. Make sure the scale of the puppets is realistic. A stuffed dog shouldn’t be twice the size of the doll being used.

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Choose the cast who will be the “voice actors”. As they will be out of view of the audience, they will need to have well-projected voices. Secondly, choose the cast who will manipulate the puppets. You may have the cast both manipulate and speak the character roles. However, to enable good voice projection and not be inhibited by the restrictions of the puppet stage, it is best for voice actors to work separately offstage – in view of the puppets, yet out of view of the audience and possibly with the use of a microphone.

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Cast

A very simple puppet stage can be created using two ladders which support the painted backdrop. The painted backdrop can be made using a large piece of calico. Students can then paint the appropriate scenery on the backdrop and glue the top of the backdrop onto a large roller such as is used in pull down blinds. Screw some holes into the ladder and attach the backdrop. The backdrop is then rolled up ready to use. If there are different scenery changes, make a few different backdrops and unroll them between scenes.

Puppet Stage

An even better alternative (if possible) is to use old vinyl roll down blinds and design the scenery with crayons and paint. Have a hunt around second-hand shops or garage sales for old blinds. Include requests in school newsletters.

Keep in mind the same things as you would for a theatre production although, for puppet shows, the lighting is best kept simple. If wanting to depict night time or to create a mood of tension, lights can be dimmed and a torch can be used as a spotlight.

Steps on and off with pull down blinds

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Use old pull down blinds or calico fabric

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A-frame ladder

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For: Little Red Meets the Dingo

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Please note: The script for the stage play Little Red Meets the Dingo (on Page 37) has seven scenes. However, when converting a stage play into a film script, scenes are broken down differently and therefore do not relate in any way to the stageplay’s scene numbers. The following suggested shooting sequence shows how the script could be shot using a total of 21 scenes. The director may, however, wish to break the scenes up even more into smaller scenes.

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IMPORTANT: For those who have never made a film before, you may want to start out with making a five or ten minute film first. If this is the case then use the Suggested Shooting Script sequence below as a guide and take excerpts of the script and condense the story to five or ten minutes. Filming terminology has been used in the notes below. Refer to the filming notes on Page 20. At the end of each scene, a note for editing is included so you know where the scene will fit in your film.

Scene 3

All Typing Scenes

Cindy getting ready for her audition

Little Red typing on computer. Film all Little Red’s dialogue first with shots of her worried face. Then change the camera angle with shots looking over Little Red’s shoulder and film all shots of her typing. You will need to film close-ups of the screen to see what is being typed. Make sure the font size is large enough to see clearly on film. Instead of Din’s voice offstage, film a close-up of a computer screen with Din’s hands seen typing his message. The use of a male teacher’s hairy arms with fake claws on his fingers could add creepiness to the scene. Din’s hands should be the only part of him we see in the first scene. Alternatively, only show Din’s reply dialogue on Little Red’s computer screen with Din’s voice over reading out the dialogue.

CINDY: (From offstage) Goodbye, my dear. Give Granny a kiss for me. The director can decide how the scene will be shot. It could be in Cindy’s bathroom as she washes off her facemask.

Edit Cut to: Scene 2/3

Cindy at home answers Granny’s call for help

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Edit Cut to: Cut-in – Little Red rolling her eyes and walking out the door.

Scene 4

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Scene 2

Cindy dressed in glamorous clothes speaks to Granny then calls 000. Only film Cindy’s side of the conversation. Film Cindy walking to the door, opening it and calling out.

Edit Cut to Scene 5

Cindy and Little Red at home Cindy calls out to Little Red who scrambles to get off the computer. Camera angles and close-ups at the discretion of the director.

Edit Cut to Scene 1 Typing Scene

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Scene 5

Woody comes to Cindy’s aid (Exterior)

Edit Cut to: Scene 7

Din arrives at Granny’s house (Exterior) Film Din’s dialogue outside Granny’s door. Din: (Offstage) Personal delivery. One delicious birthday cake fresh from the bakery! Camera angle suggestion: When Granny opens the door, angle the camera as low to the ground as possible to make Din appear taller and more menacing. Then from Din’s POV (point of view) stand on a chair and angle the camera as high as possible to make Granny appear smaller and frailer.

Cindy and Woody arrive at Granny’s house (Exterior) Film all the exterior scenes at Granny’s front door in succession. While you have the actors together in costume, try to film as many scenes as you can with them. Film as many scenes as possible with Cindy and Woody together in succession. That’s the beauty of editing – you can put them in sequence later! Also saves a lot of headaches with continuity. Film the following dialogue: Cindy: (From offstage) It’s me! Cindy: No, I won’t go away. I thought you were supposed to be having a heart attack. Now, open this door! Cindy: Mother, will you open the door! Instead of “Cindy is heard screaming”, a suggestion would be to get a close-up of Cindy’s face as she reacts to seeing Din. She could scream a number of times in an over reactive way.

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Scene 6

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Scene 8

Edit Cut to: Scene 9

Scene 9

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Scene 10

Din ties Granny to her chair

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Din threatens Granny at home

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Little Red arrives at Granny’s house (Exterior) All Little Red’s exterior dialogue should be filmed in one block. Little Red: (Offstage) Granny! It’s Little Red. Little Red: (Offstage) Open the door, Granny. It’s me! Little Red: What’s taking you so long Granny? Are you all right?

Din hides Granny in the cupboard/ Little Red is outside To help Din in this scene, it would be helpful if the actress playing Little Red spoke out Little Red’s lines from behind the door as Din puts on Granny’s dress. This would help to create a sense of urgency for Din to cover himself up before he was discovered.

Edit Cut to: Scene 15

Edit Cut to: Scene 11

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Scene 12

Granny on the phone

Shoot all Granny’s phone scenes together, including Granny’s brief call which interrupts Cindy telling Woody about being nominated as Best Supporting Actress. GRANNY: For goodness sake. Will you hurry up? Have you forgotten that I’m having a heart attack and Little Red is being held hostage?

Cindy and Woody at Granny’s house Cindy and Woody knock Din out. The director may want to change the Police voice dialogue when Cindy yells out the front door. A suggestion would be to have the Police car sirens heard in the distance, as soon as Cindy yells out . To make sure the scene where Cindy is speaking to Little Red and Granny through the cupboard is realistic, the actors playing Little Red and Granny should speak out their dialogue through a closed door. This will also help with the timing of dialogue between Cindy, Little Red and Granny. Some clever camera angles will need to be used with Woody’s chainsaw scene, as you don’t want to really start the chainsaw! Instead, just go through the motions. Do a shot of Woody walking to the cupboard with the chainsaw and pulling the lever to start it. Once the chainsaw sound effect is added during editing, it will be more realistic. As Woody is about to cut through the cupboard, cut the shot and switch to a shot of Little Red and Granny looking out from inside the cupboard.

