Script and lyrics by Davied F. Eliet, Music by Nancy Rosenberg, premiered at Perishable Theatre. Drawn from an ancient Inca folk tale, this play shows how a child, filled with truth and courage, can bring healing and hope. The music of Nancy Rosenberg leads us into another culture and energizes David Eliet's tale of a girl who reaches beyond what is expected of her as she saves her family and her people, and touches the heavens. Setting: Elaborate, or simple as described. Suitable for touring. Cast: 4 (3 F, 1 M) with doubling, or up to 14 (2 F, 3 M, 9 Either) with roles distributed.

When his son grows ill, The Inca king promises his own life to the Fire Spirit if his son's life can be saved. When the Fire Spirit claims that only the water from the Magic Lake can save the son, The Inca offers a reward for anyone who will bring the water. A young farm girl, Sumac, has a brother who covets this reward and sets out to find the lake but becomes discouraged and devises a plan to bring water from an ordinary lake. When his deception is discovered, The Inca sentences him to death. Sumac, stays the execution when she promises to find the Magic Lake, or die trying. With the help of a sparrow, a magic feather, and her own bravery against fearsome guardians of the lake, Sumac gets the healing water and brings it to The Inca. But just as things are about to end "happily ever after", the Fire Spirit returns for The Inca's life. Instead, Sumac throws herself upon the Fire Spirit in The Inca's place, an action that transforms her into a star of hope for the world.

By Madge Miller. Stylized Chinese play, done in the ancient and delightful Chinese manner. Empty stage with portable properties, Chinese and dragon costumes. Suitable for all-female cast. CAST: 9 (5 F, 3 M, 1 Either).

The lovely Princess Jade Pure is held practically captive by her jealous scheming step-aunt and her chancellor. Road Wanderer, a minstrel, passing through the country with his pet dragon, learns of her plight and rescues her, but disappears when she seems to him thoughtless and unkind. Making an effort to find him, Jade Pure decrees that the man she marries must have a pet dragon, and in the next scene two false dragons arrive, awkwardly practicing dragon ways, and scrambling for safety when they catch a glimpse of each other. Road Wanderer escapes from captivity just in time to save Jade Pure from a fatal marriage.

(NEW- Now available)

By Mary Collins Barile. Selected as a benefit performance for the George C. Scott Memorial Scholarship Fund at The Arclight Theatre, New York, presented as a showcase production at The York Theatre, NY, and a Kennedy Center American College Theatre Festival entry. Simple set. Suitable for touring. Simple, period costumes. Music of the period suggested throughout. CAST: 9 (3 F, 6 M) with doubling, or up to 13 (5 F, 8 M) with roles distributed. 

Recommendation: "LEAVING HANNIBAL is at once a small jewel of radiant, generous imagination--I imagine Sam himself reading it with one hand and wiping his eyes on his white sleeve with the other--and a work so true in diction, flavor and sense of place that it makes me wish I had grown up in Hannibal.Wait a minute: I did grow up in Hannibal!."
Ron Powers, author, MARK TWAIN: A LIFE.

It is a May evening, 1853 in Hannibal, MO.  Sam Clemens, nearly 18, is bored with life in the small river town, but can’t bring himself to leave. Sam’s friend, Tom, talks Sam into going to the town theatre for an evening of magic and mesmerism (what we now call hypnotism) by Professor Barton - The Great Wizard of the West - and his charming assistant, Lady Isis.  Barton helps people recall their past dreams and hopes, and soon Tom, along with town folk and family share hypnotic adventures with river bullies, sweethearts and a whitewashed fence.  But Sam thinks it’s all a hoax – until Professor Barton invites Sam to prove he’s a fake.  Sam takes him on, and revisits a nightmare of his own that gives him the courage to leave his fears and to choose the wild river of life.

By Roxanne Schroeder-Arce premiered at Plano Repertory Theatre. This play reveals a varied and intimate view of the lives of a Latino family during Christmas – how they prepare for this festive holiday, cultural foods during this season, traditional values passed down through generations. Woven with Spanish and English throughout, this is a heartwarming, contemporary story about redemption and the true miracle of giving, with a dramatic ending that is touching and visually surprising. Setting simple or elaborate. Contemporary costumes. Although this is not a musical, there is singing of traditional Christmas songs by Estrella, her family, and the school choir . (No music score included.) Good roles for teens. CAST: 5 + (3 F, 2 M) plus chorus with doubling, or up to 12 + (6 F, 4 M, 2 Either) plus chorus.

