Having recently reclaimed my publishing rights from Scholastic for a bank of my classic short story plays, I’m very pleased to offer Poe’s The Tell-Tale Heart to my readers. This script was originally published in the October 2008 issue of Storyworks, but it was so well-received that it was quickly reprinted in Scope magazine, then in Scholastic News, and then finally included in my book, Read Aloud Plays: Classic Short Stories. The play’s unique text formatting helps middle grade and early high school readers comprehend the unreliable narrator’s insanity, but what really sets this play apart is the clever way we’ve made it appropriate for the classroom. After all, Poe’s story is about murder. It’s violent. It makes administrators cringe. But teachers who’ve used this script like the way it remains true to the gruesome original despite only implying the gory details. The package also includes a comprehension worksheet, the original text (also formatted to make it more accessible to kids), and a mock trial activity in which “the villainous narrator” must stand before a jury of his peers. It’s a great way to make Poe’s work accessible to your students. Be sure also to contrast it to its partner play, Penelope Ann Poe’s Amazing Cell Phone, which tells the same story but involves crimes against an annoying cell phone rather than an old man. My 5th graders love it when one play group presents the traditional version while a second group presents the cell phone version. Your students will too. Happy directing!
When most people think about Charles Dickens’ novel, Great Expectations, they land on Miss Havisham and her creepy old mansion full of spider webs, or on the adult Pip’s aspirations for greatness, or on his unrequieted love for Estella. But what I like best about the novel are those chapters focusing on Pip as a child. Maybe it has something to do with why I’m an elementary school teacher, or maybe it’s because there’s something Roald Dahl-like about Pip (no doubt Dahl was heavily inspired by Dickens), or maybe it’s just the marvelous way Dickens penned young Pip’s encounter with the escaped convict (How terrifying for a little kid—and an orphan, too—to encounter such a “wretched varmint,” and in a graveyard yet!). Whatever the case, I’ve long wanted to craft a play focusing on those early chapters of Great Expectations and am very pleased to introduce it here.
“Pip & The Prisoner” is an original script based on the first five chapters of the Dickens’ masterpiece. The script endeavors to introduce the main character, Pip, in such a way as to motivate students to want to read the full novel (presumably when assigned to them in high school), but whether Great Expectations is in one’s curriculum or not, I think you’ll find “Pip & the Prisoner” to be a lovely stand-alone bit of literature. It’s aimed at 6th through 8th graders, but could potentially be used with students in other grades (I intend to use it with my 5th graders). The story is full of irony, anxiety, and engaging dialect as Dickens successfully captures Pip’s innocence and fears while weaving in marvelously subtle humor. The play seeks to capitalize on that humor.
Great Expectations, incidentally, was published in 1860 in Dickens’ own weekly periodical, All Year Round. Because it was published serially—or one exciting section at a time—it reminds many readers of a modern soap opera, or perhaps a binge-worthy television series with a ton of twists, turns, and suspenseful cliffhangers.
The 20-minute play includes parts for ten students and numerous non-speaking “soldiers.” It was written with the stage in mind, but it can also be presented as reader’s theater or a pod-casted radio drama. The script comes with embedded discussion prompts, a standards-based comprehension and essay writing activity, teacher’s notes, answer key, and a printable of the novel’s first five chapters for easy comparing and contrasting.
Consider pairing with my other Dickens’ plays including “Gabriel Grub” and “A Christmas Carol.” Though it isn’t indicated in the play, the story take place on Christmas Eve, so all three plays could be presented as a holiday event.
I was seven years old when the Apollo 11 mission blasted off for the moon in mid-July of 1969. I remember it well. My little sister and I spent much of July playing with a litter of puppies, though I can’t recall now if these belonged to my black lab Cookie or the family’s boxer, Peaches (we had a lot of dogs back then). But even those puppies couldn’t peel us away from Walter Cronkite’s non-stop newscast.
Here we are fifty years later. Space travel has become rather commonplace. Consider that the TV networks used to broadcast every launch, how we used to sit breathless watching the capsules plunge into the sea or the space shuttles touch down. These days we hardly glance up at the heavens, let alone note the passing of the International Space Station. Few of us can name even a single astronaut. Skylab has fallen, we’ve suffered human casualties, and exploration has been turned over to private enterprise.
Yet the moon remains as captivating as ever.
My reader’s theater play about the Apollo Moon Landing is based on my own childhood perspective from my backyard and living room on Beall Lane in southern Oregon. It accurately recounts the historic details of the event, details I wasn’t aware of then but make for some compelling drama now. Just as he did on television all those years ago, the famous newsman Walter Cronkite narrates the mission while astronauts Armstrong, Aldrin, and Collins communicate with Control in Houston.