Scene 13

Granny in the cupboard

Film all Granny’s cupboard scenes together. Don’t forget to include the line when Din first puts Granny in the cupboard. GRANNY: (Offstage) Let me out! Help, there’s a spider in here!

Edit Cut to: Scene 17

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Edit Cut to: Scene 7

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Scene 16

Edit Cut to: Scene 7/15

Scene 17

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Granny and Cindy in the cupboard Edit Cut to: Scene 16

Der poking his head through the window DER:

Uh, hello in there. I was wondering, um, do I still get me fifty bucks?

End Scene

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Little Red at Granny’s house

Din waiting for Little Red in the bush

Little Red comes face to face with Din who is dressed as Granny. The fight scene with Little Red and Din will need to be carefully thought out and choreographed.

Find a bushy location in the school grounds away from any buildings for all the outdoor scenes. It is best to find the quietest spot. Try not to film during recess or lunch breaks when all the students are outside. This is very distracting for the actors and the noise levels would make it very difficult to hear the actor’s dialogue. If the only microphone you have is the camera’s microphone then you will need to make sure that any long shots you make should be free of dialogue. Tighten the shot when the actors are speaking.

Edit Cut to: Scene 13

Edit Cut to: Scene 19 Ready-Ed Publications

Scene 19

Scene 21

Din on the phone to Der in the bush

Little Red knocks Der out in the bush

A long shot can be used of Din pacing while he waits for Der to answer the phone. Then film a medium closeup shot of Din speaking so that his dialogue can be clearly picked up by the camera’s microphone.

Suggestions as to when long shots could be used in this scene:

Edit Cut to: Scene 20

• At the beginning when they are walking in the bush; • Then when Little Red has her fit and the fight scene with the water pistol so that all the action can be clearly seen. Note: Der will have to improvise hearing the growls of the Tasmanian Devils. The director should cue him in with this.

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Edit Cut to: Scene 10

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Der tries to stall Little Red in the bush Edit Cut to: Scene 8

Optional Scenes

© ReadyEdPubl i cat i ons Cut-ins & Cutaway •f orr evi ew pur posesonl y• If there is more than one camera available for shooting, the director may want to consider assigning a camera operator to shoot all the cut-ins and cutaway shots.

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Cotton wool between Cindy’s toes. Granny’s birthday cake before Little Red picks it up. Little Red rolling her eyes as she walks out the door. Phone ringing at Cindy’s house. Cindy putting on lipstick. Cindy’s manicured hand picking up phone. Cindy dialing 000. Close-up of door before Cindy opens it. Close-up of chainsaw. Granny’s knitting. Table with party food. Granny’s hands tied behind her back. Party food eaten. Din locking cupboard. Din’s fangs as he bites into cupcake. Din’s ear poking out of cap. Bulge at the seat of Der’s pants. Water pistol (only once Little Red notices that it’s a water pistol – don’t want to give it away to the audience until then).

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WORKSHEET

r o e t s Bo r e p ok u SStudent Worksheets:

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STUDENT

Teachers’ Notes

Knowing the character is an essential part of preparation for any sort of theatrical production. Understanding the script is another important step. Use the following student worksheets with your class as an introduction to the play.

Profiles ©Character Read yEdPubl i cat i ons •f orr evi ew pur posesonl y•

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Story Comprehension

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Students can complete a character analysis for EACH character of the play. Alternatively, they can choose to focus on only the character that they will be portraying. Hand out the Analysing Characters activities (sheets 1 and 2 on Pages 28-29) prior to the Character Profile sheets and read through as a class, using examples where possible. Make sure students use the most of the workspace given and encourage them to put as much description into their character analysis as possible.

This activity can be completed following initial read-throughs of the script.

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STUDENT

WORKSHEET

Analysing Characters - 1 Use the notes below to help you complete the character profiles on Pages 30-31.

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Era born

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Nationality

What country was the person born in? Does he/ she have an accent?

Examples include fidgeting, fiddling with hair, nail biting, cracking knuckles, nervous twitches, excessive blinking and so on.

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(This point can be left out if not applicable.) Examples are: A hippie born in the ’60s. If the character is older, e.g. a grandparent, find out roughly when he/she was born and study that era. Part of a person’s personality is reflected by the era he/she was born in and the beliefs and values at that time.

Family Background

Same questions may be asked about parents. Were his/her parents hippies? Workaholics? Strict? Easy going? Well-educated? Wealthy? Poor? Famous? Criminals? Did his/her parents divorce? One or both parents die? Was the character put in foster homes, raised in an orphanage or by close relatives? Does the character have siblings?

Is the person young or old? Tall or short? Strong and muscular? Weak and sickly? Hunched over? Hairy? Toothless?

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Characteristic

Introverted , Extroverted

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Attitudes and Beliefs What is the character’s attitude to life? Does he/ she take life seriously or is he/she reckless? What is his/her attitude towards family, money, and social issues? What are the character’s personal beliefs? What is the character really passionate about?

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Nervous , Laidback

Good Points

Optimistic , Pessimistic Generous , Stingy Kind , Cruel

Does the character have any particular talents or skills? Does he/she take the time to help someone in need? Is he/she reliable?

Popular , Unpopular Hard worker , Lazy Leader , Follower

Over reacts , Stays calm Bossy , Takes orders

Bad Points Is the character selfish or have an ego problem. Does he/she tend to run away from problems or pass the blame?

Honest , Sly 28

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STUDENT

WORKSHEET

Analysing Characters - 2 Use the notes below to help you complete the character profiles on Pages 30-31.

r o e t s Bo r e Some Extra Questions p okto Ask Yourself u S

Dress Code

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A person’s hairstyle may also be influenced by the era they grew up in. Some people keep the same hairstyle they have always had as it gives them a sense of security. Once again, an extroverted person may have a radical hairstyle or high maintenance hair (bleach blonde, coloured, teased and sprayed). A job or occupation can also dictate hairstyles.

• What circumstances, conditions and events from the past are responsible for the present life of the character?

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Some extroverted people like to wear loud, unusual or revealing clothes. Introverted people may be more conservative. A person’s job or occupation may also dictate what he/she wears. For example, a businessman may wear suits whereas an artist may choose casual clothes.

• Does the character have strong ideas, opinions and feelings? Is the character easily swayed from these convictions?

• Are the character’s goals worthy or are they dishonest?

Give details about his/her type of job, hobbies and interests if applicable.

• How does this character feel about those who stand in his/her way?

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Biggest Influences

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• How have other characters been affected by one character’s success or failure?

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Is the character academic? Creative? Sporty? Welleducated? Entrepreneurial?

• What do you like or dislike about this character’s personality?

o c . che e r o t r s uper Personal Goals s

Who were the biggest influences in the character’s life? Was it a parent, sibling, relative, friend or possibly an outside source?