Thirteen-year-old Estrella, who calls herself “Star” to gain acceptance from the non-Latino students at the Catholic school she attends, is torn between her family’s cultural traditions and the exciting life she imagines exists in the homes of mainstream Americans. In trying to keep up with Sarah and Emilie, Estrella rejects Spanish and singing with her Latino church choir in favor of the after school choir. This causes trouble with her mami, who desperately wants Estrella to retain her Latino culture.  To boost Estrella’s confidence, Mami and Papi give Estrella the responsibility of choosing and purchasing the family gift to the baby Jesus to be presented at the Christmas service at church.  When faced with this task, Estrella succumbs to peer pressure and spends all of the money on gifts for Sarah and Emilie, leaving nothing for El Niño. Only a miracle can save Estrella and her family from disgrace.   The spirit of Estrella’s grandmother – Abuela – guides her in her dreams to make the ultimate choice – to give del corazón – from her heart. (Also see bilingual play-Señora Tortuga.)

By Barry Kornhauser, commissioned and premiered by the Fulton Opera House by the Actor's Company of Pennsylvania. Young Tad Lincoln begins life against the backdrop of the American Civil War, and his growing pains mirror those of the nation. A heartwarming, sometimes wrenching story of a boy and his family. Told with rod puppets, shadows, period music, and projections of historic photos and illustrations, LINCOLN'S LOG has captivated audiences of all ages because it is engrossing theatre.Open stage. CAST: 4 (1 F, 3 M) with doubling, or up to 10 (1 F, 9 M) with roles distributed.

On July 15, 1871, a very ill 18 year old Tad Lincoln reflects on his long bygone White House days. We follow his reflections of privilege and prominence from which there is no escape from sorrows. His memories take the form of a log, now his only hope of keeping a promise made to his grief-stricken, unstable mother - - a promise never to leave her. Highly theatrical and moving. The playwright is a national honors recipient, and has worked with the IUPUI/Bonderman National Playwriting Symposium by whom he has also been honored.

By Lowell Swortzell. Based on Pyotr Yershow's epic poem of universal appeal. The first stage version in English of the popular classic, the centerpiece of children's theatre in Russia since its introduction in 1922. One basic set. 19th century Russian country and court costumes. CAST: 9 (2 F, 5 M, 2 Either) with doubling, or up to 17 + (2 F, 5 M, 10 Either) plus optional extras.

When Ivan, a simpleton third brother, is sent to guard a field, he captures and then frees a mysterious White Horse who in gratitude gives him two magnificent steeds and a little Humpback horse with ears two feet long. Ivan's selfish brothers steal the stallions, but Ivan keeps his promise never to part with the little horse. Appointed Master of the Royal Stables by the greedy Czar, Ivan is helped by the little horse through three dangerous adventures. They fly to the Land of the Firebird. They free a landlocked whale on whose back resides an entire village. They sail through he skies to the Palace of the Moon. Through his friendship with the little Humpback Horse, Ivan proves his worth, marries the Daughter of the Moon, and becomes the new Czar.

By Linda Daugherty, premiered at Dallas Children's Theatre. Delightful inventions, reverberating with the ecology of land, and ocean, render exciting and newly relevant this exciting adaptation of Hans Christian Andersen's classic fairy tale. Everywhere a sold out success. Simple setting suggesting 4 locales. Fairy tale costumes; masks. CAST: 9 (5 F, 4 M) with doubling, or up to 17 (9 F, 5 M, 3 Either), with option for some roles to be played by children.

In the harmonious world of Merpeople, the little Mermaid, Pearl, dreams of the world above. Her sisters, Luna, Coral, and Anemone, her father the Sea King, and her grandmother, the Great Mother, warn her of dangers above. But Pearl, in love with the handsome prince whose life she saved, trades her voice to the Sea Witch to become human. After the Sea Witch is vanquished by her twin sister, the Great Mother, Pearl regains her voice, marries the prince, and happiness and harmony prevail.