In honor of the 50th anniversary of the moon landing, I plan on making Apollo part of my lineup of plays this fall. It’s not only a great history lesson, it’s a “blast” to enact. The last time I used it, my students and I created a 1960’s television set out of a cardboard box, cut out the oval-ish screen, and made some “rabbit ears” for the top. The kiddo playing Cronkite sat inside to deliver lines such as “The date is now indelible. It’s going to be remembered as long as man survives. And that’s the way it is, July 20, 1969, the day man reached and walked on the moon. This is Walter Cronkite signing off.” My goal for this year is to create some funky space suits for Armstrong’s first step and Aldrin’s giant leap (off an aluminum ladder on to the stage).
Now imagine your students walking on the moon! Imagine them re-enacting the “Eagle has landed“ and “One small step” scenes while reciting the exact words spoken by Mission Control, Walter Cronkite, and the astronauts themselves. Imagine watching them explore the moon as if for the first time. What a great way to celebrate the 50th anniversary of the moon landing!
You can check out my play and its related comprehension material, along with a wide array of other great Read Aloud Plays, at TeachersPayTeachers.
That last week before Christmas vacation can be a real doozy. While thoughts of sugar plums may not derail that lesson you’ve been planning on verb gerunds, knowing there are new gaming systems, cell phones, and hoverboards under the tree certainly will. There’s no doubt about it: this time of year the kids are all a twitter, prompting many a teacher to set aside serious content in favor of coloring pages featuring Rudolph, Frosty, or an occasional dreidel. But it needn’t be so. This is a great time to stage a play! In so doing your students will get some quality fluency practice, partake in some interesting literary discussions, and, depending on how far you want to take it, occupy themselves with meaningful work creating sets, props, and costumes. Here are four classroom reader’s theater scripts ideal for the next few weeks.
“Ebenezer Scrooge” is a traditional retelling of the Dickens classic. This age-appropriate version from the Dec. 1998 issue of Storyworks is available on TeachersPayTeachers only during December. It includes roles for fourteen students (though some can be doubled-up) as well as two or more non-speaking extras. I also have a version of this play in which Scrooge is cast as a woman, available in my book, Read Aloud Plays: Classic Short Stories.
Long before Scrooge there was “Gabriel Grub,” the gravedigger. From Dickens’ The Pickwick Papers, this eerie adaption is a perfect complement to “A Christmas Carol” or a wonderful stand-alone Gothic holiday play. Gabriel is the sullen sexton who scowls at holiday mirth. He goes to the churchyard on Christmas eve to dig a grave and there encounters the Goblin King and a chorus of imps. It’s Dickens’ at his best! It includes enough parts for an entire class, or double up roles and stage it with as few as twelve. (Warning: it may be too scary for younger students, so use it with grades 5 and up).
The Gift of the Magi is the endearing story of a husband and wife who pawn their most precious things in order to buy gifts for one another, only to discover the gifts are no longer needed. This O.Henry classic originally appeared in the Nov./Dec. 2001 issue of Storyworks, and is currently available for immediate download through Scholastic Teacher Express. Students will likely be familiar with the plot because it’s been so readily adapted everywhere from Sesame Street to the Simpson’s to Walt Disney. Parts for nine students in grades 4 through 8.
Maupassant the Cat and Flaubert the Mouse tell the exasperating tale of the discontented Matilda Loisel in Guy deMaupassant’s 1884 classic, “The Necklace.” Matilda is a young French woman who takes her happiness for granted and consequently trades it all for a string of false pearls. Students consistently rank this among their favorite plays to perform. Originally published in the Nov./Dec, 2002 issue of Storyworks, it includes parts for eight actors (and numerous non-speaking extras). It isn’t specifically a holiday play, but could be made so simply by referring to “The Ambassador’s Ball” as “The Ambassador’s Christmas Ball.” It’s appropriate for students in grades 4 through 8 and is currently available in Read Aloud Plays: Classic Short Stories on Scholastic Teacher Express.
Take advantage of high student interest in the Peter Rabbit movie by enacting my read aloud play script, The Tale of Peter Rabbit. It includes the play script, the original text in an easy-to-read short story format geared toward intermediate and middle-grade students, and several comprehension activities—seventeen pages in all.
Peter Rabbit was the first play I submitted to Storyworks. Though for various reasons it never made it into print, it led to my now twenty-year relationship with Scholastic. One reason it didn’t see the pages of the magazine is that the Peter Rabbit story tends to be “aged-down.” But I can attest, every fifth grade class I’ve ever had has loved enacting this play, and now that it’s hit mainstream movie screens, there’s no question your 3rd-6th grade students will love it too!