• Are there strong motivations for what this character says and does?

What are the character’s personal goals and how does this influence his/her behavior? What lengths does the character take to achieve his/her goal/s?

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Character Profile A Complete the character profile and paste or draw a picture into the box.

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Characteristics: ________________________

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_____________________________________

Mannerisms: __________________________ _____________________________________ _____________________________________

Family background: _____________________

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Age: _________________________________

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Era born:______________________________

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Nationality: ___________________________

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Physical appearance: ___________________

_____________________________________

Attitudes and beliefs: ____________________

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_____________________________________

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Name: ________________________________

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Character Profile B Type of job: ____________________________

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Good points: ____________________________

r o e t s Bo r e p ok u S

______________________________________

Bad points: _____________________________

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Hobbies and interests: ____________________

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Dress code: (include hairstyle, jewellery, etc.)

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Biggest influences: ______________________

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Education: _____________________________

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Personal goals: _________________________

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STUDENT

WORKSHEET

Story Comprehension Activities

Read through the script of Little Red Meets the Dingo and complete the following.

r o e t s Bo r e p ok u S

1. Why do you think Little Red’s mother didn’t want her to use the Internet chat rooms?

4. What was Der’s main reason for getting involved?

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2. Why do you think Little Red disobeyed her mother?

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3. What were Din’s real reasons for “chatting up” Little Red?

5. What sacrifice was Granny willing to make to ensure Little Red’s safety?

6. What sacrifice was Cindy willing to make to ensure Little Red and Granny’s safety?

___________________________________

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STUDENT

WORKSHEET

Story Comprehension Activities

Read through the script of Little Red Meets the Dingo and complete the following.

r o e t s Bo r e p ok u S

7. What were the consequences of Little Red’s actions?

___________________________________ ___________________________________ ___________________________________ ___________________________________

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___________________________________

10.How do you deal with disappointments when someone you care about keeps letting you down?

___________________________________ ___________________________________ ___________________________________ ___________________________________

8. Have you ever met someone who you thought was really nice, only to find out later that they were using you? Can you explain how you felt?

Draw your favourite part of the story.

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9. How do you really get to know someone and gain trust in the relationship? ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ Ready-Ed Publications

About the Play

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Little Red Meets the Dingo An Australian Fairytale WRITTEN BY JACQUELIN MELILLI (©) 2003

Spring on Stage Theatre Festival 2004

Coffs Regional Conservatorium Drama Troupe

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DIRECTED BY JACQUELIN MELILLI

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BY THE

o c . che e r o t r s super Original Cast

Little Red .....................................................Camille Softley Cindy ............................................................ Laura Strange Din ................................................................... Daniel Groth Der...................................................................Jack Chaffey Granny ......................................................... Corrine Softley Woody ................................................................. Tresc Bax

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Suggested Costumes and Props r o e t s Bo r e

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Costumes:

Cindy:

Bathrobe with pocket, hair rollers, facemask, cotton wool toe separators, mobile phone. Glamorous, sequin outfit, matching shoes, lots of jewellery, fake eyelashes, soft handbag.

Granny:

Old-fashioned dress with lacy collar, brooch and necklace, beige stockings, sensible shoes, grey wig, beige stocking to cover head or bald cap, eye glasses, knitting needles or crochet piece of work, walking stick.

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Party clothes and shoes, red riding hood, basket.

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Little Red:

© Rea dyEdPubl i cat i ons Dingo ears and tail, long sleeved brown skivvy and stockings, boxer shorts with tail attached, pants and eccentric shirt, cap, •f orr ev i e w phone. pu r p os es o nlacy l y • shoes, mobile Fake fangs, Granny dress with collar, Din:

face paint.

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Woody:

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Large dopey hat, brown long-sleeved skivvy, long pants, colourful T-shirt, denim jacket, shoes, mobile phone, water pistol, big watch, face paint.

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Der:

Jeans and flannel checked shirt, shoes. Toy chainsaw, hair gelled back, black sunglasses, floaties on arms under shirt. (could also include fake muscles and fake hairy chest.)

o c . che Props: e r o t r s super

Table with laptop, telephone, chequebook, pen, three chairs, book. Birthday cake. Side table with tablecloth, bowl of chips, cupcakes, plate of sandwiches, three glasses, bottle of drink, key. Fake trees.

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An Australian Fairytale Cast

Little Red ...................................... smart, resilient and tough Cindy ....................... Little Red’s Mother – high maintenance Din .................................. a dingo – deceitful, money hungry Der ........................ a dingo – Din’s friend, dopey and clumsy Granny .................. Little Red’s grandmother – old but tough Woody .............. a woodchopper – handsome and muscular

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r o e Little Red t s Bo r e p o u k Meets the Dingo S

Setting the Scene

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Little Red ignores her mother’s warnings about using Internet chat rooms. Little does she know, the deceitful dingo, Din is planning his moves. When her mother drops out of yet another family gathering to put her career first, Little Red reacts by inviting Din to Granny’s birthday party with disastrous results. Little Red is taken hostage by Der the dopey dingo, while Din is making Granny sign over her fortune in exchange for Little Red. Does the woodchopper come to the rescue? Does Din get his just desserts? You bet!

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Script

Setting: Downstage section of stage is set with artificial trees to portray

the outdoors. Centre and upper stage is set with furniture to portray Little Red/Granny’s home. Furniture can be rearranged each time curtain is closed for outdoors scenes.

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Curtains open. Little Red is sitting in front of a computer. She is typing in a “chat room” on the Internet. She is chatting with Din the Dingo. Din can be heard speaking offstage.

Din:

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Scene One or eB st r

(Voice over from offstage) We’ve been chatting for a while now, isn’t it time we met?

Little Red: Oh, no! How going toc get out ofn this © Rea dy E damPIu bl i at i o sone? Mum warned me it would come to this. (Speaks out loud •f orr ev ew pu r pnot os es ontol y asi she types) Sorry, really meant be• using this chat room. Mum would flip out if she knew.

Little Red:

(Types as she speaks) She has a way of finding things out.

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Din: Little Red: Din:

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(Offstage) So, how will she ever know?

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Din:

o c . ch e (Offstage) I thought you saidr she was never home? er o st super

(Types as she speaks) She is today, it’s my Granny’s birthday. We’re having a party at her house.

(Offstage) Where does your Granny live? Maybe I could meet you after the party. 37

Cindy:

(From offstage) Little Red!

Little Red:

(Types as she speaks) I gotta go.

r o e t s Bo r e p ok u S

Cindy:

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Little Red scrambles to shut down the computer. She jumps into a lounge chair and pretends to read a book. Cindy enters stage in a nightgown, hair in rollers, a facemask and cotton wool between her freshly painted toenails. She blows on her fingernails while attempting to speak into a mobile phone. Her movements are quick and she uses a lot of hand gestures. She is very dramatic. Little Red is upset when she sees her mother is not ready for the party. I need you to write something down for me sweetheart. My nails are wet.