By Nancy Seale, with music by Melissa Sweeney.  A sparkling version of the Burnett classic, while retaining its Victorian charm, is enhanced by humor, song, and suspense.  Basic set with three interiors.  Turn-of-the-20^th-century London costumes.  CAST: 23 (18 F - including 12 girls ranging from 6-14 years old, 5M.)

To Sara Crewe, everyone at Miss Minchin's Select Seminary for Young Ladies is a story: cold Miss Minchin, her timid sister Miss Amelia, pupils such as spiteful Lavinia or plodding Ermengarde, as well as the next-door invalid Gentleman and his Lascar.  Imagination sustains Sara when, orphaned and no longer "Parlour Boarder," she is banished to the attic. Becky, the little scullery maid, becomes her fast friend.  Suddenly Sara's bleak garret is mysteriously transformed by a secret benefactor.  When Sara finally learns who has cared for her, Miss Minchin gets her just reward.  Sara's final song tells it all: "This Is Just The Way It Ends In Books!"

Dramatized by Charlotte B. Chorpenning. A memorable play, that children re-live over and over. Three sets. Peasant and wolf costumes. CAST: 7 (3 F, 2 M, 2 Either.)

A young Wolf, who thinks he is smarter than men, plots to outwit them, and make them his servant. He gains possession of Red Riding Hood's cloak by trickery. He learns the pass-word used between her and her grandmother. And he practices until he can talk and walk exactly like Red Riding Hood. But he cannot learn to control his Wolf nature, and just when success is almost within his grasp, the sly old grandmother trips him up. It takes him three acts to learn that it is better to be a good Wolf than an imitation man.

By Moses Goldberg. Music by Ewel Cornett. A participation play by the American master of the form. This is a delightful romp out of the two well-known tales, united by a common enemy, the Wolf. Simple scenery. Fairy tale costumes. Readily adaptable for touring. CAST: 4 (2 F, 2 M.)

After a brief prologue introducing players and themes, the troupe acts out two wonderful cautionary tales - - among the very first favorites of every child. Cheer for the industrious and clever third Pig as she defends herself in a sturdy brick house - - built with the aid of the audience. Then laugh with delight and squirm with suspense as Red Riding Hood almost allows her bravado and all-too-trusting nature to deliver her to a very hungry (and equally funny) Wolf. Four simple songs by a master composer move the action along with great charm.

Dramatized by Sara Spencer. A faithful, playful adaptation with plenty of dramatic action that will appeal to young actors and audiences alike.  One set.  Victorian costumes. Great roles for young women. CAST: 12 (10 F, 2M.)

Set in 1863 New England, Jo, Amy, Beth and Meg, four spirited teenaged sisters find ways to bring life to troubled times.  With their chaplain father away serving in the Civil War, and their mother doing all she can to hold things together at home, the girls employ creativity and courage to help their mother while pursuing their passions - Jo's writing, Amy's art, Beth's service to the poor, and Meg's pursuit to become a proper young lady.  Next door neighbor Theodore "Laurie" Laurence, a lonely but charming teen, can't resist the energy and grace of these Little Women, and helps them to endure one trial after another.  In the end, Jo gets published, Amy gets to travel abroad, Beth overcomes a serious bout of Scarlett Fever and Father arrives safely home.

By Ed Graczyk. Dramatized from Joel Chandler Harris' "Uncle Remus Tales." Unit set. Animal styled costumes. CAST: 9 (4 F, 5 M).

Brer Rabbit, plum tuckered out from caperin' and prankin' with Brer Fox and Brer Bear, has lost his zest for such escapades. His friends diagnose his trouble as a bad case of de Mopes, and persuade him to consult Aunt Mammy Bammy for a cure. To gather the ingredients for Aunt Mammy Bammy's curin' potion, Brer Rabbit has to resort to his old tricks, and thus recovers his joy in prankin -- which is just what Aunt Mammy Bammy intended. "Live de life ya got. De only worryin' ya should have is how to make tomorrow better dan today."

By John Urquhart. This play won the 1997 Bonderman/IUPI National Youth Playwriting Competition. Premiered at Lexington Childrens Theatre and New York University's Provincetown Players. Set in the hills of Appalachia in the mid-Nineteen Thirties, it moves among various mountain settings nearby. 1930s Appalachian costumes. Open stage. CAST: 11 (3 F, 3 G, 3 M, 2 B) extras optional.