The reviews for the Peter Rabbit film are mixed—as if that’s anything to be surprised about. But elementary and early middle school students are attending and enjoying it. Grab their attention while it’s hot and download the Peter Rabbit play today!
One of the greatest things my mother ever did for me was regularly take me to the public library when I was a kid. I don’t recall any exact schedule or regular routine, but I’m guessing every two weeks or so—perhaps more during the summer. On these days my mom would drag my little sister Karen and me away from whatever mud puddle or walnut tree we were in, and we’d all slither into her Ford Falcon and head off to the main branch downtown.
Karen was my best friend growing up, but at the library we mined different tracts. So engaged was I by our library outings that I have no recollection whatsoever of Karen even being present, though I know she was. I sought Daniel Boone and Davy Crocket novelizations, wildlife fiction, and sports biographies, always coming home with a stack of books to conquer before the next visit. I also Dewey-decimaled my way into the architecture section upstairs, pouring over books about drafting and design. When my mom bought me a drafting set one Christmas, I became a master with a t-square and determined to become an architect myself. I got side-tracked during the adolescence of high school, but I’ve used those drafting and design skills in many endeavors. Such was the power of those public library visits.
The library remains a significant aspect of my lifestyle today. It befuddles me when I see letters to the editor decrying the latest library bond. The writers of these letters want our libraries to charge user fees. They begrudge the $127.45 in annual taxes they pay to maintain our library system. Clearly, these folks never developed that library culture. Perhaps their mothers never took them to the library when they were young.
These days I find myself missing those childhood trips to the library. Perhaps that’s what inspired me to produce my latest Read Aloud Play, The Library Card. I originally wrote this script for Storyworks, where it appeared in October of 2001. It tells the story of African-American author Richard Wright’s relationship with the library. Wright wrote numerous books of significance during the middle of the 20th-century including Native Son and the semi-autobiographical Black Boy. The play is based on an incident from Wright’s youth in which he was denied access to the public library due to his race. The racism theme is obvious, making it an ideal fit for Black History Month, but make no mistake, this play is ultimately about the love of reading and the significance of libraries. With any luck, students who act-out this play will quit taking their access to the library for granted. Should you give the play a run, you might also consider pairing it with a trip to your local public library where you can help kids apply for their own library cards. It’s also worth noting that the story was popularized in William Miller’s inspiring picture book, “Richard Wright and the Library Card,” which makes for another ideal pairing.
Well, I’m off to the library. More plays are coming soon. Happy directing!
“Talk Like a Russian Day” was a big hit in my classroom. Though it coincided with certain political events, there was nothing political about it. We started the day by watching a YouTube short of a Hollywood voice actor giving us hints about speaking with a Russian accent. He told us not to emulate Chekov from the Star Trek series. Russians, he said, don’t substitute w’s for v’s. None-the-less, we decided Chekov’s style was to our liking, as was Gru’s in Despicable Me. We also liked the cosmonaut in the Armageddon movie. So after watching short clips of each, we embarked on a day in which the goal was to “talk like a Russian” all day long.
Though it seems like a crazy way to run a classroom, especially when I’m trying to deliver instruction on converting between decimals and fractions, the point was to encourage my students to use an accent in their presentation of my play, “The Nose.” The Nose is a short story by Ukrainian writer Nikolai Gogol, who lived and wrote in the 1800’s. It’s an example of literary farce, meaning a story that defies explanation. Gogol used it to criticize the Russian hierarchy. As the story goes, a mid-level but prideful bureaucrat awakes one morning to find that his nose has inexplicably gone missing. Clasping a handkerchief over his face, he heads straightaway for the police inspector, but on his way he spots his nose getting out of a carriage. Amazingly, it appears to be dressed as a Vice-Governor! Well, the story follows the bureaucrat as he attempts to reclaim his nose, one crazy twist after another.
One of my students, R____, is particularly engaging with her accent and an inspiration to the rest of us. Her enunciation is so scintillating, her sense of timing and inflection so ideal, well, when she is on stage, the play reaches a magical level. R____, by the way, is a Sped student, which just goes to show how powerful Read Aloud Plays can be for otherwise struggling readers.
This week we’re busy building the papier-mâché nose costume, which will be the final touch on what I think will be a smash performance. My second play group, meanwhile, is preparing for their performance of an as of yet unreleased play set in the Wild West, so we followed “Talk with a Russian Day” with “Talk Like a Cowpoke Day.” (The day after that we tried, “Talk Like a Russian Cowpoke,” which we decided meant speaking in a Russian accent while using phrases like “Yippeekayay.”)