Little Red:

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Don’t yell, dear. You’ll give me a dreadful headache! Write this down, sweetheart. WWW DOT SNOW WHITE GOES TO OZZYWOOD DOT COM. Now, be a dear and look it up will you. (Waves her hand at the computer)

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Cindy:

o c . che e r o t r sagent on the phone. This sup er Quiet a minute. I have my Not now, Mum. We’ll be late.

could be my big break!

Little Red:

How could you?

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Shhh! (Speaking into the phone) OK, Harry, darling. Of course I can fly to the Gold Coast. You’ll need to arrange the limousine. Make sure there are flowers and chocolates in the back, dear. First class travel. Window seat. Salads only, I’m on a diet. Except for the chocolates of course. And do book another hotel, dear. The last one didn’t serve Vegemite toast for breakfast. We mustn’t lower our standards now must we!

Little Red:

r o e t s Bo r e p ok u S No way! You promised to come to Granny’s birthday!

Cindy:

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Cindy:

Harry, darling. I have to go. Call me back when the arrangements are finalised. Bye, bye now.

Cindy makes some kissing noises into the phone before hanging up. Little Red is furious.

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Little Red: Cindy:

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Little Red: Cindy:

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want me to give up the opportunity of a lifetime now do you? You say that every time. Work always comes first. It’s not fair! You’re never around when I need you.

o c . che e r o t r s su r pe Granny’s getting old. She could have a heart attack

But you have Granny just around the corner and you know how much she adores you! any minute.

Now don’t exaggerate dear. She’s only 99. Anyone would think she’s 100 the way you’re going on about it. Now do be a darling and look up that website. It’s very important. 39

Little Red:

Granny’s birthday is important.

Cindy:

Oh, darling, I’ve been going to Granny’s birthdays for decades. She won’t mind me missing this one.

Little Red:

You missed it last year too and the year before that. Should I go on?

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Cindy:

r o e t s Bo r e p osame. Cake and Did I? Well, these parties are all the k u Smore cake. You know I’m on a diet.

Little Red:

You’re always on a diet.

Cindy:

You really should be proud of me for not going and resisting all that temptation to binge. Now, don’t forget that website, dear.

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I’d better hurry, I have a million things to do. Oh, and don’t forget Granny’s birthday cake. I had it specially made! (Dabs at her mask) Oh dear, my face is cracking up.

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Cindy:

o c . che e r o t r s per (Types as s sheu speaks) Hello, Din. Are you still online?

Din:

(From offstage) I was hoping you’d be back, Little Red.

Little Red:

(Types as she speaks) I’ve changed my mind. I’d

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like to meet you. Would you like to come to my Granny’s birthday party? Din:

(Offstage) Wouldn’t your mother mind me going?

Little Red:

(Types as she speaks) I don’t care what she thinks anymore. She’s not coming now. Her work is more important.

Little Red:

Din:

alone?

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Din:

r o e t s Bo r e p ok u S (Offstage) Will you be going to your Granny’s house (Types as she speaks) Yes, I’ll meet you there. It’s the red house by the lake in the Waratah Shire.

(Offstage) Can we meet at the Gum Tree Crossroad first? bed a bit turning up by © Rea dyI’d E Pshy ub l i ca t i omyself. ns

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Din:

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Little Red: Din:

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f orr ev i ew pu r po se syou on y• Little • Red: (Types as she speaks) OK. Can bel there in fifteen minutes?

(Offstage) That doesn’t give me much time to get ready.

o c . che e r o t r s suNo! (Offstage) I love birthday parties. I’ll be there. r pe (Types as she speaks) Maybe we should make it another time then. What are you wearing?

Little Red:

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(Types as she speaks) My red riding hood of course. See you soon.

Little Red shuts down the computer, puts on her Red Riding Hood and picks up her basket and the birthday cake from the table. Little Red:

Well, it’s done now. I’ll finally get to meet Din. He sounds so nice. All that rot Mother goes on about perverse dingoes using chat rooms to get their teeth into innocent girls. I’ll prove her wrong. It’s not like she really cares anyway. (Calls out) Bye, Mum.

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Cindy:

r o e t s Bo r e p ok u (From offstage) Goodbye, my dear. Give Granny a S kiss for me.

Little Red rolls her eyes and walks offstage. Centre curtains close. The front half of the stage is decorated with trees representing the outdoors. Meanwhile the furniture is rearranged in the back half of the stage to represent Granny’s house.

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Din:

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Din the Dingo races onstage. He is dressed in brown tights and long-sleeved skivvy. He has on a pair of boxer shorts with his tail poking out and is attempting to quickly put on a shirt and pants. He tucks his tail inside his pants and covers his ears with a cap. In his haste, one ear is still protruding from the cap. Little Red skips onto the stage.

o c . che e r o t Hi, are r you Little Red? s super

Little Red:

Din? (Notices ear protruding from cap and is alarmed) Oh, dear. Maybe this wasn’t such a good idea after all.

Din:

Why not? You’ve only just met me.

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Little Red:

Well, that’s just it. I don’t really know you. You could be a dingo for all I know. My mother warned me about talking to dingoes.

Din:

Well, what makes you think I’m a dingo?

Little Red:

Your ear is sticking out from under your cap.

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r o e t s Bo r e p o u k Din quickly tucks his ear under his cap. S Din:

Oh, but I’m a friendly Dingo. You can trust me!

Little Red:

I’m sorry, this was all a big mistake!

Little Red runs off stage as fast as she can, leaving Din with his mouth wide open ina shocked disappointment. He quickly searches his © R e d y E d P u b l i c a t i o n s pocket for his mobile and dials it.

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Hey, Der. Wanna make a quick fifty bucks? Atta boy. OK, listen carefully. There’s a girl in a red riding hood walking down Bushman’s Road. Yeah, she’s headed for Granny Hood’s red house, near the lake ... Yeah, that’s the one. I need you to stall her for about fifteen minutes. Talk to her, dummy. (Pause) Don’t think too hard, Der, I don’t want you popping a blood vessel, mate. Tell her anything. Fifty bucks, no questions asked. Fifteen minutes, that’s all I need. Oh, and make sure your ears and tail are covered. If she thinks you’re a dingo, she’ll make a run for it. Thanks, mate. I gotta go.

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Din:

•f orr evi ew pur posesonl y•

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Din shoves the phone back into his pocket and exits the stage.

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Scene Three Der enters stage and waits next to a tree. He is tucking his ears under a dopey looking hat and there is a noticeable bulge at the seat of his pants. He pulls at it.

r o e t s Bo r e p ok u S Fiddles around trying to unwedge his tail.

Oow! I shoulda got me tail trimmed. There’s nothing worse than a scratchy wedgy.