Liza Tucker was born different. She can't talk but she has an extraordinary ability to solve riddles. Misunderstood by her mother and her neighbors, she lives a reclusive life at the family homeplace. But after her father fails to return home following a flood, it is Liza who solves the mystery of his disappearance. In this heart-warming Appalachian adventure, Liza and her brother Jacob, match wits with a pair of mischievous ghosts in a magical cave deep within mysterious Ice Mountain. At the end Liza wins acceptance, while her mother gains a new understanding of the "kind of magic that holds a family together."

Play by Judith Martin. Music by Donald Ashwander. A brightly modern mini-play about the Christmas giving-spirit, created by the Paperbag Players. Settings of painted cardboard, a bus stop, a bus, a parlor, and a Christmas tree, all on a bare stage or in a classroom. Contemporary costumes. Music included in the script. CAST: 8 (5 F, 2 M, 1 Either) with doubling, or up to 11 + (7 F, 3 M, 1 Either) extras optional.

Josephine Kindly, Christmas shopping on the last day, struggles to the bus stop with her many presents. While waiting for a bus, she cannot resist lending her presents to fellow shoppers in need. Forgetfully, she gets off the crowded bus, without collecting them again. All ends merrily in a surprise Christmas party in a tiny house. Everyone will heed the final cry: "Roll up the rugs. Pass out the cookies. Let's do 'The Christmas Squeeze,' " Donald Ashwander's irresistible song. Ideal for in-school performance.

Book by Cynthia L. Cooper and Joel Vig, Music by Annie Lebeaux, Lyrics by Jane Smulyan. Successfully produced by Theatreworks/USA in New York at Town Hall and the Promenade Theatre, and subsequently toured throughout 20 states east of the Mississippi, including the Kennedy Center in Washington.  Selected as finalist by the National Children’s Theatre Festival and given a special feature presentation at the Actor’s Playhouse at the Miracle Theatre in Florida.  With an uplifting story and a vibrant score, this musical shows the power of a teenaged Louis Braille’s belief and determination to change the expectations of the world. This is an ambitious musical with a strong story line. Flexible staging. Period costumes 1880s. Printed piano/vocal score available. A CD of rehearsal tracks, with singing, is available for learning the songs. (Recorded accompaniment tracks are not available.) Strong roles for the individuals in the ensemble. CAST: 5 (2 F, 3 M) with doubling, or up to 21 + (5 F, 6 M, 10 Either) extras optional.

Young Louis Braille, blind since age three, enrolls in The Blind School of Paris hoping to learn to read and write.  He dreams of becoming a diplomat.  When Louis protests broom-making class and exposes a fake display of reading at the annual presentation for donors, he nearly gets expelled.  Thankfully, Marie deVries, an instructor, introduces him to music and supports his creative mind by arranging a meeting with the French captain who invented a rudimentary method of nightwriting for soldiers.  The method’s absurdity and impracticality are clear to Louis, but it gives him the springboard for a burst of creative genius.  The result?  The Braille system, a code to be scanned under the fingertips, opening a world of literature and musical notation previously closed to the blind.

2009 is Louis Braille bicentennial and in addition to various celebrations, the U.S. Mint will issue a commemorative Louis Braille dollar in the spring of 2009.

By Doreen B. Heard, freely adapted from the scenario by Carlo Gozzi, premiered at the Florida Childrens Repertory Theatre of Orlando. A delightful, fast-paced comedy, full of the broad and wacky humor of the commedia dell'arte,the Italian comedy theatre of olden times. Loosely based on a scenario by Count Carlo Gozzi, written in 1761 for the commedia and derived from a southern European folk tale. One set. Seventeenth century costumes. Cast: 8 (3 F, 5 M) with doubling, or up to 20 + (4F, 5 M, 11 Either) plus extras.

The kingdom of King Silvio is in an uproar. Prince Tartaglia never smiles and the inept court doctor, Il Dottore, cannot cure him. The impish jester Truffaldino and the kings advisor Pantalone decide to have a festival to cheer up the prince.The event backfires when the comical sorceress, Fata Morgana, puts a curse on the prince. He must search for three magic oranges which belong to the wicked fairy Creonta. The prince and Truffaldino capture the oranges, but then are faced with many hilarious adventures before a surprise ending---after which all "live happily ever after".