The final stretch of another school year is a great time to be messing around with Read Aloud Plays. And no matter how silly the story, plays are an excellent way to promote fluency and engage young readers. Some fun ones to end with include The Nose (which can be found in my book, Read Aloud Plays: Classic Short Stories and online here), The Open Window (also from Classic Short Stories), and Peter Rabbit (while the story may seem young, my upper elementary students always have a blast with it). My Jackie Robinson play is both socially impactful and fun to perform, as is The Newsies (“Talk like a Bronxite Day” doesn’t have the same ring to it, but it’d be fun anyway).
If you’ve been doing plays all year and are ready for something more powerful, some hard-hitting titles worth considering include Sitting Down for Dr. King, Stolen Childhoods, and Freedom for the First Time. I try to incorporate accents, dialect, or tidbits of foreign language into my plays whenever I can, so whether serious or silly, you can almost always have a “Talk Like a ____ Day.”
It’s not my aim to be political, but no matter one’s affiliation, it’s hard to deny that racial tension has resurfaced in this country. It would seem teachers have their work cut out for them, and with Martin Luther King Day and Black History Month right around the corner, now is the time to start preparing lessons that will help the current generation of children overcome such issues. In my humble opinion, one of the best ways is to put your children in the middle of the action by using Read Aloud Plays.
Sitting Down for Dr. King, for example, puts students inside the Greensboro Woolworth’s during the 1963 lunch counter sit-ins. They’ll see this pivotal protest through the eyes of David, a white boy who recognizes the injustice of prejudice and decides to set aside his own interests to stand with the African-American college students.
Gonna Let it Shine tells the true story of Sheyenne Webb, an eight year old crusader there on the bridge in Selma when state troopers and local police used tear gas and billy clubs to disperse and intimidate peaceful protesters.
And Martin’s Big Dream relates an incident from the childhood from Martin Luther King, Jr., in which two white boys in the neighborhood refused to play baseball with him because of the color of his skin. It is one of the most highly-regarded play scripts ever to appear in Scholastic’s Storyworks magazine.
Other plays about Jackie Robinson, Claudette Colvin, the March on Washington, and the Birmingham Children’s Crusade provide engaging stories that will give your students an intimate understanding of race in America. While still others, such as Box Brown’s Freedom Crate and Freedom for the First Time, reveal to your students the injustice of slavery.
Nearly all my plays have been vetted and edited by Scholastic’s amazing editors, and for just three or four bucks, you get the rights to reproduce a class set every year. What’s more, most come with support material and comprehension activities.
Black history is our history. It’s America’s history. As educators, it’s our responsibility to share this history with our students. It’s quite possibly the most important thing you’ll teach this year.
Some of my colleagues were complaining recently that kids today don’t have much in the way of grit, meaning that indefinable resilience that pushes one to overcome hardship. I’ve had enough kids with runny noses whine about needing to call home sick to think maybe it’s true. Then again, as I write this I’m picturing the faces of former students who overcame poverty and homelessness to earn college degrees. Whatever the case, “grit” is an important “soft skill” worthy of our attention. It can be taught, and a great way to teach it is by sharing the story of Sybil Ludington.
Few folks outside upstate New York know much about Sybil–if you’ve ever passed through Carmel, maybe you caught a glimpse of a statue depicting her grit—but she’s considered a hero of the American Revolution.
When General Tryon’s British fleet landed near Danbury, Connecticut, Sybil leapt upon her horse and rode forty miles in the dead of night to call to arms the American troops. She was just sixteen at the time, and her grit and determination is believed to have saved the Hudson Highlands from invasion.
Sybil’s story is a compelling one, and the best way to share it is through a Read Aloud Play. My play about Sybil appeared in the September 2015 issue of Scholastic’s Scope magazine, and this month it makes a reappearance in Storyworks. Imagine your students playing the part of Sybil, or General Washington, or the famous American spy, Enoch Crosby. How much more powerful the story when kids actually get to be Tories and bandits, minutemen, or even Sybil herself?
You can still snag a class set of the Sybil play by becoming a Storyworks subscriber. Storyworks has been providing fantastic language arts content for twenty-four years, and these days it also comes with a host of extraordinary online support material and extensions, all carefully aligned with Common Core standards. On top of that, nearly all my plays appear in Storyworks at least a year before they’re available at TpT. You can check out Storyworks by clicking here.