Der:

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Der:

(Leans on tree) Fifty bucks just for talking to someone for fifteen minutes. How easy’s that? (Looks offstage) Ah, here comes a girl in red.

Little Red enters the stage. isn’t it?

Little Red:

Der!!

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Der:

Little Red: Der: Little Red:

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Der:

How’d ya know me name was Der?

o c . c e No, but I do know a few jokes. You wanna hear one? her r o st super You are joking, aren’t you?

No, thanks, I have to go.

Little Red is about to walk away when Der stops her. Der: 44

Hang on, it hasn’t been fifteen minutes yet. So, where are you going with that delicious looking cake? Ready-Ed Publications

Little Red:

Sorry, I really have to go.

Der tries to stop her again. Der:

(Looking at his watch) Um, would ya mind talking to me for another fourteen minutes and twelve seconds, please?

Der:

OK, what about thirteen minutes?

Little Red:

No!

Der:

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Little Red:

r o e t s Bo r e p okmaking me very u I’m sorry but I’m late and you’re S nervous. Can you please move out of my way?

(Thinks a moment) Hang on a tick. (Trying to act © Rea dyEdPubl i cat i ons cool) I’m a photographer and I’m always on the lookout new faces. youo ever thought •f orr ev i ewforp ur poHave ses nl y• about

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modelling? With a face like yours, you could make a fortune.

Der, in an attempt to look sophisticated, lifts up his arm to lean on the tree beside him. He misses the trunk and falls to the ground. He quickly gets up, brushing himself off and stands with his arms folded trying to look cool, as if nothing happened.

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Little Red: Der:

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o c . ch e Well, I don’t know. I’d have tor er o t s check with my mother. super

Of course. (He fumbles around his shirt pocket) I didn’t bring a business card with me but I have one at home. I just live around the corner. Why don’t you pop in for twelve minutes and twenty two seconds?

Little Red:

No, I can’t. My Granny’s expecting me any minute. She’d worry if I were late.

Der:

OK, eleven minutes, but that’s me last offer.

Little Red:

r o e t s B r e Ap mate of mine asked me ifo Io could stall you for u k fifteen minutes for fifty bucks, no questions asked. S What’s this eleven minutes business?

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Der: Little Red:

(Alarmed) Oh, dear, he wasn’t wearing a really weird shirt and pants and a cap on his head was he?

Der:

I dunno, he called me on my mobile.

Oh, no,y Ihave to P go.u © Re ad Ed bl i cat i ons orpast r ev i e whep ur p os esonl y• She tries• tof push Der but blocks her way. Little Red:

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Little Red: Der:

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Ah, excuse me, but I really need that fifty bucks, so I’m afraid I’ll have to keep you here for another (looks at his watch) eleven minutes and fourteen seconds.

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Der:

You can’t do that. My granny might be in danger.

o c Yeah, well so will I if I don’t pay e me. debts. I’ve got c h r o somee Tasmanian Devils after me. Sorry, luv, I need t r s s r u e p that money pretty bad.

Little Red:

Well, what about if I paid you fifty dollars?

Der:

Yeah, right-O.

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Little Red:

OK, if you give me your name and address, my mother will post you out a cheque.

Der:

Yeah, right, you must think I’m stupid or something.

Little Red:

Your name’s Der, isn’t it?

Der:

r o e t s Bo r e p ok u S I don’t have fifty dollars on me.

Yeah, Der, now who’s stupid? I want cash, sweet lips.

Teac he r Der:

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Little Red:

Well, I’m gonna have ta hold ya hostage till I get me money one way or the other.

Little Red attempts to run but Der grabs her, pulls a gun out of his pocket and sticks it into her back.

Little Red:

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Der:

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Little Red:

Der:

Let me go! Are you crazy? Fifty dollars isn’t worth going to jail for.

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Der:

I’ll be safer in jail than if them Tasmanian Devils get their hands on me. Now, let’s go visit Granny so I can get me money. I know a great spot to hide you, not far from there.

o c . che e r o t r s are cutting down trees Wait. Some woodchoppers sup er

and they’ve blocked off that part of the bush. I know a short cut. OK, then.

They turn around and head in the opposite direction. Exit. Ready-Ed Publications

Scene Four Curtains open to reveal Granny’s house. Granny is seated and busy knitting. She is wearing a party dress and has reading glasses perched on her nose. A table is laid out with party food. SFX: Door knocking.

Granny:

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Din:

r o e t s Bo r e p ok birthday (Offstage) Personal delivery. One delicious u S cake fresh from the bakery! That’s funny. I thought Little Red was bringing the cake.

Granny gets up to answer the door. Granny and Din are seen just off centre stage. Din has pushed his way through Granny’s front door. Din:

Din:

I’m Little Red’s friend. Didn’t she mention me?

Granny: Din:

Granny:

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Who are you?

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Granny:

No, where is she? And where’s the cake?

o c Don’t worry, she’s on her way. Nice place you’ve . c e hhere. r got I figured you fairytale characters got paid er o t s s r in royalties alone. up well. You must gete a fortune (Suspicious) What do you want?

Din’s mobile phone rings.

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Din:

Hello? (Alarmed) What do you mean you’re holding her hostage! You double crossing son of a dingo!

Granny:

(Shrieks) You’re holding my Little Red hostage? Oh, this is dreadful! You’ll go to jail for this.

r o e t s Bo r e p o u k Din sticks his hand in his jacket pocket to make out he’s carrying a S gun. Stay quiet, Granny and you won’t get hurt.

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Din:

Granny:

I’ll give you anything, just let my Little Red go.

Din:

Anything sounds good. Get your chequebook out.

Granny walks over to her desk and gets out her chequebook. She is © ReadyEdPubl i cat i ons shaking visibly and her knees are knocking.

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. Granny: t e Din:

(Talks on phone) As for you, you double crosser, you’ve just made my day a little easier. Hold Little Red until I get in touch. (Hangs up phone) OK, Granny, poise your pen. A million dollars will get your Little Red out of trouble.

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Din:

•f orr evi ew pur posesonl y•

o c . che e r o t r s sudo have er Ah, but you p that kind of money! So, get it. I

That’s outrageous! I don’t have that kind of money in my cheque account. don’t care how but if I don’t have that money by five o’clock this afternoon, Little Red will be dingo meat.

Granny:

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Oh, dear, this is dreadful. I’ll need to call my accountant. 49

Din:

Dial away, Granny, but remember, one false move and Little Red is history. I’ll be listening to every word. In the meantime, I may as well make myself comfortable and enjoy this delicious party food.

Granny dials the phone. Din sits down and starts to eat. Middle curtains close.

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r o e t s Bo r e p ok u Scene S Five

Little Red:

Do you do martial arts?

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Enter Der and Little Red. Der hangs up his mobile and puts it in his pocket. Little Red looks uneasy. Der still has his gun pointing into her back.

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Oh, dear. I’m starting to feel very sick. I need my medication.

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Der:

Yeah, right. Well I ain’t no doctor. . te o c She puts her basket and the cake down on the ground.. che e r o t r s s r u e p Der: Hold it right there. Don’t make any sudden moves. Der:

Der pulls Little Red back up and jabs the gun into her back. Little Red:

I’m a diabetic. If I don’t take my medication exactly on time, I could have a fit, fall into a coma and die. Ready-Ed Publications

Der:

Yeah? Can I watch?

Little Red:

This is serious! Do you want to be up for murder?

Der:

I haven’t laid a finger on ya. I was just gonna watch.

r o e t s Bo r e p ok u S That’s pretty cool. Now, can ya get up, you’re starting

Little Red’s body starts to spasm. She rolls her head around, falls to the ground, shaking her feet in the air. to freak me out.

Little Red continues her fit. Der:

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Der:

Nuh, I’m not falling for that one. I saw that trick in a movie once. Now, get up. We gotta go.

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Der:

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That’s not a gun, that’s a water pistol!

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Little Red:

Yeah, der. They have gun laws in this country you know. You’re not too bright are ya!

o c . che e r o t r s super

I’ve had enough of this. You’re just a big dope with a silly water pistol. (Offended) Hang on a minute. This is not a silly water pistol. It happens to be a weapon of mass destruction, filled with the most powerful chilli spray ever invented. One squirt of this baby and you’ll be crying for weeks, possibly months. 51

In a quick movement, Little Red throws a knife hand strike at Der followed by a roundhouse kick, which sends him flying onto the ground. She puts her foot on him to hold him down. Little Red:

I don’t like having to resort to violence but you were asking for it.

Der:

explains my red riding hood. When I become a black belt, I get to be Bat Girl. That’s when I’ll really kick some butt!

Little Red snatches the pistol from Der.

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Little Red:

r o e t s Bo r How’d ya do that? e p ok u S Martial arts, stupid. I’m a red belt in Karate, which

Little Red:

You wouldn’t dare use that on a poor defenceless creature like me would you?

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Little Red: Der:

Little Red:

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Der:

(Looks at the audience and thinks) Well, you were going to use it on me.

o c . che e r o t r s super Wrong answer! (Squirts him with the gun) Hasta Yeah, but that’s different, you’re a girl and girls are always crying. la vista, baby.

Der is wailing and screaming in a heap on the floor. Little Red picks up her basket and puts the pistol into it. She picks up the birthday cake and exits the stage. 52

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Der:

You forgot to say, “I’ll be back!”.

Little Red:

(As she exits) That’s because I won’t. DER!

Der:

(Wailing) Well at least she remembered my name!

r o e t s Bo r e pOh, no! It’s the Tasmanian Devils! ok u S

Lights out. SFX: A growling sound is heard offstage.

Der runs offstage, crying.

Scene Six

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Der:

Curtains reopen on Granny and Din. Granny is finishing her phone call.

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Din:

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Yes, I’m sure. I need it by five o’clock today. It’s very urgent. I don’t want to miss out on this great deal. Please call me back as soon as you’ve finalised everything. Goodbye.

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Granny:

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Well done, Granny. Now if you’ll excuse me, I have to go wee. (Crosses his legs) So I’ll have to tie you up in case you get any fancy ideas.

Din ties Granny’s hands behind the chair before exiting. As soon as Din has gone Granny takes the phone off the hook with her nose and dials it. Backlights dim. Front spotlight focuses on Cindy standing downstage left, speaking on the phone. She is dressed in glamorous clothes, dripping with jewels, hair and make-up done to perfection. Ready-Ed Publications

Cindy:

Hello, Mum. I was just about to call you to let you know that I won’t be able to come to your birthday party. I’m flying to the Gold Coast for a fabulous part in a movie.

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Cindy:

Oh, Mum! Don’t tell me you forgot to take your medication again. Little Red should be there any minute.

(Interrupting) hear said? © Re adyEdDidn’t Puyou bl i cawhat t i oIn s Little Red is being held hostage. You must get some help •f orr evi ew pur posesonl y• quickly!

Cindy:

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Mum, pull yourself together. Have you been up watching horror movies? You’ve freaked yourself out again, haven’t you?

o c . c Oh, my heart! I think I’m having a heart attack! e her r o st super OK, OK. I’ll be right over. This better be real, Mum. If

Granny grasps, pulling a painful face. Granny: Cindy:

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Granny:

Oh dear! You can’t possibly go to the Gold Coast now. Little Red is being held hostage by a dingo and there’s another dingo in my house trying to extort a million dollars from me. He’s in the bathroom doing a wee so I can’t speak for long.

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Granny:

I miss my flight, I’ll never forgive you! Granny:

Don’t come alone – this dingo is dangerous. You must call for help.

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Centre curtains close. Lights are on Cindy. Front of stage. She hangs up the phone and re-dials 000. 000. (Waits for connection) Hello is this emergency? What was that? Dial 1 for ambulance. Dial 2 for Fire Brigade. Dial 3 for police. Dial 4 if you’re not sure. (Dials) Three for police ... Hello? What do you mean hold the line? Do you have any idea who I am? Of all the nerve! What dreadful music. I haven’t got time for this.

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Cindy:

Cindy hangs up the phone, faces the audience and yells out at the top of her voice. Cindy:

HELP!!

©R ea dy Edside Pu bthe l i c at i o Woody enters from the opposite of stage. Hen iss carrying a chainsaw. Her puts down the chainsaw and flexes hisn muscles trying • f o r e v i e w p u r p o s e s o l y • to impress Cindy. Is there something wrong, madam?

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Cindy:

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Woody:

(Disappointed) Oh, a woodchopper.

o c . c e her r He sticks his two fingers on top of his heado and pulls a face. Cindy t s super rolls her eyes. Woody:

Cindy:

Well who were you expecting? Shrek?

Well, of course. He’s hot property right now.

Woody takes a closer look at Cindy. His face lights up.

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Woody:

Say, aren’t you Snow White?

Cindy:

No, you twit. I’m Cindy Hood.

Woody:

Oh, of course. How is Robin Hood?

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Woody:

Yes, a tragic ending to a fairytale. That’s why nobody writes “And they all lived happily ever after” anymore. © Re ajust dy E dPu l i c t i o It’s not realistic. Heb put ona quite an lots of weight after we were married and his cholesterol was sky •f orr evi ew pur posesonl y• high. He died in my arms after choking on a kransky sausage. It was quite moving.

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Woody:

Cindy:

Yes, pardon me, Cinderella. I’m so sorry to hear about the Prince.

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Cindy:

Not Robin Hood you fool. I’m Little Red Riding Hood’s mother. I married Prince Charming. We had a daughter. Need I go on?