But Sybil isn’t the only resilient character around whom I’ve built a Read Aloud Play. Deborah Sampson demonstrates grit in The Secret Soldier, as does Sheyann Webb’s character in Gonna Let it Shine and Claudette Colvin’s in The Girl Who Got Arrested. The Newsies, Stolen Childhoods, Box Brown, Jackie Robinson, and Bird Girl are equally great scripts for teaching toughness and determination.
Do any of today’s students have Sybil Ludington’s kind of grit? Let’s hope they never have to face the same conditions. But just in case, consider giving them a bit of training through a Read Aloud Play.
We’ve been seeing it for the last year or so: the education pendulum on the verge of swinging. Standardized testing, Common Core standards, standards-based report cards (with all their annoying numbers), all being shown the door—or at least a dingy corner of the room. Enter, stage right, what I’m calling “purpose-driven instruction.” If you’re not familiar with it, check out this TED talk by education expert Sir Ken Robinson. He shows how the “factory model” of education created by the industrial revolution is outdated. The education documentary “Most Likely to Succeed,” which debuted not long ago at Sundance and is now in limited release, takes it a step further. It shows how “soft skills” such as critical thinking, collaboration, communication, and leadership need to be the focal point of instruction. Rather than having students memorize content (which is all readily available at our thumb-tips), we teach these soft skills through purpose-driven instruction.
Purpose-driven instruction involves having an end product. This end product determines the skills that need to be learned and provides the motivation to learn them. A person building a deck, for example, needs to know about the permit requirements, how to prepare the site, footings, measurement, using a chop saw, and a host of other things. Said person learns all this stuff, in a sense, “on the job,” while actually working on his or her deck. And because he or she is motivated to finish the project, said person is willing to learn the skills, even when it’s as uncomfortable as navigating the city’s building permit process. This person gains mastery through authentic application. (Sound like project-based learning, right? Sure, but keep reading.)
To teach those same skills independent of actually building a deck seems rather ludicrous, but it’s what we do in school all the time. For example, we typically teach calculus without any purpose other than that we might need to know it at some point in the future. No wonder kids ask, “Why do I need to know this?” And even when kids do “know it,” they usually don’t. The “Most Likely to Succeed” filmmakers demonstrate how even students who demonstrate assessed mastery forget pretty much everything within just a few months.
What’s all this got to do with Read Aloud Plays? Well, plays, by their nature, are purpose-driven. Simply by scheduling a performance and inviting an audience, a read aloud play becomes an authentic way to teach a host of “soft-skills.” Get this: in “Most Likely to Succeed,” a play performance is presented as the epitome of purpose-driven instruction and with amazing results (I can’t wait for you to see the documentary!). Plays are especially effective in that you can use them even with large classes (a fundamental symptom of our industrialized education approach). In any given month, I have my class of 34 split into three groups, each working on a play. Granted, these are rather simple performances. Sets are kept to a minimum, if at all, costuming is limited to just a few accessories to signify character (a parasol or a certain hat, for instance), and kids can carry their script in their hand if they want. But it remains that students must collaborate and cooperate, they must practice independently and as a team, and they must “finish” (the play must go on) regardless of broken legs, absenteeism, or fire bells. Students learn about subtle forms of communication such as inflection and innuendo, about body language and movement, all while happily developing their core reading skills. Instead of being forcibly required to read a text book, presumably to improve assessable fluency, they’re willingly—even eagerly—honing their fluency to present a successful performance. That’s a significant shift of the paradigm, as Robinson calls it.
With Read Aloud Plays, students can do more than just read and act, too. They can direct. They can build sets. They can write and adapt scripts. They can design and make costumes. They can create playbills. They can create tickets to the show. They can build online promos. They can create posters. They can film and post the video of the play online. They can serve as ushers. They can run a snack bar. They can write reviews. And, of special importance, they can self-evaluate and provide feedback. No letter grade, report card, or standardized test required.
Those of you who’ve been around for a couple decades have probably seen “purpose-driven instruction” under different names. And critical thinking skills certainly aren’t new to the education community. But whether you’re a proponent of project-based learning, student-led conferences, or reader’s theater who has had to fly under the radar of the standardized data miners, Read Aloud Plays are for you. Whether you’re someone looking to try something other than the text book, or someone who remains committed to teaching to the Common Core, Read Aloud Plays are for you. They’re a fantastic purpose-driven way to teach to the reading standards while simultaneously developing those essential “soft skills.”
Click on the Read Aloud Plays tab for access to a wide-variety of plays with focused content. You’ll find great classroom plays about explorers, the Revolution, Civil Rights, and more, or visit my store at TeachersPayTeachers. And if you haven’t yet seen “Most Likely to Succeed,” look for a screening near you.