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Cindy:

On a more positive note, you must know that the Oz Fairytale awards are on next month. I heard Sleeping Beauty is the favourite for Best Actress this year?

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As a matter of fact, I’ve been nominated for Best Supporting Actress. A step down, I know, but since my role of Cinderella came to a tragic end, I’ve had to focus my attention on being Mother Hood. All that may change, however. I’m supposed to be flying to the Gold Coast in an hour to start work on my new movie.

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SFX: Mobile ringing. Granny’s voice is heard offstage. Cindy:

(Answers her phone) Hello.

Granny:

For goodness sake! Will you hurry up! Have you forgotten that I’m having a heart attack and Little Red is being held hostage?

dramatics. We’re on our way!

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Cindy:

r o e t s Bo r e pYou’re still trying to steal the show, okaren’t you? You u S were nominated last year, Mum, now cut out the

Cindy hangs up the phone, grabs Woody’s arm and starts to drag him with her. Woody:

So, what’s the deal?

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attack. It’s just a ploy so she can retire, but there’s no way I’m taking over her role. We have to keep her alive. My career is just starting to kick off again.

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Both exit stage.

o c . Scene Seven che e r o t r sstage. SFX: Door knock. Centre curtain s opens. Din enters r up e

Little Red:

(Offstage) Granny! It’s Little Red.

Granny:

(Happily) My Little Red’s safe!

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Din:

Quiet, Granny. This isn’t supposed to be happening. I told that idiot to keep Little Red hostage until I got there. This could be a trap. Come with me, Granny.

Din unties Granny and drags her over to the cupboard.

r o e t s Bo r e pglasses and puts them on. Granny ok is holding Din takes off Granny’s u her hands out inS front of her in a state of blindness. He pulls off her Get your dirty paws off me. HELP!!

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Granny:

wig revealing her bald head. Granny, mortified, tries to hide her head with her hands. Din:

Well, if it isn’t Dolly Parton! (Puts on the wig)

Granny:

You beast! You’ll pay for this!

Din:

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Granny:

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Din takes one of Granny’s dresses out of the cupboard, before shoving Granny in. (Offstage) Let me out! Help, there’s a spider in here!

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o c . che e r o t r s It’s me! su er (Offstage) Open thep door, Granny.

Din slams the door and locks it, putting the key in his pocket. Little Red knocks on the door more persistently. Little Red:

Din disguises his voice as Granny’s whilst he quickly puts on Granny’s dress. Din: 58

Just a minute, my sweetie! Ready-Ed Publications

Little Red:

What’s taking you so long Granny? Are you all right?

Din:

Yes, of course my little darling. I’m coming, I’m coming!

r o e t s Bo r e p ok u S Oh Granny! You look so ...

Din moves offstage and lets Little Red in. She walks onstage looking at him strangely.

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Little Red: Din:

Tired my dear. It’s hard going turning 99.

Little Red:

Yes it must be. You look just awful!

Din:

Little Red:

And your eyes look dark and spooky.

Din:

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Little Red: Din: Little Red:

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Everyone’s entitled to a bad hair day!

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Din:

I had a terrible night last night. I didn’t sleep a wink.

o c You weren’t up watching horror movies were you? . ch e r er o t sfor me, dear. suToo r pe Me? Never! freaky

You must have been watching horror movies. Your ears have grown long and pointy! And so has your nose!

Din:

Lighten up. Is that any way to cheer up your poor Granny on her birthday?

Little Red:

Sorry, Granny. I do like your dress. And look, I even bought you a birthday cake. Can we sit down and eat it?

Din:

r o e t s Bo r e p ok u Mother won’t be coming. It seems her work is more S important than your birthday. Of course, my dear. Come and sit down.

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Little Red:

They move towards the table and sit down. Little Red notices that all the party food has been eaten. Little Red: Din:

•f orr e vi e ujust r pthat os es on l yso•long Don’t bew silly!p It’s you were taking

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and I was hungry. Besides, I didn’t eat everything. There’s still a cupcake left. You don’t mind do you? Din turns his face away from the audience and quickly puts on his fangs. He opens his mouth wide and bites into the cupcake. Little Red gasps.

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Little Red: Din:

o c . c Granny, what big teeth you have! e her r o t s super

OK, that’s enough of the insults. (He takes off the wig and glasses) I ain’t your Granny!

Din pounces on Little Red. She runs screaming around the table. Little Red stops, pulls out Der’s pistol from her basket and aims it at Din.

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Little Red:

Stop, or I’ll squirt!

Din:

You wouldn’t dare!

There is a frozen moment. Din and Little Red look at the audience, then back at each other. Little Red squirts Din with it. He howls and starts to cry. She aims a kick, which sends Din flying to the floor, and then knocks him out with a karate chop to his neck.

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learn to defend herself these days. Maybe I should audition for Charlie’s Angels?

SFX: Door banging. Granny:

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Little Red:

r o e t s Bo r e p ok u S Those karate lessons sure paid off. A girl’s got to

•f orr evi ew pur posesonl y•

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Granny:

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Granny! Thank God, you’re all right. (Trying to open the cupboard) The key’s gone, Granny. What should I do? (Offstage) Check the dingo’s pockets.

o c . ch e r I’ve it! efound o t r s super

Little Red checks Din’s pockets and finds the key. Little Red:

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Little Red:

Little Red goes to open the door. Din opens his eyes wide. He slowly gets up and sneaks behind Little Red. Just as she opens the door, he pushes her into the cupboard and locks it. Little Red screams. Din laughs and lets out a howl.

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Din:

There’s no out-foxing this Dingo. Dingoes rule!

SFX: Door knock. Din:

This place is a circus! (In a granny voice) Who’s there?

Cindy:

r o e t s Bo r e p ok u S (To himself) How am I supposed to know who me (From offstage) It’s me!

Cindy:

is? (In a granny voice) Can you go away, please, I’m taking a nap.

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Din:

No, I won’t go away. I thought you were supposed to be having a heart attack. Now, open this door!

•f orr e vi ew pur posesonl y• (To himself) A heart attack is sounding pretty good

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Cindy:

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Mother, will you open the door!

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at the moment! This is not going according to plan.

Din throws his hands up in the air. He moves offstage to open the door. Cindy is heard screaming. Din lets out a yelp as Woody pounces on him and sends him flying to the middle of the floor. Din:

o c . che e r o t r srolling around) Does r up (Sitting, s with hise head everyone in this town know Karate?

Cindy:

Not everyone!

Cindy hits him over the head with her handbag and knocks him out. 62

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Woody:

Way to go, Cindy!

Cindy:

Mum was right about the dingo. Oh, dear, I hope she’s all right!

Woody:

Do you think he’s eaten her? He’s got stuff all around his mouth.

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Cindy:

r o e t s Bo r e (Takes a close look) No, it looks like icing. My, what p ok u horrible dress! Looks like something Mother would S awear. That colour really doesn’t suit him.

Woody:

What’s he doing wearing a dress anyway?

Cindy:

Who knows? You know how strange these dingoes are.

Woody:

Oh no! I’m not going through that again!

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Cindy:

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Cindy moves to the front of the stage and yells out.

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Cindy:

Help! Police!

o c . che e r o t r s sup Beats being pute onr hold! (Offstage) We’ll be right over, Ma’am!

SFX: Door pounding. Little Red:

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(Offstage) Mother, let us out. We’ve been locked in the cupboard. 63

Cindy:

It’s Little Red! Oh, my poor little darling!

Cindy goes to open the door and finds the key gone. Cindy:

The key’s not in the lock.

Little Red:

r o e t s Bo r e p Please hurry, there’so (Offstage) a spider attaching u k its web to my head! S (Offstage) The dingo’s got it in his pocket.

Little Red screams. (Offstage) Cindy:

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Granny:

Mmm, that’d be cheaper than buying a wig. A little sticky though.

Cindy races© overR toe Din and looks hisu pocket. as finds the ad yEdinP bl i cJust at i oshe ns key Din wakes up, snatches the key from her hand and swallows it.

•f orr evi ew pur posesonl y•

Cindy:

We’ll see about that you beast!

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You’re not through with me yet. I want my money!

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Din:

Cindy hits him over the head with her bag and knocks him out again. Woody: Cindy:

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o c . che e r o t r No, just my make-up. Now, show are we going to get s uper Wow, what have you got in that bag? Bricks?

this door open?

Woody:

Leave that to me, Ma’am. That’s my job. If he hadn’t swallowed that key, I’d be written off the script.

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Woody walks offstage to pick up his chainsaw (SFX of chainsaw starting up). Woody walks over to the cupboard and cuts through the door. Little Red and Granny enter stage. Granny is bent over with her hands on her lower back. Granny:

Oh, my aching back! Make way, I’m busting for the loo.

r o e t s Bo r e p ok u (Hugging Little Red) My darling, Little Red. I’m so S glad you’re safe. You see, I am here when you need

Granny exits.

me.

SFX: Door knock. Police Voice:

(Offstage) Police! Open up!

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Cindy:

•f orr ev i ew pur posesonl y• No way! I’m not going back to jail!

Little Red & Cindy: Oh shut up!

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Din:

Little Red picks up Granny’s birthday cake and splats it on Din’s face. Cindy swings her bag up ready to hit Din again when Granny vigorously charges back on stage.

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o c . Granny: Hold on a minute. Let me at him! ch e r er o t s srepeatedly per Granny takes Cindy’s bag andu hits Din over the head with it. Granny:

Take that, you smelly beast!

Granny aims a few kicks at him. Din falls back, raising his legs in the air before collapsing them. Ready-Ed Publications

Woody:

She sure polished him off! Way to go, Granny!

Granny:

Well, considering you wasted a perfectly good cake on this dummy, the least you could do is wish me a Happy Birthday!

All:

Happy Birthday, Granny!

Granny:

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Cindy:

r o e t s r I reckon this ticker’s got B some left in it yet. e otick p o u k S Oh, no. I think I’ve missed my flight!

Little Red:

Mother!

Woody:

Why don’t you hang around, sweet lips? It looks like you could use some looking after! (Winks at Cindy)

And we all lived happily ever after!

Din:

(Raising his head) Yeah, right!

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All:

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Granny hits Din over the head again.

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(Flirting) Well, big boy. What did you have in mind? © Re adyEdPubl i cat i ons They all • turn and ati the f o rwink r ev e waudience. pur posesonl y• Cindy:

o c . che e r o Din collapses. Der enters far downstage and looks in as if through a t r s s r u e p window. His back is to the audience. SFX: Window knock. Granny:

Der:

Down, boy!

Uh, hello in there. I was wondering, um, do I still get me fifty bucks? FINAL CURTAIN

Ready-Ed Publications

Other Plays Also Available by Jacquelin Melilli Goldisocks and the Three Koalas

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- Award Winner at the Spring on Stage Theatre Festival – 2001 (also available on film)

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Can Anybody Hear Me? Award Winner at the Spring on Stage Theatre Festival - 2002

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Goldilocks is ready to retire from her Fairytale career and has placed all her hopes on her daughter Goldisocks to follow in her footsteps. The problem is, Goldisocks has her own dreams to play soccer. With the “Big Audition” coming up, the pressure is on for Goldisocks to perform, but having sneaked off to play soccer instead of going to her singing and dancing lessons, Goldisocks is in a bit of a jam. Her solution is to run away with a rest stop at the Three Koalas’ house, where Papa Koala just happens to be the Hot Shot Soccer Coach and Baby Koala surprises them all! Cast of six - three females/three males. One Act. Approximately 40 minutes. (Published by Ready-Ed Publications 2005)

Amidst her parents arguing Sarah wants to be heard, instead she gets sent to her room. One magical night, Sarah’s toys come to life to help her sort out life’s difficult problems. Teddy fixes everything with cuddles, Barbie thinks looking beautiful is best, Rag Doll bakes delicious treats in times of stress, Ballerina focuses on a strict regiment of little food and plenty of dancing to fulfil her dreams, Clown laughs his way through everything and Mechanical Man tries to solve everyone’s problems or is he the cause of them? Cast of nine - five females/four males. Teddy and clown can be either male or female. One Act. Approximately 30 minutes. (Published by Ready-Ed Publications 2005)

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Foreigners in Oztralia

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An Australian farce set in the outback with Anita and Frederick Higginbotham, an upper crust couple from England, visiting the outback for a taste of the real Australia (as portrayed in the travel brochure). Bazza and Shazza, the layback, kindhearted couple are their hosts living out in the sticks. Having first touched down in Sydney amidst the duty free shops, Anita & Frederick are in for a real shock when the reality of outback living is introduced to them. Bazza and Shazza’s six kids educate Anita and Frederick about Australia’s native animals with some hilarious results. Cast of ten - three males/three females and four children (can be male or female). One Act. Approximately 30 minutes. (Published by Ready-Ed Publications 2005)

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Lost Child

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A dark and shocking play centered around Jade, her friend Lexie, the undesirable and dangerous Tarik and Cass and the ill effects of drug addiction and the consequences attached. Jade, since losing her father at the age of ten, feels that she has also lost her identity. She numbs her pain by slowly self destructing, almost taking her best friend Lexie with her. Her younger sister, Skye is caught in the middle, bailing Jade out when things get tough. Cast of eight - sixfemales/two males or four females/two males with voice overs. Two Acts. Approximately 1 hour. Script available from www.jacquelinmelilli.com

Ready-Ed Publications

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